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The Toronto Zoo is one of my favorite places to go and spend a day. The animals are well looked after, have lots of space and for the most part the zoo is very photographer friendly and provides lots of great photo opportunities.
This is one of my photos of the female Sumatran Tiger. (there's a breeding pair and 2 babies from 2007 housed at the Zoo). There have been days that I've gone and ended up spending the whole day at the Sumatran exhibit, leaving time for nothing else.
I submitted it to their annual photo contest and was thrilled to win first place in the Animals category. I was even more thrilled that it made the cover.
The Postcard
A postally unused carte postale published by Lévy et Neurdein Réunis, 44 Rue Letellier, Paris.
The Gardens of Versailles
The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.
Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.
In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.
The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.
The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.
50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.
On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.
In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.
The Du Bus Plan for the Gardens of Versailles
With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.
Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.
Louis XIV
In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.
With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.
From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.
(a) The First Building Campaign
In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.
Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.
The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.
By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.
Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.
(b) The Second Building Campaign
Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.
Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.
With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.
Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".
The Grotte de Thétys
Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.
It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.
The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.
Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.
The Bassin de Latone
Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.
Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.
This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.
The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.
The Bassin d'Apollon
Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.
The Grand Canal
With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.
In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.
The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.
The Parterre d'Eau
Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.
In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.
Evolution of the Bosquets
One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:
-- The Bosquet du Marais
-- The Bosquet du Théâtre d'Eau, Île du Roi
-- The Miroir d'Eau
-- The Salle des Festins (Salle du Conseil)
-- The Bosquet des Trois Fontaines
-- The Labyrinthe
-- The Bosquet de l'Arc de Triomphe
-- The Bosquet de la Renommée (Bosquet des Dômes)
-- The Bosquet de l'Encélade
-- The Bosquet des Sources
In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.
-- The Bassin des Sapins
In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.
Later modifications in the gardens transformed this fountain into the Bassin de Neptune.
-- Pièce d'Eau des Suisses
Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.
This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.
(c) The Third Building Campaign
Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.
The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.
Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.
In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.
In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.
Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.
With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.
To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.
Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.
Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.
During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.
The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.
Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.
(d) The Fourth Building Campaign
Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.
Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.
Louis XV
With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.
In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.
During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).
Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.
In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.
Louis XVI
Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.
Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.
The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.
However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.
The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.
Revolution
In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.
Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.
These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.
Napoléon I
The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.
Restoration
With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.
The July Monarchy; The Second Empire
While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.
With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.
Pierre de Nolhac
With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.
Bosquets of the Gardens
Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.
Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi
These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.
In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.
During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.
Labyrinthe - Bosquet de la Reine
In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.
Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.
Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.
The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.
Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.
Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.
Bosquet de la Montagne d'Eau - Bosquet de l'Étoile
Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.
The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.
Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon
Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.
The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.
In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.
During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.
Île du Roi - Miroir d'Eau - Jardin du Roi
Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.
The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.
The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.
A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.
Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque
In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.
Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.
Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert
The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.
Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.
In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.
Bosquet des Trois Fontaines - Berceau d'Eau
Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.
Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.
In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.
Bosquet de l'Arc de Triomphe
This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.
As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.
Bosquet de la Renommée - Bosquet des Dômes
Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.
At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.
The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.
The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.
Bosquet de l'Encélade
Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.
From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.
When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.
Bosquet des Sources - La Colonnade
Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.
In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.
In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.
Galerie d'Eau - Galerie des Antiques - Salle des Marronniers
Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.
Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.
The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.
Salle de Bal
This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.
Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.
The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.
Replantations of the Gardens
Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.
During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.
Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.
This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.
Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.
However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.
The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.
The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.
Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.
This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.
Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.
Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.
Problems With Water
The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.
The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.
To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.
Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.
The Grand Canal
By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.
With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.
While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.
While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.
In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.
In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.
The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.
Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.
Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.
The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.
In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.
During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.
With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.
Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.
The Canal de l'Eure
One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.
The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.
Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.
However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.
Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.
Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.
The Versailles Gardens In Popular Culture
The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.
This gravestone for the poet and author, Franz Hedrich drew my attention. I had never heard of him, so did a little research and found that in the 1880s he was involved in a scandal that shocked the literary world. His story is as follows…
Franz Hedrich was born in Bohemia (present day Czech Republic) in 1823. As an aspiring poet and author in his youth, he moved in various literary circles and in the 1840s became a close friend of the poet and author Alfred Meissner. Hedrich also dabbled in politics and was at one point elected to the Frankfurt National Assembly as the leader of one of the parties on the extreme left. He was then arrested and exiled for his political views.
In the 1850s Hedrich moved to Munich and would often spend his summers with Meissner. During this time, according to Hedrich, Meissner came to rely on him to review and rewrite much of his new work and this eventually culminated in Hedrich writing several of Meissner’s novels for him, as his ghost-writer. It would, however, appear that Hedrich was unhappy with this as Meissner had promised that the work would appear in their joint names. He also felt that Meissner was pocketing most of the money and ‘awarding him only a trifle.’
In 1871, in Switzerland, Hedrich married Janet Barron of Edinburgh. He then lived with her in Switzerland, France and in Scotland. Janet appears to have been quite wealthy, having inherited a large amount of money after the death of her parents. Whether this played any part in Hedrich falling for her we will never know, however being a man who enjoyed the finer things in life he quickly squandered much of her fortune. Running low on money, he then began to blackmail Meissner threatening to let the world know that he had written the novels. It would seem that through this he obtained substantial sums of money from Meissner for several years. Then in 1885, Meissner could take no more and made a suicide attempt by slashing his own throat. He survived this but died shortly afterwards of sepsis. On his death bed he told his brother in law, Robert Byr, that Hedrich ‘was hunting me like a tiger. He claimed the fortune of my children. He was my evil genius during all my life, and I was his prisoner, so that nothing but death remains for me to escape his bondage.’
A few years after Meissner’s death, a collection of his works was published and included various novels that Hedrich had written. This seems to have annoyed Hedrich and resulted in him writing a pamphlet that was then published by the Berlin firm O. Janke. The same firm who had published Meissner’s work. In this pamphlet Hedrich claimed authorship of most of Meissner’s novels and stated that for almost thirty years Meissner had been claiming to be the author of books that he, Hedrich, had written. To provide proof of his claims he included copies of letters from Meissner and these showed beyond doubt that Hedrich had indeed written several novels attributed to Meissner. Hedrich also pointed out that in several of the novels he had used a simple type of cryptogram to encode the words ‘Autor Hedrich’ to show he was the author of the work.
Robert Byr, Meissner’s brother in law, then made a reply to Hedrich’s accusations. He stated that Meissner had claimed authorship and tried to sell a single novel written by Hedrich. This deed had caused him such remorse that he had then committed suicide. Byr also claimed that Hedrich was only a collaborator in some of Meissner’s novels. The two men had arranged this collaboration as Meissner’s name was well known, and novels appearing under his name would command a greater price than those appearing under Hedrich’s.
On viewing the evidence that Hedrich produced, it was accepted by the literary world that he had indeed written several of the novels appearing under Meissner’s name, and had collaborated on others. However, it was also found that he had overstated his case and claimed authorship of some novels that were purely Meissner’s work.
Hedrich did not fare well in this scandal. He was seen by many as being dishonourable, and too ready to denounce someone who had been his close friend in order to make money. A leading literary magazine of the time wrote of him that - ‘Hedrich had dragged Meissner in the mire…but he has degraded himself beneath the notice of respectable men in doing it.’
Hedrich spent his later years living in the West End of Edinburgh with his wife. He died on 31 October 1895.
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In apertura al concerto degli Stereophonics all'Alcatraz il 20 ottobre Viva Lion: il duo folk di Daniele Cardinale e Marco Lo Forti, musicisti romani da anni attivi nella scena rock locale. In principio è il progetto solista di Daniele. Nel 2009 si trasferisce in Canada, lascia l’indie per dedicarsi al folk e al rientro in Italia entra a far parte del roster di Cosecomuni, l’etichetta dei Velvet.
Attualmente sono in studio per registrare il primo full album, in uscita nel 2015.
Daniele Cardinale: vocals, guitar
Marco Lo Forti: guitar, vocals
The Postcard
A postcard published by The Philco Publishing Co.
The card was posted in Louth on Monday the 8th. July 1907 to:
Miss L. M. Newman,
Erwarton Hall,
Near Ipswich.
The message on the divided back of the card was as follows:
"Dear Eva,
Just a line to let you
know I reached home
quite safely.
Best love,
L.C. x"
Philco
The Philco Publishing Co. of 1-6 Holborn Place, London were active between 1905 to 1934. They published many different types of artist-signed cards and photo-based view-cards.
They are noted for three large sets representing Faith, Hope, and Charity.
Most of their cards were printed in Germany, although a set of real photo birthday greeting cards were manufactured in Italy.
Miss Maie Ash
Maie Ash (31st. May 1888 – 13th. December 1923) was a British musical comedy actress and dancer. She was born Eleanor Mabel Eugene Ash in Clapton, London. Her father was James T. W. Ash, an accountant.
Ash made her first London appearance in 1902 at the Shaftesbury Theatre in 'A Little Un-fairy Princess' before moving into the title role of 'Cinderella' the following year in Southampton.
In 1904 she played Margo in 'Goody Two Shoes' in Liverpool, and understudied the role of 'Pansy' at the Vaudeville Theatre in London. Other musical comedies included 'Yellow Fog Island' at Terry's Theatre and 'My Darling' at the Hicks Theatre in 1907.
She married actor Stanley Brett, the brother of Seymour Hicks in 1909. They divorced in 1913, and Ash married comedian Fred Allandale in 1915. Fred Allandale was named as co-respondent in Stanley Brett's petition for divorce against Maie, and Maie was named as co-respondent in the divorce petition lodged by Allandale's previous spouse.
Maie died in Brighton at the very young age of 35, and was buried in Abney Park Cemetery in Stoke Newington.
Jameson Clark
So what else happened on the day that the card was posted?
Well, the 8th. July 1907 marked the birth in Kilbirnie, North Ayrshire, Scotland of Jameson Clark.
Jameson was a Scottish character actor who appeared in 22 films and made many appearances on television.
The Career of Jameson Clark
His first appearance in a major film was the British production of 'Whisky Galore!' (1949), playing Constable Macrae, a role he reprised in the sequel, 'Rockets Galore!' (1957).
His early roles were all to a Scottish typecast, and he made 13 films, including 'The Maggie' (1954) and 'X the Unknown' (1956) in which he portrayed Scottish characters, before he was given the part of an English tugboat captain in 'The Key' (1958).
He appeared as McDougal in Ralph Thomas's re-make of John Buchan's 'The 39 Steps' (1959), which also starred Kenneth More as Richard Hannay. The last of his four films released in 1959 was Charles Crichton's 'The Battle of the Sexes', playing Andrew Darling, with Peter Sellers and Robert Morley heading the cast.
After playing Sir Alan in the film 'Tunes of Glory' (1960), he portrayed the Constable in 'Greyfriars Bobby: The True Story of a Dog' (1961), a film based on the novel by Eleanor Atkinson, which recounts the tale of the Skye Terrier who would not leave his master's grave.
Clark briefly appeared on television, playing Jamie Lang in a 1961 episode of the British police series 'No Hiding Place'. After playing George Lockwood in the film 'A Pair of Briefs' (1962), Clark returned to TV as a Foreman in an episode of the Suspense anthology series 'Diversion to Danger' (1963).
Jameson remained on TV for the next six years, in such series as 'The Troubleshooters' and 'Dr. Finlay's Casebook', also re-surfacing in 'No Hiding Place', this time as Harry Armstrong in the episode 'All Dead and Buried' (1963).
Clark's final film was 'Ring of Bright Water' (1969), playing the Storekeeper in the film about otters based on the book by the naturalist Gavin Maxwell. From then until his retirement in 1980, he concentrated once more on contributions to television projects, amongst which were 'Sutherland's Law', 'The Prime of Miss Jean Brodie', 'Play for Today' and 'Enemy of the People'.
The Death of Jameson Clark
Clark died in Kilbirnie, Ayrshire, Scotland on the 4th. January 1984 aged 76.
Published by Four Square, 1966. Includes tales by the usual suspects: Lovecraft, Bloch, Derleth, Bradbury and Poe.
Jean Alesi Ferrari F93A F1.
All of photographs published here are copyright © Anthony Fosh All Rights Reserved. They may not be reproduced and/or used in any form of publication, print or the Internet without my written permission
EXO inspires fan to publish book
m.koreatimes.co.kr/pages/article.asp?newsIdx=249701
#JoanaAPark #author
#Suho #EXO #EXOL
#pinkEXOL #PinkRibbons
Bain News Service,, publisher.
Suffragettes at Union Sq., New York
2/16/08 (date created or published later by Bain)
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Forms part of: George Grantham Bain Collection (Library of Congress).
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Subjects:
New York
Format: Glass negatives.
Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Bain News Service photograph collection (DLC) 2005682517
General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00141
Call Number: LC-B2- 26-1
The Postcard
A carte postale published by C. Chierichetti of Milan. The artwork was by Aurelio Bertiglia.
The card was posted in Lausanne on Thursday the 19th. February 1942 to:
Miss Susette Jaeger,
'Solar View',
Bookhurst Hill,
Cranleigh,
Surrey.
The message on the back of the card, which bore a British censor's stamp, was as follows:
"Lausanne 19.2.1942.
My little darling!
I thank you so much for your
quite nice letter you wrote
to me!
I was highly pleased with it,
and sent it to your grandpapa
to read it too. He also was
astonished at how well you
can write already.
Receive heartiest greetings
and lots of love from your
Grannie".
Aurelio Bertiglia
Aurelio Bertiglia was born in Turin on the 23rd. June 1891. He was an illustrator, commercial artist, caricaturist, graphic designer (musical scores, commercial and publicity graphics), fashion designer and painter.
Mainly self-taught, from the age of fourteen he was very active in producing postcards, and he also worked for German publishers.
His postcard designs included several series of children, several series of little women, and during 1915 - 1918 several anti-Austrian caricatures. What is interesting is that in the Great War he did anti-German art, and then reversed in World War 2.
Many of Aurelio's postcard illustrations depicted children. Even his war propaganda illustrations depicted soldiers and military or political figures as children.
The Bombing of Darwin
So what else happened on the day that Susette's Grannie posted the card?
Well, quite a lot, actually.
On the 19th. February 1942, 242 Japanese aircraft attacked the harbour and airfields around Darwin, Australia. The town was lightly defended, and the Japanese inflicted heavy losses.
The attack sank the tanker 'British Motorist', as well as the cargo ships 'Don Isidro', 'Mauna Loa', 'Meigs', 'Neptuna' and 'Zealandia'.
Also sunk were the coal hulk 'Kelat', the transport ship 'Portmar', the patrol boats 'Coongoola' and 'Mavie' as well as destroyers USS 'Peary' and HNLMS 'Piet Hein'.
Hajime Toyoshima crash-landed on Melville Island, and became the first Japanese prisoner of war on Australian soil.
The Internment of Japanese Americans
Also on that day, President Roosevelt signed Executive Order 9066, authorising the internment of Japanese Americans.
'If Day'
Also on the 19th. February 1942, in a campaign to promote the purchase of war bonds, the Canadian city of Winnipeg, Manitoba staged 'If Day', a simulated Nazi German invasion.
The Bombing of Mandalay
Also on that day, the Burmese capital of Mandalay was bombed by the Japanese for the first time.
The Torpedoing of the 'British Consul'
Also on that day, British tanker 'British Consul' was torpedoed and sunk at Port of Spain, Trinidad by German submarine U-161. She was later salvaged and repaired.
An Execution in the United States
The day also marked the death by execution of Frank Abbandando, aged 31.
Abbandando, who was born on the 11th. July 1910, nicknamed 'The Dasher', was a New York City contract killer who committed many murders as part of the infamous 'Murder, Inc.' gang.
His preferred killing method was to stab his victims through the heart with an ice pick, although he was also fond of the meat cleaver.
While Abbandando was a connoisseur of fine clothes and fancy cars, he was also a habitual sexual predator who would drive around his neighbourhood looking for young women to rape. The prosecutor at his murder trial said that Abbandando had all but admitted one rape, to which Abbandando replied:
"Well, that one doesn't count
really - I married the girl later."
After a trial and conviction for murdering a Brooklyn loan shark, he was executed in the electric chair 'Old Sparky' at Sing Sing on the 19th. February 1942.
In the moments up to his execution, Abbandando continued to mock and curse his guards. It was reported that he displayed no fear, and seemed to find a morbid humour in the proceedings.
After Abbandando's conviction, six other members of 'Murder, Inc.' were also convicted of murder and executed based on the testimony of Abe Reles who had turned state witness. On the 12th. November 1941, while under police protection, Reles fell out a hotel window in Coney Island.
The official ruling was that Reles died trying to climb down bedsheets to the street below; however, it was rumoured that the Cosa Nostra had raised $100,000 to bribe Reles's guards to shove him out of the window.
Frank's younger brother, Frank Abbandando Jr., who was born in 1935, was a Gambino crime family member who was murdered in Florida on the 22nd. December 1995. The 60-year old mobster was run over as he crossed Biscayne Boulevard in North Miami Beach by Rocco Napolitano, the brother of Aniello Napolitano, a small time drug dealer who was executed on the orders of Abbandando Jr.
After running him down, Napolitano fired several shots into Abbandando Jr. as he lay on the ground. Napolitano told police that he had shot him out of revenge for his brother.
20151105D_Disney_2033 - The Walt Disney Service Awards, Los Angeles 2015 - The holder of this digital file has permission to print or publish for his or her own private use.
It would be very cool to get published in the next issue of JPG Magazine. You can vote for my photo to be included in the "Tools of the Trade" category here.
Created with fd's Flickr Toys.
[Taken in Paris (France) - 18Nov07]
Published on www.rue89.com - "Antigrèves: la vidéo de la vraie manif de droite".
See all my sold, published, and exhibited photos in this collection : [Sold - Published - Exhibited Works]
See all the photos of this anti-strike demonstration in this set : 18Nov07 - Anti-Strike Demonstration [Event]
See all the random portraits in this set : Portraits [Random]
See all the photos with written words in this set : [Messages]
Published as poster in Heelside Magazine Issue #3.
430EX in grass for front for main light. Rim light from sun rising behind.
Big Ant TV Media LLC ©
published freelance photographer
PAID SHOOTS ARE 1st PRIORITY
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Lella Lombardi / Giorgio Francia Osella PA9 BMW Sportscar.
All of photographs published here are copyright © Anthony Fosh All Rights Reserved. They may not be reproduced and/or used in any form of publication, print or the Internet without my written permission
Published by Star Stationey Co, Newark, N.J. A Tichnor Quality View printed by Tichnor Bros, Inc., Boston, Mass #88409 postmarked 1966
the book was just published in the winter of 2009, and it showcases an amazing and beautiful technique that uses needle felting but applies the process to fabric, so wool is applied to the cloth using a felting needle.
the effect is stunning, like embroidery or even sometimes similar to painting on fabric.
the colors and textures are very rich, and projects have a great variety that is sure to inspire. the contrast of bright wool felted onto natural linen is a repeating feeling that always looks great.
the projects and scenes created in the book included detailed diagrams that show to how to recreate them, including fine details about colors and shades of wool that are combined to create depth.
written directions are in japanese, but the diagrams, and very clear step by step instructions with photos show how to create this effect. it's probably easier is you have had a little experience needle felting, just so you understand how that tool works, but that being said, you will be able to pick this up quickly, especially if you have some experience with felt, or embroidery, or even sewing
The Postcard
A postcard published by the Philco Publishing Co.
The card was posted in Caterham on Monday the 19th. March 1906 to:
Mrs. Hollman,
West Villa,
Oxted Road,
Godstone,
Surrey.
The message on the back of the card was as follows:
"What do you think of her,
rather sweet isn't she?
Love to all from Florrie".
Philco
The Philco Publishing Co. of 1-6 Holborn Place, London were active between 1905 to 1934. They published many different types of artist-signed cards and photo-based view-cards.
They are noted for three large sets representing Faith, Hope, and Charity.
Most of their cards were printed in Germany, although a set of real photo birthday greeting cards were manufactured in Italy.
Miss Edna May
Edna May Pettie (September 2nd. 1878 – January 1st. 1948), known on stage as Edna May, was an American actress and singer.
A popular postcard beauty, May was famous for her leading roles in Edwardian musical comedies.
The Early Years
May was born in Syracuse, New York, to Edgar and Cora Petty. The family later changed the surname to 'Pettie'. Her siblings were Adelbert, Jennie and Marguerite.
At the age of 5, she played Little Willie Allen in a production of 'Dora'. By the age of 7, she had joined a children's opera company, and performed Gilbert and Sullivan productions in Syracuse. She studied music at the New York Conservatoire as a teenager.
May made her professional debut in 1895 in 'Si Stebbings' in Syracuse. She then moved to New York to take the small role of Clairette in Oscar Hammerstein's Broadway show, 'Santa Maria'.
That year, she married Fred Titus, who held a world record for cycling. They had no children, and divorced in 1904.
In 1897, May played Violet Grey in 'The Belle of New York' with only moderate success. The following year, the production played in London, becoming a hit and running for 697 performances, making May a star.
The Later Years
After that, among others, she played:
- Gabrielle Dalmonte in 'An American Beauty in London' (1900)
- Olga in 'The Girl from Up There' (1901) in New York and then London
- Edna Branscombe in 'Three Little Maids' (1902)
- Lillian Leigh in 'The School Girl' (1903–1904) in London and New York
- Say-So-San in 'The Darling of the Guards' (1904) in London
- Alesia in 'La Poupée' (1904) in London
- Angela in 'The Catch of the Season' (1905) in New York.
- 'The Belle of Mayfair' (1906)
- Nelly Neil in 'Nelly Neil' (1907) in London.
Edna May's Personal Life
May was known for her beauty, and received tremendous attention from male admirers. She was involved in a passionate relationship with Prince Raj Narayan Bahadur, but could not marry him because of her parents' disapproval.
In 1907, she married millionaire Oscar Lewisohn and retired from the stage. The couple settled in England. They had no children, and Lewisohn died in 1917.
May lived at Winkfield in Berkshire during her retirement, but made brief returns to the stage in 1911 benefit performances of 'The Belle of New York' at the Savoy Theatre in London, and 1915's 'The Masque of Peace and War' in London.
Films
Also in 1911, she appeared in the film 'Forgotten; or An Answered Prayer'. She starred in a 1916 film called 'Salvation Joan', donating the proceeds to charity.
Death of Edna May
Edna died in Lausanne, Switzerland, at the age of 69.
Roy Roberts
So what else happened on the day that Florrie posted the card?
Well, the 19th. March 1906 marked the birth of the American character actor Roy Roberts.
Over his more than 40-year career, he appeared in more than nine hundred productions on stage and screen.
Roy Roberts' Life and Career
Born Roy Barnes Jones in Dade City in Pasco County, near Tampa, Florida, Roberts began his acting career on the stage.
He first appeared on Broadway in May 1931 before making his motion picture debut in Gold Bricks, a 1936 two-reel comedy short released by 20th Century-Fox.
Roy appeared in numerous films in secondary parts, and returned to perform on Broadway in such productions as Twentieth Century, My Sister Eileen, and Carnival in Flanders until he began making guest appearances on television series.
After appearing on Gale Storm's My Little Margie in 1956, he became part of several television series.
In a show that was the precursor to The Love Boat, Roberts played the ship's captain for four years in Storm's next hit, Oh! Susanna, which aired on CBS and ABC from 1956 to 1960.
He guest-starred in scores of series, including the western-themed crime drama, Sheriff of Cochise, the western series, My Friend Flicka, The Life and Legend of Wyatt Earp (as Texas cattle baron Shanghai Pierce), The Travels of Jaimie McPheeters, and Brian Keith's Cold War drama, Crusader.
Roberts appeared in four episodes of the CBS legal drama, Perry Mason, including the role of murderer Arthur Janeel in the 1961 episode, "The Case of the Malicious Mariner."
During the middle 1960's, Roberts was one of the most recognizable faces on television, and had recurring roles concurrently on a number of popular programs, including:
-- Bank president Mr. Cheever on CBS's The Lucy Show
-- John Cushing, president of the rival Merchants Bank on CBS's The Beverly Hillbillies
-- Railroad president Norman Curtis on CBS's Petticoat Junction
-- Darrin's father Frank Stephens on ABC's Bewitched, alternating with actor Robert F. Simon depending upon availability.
-- Banker Harry Bodkin on CBS's Gunsmoke
-- Neighbor Bruce MacDermott on ABC's Our Man Higgins
-- Preston "Press" Wasco and Kelly on the NBC western, Laredo
-- "Doc" on John Payne's The Restless Gun in the 1957 episode "Trail to Sunset"
-- Banker George Bristol on NBC's Bonanza
-- Admiral Rogers on McHale's Navy
-- Capt. Walter A. Bascom in three episodes of the religion anthology series, Crossroads
-- The Governor in a season two episode of Green Acres, "One of Our Assemblymen is Missing".
In the 1940's and 1950's, Roberts was a regular in many films noir, including Force of Evil (1948), He Walked by Night (1948), Nightmare Alley (1947), The Brasher Doubloon (1947), Borderline (1950), and The Enforcer (1951).
In 1953, he appeared as Vincent Price's character's crooked business partner (and first victim) in House of Wax. In 1956 he was Colonel Sam Sherman in The First Texan.
In 1962 Roberts appeared as John Kemper on the TV western Lawman in the episode entitled "Heritage of Hate."
Roy also appeared in the neo-noirs The Outfit (1973) and Chinatown (1974). He also had a small role in the hit 1963 Stanley Kramer comedy, It's a Mad, Mad, Mad, Mad World as a police officer. Unfortunately, his role was cut from later television and movie versions to reduce running time.
Roberts appeared in an episode of the situation comedy A Touch of Grace in 1973. His last television appearance was on the 21st. January 1974 in the CBS broadcast of Here's Lucy. In that installment, "Lucy Is N.G. As An R.N.", Roberts played a veterinarian.
The Death of Roy Roberts
Roy Roberts died in Los Angeles, California, of a heart attack on the 28th. May 1975, and was laid to rest at Greenwood Memorial Park in Fort Worth, Texas. Roy was 69 years of age when he died.
The Postcard
A postcard published by J. Beagles & Co. of London E.C. The firm of J. Beagles & Co. was started by John Beagles (1844-1909).
The company produced a variety of postcards including an extensive catalogue of celebrity (stage and screen) portrait postcards. After Beagle’s death, the business continued under its original name until it closed in 1939.
The card was posted in Streatham on Saturday the 24th. December 1904 to:
Miss V. Crampton,
c/o Miss O'Meara,
Southend College,
Essex.
The message on the divided back of the card was as follows:
"Every good wish for
Christmas & the New
Year,
from Amy B. V. Harley".
The Location of the Photograph
The image on the postcard does not in fact show Norbury as stated - there is no High Road Norbury.
The scene actually shows a southern portion Streatham. The photograph was taken about a third of a mile north of Norbury Railway Station, and at this point the main London to Brighton road (the A23) has changed its name from London Road, Norbury to Streatham High Road. The photographer's camera is pointing north towards London.
To be more precise about the location, the near-end of the terrace of tall buildings on the left is at the junction of Glencairn Road and Streatham High Road. If you keep going north for another third of a mile, you get to the south west corner of Streatham Common.
The scene looks totally different today - the premises of the Horticultural Builder A. A. Overend and all the other houses on the right have long gone; they have been replaced by a series of rather ugly utilitarian blocks of flats.
On the left, the brick walls and railings that presumably enclosed front gardens of houses are also long gone - there are now flats on that side of the road as well.
The whole area now has a very much more crowded urban feel, with a very heavy flow of cars, buses and commercial vehicles travelling along the road in both directions.
The London Coliseum
So what else happened on the day that Amy posted the card?
Well, the 24th. December 1904 marked the opening of the London Coliseum.
The London Coliseum is a theatre in St Martin's Lane, Westminster, built as one of London's largest and most luxurious "family" variety theatres. When it opened, its full name was the London Coliseum Theatre of Varieties.
The theatre was designed by the theatrical architect Frank Matcham for the impresario Oswald Stoll. Their ambition was to build the largest and finest music hall, described as the "People's Palace of Entertainment" of its age.
At the time of construction, the Coliseum was the only theatre in Europe to provide lifts for taking patrons to the upper levels of the house, and was the first theatre in England to have a triple revolve installed on its stage. The theatre has 2,359 seats, making it the largest theatre in London.
The Coliseum was used for variety shows, musical comedies, and stage plays for many years. It then served as a cinema screening films in the Cinerama format between 1963 and 1968.
Sadler's Wells
The Sadler's Wells Opera Company moved into the building in 1968.
The Sadler's Wells company changed its name to the English National Opera in 1974, and today the London Coliseum is used primarily for opera as well as being the London home of the English National Ballet.
On two separate occasions, Marvel and DC co-published titles from Amalgam Comics. During the publication of Amalgam Comics, the companies treated it as if it had always existed, giving it a fictional history stretching back to the Golden Age of Comics, as well as retcons and reboots, such as the Secret Crisis of the Infinity Hour (an amalgam of Secret Wars, Crisis on Infinite Earths, Infinity Gauntlet and Zero Hour), including an Amalgam version of the cover of Crisis on Infinite Earths #7, with Super-Soldier holding his sidekick's body.
The books even went so far as to have letter pages with readers talking about stories they had read for years from the company line. In the 24 Amalgam Comics printed, one-third of those printed included letter-columns by fictitious fans to give a larger background to the stories and to help give hints of what might happen in the next issue. The "fans'" hometowns were usually fusions of existing American cities.
Three separate business developments look set to alter dramatically Belfast's inner city landscape.
The planned developments are vying to fill an estimated demand for up to 500,000 square feet of additional shopping space .
Jamess Kerr, BBC NI Business Editor: Planners have unique say in inner city development
Developers are proposing to locate a new shopping complex near the large retail mall at Castlecourt in Belfast city centre.
A second complex is planned for the area of the existing Fountain Centre while a third development is proposed for Victoria Square.
and the rumour spread of of a super soldier program..there were four men who escaped the cocoon..you may have seen panik at rock island...north head to the fishing place don't go down there..and people..where's dino VIG...started usiing the mutican in fishtanks...like having RUmble fish you have battle fish we have blue ring octupus..and like that green house..the amteur explorer...FOOD of the gods..and they lived with the centrepede not the blaze the blaze...like that glass house they tell in new york that started the bee plague FOOLS....so they could be FLAGships experiences..it's the 60's man it's all about the experience..and gerogre freeman went down there and the youngest could only say MUM....on the sqeecky squeecky
sure it's funny when guys turnt blue salute....back the red...handed hows dad..and we found surcide pills and then tbetween the csiro and medical students we were trying to get them back..the program tried to repair some of the damage They're insects..thought it was a ec comic..look at the make up amazing....sure the royals laughed cause that phone call was unauthorised...but that's what we call THE REAL...and i here tell that they put in a roman holday gargoyle just stick you hand in here..they can smell the mutigan bessie and i are staying at level whatever cause the ddt just pissed them off THEy're insects...look mrs..which faclility..we trying ti get them back but he's hurt bad ok, just tell him you luv him ok...
BREAST-screening services, weight-loss clinics and round-the-clock trading - this is how retail giants are hoping to win back customers who have shunned department stores in favour of saving their money or shopping online.
In a move designed to shake the retail sector from one of its darkest times, Myer has hinted at moving away from the recent trend of markdowns and discounts at its stores, The Daily Telegraph reported.
It plans to turn its stores into a "theatre", where shoppers can not only buy clothes and other items but also visit weight-loss centres, get their eyes tested and even have breast screening.
Rival David Jones is considering introducing a new 24-hour "shopping experience" in flagship city stores to persuade consumers to leave their keyboards and once again shop in person.
just like cartman..and then ontop of a caa...rebel congress...a cofederation of american teritoires with full state hood modelling to stop the tradition and loong and running..we tried for years to get them well and i here tell when they made stone the sargent who could still think and talk..we'll they just did him to have it all and that was enoughs enough..do you wantta go down there cause funnelwebs keep you alive until your flesh rots of..HUMAN! and when you make a promise in vision quest...
Glamouria Magazine, February 2019
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Charlie Puth, cantante, musicista, produttore e compositore, arriva in concerto in Italia, per la prima volta, per uno show imperdibile. L’artista americano incanterà il pubblico del Fabrique di Milano con le sue hit mondiali durante la serata di sabato 7 maggio.
Nine Track Mind, il tanto atteso album di debutto è uscito lo scorso 29 gennaio. Il disco, formato da 13 bellissime tracce contiene la hit See You Again.
Scoperto da Ellen DeGeneres grazie a una cover di Someone Like You di Adele che stava impazzando su YouTube, Charlie Puth firma nel 2014 con l’Atlantic Records e successivamente collabora con Wiz Khalifa per See You Again, successo strepitoso 4 volte platino, numero uno dei Billboard Hot 100 per 12 settimane e colonna sonora del film record d’incassi Fast & Furious 7.
Attualmente è in radio con il singolo One call away, Charlie Puth è anche l’autore e cantante di Marvin Gaye, collaborazione con la cantante statunitense Meghan Trainor, che in Italia è stata ai vertici delle classifiche radiofoniche arrivando alla posizione numero 1 dei singoli più venduti in UK, regalandogli il doppio platino in Italia e il suo secondo successo Top 40 negli Stati Uniti.
Dopo aver partecipato agli show TV più importanti americani (Saturday Night Live, The Today Show, The Tonight Show with Jimmy Fallon), e aver collezionato una varietà di importanti riconoscimenti, tra cui due Teen Choice Award, un Hollywood Film Award, due American Music Award, nomination agli MTV Video Music Award e agli MTV Europe Award, oltre a una nomination ai Golden Globe per Best Original Song, Charlie Puth è pronto a sorprendere tutto il suo pubblico italiano con un live indimenticabile.
British tourist getting his ears gutted..err....I mean cleaned.. Rusty, reused metal tongs with cheap (reused looking) cotton balls are plunged into the customer's ear...quite a few nasty bits come out! This man told me it felt really nice and he could hear better. I'll take his word for it. I could see myself phoning up my travel insurance company making a claim on a pierced ear drum.."and how/why did you have your eardrum pierced in an urban park?"
This photo was published in Guangzhou's Southern Weekly newspaper as part of a feature on foreigners' photography in China.
People's Park
Chengdu, Sichuan
1949; Dead Ringer by Fredric Brown. Cover art by Denis McLoughlin. Published by T.V. Boardman no. 72
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Published by Ebal, Brazil 1968
1st Appearance of Teen Titans
Among the best known examples of this issue known to exist.
The publishing of both the 1st Appearance of Justice League and Teen Titans in Brazil are extremely rare and important in the International Edition field.
Justice League with the US cover is the only other country in the world that produced the redundant art from the US.
Brave and Bold No.54 was produced in Brazil with the series O Herói and was the last issue in the series and the series was a Science Fiction Series of the Man of Solar.
The production of this comic was extremely low and very rare.