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The Postcard
A postcard that was published in Great Britain prior to June 1918. The photography was by Bassano.
The following is printed on the divided back of the card:
'"My Queen" & "Romance"
Novelettes. One Penny
Weekly.
Two Picture Postcards
presented with each copy'.
Jan Kubelík
Jan Kubelík (5th. July 1880 – 5th. December 1940) was a Czech violinist and composer.
-- Jan Kubelík - The Early Years
Jan was born in Michle (now part of Prague). His father, a gardener by occupation, was an amateur violinist.
He taught his two sons the violin, and after discovering the talent of Jan, who was aged five at the time, arranged for him to study with Karel Weber and Karel Ondříček.
At the age of eight Jan studied at the Prague Conservatory with Otakar Ševčík, of whose technique he became the most famous representative. As a child, he used to practise for 10 to 12 hours a day, or "until my fingers started to bleed."
In 1898 he toured as a soloist, soon becoming renowned for his great virtuosity and flawless intonation, and his very full and noble tone. He played a Guarneri del Gesù and also two Stradivarius violins: he acquired the 1715 Stradivarius Emperor in 1910.
-- Jan Kubelík's Musical Career
After great success following his debut in Vienna, and in London (where he first appeared at a Hans Richter concert in 1900), Kubelík toured in the USA in 1901 for the first time.
Jan made his first appearance with the Royal Philharmonic Society, London in the season of 1901–2, and in 1902 was awarded the Society's Gold Medal. In 1902 he brought the Czech Philharmonic Orchestra to London, having assisted it financially in the previous year.
In 1903 he married Countess Anna Julie Marie Széll von Bessenyö (born on the 1st. March 1880 in Budapest), niece of former Prime Minister of Hungary Kálmán Széll, with whom he had eight children, five violinist daughters and three sons, among them the conductor Rafael Kubelík.
Kubelík made a number of recordings for The Gramophone Company, and for Fonotipia/Polydor. The Gramophone Company recorded him as obbligato to Dame Nellie Melba in 1904, a match which reflected the classical phrasing and tonal purity of his art, and which was an ideal complement to Dame Nellie.
Their early version of the Bach-Gounod 'Ave Maria' was recorded twice, in October 1904 and again in February 1905; it became one of the great early classics of the gramophone, and was one of those records which made the instrument a popular success, even though the double celebrity single-sided title retailed at one guinea.
Nine years later (when recording technology had improved) the partnership was reformed to re-make the record in May 1913 with organ accompaniment, and again in October 1913. It was the latter version which then survived in the inter-war catalogue in two-sided form. Jan's 1935 Carnegie Hall concert was also recorded, and has been reissued.
Jan wrote music, including six violin concertos, and continued to perform in public until his death, with a pause between the end of the Great War and 1920, during which period he composed.
In 1920 Jan resumed his concert career, but with the advent of Jascha Heifetz, his career dwindled somewhat.
-- The Death of Jan Kubelík
Jan died in Prague in 1940, at the young age of 60.
-- Critical Reception and Legacy of Jan Kubelík
In 1907, reviewing a concert by Kubelík at New York's massive Hippodrome Theatre, the New York Times wrote:
"Mr. Kubelík's artistry is of the most remarkable
kind. He is not a deeply moving player; he has
not the power of touching profoundly and
immediately the hearts of his listeners, nor of
laying hold of the inner mystery of the greatest
music.
There is something aloof in him as he plays it;
yet few have the power of so ravishing the
senses with the sheer beauty of his tone, the
charm of his cantilena, the elegance and ease
with which he masters all the technical difficulties
of what he is playing so that they no longer suggest
themselves as difficulties.
Octaves, thirds and sixths drop from his instrument
in a tone of honeyed sweetness and oily smoothness;
not a large tone, but one of indescribable roundness
and purity; his runs and passages of all sorts are as
pearls from his hands.
There is something of feminine grace and charm in
Mr. Kubelík's playing, and he seldom compels by its
authority or stirs by its passion and virility, but in its
way it is wholly delightful".
In 1903 Kubelík's portrait was painted by Philip de László, and a 1912 Cubist painting by Georges Braque incorporates a handbill featuring the words "Mozart Kubelick" (sic).
Carl Sandburg mentions Jan Kubelík in his Chicago Poems (1916).
He is adored by the sisters in Sally Benson's collected short stories, which later became the film 'Meet Me in St. Louis' (1944).
Kubelik is also referred to in Robert Ludlum's 2002 novel 'The Janson Directive'.
This photograph was published in the Illustrated Chronicle on the 24th of November 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
I'm now an Internationaly Published photographer! FDM magazine, from Asia contacted me through flickr to use my photo in there March 2011 issue. My photo appears on the cover, table of contents and page 26, with photo credit. :)
Photo taken on a 'One Hour Photo' challenge with Lee Frost in February 2011, published in the May 2011 issue of Digital SLR Photography
One of my Parlotones pictures has been published in the November issue of In London magazine (www.inlondon.com).
This photograph was published in the Illustrated Chronicle on the 3rd of February 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Published by Longmans Young Books in 1969.
Finding this book has very nearly finalised my quest for my childhood books. This was very elusive, I only remembered the cover and images and not the name, so all google searches were fruitless. Then my mum spotted it for me at a boot sale, and I was thrilled to bits!
A question - anyone know a book about a little bear who ran away to join the circus? Early 1970s? American?
The Postcard
A postally unused Norman Series postcard that was published by Shoesmith and Etheridge of Hastings. The image is a glossy real photograph, and the card has a divided back.
Boats for hire are generally numbered and rented for an hour or for half an hour. When the allotted time is up, the boat operator calls out: 'Come in Number xx'.
Beach House Park
Beach House Park – named after nearby Beach House, is home to one of the world's most well-known venues for the sport of bowls.
The park is also home to a unique memorial to homing pigeons that served in the Second World War.
Worthing
The area around Worthing has been populated for at least 6,000 years, and contains Britain's greatest concentration of Stone Age flint mines, which are some of the earliest mines in Europe. Lying within the borough, the Iron Age hill fort of Cissbury Ring is one of Britain's largest.
Notable Residents of Worthing
Notable inhabitants of Worthing include:
- Jane Austen, the author, lived at Stanford Cottage, Worthing, during the autumn of 1805.
- Mary Shelley, author of Frankenstein, inherited Castle Goring in 1845.
- Oscar Wilde wrote The Importance of Being Earnest while staying in Worthing during the summer of 1894, and even named its protagonist, Jack Worthing, in the town's honour.
- Liz Smith, actress, 'The Vicar of Dibley', 'The Royle Family'.
- Henty brothers, Australian pioneer farmers including Edward Henty, born in West Tarring in 1810
- James Bateman, horticulturalist
- Thomas Shaw Brandreth, mathematician and inventor
- Copley Fielding, artist
- Octav Botnar, founder of Datsun UK, ran his automobile import business from the town
- Nicollette Sheridan, actress, Desperate Housewives, birthplace
- DJ Fresh, musician, birthplace
- William Henry Hudson, writer and naturalist born in Argentina.
- Billy Idol, musician
- Mike Kerr, singer and bassist of British rock duo Royal Blood, grew up in the town.
- Keith Emerson, musician, lived and attended school in the town
- Peter Bonetti, England goalkeeper
- Byron Dafoe, National Hockey League goaltender
- Benjamin Bonetti, Self Help Author, Hypnotherapist
- Rocky Sharpe, founder and lead singer of Rocky Sharpe and the Replays
- Beatrice Hastings, poet
- Harold Pinter
- Simon Messingham, science fiction writer.
Taken on 17 February 2014 in Angola near Mumbondo Kwanza-Sul (DSC_9529)
freewheely.com: Cycling Africa beyond mountains and deserts until Cape Town
Published by William Heinemann in 1952.
The book was written in 1950, the same year that Nevil Shute emigrated to Australia. It contrasts the bleakness of post-war London and Britain with the bright, expansive lifestyle of Australia, where food is plentiful and the landscape is awe-inspiring.
Published in Crochet With Bits & Pieces (DRG)
A beginner-level pattern.
A few of these strands tied around the waist make a good summer belt.
Published work. Tear sheet from Nu Woman summer 2012 issue. Photography. Barry Williams. Hair and makeup. Italia Williams. Styling. Sabrina Dodgson-Sturrup. Models. Adam Brown and Abigail Moss.
My photo of Minne the Lake Creature was published in the April '12 issue of Mpls.St.Paul Magazine after it was found on flickr.
"SHE'S BAAACK!
→ Like those neighbors you haven't seen all winter, Minne the Lake Creature reappears each spring to jazz up our lives. There's no telling where she'll pop up. She likes all the Minneapolis lakes. If you do see her, don't ask if she wintered in Florida (not that there's anything wrong with that!). Minne takes pride in being a hardy Minnesota gal who likes to stay close to home."
Full disclosure: The photo was meant to highlight the return of the floating sculpture to the Chain of Lakes, but the photo was actually taken last fall.
I have published 4 blog [Cycling Experiences...] articles on this event:
1) Cruzbike ~ John Tolhurst brings his Vendetta to White Oak…
2) Maria Parker ~ This was October 2009, now there is today…
François Lefèbvre (1762-1835), Chinese Pavilion in the Park of Laeken/Der chinesische Turm im Park zu Laeken, 1787 Aquarell/Watercolour
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
The Postcard
A postally unused carte postale that was published by Lévy Fils et Cie of Paris and Versailles. The card has a divided back.
La Dame au Gant
The Lady With The Glove was painted by Carolus-Duran (1837, Lille - 1917, Paris). It is a portrait of Mme Carolus-Duran, née Pauline Croizette.
The painting was in the Musée du Luxembourg until 1929, after which it was moved to the Louvre where it stayed until 1982, since when it has been in the Musée d'Orsay in Paris.
The large oil on canvas painting is 228 cm (89.7 in) high and 164 cm (64.5 in) wide, and weighs in at a hefty 76 kg. At bottom left it bears Carolus-Duran's signature and the date 1869.
La Dame au Gant was first exhibited at the Salon of the Palais des Champs Elysées in Paris in 1869. It was a great success, and won a medal. Since then it has been featured in a further 25 exhibitions held throughout the world, with the most recent being High Society at the Van Gogh Museum in Amsterdam in 2018.
The Lady with the Glove is a life-sized full-length portrait of the artist's young wife. It is an archetypal formal portrait, presenting a sober composition, masterful drawing and delicate use of colour.
Madame Carolus-Duran stands out from a near-empty background which is painted in shades of grey and black. The dark, changing colours of the gown catch the eye, as do three interrelated elements:
-- The young woman's face and fashionable hairstyle.
-- Her hands, one drawing off a pearly grey glove.
-- The glove on the ground underlined by the painter's signature, in red. This anecdotal detail gives the work a modern instantaneous look which is why Emile Zola saw in Carolus-Duran a disciple of Manet.
The Postcard
A DP Series postcard that was printed and published by E. T. W. Dennis & Sons Ltd. of Scarborough. The rather obscure joke isn't very funny.
The card was posted in Colwyn Bay, Denbighshire on Monday the 17th. August 1970 to:
Mr. & Mrs. F. Hardy,
Lees Lane,
Winterton,
Scunthorpe,
Lincolnshire.
The message on the divided back of the card was as follows:
"Arrived safe. It is
raining this morning -
no good to do a bit
of harvesting today.
Hope the weather is
a bit better for you.
Daisy".
Venera 7
So what else happened on the day that Daisy posted the card?
Well, the 17th. August 1970 marked the launch of Venera 7.
Venera 7 was a Soviet spacecraft, part of the Venera series of probes to Venus. When it landed on the Venusian surface on the 15th. December 1970, it became the first spacecraft to soft-land on another planet, and the first to transmit data from there back to Earth.
Launch of the Venera 7
The probe was launched from Earth on the 17th. August 1970, at 05:38 UTC. It consisted of an interplanetary bus, based on the 3MV system, and a lander. During the flight to Venus, two in-course corrections were made using the bus's on-board engine.
Design of the Venera 7 Lander
The 500 kg lander was designed to be able to survive pressure of up to 180 bars and temperatures of up to 580 °C. This was significantly greater than what was expected to be encountered, but significant uncertainties as to the surface temperatures and pressure of Venus resulted in the designers opting for a large margin of error.
The interplanetary bus carried a solar wind charged particle detector and a cosmic ray detector. On the lander there were temperature and pressure sensors as well as an accelerometer to measure atmospheric density. The probe also carried a radar altimeter.
The Touch-Down of the Lander
Venera 7 entered the atmosphere of Venus on the 15th. December 1970. The lander remained attached to the interplanetary bus during the initial stages of atmospheric entry to allow the bus to cool the lander to −8 °C (17 °F) for as long as possible.
The lander was ejected once atmospheric buffeting broke the interplanetary bus's lock-on with Earth. The parachute opened at a height of 60 km, and atmospheric testing began with results showing the atmosphere to be 97% carbon dioxide.
The parachute was initially reefed down to 1.8 square metres, opening to 2.5 square metres 13 minutes later, when the reefing line melted as designed.
Six minutes after the un-reefing, the parachute started to fail, resulting in a descent more rapid than planned. The parachute eventually failed completely, and the probe entered a period of freefall. As a result, the lander struck the surface of Venus at about 16.5 m/s (37 mph).
The probe appeared to go silent on impact, but recording tapes kept rolling. A few weeks later, upon a review of the tapes by the radio astronomer Oleg Rzhiga, 23 minutes of very weak signals were found on them. The spacecraft had landed on Venus, and probably bounced onto its side, leaving the antenna not aimed correctly for strong signal transmission to Earth.
The probe transmitted information to Earth for a total of 53 minutes, which included about 20 minutes from the surface. It was found that the temperature at the surface of Venus was 475 °C (887 °F). From the spacecraft's rapid halt (from falling to stationary inside 0.2 seconds), it was possible to conclude that the craft had hit a solid surface with low levels of dust.
The probe provided information about the surface of Venus, which could not be seen through a thick veil of atmosphere. The spacecraft definitively confirmed that humans cannot survive on the surface of Venus, and excluded the possibility that there is any liquid water on Venus.
Illuminated arches in Kilmarnock.
--
--
( Published as the "Picture Of The Week" in the Kilmarnock Standard - Oct 17, 2014 )
Been published a couple of times now, but there it is, my first cover shot.
More importantly, the Animal House Shelter gains the benefit.
Juliette Lewis
Brooklyn Bowl
Brooklyn, NY
Saturday, August 6th, 2016
© 2016 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
This photograph was published in the Illustrated Chronicle on the 22nd of September 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
my first ever published work in this issue of DJMAG!
please check it out!
p.s a must see in full size!
ta
sonnyme.com
Photos taken from the top of the American Psychological Association building, Washington, DC USA
Published in Events roundup: Planning for growth, GGWash happy hour, and more - Greater Greater Washington
This photograph was published in the Illustrated Chronicle on the 26th of August 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
MØ
Secret Solstice Festival
June, 2015
Reykjavik, Iceland
© 2015 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Published: Managing Cultural Tourism in Town and Cities - Advice and Guidance for Public Authorities and Local Communities, European Commission 2007