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Original sin has made it to Bad Ragaz. Artist Liu Ruowang deals with questions about the origin of humanity, its roots and the meaning of life. The 3.5 m high apes made of copper are no longer brand new. They have already been seen in other places. The artist writes: „Ape-man looking up into the sky symbolize the springing up of ancient civilization; today, high civilization bring advanced material culture, yet the nature we live on is being damaged unceasingly“. This has nothing to do with original sin. *The following text is not suitable for religious people. Which does not mean that religiosity is inferior. The religions transport encrypted knowledge over millennia. The time is not yet ripe for the whole truth, but you can already think a few thoughts*.
Anyone who understands the Bible's hidden truth knows that original sin was a genetic manipulation that forced our ancestors and creators to banish us. Adam refused a first Eve because she had her own gene pool and he saw her as a emancipated competitor. It was only when she was created from his gene pool (rib) that he was satisfied, and this has had repercussions on the position of men and women to this day. Adam made this decision with the reduced collective consciousness of nature with which he was created. After all, he was a test person for genetic improvements. He knew no shame, no morals, and did not know what was good and bad. He was also unaware that he was human. But otherwise he had all the human qualities of his creators. Adam and Eve worked in a genetic laboratory where the tragic story about our genetic information took its course. Eva discovered that tampering with the forbidden area of the DNA would not kill them, and was seduced by the DNA snake into an attempt. With that she lost the collective consciousness of nature and became aware of her humanity. With all the consequences such as shame and the knowledge of good and bad that animals do not know. This intoxicant realization she made palatable to Adam too. But they got caught. And so began a journey through space that finally ended on our earth and makes every science fiction film look old. Example: Cain and Abel, murder and manslaughter over DNA information. The gene mutants of the Abel type were able to repair or improve the gene defect, those of the Kain type could not. The group of human beings with the gene mutation of the Kain type is exterminating the Abel type. Apparently the Abelers manage to call for help to their original home. She reports to the Kainern and asks: What did you do with the Abelians? The DNA pattern holders of the Cain type are pushed even farther from the center of the original home of humans to another planet by the headquarters(1. Moses 4: 11–12). On that planet, life support and food production were even more difficult. Cain speaks to headquarters and says: My genetic defect has grown even bigger. It will no longer be repairable. They will hunt me down and kill me (1. Moses 4: 13). They were given a mark in their DNA that immediately allows anyone examining the genetic material to recognize that, according to the law of the universe, these gene carriers are outcast, but must not be killed (1. Moses 4: 15).
The remainder of Chapter 4 of Book 1 of Moses contains the details of how the Cain-pattern bearer dynasty continued to expand. The DNA carriers who are defective in their genetic information, called people, are visited by children of God, i.e. of beings whose DNA genetic information is still in order (1. Moses 6: 1–2). There was a reason why the original home of humans did not destroy the genetically modified creatures, but only sent them into exile. The combination of the properties brought about by genetic manipulation with the DNA carriers of the original hereditary information led to a new type of living being with outstanding properties (1. Moses 6: 4).
Then the story of Noah, a scientist and expert on DNA problems, who had enough time to take healthy DNA information with him from the animal's genetic material for his journey. And Abraham, the story of the greatest genetic engineer all times. You must consider that all of these stories did not take place on today's earth, but on other planets.
Abraham created the gene type Isaac. Isaac is married to a woman of the gene type Cain, from whom Abraham originally descended. The sons from this connection are among others Jakob and Esau. The story on the planet of the Egyptians begins with Joseph coming to Egypt, so that an Isaac type is brought among the people of the Cain type. Abraham apparently knew very well why he was checking the connection between the Egyptian genetic pattern and the Isaac type. After all, he had found out that his technical skills were not sufficient to master the complicated technical systems for large space travel and to carry out the return to the original home of the people. He was not supported by the Egyptians on his first attempt; on the contrary, he was expelled from the country by them because they pursued other interests of their own. With this experience in mind, he systematically prepared his descendants to move to the Egyptians, to acquire their knowledge or their possibilities, and then to try the return home again. The Egyptians realized that there were Isaac types among them and took countermeasures, which led to the strange circumstances surrounding the birth of Moses. The Egyptians, the genetic information type Cain, were not interested in it, because otherwise the same problems would have arisen as with the tragedy of Cain and Abel. So they let kill male births of the Abel type. Moses was born into this situation. His mother played the baby into the Pharaoh's daughter hands. Was she an Egyptian Eva, a scientist looking for the know-how of Abraham? It is possible, that Moses was purposely and experimentally reared by her to discover the repair step in the genetic pattern that Abraham had performed. Moses grows up, receives an Egyptian education and training. And he learns how they use energies to do space travel. So exactly what Abraham wanted, to get his gene type on the way back to his original home. The years have not passed without any problems for Moses. Moses kills an Egyptian and has to flee. In 2. Moses 3:17–18 he is given instructions: Go to the Israelites. If they agree, go with a delegation of the elders to the Pharaoh and say that we have been called by radio, we can go home. Demand that you be allowed to travel into space, three days' journey from here, where your genetic patterns are checked, before you are allowed to travel. The Egyptians say no, you cannot head out alone. Either all or none. A violent dispute arose among genetic engineers (2. Moses 7: 10–13). On the one hand the genetic scientists Aaron and Moses and on the other the genetic experts of the type Cain. The Egyptian Pharaoh realizes that Aaron's gene strands, which he presents for testing, are superior to those of the Cain type. That they are in principle displaced by the Isaac type. The Pharaoh is pissed off because he has to recognize that a corresponding examination by the original home will enable the Isaac type to return to their original home. So he refuses to allow the people of Moses to face the test. The bible now describes the plagues that break in Egypt until the pharaoh finally lets the gene bearers of the Isaac type go. This is the beginning of an unprecedented space odyssey that is described in every detail. Does anyone get the impression that the Bible is a boring and unrealistic story?
There are also references to this in Nostradamus and in Goethe's secret legacy, when he describes the people before people as Adam and Eve. Switzerland, June 8, 2021.
Hey Flickr friends,
My DH and myself seem to have a difference in opinions. I was wondering if you would be able to help me out?? See I spend HOURS on my babies (cakes) and love to take pictures of them. I'm proud of my talents and love to display them. My DH thinks that I should only post one picture, or two at the most of my cakes and the details I add. I, on the other hand love to show all the little details and showing them up close so you all may enjoy and appreciate them. But I wonder if it detours others from browsing my photo stream?? My DH says that viewers may get board and move on quickly. So what I'm asking is please give me your honest opinion. What do you think is the appropriate amount of pictures I should upload for each cake...lol ; )
Thanks friends!!
-Andrea
I was tagged by Cartoonboy77 ^_^
Random Questions:
Whats your name? ...Bloom :)?
How old are you? 17.
What is your favourite colour? Turquoise
What is your lucky number? 8
Do you have any pets? Yes *_* A chihuahua and a fat tailed gerbil.
Where are you from? Germany, but my dad is from Sicily and my mom from Czech Republic.
What shoe size are you? 39 in German shoe size.
How many pairs of shoes do you own? ... I don't know ... 5-6 I think.
If you were a superhero what powers would you have? Dragonfire like Bloom or Water like Katara.
What's your biggest dream? A better world.
have you ever been in love, but to afraid to tell him? Nope.
What do you think about bullied? Humans are evil.
Have you been bullied? Nope.
What talents do you habe? Drawing and Design :)
How did you get your Flickr username? Bloom, because of Winx Club and Ikaros because she is my favourite char in Sora no Otoshimono.
What did you want to be when you were little? I can't remember...xD I think fashion designer.
What do your order at McDonalds? Chips and Snack Wrap TS without meat xD
What is the funniest joke you know? Umm... I don't know but I love memes and funny pictures xD
What are your top 3 movies? Winx Club The secret of the lost kingdom, Titanic andd.... M y Neighbour Totoro and some other movies from Studio Ghibli.
What are your top 3 TV-Series? Winx Club, Avatar and alot of Animes like Death Note etc. I can't really say which are my top 3.
Which food can you not live without? French Fries/Chips
Which Pokémon would you want to be and why? I don't know I never watched Pokémon :( I think Pikachu?
Favourite Winx Club character and why? Bloom & Sky. Because I love them so much, they are so cute together and Winx is my childhood <3
Favourite Celebrity and Why? Taddl & Ungespielt (German YouTubers) and Jared Leto (30 Seconds to Mars), because they are awesome peoples!
Which one do you prefer?
Fish or Meat? ... Tofu.
Winter or Summer? Summer
Gaming or Hanging out with friends? It depends on the weather.
Youtube or Facebook? OMG Youtube! I hate Facebook.
Winx Club Mattel Dolls or Jakks Dolls? I think every knows that I love Mattel dolls xD
Pancakes or Spaghetti? Spaghetti
Pizza or Hamburger? Pizza <3
Hawaii or Japan? .... I think Japan :)
Friends or Parents? I can't say. I love my parents and my friends.
Coffee or Tea? Tea :3
~This was alot of fun ^-^
Sorry when I tag someone who was already tagged!
The temple complex is located on the site of the so-called Grove of the Heart. Fierce battles for the city of Voronezh were fought at this place during the Great Patriotic War, many fighters died defending our Homeland. The grove was so named because it resembled the shape of a heart and was located about a kilometer from the city. Among the soldiers, another name for the grove was fixed - the grove of death. Our soldiers called this place the grove of death among themselves.
The central cathedral of the complex was built in honor of St. Xenia of St. Petersburg and resembles a ship in its shape.
The Orthodox Church celebrates the memorial Day of St. Nicholas.Xenia on February 6th. This saint, who lived in St. Petersburg in the middle of the XVIII century, is known for her feat of foolishness: she devoted the rest of her life to a single task: to beg God's forgiveness for her husband, who suddenly died without repentance. To do this, she disguises herself in her husband's uniform and for 45 years wandered around the city in such an outfit, posing as her dead husband, posing as his name Andrei Fedorovich. Many considered her insane, but the examination did not reveal any abnormalities in the unfortunate widow. She distributed her husband's remaining belongings to the suffering. The feat of Blessed Xenia is a model of sacrificial love, humility and meekness. It is no coincidence that Xenia of St. Petersburg is one of the most revered and beloved saints in Russia.
The church was created in the traditional Old Russian style by architect A.B. Logvinov. It is crowned by nine gilded domes. The height of the temple is about 30 meters.
The lower church was consecrated in honor of St. Nicholas the Wonderworker, the upper one in honor of Blessed Xenia of St. Petersburg with side chapels in honor of the Vladimir and Pochaev icons of the Mother of God.
St. Xenia's Church is loved by Voronezh residents and pilgrims coming from other cities.
People who visit or once visited this church note its majesty, beauty, magnificent decoration, well-groomed and landscaping of the nearby territory, surrounded by greenery and flower beds in summer, on which monuments to Saints Xenia and John of Kronstadt are located. Pilgrims speak positively about the staff and clergy of the monastery.
The Liturgy is celebrated daily at 7 a.m., the beginning of the evening service at 15.30. The current schedule of services can be found on the official website of the temple complex here.
The sacraments of Baptism, Wedding, Unction (Unction), as well as the funeral rite are performed in various temples of the complex: Baptism on Saturdays and Sundays at 11.00 in the church of the Blessed Prince Alexander Nevsky, Unction in the lower church of St. Nicholas the Wonderworker (during Lent they are unction on Saturdays (March 30, 6, 13, 20, 27 April) and on Great Wednesday (May 1) at 17.00). The wedding takes place in the church of Blessed Xenia. For all questions, please contact the church shop.
Before the Baptism, conversations are held with the child's future godparents and his parents (on Thursdays at 5.30 pm in the Sunday School building), before the Wedding - with the bride and groom.
The temple implements the project Social Assistance Center. There is a canteen where the needy are fed free of charge, a bakery is also open where bread is baked and distributed to people on weekends, training is organized for children from large and low-income families who want to learn baking skills. Within the framework of the project, there is a sewing workshop, which also provides charitable services for sewing various products. Here you can also learn the basics of sewing for families in need: children and their mothers.
In the social network in contact there is a page of the complex where you can find not only information about the services, but also the latest news. The youth community Youth Group of the Church of Xenia of St. Petersburg has been created separately, which contains up-to-date information regarding participation in Orthodox events (conferences, forums, festivals, etc.), holding various meetings with clergy, interesting speakers.
There is a Sunday school "Rodnik" at the temple. Classes are held on Saturdays from 15.00 (for preschoolers) and Sundays from 9.00 (for middle and high school age children). The children study the Law of God, the Old and New Testaments, Hagiography, Orthodox worship, the Basics of spiritual morality, the Basics of choral singing and the Church Slavonic language.
The clergy of the temple participate in missionary activities: they hold various thematic talks in secondary and higher educational institutions of the city (about family, spiritual and moral values), take part in conferences, competitions, and in the defense of research projects.
Simply type your answer to each of the questions below into Flickr search.
Then, using only the first page, pick an image.
Then, copy and paste each of the URLs for the images into this mosaic maker (bighugelabs.com/flickr/mosaic.php)
1. What is your first name ? Jean-Francois
2. What is your favorite food ? Steak tartare
3. What school did you go to ? Ecole Le Sacrée Coeur
4. What is your favorite colour ? Bleu
5. Who is your celebrity crush ? Goldorak
6. Favorite drink ? Cacolac
7. Favorite holiday destination? Paris...
8. Favorite dessert ? tarte au citron meringuée
9. What do you want to be when you grow up ? un Homme heureux
10. What do you love most in life ? Dominique
11. One word to describe you. Serviable
12. Your favorite words : "Je t'aime"
13. Your flickr name. Jefflg Beck
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Its like answering the famous question ...
Is the glass half-empty OR is the glass half-full?
In this case...
Will i climb Or will i Fall?
Optimism is about shifting the odds in our favor. Its about training oneself to make good decisions when faced with crisis situations. Its about hanging in there and working against negative forces . Its the confidence inside us , our own capability to improve our own situations!....
BELEIVE IN YOURSELF!
Questione di dna, non si scelgono i padri e le madri: sono loro a scegliere te. Così come gli interessi e le passioni, prima o poi si torna a fare i conti col proprio dna.
An unknown hubcap but the big question is how did it survive here for such a long time? It was sinking into the ground
The Birth of Venus: Sony A7 R RAW Photos of Pretty, Tall Blond Bikini Swimsuit Model Goddess in Laguna Beach! Victoria Beach! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens & Lightroom 5.3
Hero's Odyssey Mythology Photography! & Hero's Odyssey Mythology Fine Art! :)
New Instagram! instagram.com/45surf
New Instagram!
instagram.com/johnnyrangermccoy
New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Ask me any questions! :)
Sony A7R RAW Photos of Pretty Blonde Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens! Lightroom 5.3 ! Pretty Hazel Eyes & Silky Brown / Black Hair!
And here're a couple of HD video movies I shot of the goddess with the 4K Sony:
Enjoy! Be sure to watch in the full 1080P HD!
The epic goddess was tall, thin, fit, tan, and in wonderful shape (as you can see).
Follow me on facebook!
www.facebook.com/45surfAchillesOdysseyMythology
Epic Goddess Straight Out of Hero's Odyssey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's odyssey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Odyssey Mythology. I wouldn't be saying it if it hadn't happened to me.
New 500px!
500px.com/herosodysseymythology
Pretty Swimsuit Bikini Model Goddess! :)
She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
Modeling the Gold 45 Revolver Gold'N'Virtue swimsuit. :)
A laid-back,classic, socal lifestyle shoot!
May the 45surf goddesses inspire you along am artistic journey of your own making!
All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Truth, Beauty, and the Light of Physicist Dr. E's Moving Dimensions Theory's dx4/dt=ic . The fourth dimension is expanding relative to the three spatial dimensions at the rate of c. Ergo relativity, time, entropy, and entanglement.
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
All the best on your Epic, Homeric, Heroic Odyssey into the Art of Photography from Johnny Ranger McCoy!
All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Dynamic Dimensions Theory's First Law and equation: The fourth dimension is expanding relative to the three spatial dimensions at the rate of c: dx4/dt=ic.
All the best on your Epic Hero's Odyssey from Johny Ranger McCoy!
Sony A7R RAW Photos of Pretty, Tall Blond Bikini Swimsuit Model Goddess in Laguna Beach! Victoria Beach! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens & Lightroom 5.3Sony A7R RAW Photos of Pretty, Tall Blond Bikini Swimsuit Model Goddess in Laguna Beach! Victoria Beach! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens & Lightroom 5.3
"Qual é o lugar mais importante da sua casa?
Eu acho que essa é uma boa pergunta
para início de uma sessão de psicanálise.
Porque quando a gente revela
qual é o lugar mais importante da casa,
a gente revela também o lugar preferido da alma."
Rubem Alves
"What is the most important place in your home?
I think this is a good question
Login to psychoanalysis.
Because when we show
what is the most important place in the house,
we also shows the preferred place of the soul. "
Rubem Alves
informações e pedidos: glau.guarino@gmail.com
66/100 Possibilities~ 100 Possibilities Project set
There is something wrong with the questions that are supposed to be disposed of by answers. . . . People think that when you have answers you no longer have questions. And they want the greatest possible number of answers, the smallest number of questions. The ideal is to have no more questions. Then when you have no questions, you have “peace”.
~ Thomas Merton
What we already know is in the past. What we have yet to discover is the future. Always make your questions bigger than your answers, and you'll keep drawing yourself into a bigger future with new possibilities.
~ Gary Ryan Blair
Gratitude (76) I am grateful for questions, even when they don't seem to have immediate or definite answers . . .
nessuno nasce con le spalle forti...e nemmeno vive senza far errori..di valutazione
poi te le fai...a volte da sola altre ti aiutano.poi impari dai tuoi stessi sbagli..che per gli altri a volte hanno peso diverso
e poi sei pronta
FORSE per reggere il mondo
IL TUO MONDO....
che a volte infastidisce che altre viene amato...che talvolta gira intorno all'uomo che ami...
cmq come dicevo..allenamento....POI SEI PRONTA..spero.
04/08/1976..
fate un po' i conti voi
una stretta...
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are northwest of Lettice’s flat, in the working-class London suburb of Harlesden visiting the home of Edith’s, Lettice’s maid, beloved parents. Edith’s father, George, works at the McVitie and Price biscuit factory in Harlesden as a Line Manager, and her mother, Ada, takes in laundry at home. They live in a small, two storey brick terrace house which opens out directly onto the street, and is far removed from the grandeur of Lettice’s Mayfair flat, but has always been a cosy and welcoming home for Edith and her younger brother Bert all their young lives. Since her father’s promotion in 1922, Edith’s mother is only laundering a few days a week now. The money she makes from this endeavour she uses for housekeeping to make she and George’s life a little more comfortable, but she is able to hold back a little back as pin money* to indulge in one of her joys, collecting pretty china ornaments to decorate their home with.
We are in Ada’s front parlour, which is where most of her decorative porcelain finds from different shops, fairs and flea markets around London are proudly displayed. With busy stylised floral wallpaper and every surface cluttered with ornaments, it can only be described as highly Victorian in style, and it is an example of conscious consumption, rather than qualitative consumption, to demonstrate how prosperous the Watsford family is, especially now that George holds the management position that he does. Like many others of its kind in Harlesden and elsewhere in London, it is the room least used in the house, reserved for when special guests like the parish minister or wealthy old widow and the Watsford’s landlady, Mrs. Hounslow, pay a call. However today’s special guest is not either the minister, nor Mrs. Hounslow. It is Frank Leadbetter, Edith’s beau, who has arranged to visit Edith’s parents on his own, as he has a very important question to ask of them both.
Dressed in his Sunday best suit, Frank sits awkwardly in one of two Victorian high backed barley twist chairs. The combination of the formality of his suit and the hard and uncomfortable horsehair upholstery of the chair encourage Frank to sit with a ramrod stiff back in his seat. He looks awkwardly around the room, allowing his gaze to flit in a desultory fashion around the unfamiliar surrounds of the Watsford’s formal front parlour. Cluttering the surface of an old Victorian sideboard and an ornate whatnot, the cold stares of Queen Victoria, Edward VII, Queen Alexandra and the current King George V and Queen Mary stare out from the glazed surfaces of plates and other objects celebrating coronations and jubilees, whilst on the mantle, flanked by pretty statues of castles and churches, younger versions of George and Ada in sepia pose formally with Edith as a little girl and Bert as a baby, gazing out from brass frames with blank stares. Frank coughs awkwardly and nervously tugs at his stiff collar, feeling hot even though there is no fire going in the small grate of the fireplace.
“Now, now, young Frank!” George booms good naturedly from the one comfortable seat in the room, an old armchair with thick red velvet button back** upholstery. “No need to be nervous, me lad!”
“Oh, you don’t know why I’m here, Mr. Watsford.” Frank replies, running his right index finger nervously around the inside of his collar.
George chuckles. “I think I can guess, Frank.”
Frank gazes down at Ada’s dainty best blue floral china tea set on the lace draped octagonal table set between the cluster of chairs. A selection of McVitie’s*** biscuits brought home by George from the nearby factory sit in a fluted glass dish.
“Will Mrs. Watsford be long, do you think, Mr. Watsford?”
“I shouldn’t think so, Frank. She’s only gone to boil the kettle and fill the pot.”
As if knowing that she was being spoken about, Ada sweeps through the door of the parlour, holding aloft the glazed teapot in the shape of a cottage with a thatched roof with the chimney as the lid that Edith bought for her as a gift from the Caledonian Markets****. “Here we are then,” she says with a heightened level of exuberance. “Tea for three!” She carefully places the teapot in the centre of the tea table.
“Perfect timing, Ada love.” George replies, and without waiting, reaches across the void between him and the tea table and snatches up a biscuit.
“George!” she chides. “Where are your manners?” She looks askance at her husband, who settles back in his seat, quite unperturbed by his wife’s scolding. “Guests first.” She sweeps her hand across the table towards the biscuits as she lowers herself precariously onto the edge of the other high backed barley twist chair. “Frank?”
“Err… umm…” Frank stutters. “Ahh, no… no thank you, Mrs. Watsford. I… I’m not hungry.”
“Oh well, more for us then, Ada love.” George says cheerfully through a biscuit filled mouth, stretching out his hand to the glass dish again.
“George!” Ada cries, slapping her husband’s hand sharply, the sound echoing around the cluttered parlour.
George retreats in his seat, recoiling and rubbing his chastised hand rather like a dog nurses a limp paw.
“Shall I be mother then*****?” Ada asks rhetorically as she automatically picks up the milk jug. “You take milk, don’t you Frank?”
“Err… yes, Mrs. Watsford.” Frank replies as she slops some milk into his cup before adding a dash to her husband’s and her own.
“And sugar?”
“Err.. two please, Mrs. Watsford.”
“Ahh, a sweet tooth after my own heart.” Ada replies with an indulgent smile, putting two heaped teaspoons of sugar into Frank’s cup before adding one to George’s and two to her own. “Now!” she sighs, taking up the cottage ware teapot pouring tea into the cups. “You wanted to talk to us, Frank?”
“Well…” Frank begins.
“You know it feels jolly funny having you here Frank, but not Edith.” Ada interrupts the young man even as he begins. “I’m quite used to you coming with Edith now.”
“Well, you know… I… I really wanted this to be a conversation that I had alone with you and Mr. Watsford,” Frank indicates to George, still licking his wounds. “Mrs. Watsford. So, I asked Hilda to take Edith out shopping today.”
“And she isn’t missing you, Frank?” Ada queries, as she replaces the pot in the middle of the tea table.
“Err…” Frank blushers, heaving and puffing his cheeks out. “Well, I told Edith a bit of a tall tale. I said that I had to help Giuseppe, my chum with his restaurant in the Islington****** today.”
“Oh yes,” Ada remarks with a tone of distaste as she hands George his cup of tea. “Giuseppe. He was your Italian friend who gave you the wine that we shared that first time we met, wasn’t he?”
Frank blushes red at the painful memory of that first rather awkward Sunday luncheon he had at the Watsfords’ when he and Ada had had a disagreement about some of his beliefs about life. “Yes.”
“My, my.” Ada takes up her own cup of tea and cradles it in her lap as she smiles to herself. “Such subterfuge to be alone with us.”
“You might not enjoy poor Frank’s discomfort quite so readily, Ada.” George pipes up from his seat as he sips his tea, tempering his wife.
“I was merely asking a question, George love.” Ada replies with a smug smile.
“No you weren’t, and you know it.” George retorts. “You were bringing up difficult memories of that awkward first tea we all had together, when you know perfectly well that we have all come a long way from there.” He gives his wife a doleful look. “Stop raking over old coals that don’t need to be raked over.”
“I agree, George.” Ada replies calmly. “We have come a long way; however, I was merely reminding Frank that in spite of that, we still have some concerns about his philosophies about life.”
“You have concerns, Ada love. I don’t.”
“Well one of us has to, if Frank has come here asking for Edith’s hand.” Ada turns her attentions to their young guest. “That is why you are here, isn’t it, Frank?”
“Well… I…” Frank stammers.
“Of course it is, Ada love. Frank?” George asks, sitting up in his seat.
“Well yes, Mr. Watsford. That’s what I came for. I came to formally ask for Edith’s hand in marriage.”
George leaps from his seat, dropping his half drunk cup of tea into the tea table noisily, sloshing tea into the saucer in his haste, before he bustles around the small black japanned cane table on which a vase of flowers stands before patting Frank on the back. “Of course! Of course! We’d be delighted, wouldn’t we Ada?” He turns and beams at his wife before turning quickly back to Frank without waiting for a reply. “What took you so long, Frank my boy?”
“Well Mr. Watsford, I know Edith and I have been stepping out for a while now,” Frank explains, sighing with relief and smiling at George’s exuberant acceptance of his request for Edith’s hand. “But I wanted to have a few things in place before I asked you.”
“Jolly good! Jolly good!” George chuckles delightedly. “Have you got a ring yet?”
“I’m not quite there yet, Mr. Watsford, but I’m getting there. I… I also wanted to assure you that my intentions are genuine. I… I love Edith and I don’t want anyone else.”
“Well, of course you don’t, lad!” George puffs, rubbing the young man’s right shoulder comfortingly. “We knew the moment we saw you together, that you two were made for each other, didn’t we Ada?”
Ada doesn’t reply immediately.
“Oh, this is wonderful, Frank!” George shakes Frank’s hands, barely able to contain his joy. “Welcome to the family!”
“Now just hang on for a moment.” Ada’s voice cuts in, slicing the joy with its sharp edge. “Let’s not rush into this without a few clarifying things first.”
“What?” George asks. He snorts preposterously. “Whatever do mean, Ada love? Frank’s just said his intentions are good. I don’t need anything more than that.”
“Well I do.” Ada replies calmly.
“What… what is… is it, Mrs. Watsford?” Frank asks, his voice quavering with nerves.
“Now, if you’d both just sit down for a moment,” Ada says, replacing her cup on the table, indicating for the two men to resume their seats.
Deflated, both Frank and George return to their respective seats.
“Now, Frank,” Ada starts, leaning forward in her seat. “I would just like to say that in principle, I am as pleased as my husband is that you’re asking for Edith’s hand in marriage.”
“Then Ada…?” George begins, but his wife silences him by holding up the palm of her hand to him.
She goes on. “I’d already had words with Edith about the two of you eloping.”
“Oh I’d never do that to you, Mr. Watsford or my Gran, Mrs. Watsford.” Frank assures her, looking earnestly into her unreadable face.
“Yes, I’m glad to hear it, as it confirms what Edith said, which was the same as you.” Ada turns to her husband. “Prospects?”
George looks quizzically at his wife. “Prospects?”
“Yes, prospects!” Ada’s eyes grow wide as she looks knowingly at him. She lowers her voice and whispers, “Remember, we discussed this?” When he looks uncomprehendingly at her again, she adds in a hiss, “When I said you’d go all doolally******* over Frank’s proposal, which you have?”
“Oh!” George pipes up. “Oh yes!” He sits up in his seat and turns to Frank. “Now young man, Both you and Edith have told us that you’re trying to improve your lot in life.” Ada scoffs from her seat. Ignoring her, he asks, “What are your prospects for Edith, once you’re married?”
“Well, it is true that I am trying to improve my circumstances. It’s one of the reasons why I have held off asking for Ediths hand until now. Like I said, I wanted to get a few things in place before I did.”
“Such as?” George’s bushy eyebrow arches over his right eye as he asks.
“Well, as you both know, I’ve been doing extra duties at Mr. Willison’s to build up my skills. I don’t want to be a delivery boy all my life.”
“No of course not, lad!” George pipes up.
“George!” Ada exclaims. “Let the boy finish. I want to hear what he has to say, not you.”
“Err… no, of course not.” George blusters. “Go on, Frank.”
“Well, I’ve been doing a bit of window dressing and arranging of products for Mr. Willison. I’ve also been taking a correspondence course on bookkeeping, which Edith doesn’t know about.”
“Why not?” Ada snaps.
“Because I wanted to complete it first and show that I’ve applied the skills before I told her: rather like a surprise, Mrs. Watsford.”
“Alright Frank.” Ada softens. “And have you?”
“Well, it’s a bit hard to get Mrs. Willison to relinquish anything about the shop’s books, but I did manage to do a bit of bookkeeping earlier this month when she was poorly and in bed. Technically she gave the task to her daughter, Miss Henrietta, but she wanted to do other things in her spare time, so it was reasonably easy to convince her to give it over to me to do, and Mrs. Willison did admit that I did a good job of it.”
“Well that’s something, isn’t it Ada?”
Ada nods in agreement with her husband, but keeps looking at Frank with an observant stare.
Frank continues. “And I’ve been tapped on the shoulder by friends of mine who are part of a trades union.” An uncomfortable look begins to cloud Ada’s features at the mention of unions. “And they tell me that soon there might be an opening or two in one of the suburban grocers for an assistant manager position, which would lead eventually to a position where I’d be running my own corner grocer.”
“In Metroland********?” George splutters. “My daughter all the way out there?”
“It’s not so bad, Mr. Watsford. The Chalk Hill, Grange and Cedars Estates are all built along the railway line not too far from Wembley Park, so Edith would be able to visit you easily, and you’d be able to come and visit us too. We’d live in a nice little flat above the shop with indoor plumbing and all electrified.” Ada tuts at the mention of electricity, but Frank continues to paint a vision of his and Edith’s rosy future. “The children we have, your grandchildren can grow up attending local schools and getting lots of fresh air.”
“Well, since you put it like that, I guess it’s not so bad, is it Ada?”
“Well,” Ada purses her lips. “I’m sure that Edith has told you that I hold no faith in that newfangled electricity, but living in Cavendish Mews she seems to have become a convert.”
“And a lovely new estate is far healthier for any children that we have, Mrs. Watsford. It’s far better than living in a house in Clapham Junction.”
“And how much will this flat of yours cost?” Ada asks seriously.
“Around five shillings a week for a two-up two down******** semi********* in the Chalk Hill Estate, Mrs. Watsford.” Frank says, gaining strength in his convictions, filling his voice with a new boldness and surety. “And, if we were to live in a flat above the grocers’ shop, it would be even less, and we’d still have all the modern conveniences like hot and cold running water and an inside privy.”
“Nothing wrong with an outdoor privy.” remarks George.
“Nothing wrong with an indoor one, either, Mr. Watsford. I only the best for Edith and our children.”
“Alright, young Frank.” George backs down.
“Now, going back to what I had eluded to before, Frank,” Ada continues. “You’re a good lad, Frank Leadbetter, and I can see that by your thoughtfulness and your manners. I know you love our Edith, and you obviously treat her very well…”
“As she deserves, Mrs. Watsford.” Frank assures her.
“I know, Frank.” Ada tempers him. “However, the vehemence with which you spurn your new ideas around is still a bit frightening to me.”
“Oh, there’s nothing to be frightened of Mrs. Watsford.”
“But these labour unions of yours…” Ada’s voice trails off.
“I can assure you, Mrs. Watsford, the unions aren’t bad, and I am not a Communist.” Frank defends himself. “As I said just before, I only want the best for Edith and for the family I hope we will have together. I just want a better world for all of us, and the unions will help with that. However, I swear that I’m not associated with any of those militant factions that popped up after the Russian Revolution. I believe in peaceable actions, discussion and compromise.” Frank looks earnestly at Ada. “I would never put Edith in any danger. I’m a hard working man who just wants a good future. Some of the finer details of it may be different to yours and Mr. Watsford’s, Mrs. Watsford, but at the end of the day, our ideals are the same, and whatever I do, Edith and her wellbeing is central in everything I do, and everything I have planned.”
Ada sighs and smiles. “Alright Frank. So long as she is, I can only give you my blessing too.”
“Oh thank you, Mrs. Watsford!” Frank exclaims, standing up and walking over to Ada who rises from her seat and embraces Frank kindly.
“Good lad!” George says, standing up as well and beaming over his wife’s shoulder, winking at Frank.
He reaches down and snatches up two more biscuits from the fluted glass bowl on the tea table.
“George!” Ada scolds, not quick enough to catch him this time.
He smiles back at her gormlessly.
“At this rate I’m going to have to let out that vest of yours, George Wastford!” Ada remarks.
George turns to Frank. “Are you sure you want the joy of these moments of wedded bliss, Frank my boy?” he asks jokingly.
*Originating in Seventeenth Century England, the term pin money first meant “an allowance of money given by a husband to his wife for her personal expenditures. Married women, who typically lacked other sources of spending money, tended to view an allowance as something quite desirable. By the Twentieth Century, the term had come to mean a small sum of money, whether an allowance or earned, for spending on inessentials, separate and in addition to the housekeeping money a wife might have to spend.
**Button back upholstered furniture contains buttons embedded in the back of the sofa or chair, which are pulled tightly against the leather creating a shallow dimple effect. This is sometimes known as button tufting.
***McVitie's (Originally McVitie and Price) is a British snack food brand owned by United Biscuits. The name derives from the original Scottish biscuit maker, McVitie and Price, Ltd., established in 1830 on Rose Street in Edinburgh, Scotland. The company moved to various sites in the city before completing the St. Andrews Biscuit Works factory on Robertson Avenue in the Gorgie district in 1888. The company also established one in Glasgow and two large manufacturing plants south of the border, in Heaton Chapel, Stockport, and Harlesden, London (where Edith’s father works). McVitie and Price's first major biscuit was the McVitie's Digestive, created in 1892 by a new young employee at the company named Alexander Grant, who later became the managing director of the company. The biscuit was given its name because it was thought that its high baking soda content served as an aid to food digestion. The McVitie's Chocolate Homewheat Digestive was created in 1925. Although not their core operation, McVitie's were commissioned in 1893 to create a wedding cake for the royal wedding between the Duke of York and Princess Mary, who subsequently became King George V and Queen Mary. This cake was over two metres high and cost one hundred and forty guineas. It was viewed by 14,000 and was a wonderful publicity for the company. They received many commissions for royal wedding cakes and christening cakes, including the wedding cake for Queen Elizabeth II and Prince Phillip and Prince William and Catherine Middleton. Under United Biscuits McVitie's holds a Royal Warrant from Queen Elizabeth II.
****The original Caledonian Market, renown for antiques, buried treasure and junk, was situated in in a wide cobblestoned area just off the Caledonian Road in Islington in 1921 when this story is set. Opened in 1855 by Prince Albert, and originally called the Metropolitan Meat Markets, it was supplementary to the Smithfield Meat Market. Arranged in a rectangle, the market was dominated by a forty six metre central clock tower. By the early Twentieth Century, with the diminishing trade in live animals, a bric-a-brac market developed and flourished there until after the Second World War when it moved to Bermondsey, south of the Thames, where it flourishes today. The Islington site was developed in 1967 into the Market Estate and an open green space called Caledonian Park. All that remains of the original Caledonian Markets is the wonderful Victorian clock tower.
*****The meaning of the very British term “shall I be mother” is “shall I pour the tea?”
******The Italian quarter of London, known commonly today as “Little Italy” is an Italian ethnic enclave in London. Little Italy’s core historical borders are usually placed at Clerkenwell Road, Farringdon Road and Rosebery Avenue - the Saffron Hill area of Clerkenwell. Clerkenwell spans Camden Borough and Islington Borough. Saffron Hill and St. Peter’s Italian Catholic Church fall within the Camden side. However, even though this was the traditional enclave for Italians, immigrants moved elsewhere in London, bleeding into areas like Islington and Soho where they established bars, cafes and restaurants which sold Italian cuisine and wines.
*******Doolally is British and Irish slang for a person who is eccentric or has gone mad. It originated in the military.
*******Metroland is a name given to the suburban areas that were built to the north-west of London in the counties of Buckinghamshire, Hertfordshire and Middlesex in the early part of the Twentieth Century that were served by the Metropolitan Railway. The railway company was in the privileged position of being allowed to retain surplus land; from 1919 this was developed for housing by the nominally independent Metropolitan Railway Country Estates Limited (MRCE). The term "Metroland" was coined by the Met's marketing department in 1915 when the Guide to the Extension Line became the Metro-land guide. It promoted a dream of a modern home in beautiful countryside with a fast railway service to central London until the Met was absorbed into the London Passenger Transport Board in 1933.
********Two-up two-down is a type of small house with two rooms on the ground floor and two bedrooms upstairs. There are many types of terraced houses in the United Kingdom, and these are among the most modest. The first two-up two-down terraces were built in the 1870s, but the concept of them made up the backbone of the Metroland suburban expansions of the 1920s with streets lined with rows of two-up two-down semi-detached houses in Mock Tudor, Jacobethan, Arts and Crafts and inter-war Art Deco styles bastardised from the aesthetic styles created by the likes of English Arts and Crafts Movement designers like William Morris and Charles Voysey.
*********A semi-detached house (known more commonly simply as a semi) is a house joined to another house on one side only by a common wall.
This cluttered and old fashioned, yet cosy front parlour may look realistic to you, however it is in fact made up of pieces from my 1:12 miniatures collection, including pieces from my childhood.
You may think that by 1926 when this story is set, that homes would have been more modern and less Victorian, and many were. However, there were a lot of people during this era who grew up and established their homes during the reign of Queen Victoria and did not want to update their homes, or could not afford to do so, so an interior like this would not have been uncommon in the 1920s and even in the lead up to and during the Second World War.
Fun things to look for in this tableau include:
The old fashioned high backed Victorian chairs with their barley twist detailing and brass casters were made by Town Hall Miniatures
Ada’s collection of commemorative plates of Queen Victoria’s Diamond Jubilee in 1897, the Coronation of King Edward VII and Queen Alexandra in 1902 and the Coronation of King George V and Queen Mary in 1911 on the sideboard and the whatnot are all made by the British miniature artist Rachel Munday. The plate of Edward VIII on the far left is a piece of souvenir ware from around 1905 and is made of very finely pressed tin.
The bust of Queen Victoria was made by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces. It has been hand painted by me.
The Victorian Prince of Wales (later King Edward VII) vase in the centre of the fireplace has been hand made, painted and gilded by Welsh miniature ceramist Rachel Williams who has her own studio, V&R Miniatures, in Powys.
The Watsford family photos on the mantlepiece are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are from various suppliers, but all are metal.
The church and castle statues at either end of the fireplace are made of resin and are hand painted. They came from Kathleen Knight’s Dolls’ House Shop in the United Kingdom.
Sitting on the central pedestal table is the cottage ware teapot Edith gave her mother as a gift a few years ago. Made by French ceramicist and miniature artisan Valerie Casson, it has been decorated authentically and matches in perfect detail its life-size Price Washington ‘Ye Olde Cottage Teapot’ counterparts. The top part of the thatched rood and central chimney form the lid, just like the real thing. Valerie Casson is renown for her meticulously crafted and painted miniature ceramics.
Also on the table, the glass dish of biscuits is an artisan piece. The bowl is made from real glass with the biscuits attached and hand painted. It came from Beautifully Handmade Miniatures in Kettering. The teacups, milk jug and sugar bowl also come from Kathleen Knight’s Dolls’ House Shop.
Ada’s wicker sewing basket, sitting closed to show off its pretty florally decorated top, has knitting needles sticking out of it. The basket was hand made by Mrs. Denton of Muffin Lodge in the United Kingdom.
The fireplace, the whatnot, the central pedestal table, the embroidered footstool by the fireplace, the brass fire irons and the ornate black japanned cane table on which Ada’s sewing box stand also came from Kathleen Knight’s Dolls’ House Shop.
The sideboard is a piece I bought as part of a larger drawing room suite of dolls house furniture from a department store when I was a teenager.
The collection of floral vases on the bottom two tiers of the whatnot came from an online stockist of miniatures on E-Bay.
The vase of flowers are all beautifully made by hand by the Doll House Emporium and inserted into a real, hand blown glass vase.
The little white vase in the forefront of the photo is mid Victorian and would once have been part of a tiny doll’s tea service. It is Parian Ware. Parian Ware is a type of biscuit porcelain imitating marble. It was developed around 1845 by the Staffordshire pottery manufacturer Mintons, and named after Paros, the Greek island renowned for its fine-textured, white Parian marble, used since antiquity for sculpture. I have had it since I was about ten years old.
The ‘home sweet home’ embroidery and the painting on the wall come from online shops who sell dollhouse miniatures, as does the Art Nouveau vase on the left hand side of the picture.
So I have a question for my friends here that work for CSXT and run across the Berkshire and Boston Subs? Does the Castleton Bridge have a special instruction restriction limiting it to only one train at a time despite being double tracked?
The last few times I've personally observed meets here they've happened like this in the photo. CSXT train I019 (Worcester to Bedford Park, IL intermodal) is crossing the Hudson River on Main 4 of CSXT's Castleton Sub while at the far west end of the bridge holding at the signal at MP QG9.1 on Main 3 is train M426 (Selkirk to Rigby manifest).
So why didn't or couldn't they have pulled east to CP SM at MP QG9.5 to wait for I019 to clear the single track at the end of the Berkshire Sub instead of holding back off the structure until they'd cleared?
The massive double tracked Alfred H. Smith Bridge is in total 5255 ft long and 139 feet above the Hudson River below. In 1921 a contract for the main grading and drainage work and for all the actual bridge construction except its steel superstructure was awarded to Walsh Construction Company, a well-established Iowa-based railroad builder that would later go on (in 22 joint venture with others) to build the Grand Coulee Dam and, still later, to achieve national prominence as a builder of urban skyscrapers. The 23,000 tons of structural steel required for the bridge would be fabricated in Pittsburgh and erected by Bethlehem Steel's McClintic Marshall subsid- iary under a direct contract with the railroad. Physical work began in early 1922 and two years later on November 20, 1924 the first train crossed the bridge. It was named in honor of Alfred Holland Smith, the president of the New York Central Railroad who authorized the construction of this bridge as part of an extensive project known as the Castleton Cut-Off. He died in a horse-riding accident in Central Park in 1924, only a few months before completion of the bridge. He is sometimes confused with Alfred E. Smith, New York's governor at the time who was aboard that first train and christened the structure in honor of the other fallen Mr. Smith.
This bridge is now the southernmost place a freight train can cross the Hudson River (excepting NYNJ's barge service) and is used by all CSXT traffic heading into New England via the old B&A as well as any traffic direct to New York City via the historic NYC Main, now Amtrak and Metro North's Hudson Line and on a typical day 18 to 20 trains will cross. The parallel structure beyond is Castleton-on-Hudson bridge opened in 1959 to carry the New York State Thruway's Berkshire extension connection to the Massachusetts Turnpike.
Schodack, New York
Saturday October 26, 2024
la scala questa volta l'ho salita e ho fatto un giro sulla parte più alta della cava rispetto ai livelli di estrazione più bassi, quasi 100 m. in verticale e liberi.
La vista da lassù è mozzafiato, la recinzione è simbolica anche la garitta è contro-ventata da 4 cavi per non essere spazzata via dal vento.
Viene naturale pensare ogni movimento prima, da fermo.
What brings you more agony??? Doing something you know you shouldn’t do but have no regrets about it? Or.... not doing it and being in agony over wondering what would have happened had you done it?
Wanderling Acoe. Wanderling - That's what the size will be called I think. Has anyone used that?
Acoe is the molds name. Like Chloe only with an A and without the L XD
I hope to focus on odd worldly faces that don't seem to have a place, but you feel like they belong somewhere. For example, is Acoe from asia, maybe somewhere in africa? Northern europe? I like faces like that. I like it when people can't just say "You're white, you're black, you're asian" etc. It's a big change the world is going through, and I don't think some people like it when they can't put people into corners based on race or nationality. Suck it, right? XD
Copy paste from Tumblr:
Her head is almost done. Just got to work on the body now. She’s going to be somewhere between 35-40cm tall, but yosd sized torso with longer legs and arms. She’ll have two sets of feet - one pair will be yosd sized, and the other will be momoko/pullip sized, so there’d be a nice selection of shoes. I’m hoping that she’ll fit yosd clothes, they’ll just be super short. So like, dresses will be fine, and shorts/bloomers/shirts, but things like jeans and such will have to be made specifically for her. She would also come with a sleeping face, and I plan on doing an elf head and a sleeping elf head, though the open eyed will still have a different shape to her eyes than the non-elf. Eventually I hope to have her professionally cast but the first few will be cast by me.
Her ears have also been moved after this and her eyes are a different shape. I’LL SHOW YOU SOON. Thoughts? Would you buy a doll like this for $350-$400?
I’m also thinking of casting her in porcelain but I’m not sure about selling her in that medium, would anyone be interested in a spring-‘strung’ porcelain version?
Do you think my faceups would be good enough to offer as default faceups?
I know it’s hard to gauge but I’m doing so much thinking now and I thought I may as well ask. I know I consider buying dolls based purely on progress shots sO I figure I can’t be the only one.
ANYWAY. I hope you like her! ^^
I cannot tell who's being interviewed in this particular threesome, but the two younger folks were definitely paying attention.
This photo has been on explore: Nov 18, 2009 #495
Please View On Black
Sorry - could not resist.
Saumacus asked for big cows in Germany: www.flickr.com/photos/rschuetz/4114809100/in/photostream/...
Now - here we have a REAL big cow ;-)
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Je ne suis pas croyant... mais je respect humblement et pleinement la croyance des autres... Il m'arrive cependant de parcourir les écritures! Une parabole ne cesse de me questionner; celle des talents, une lecture hâtive pourrait faire passer Dieu pour un fieffé capitaliste, en fait elle est très dure et semble ramener sur scène le Dieu Jaloux et possessif de l'ancien testament. Mais à la lumière de notre époque je pense qui faut prendre le terme talent dans le sens de capacité à utiliser ce que la vie nous a confiée... Mon interprétation (toute personnelle) est, que Jésus, tente de nous faire comprendre que la vie attend que nous nous réalisions, que nous sortions de notre vie douillette, que nous prenions le risque de la vie en cherchant à faire fructifier notre nature personnelle pour être ce que nous sommes destinée à être... ; des femmes et des hommes debout conscient du sens de leur vie en l'assumant pleinement... Autrement nous ne sommes que des personnes vides et sans valeur... aucunes! Avec pour seul bagage les regrets et les larmes...
Pour mémoire voici cette parabole...
« C'est comme un homme qui, partant en voyage, appela ses serviteurs et leur remit sa fortune.
15 A l'un il donna cinq talents, deux à un autre, un seul à un troisième, à chacun selon ses capacités, et puis il partit. Aussitôt
16 celui qui avait reçu les cinq talents alla les faire produire et en gagna cinq autres.
17 De même celui qui en avait reçu deux en gagna deux autres.
18 Mais celui qui n'en avait reçu qu'un s'en alla faire un trou en terre et enfouit l'argent de son maître.
19 Après un long temps, le maître de ces serviteurs arrive et il règle ses comptes avec eux.
20 Celui qui avait reçu les cinq talents s'avança et présenta cinq autres talents : «Seigneur, dit-il, tu m'a remis cinq talents : voici cinq autres talents que j'ai gagnés. » -
21 «C'est bien, serviteur bon et fidèle, lui dit son maître, en peu de choses tu as été fidèle, sur beaucoup je t'établirai ; entre dans la joie de ton seigneur».
22 Vint ensuite celui qui avait reçu deux talents : «Seigneur, dit-il, tu m'as remis deux talents : voici deux autres talents que j'ai gagnés. » -
23 «C'est bien, serviteur bon et fidèle, lui dit son maître, en peu de choses tu as été fidèle, sur beaucoup je t'établirai ; entre dans la joie de ton seigneur».
24 Vint enfin celui qui détenait un seul talent : «Seigneur, dit-il, j'ai appris à te connaître pour un homme âpre au gain : tu moissonnes où tu n'as point semé, et tu ramasses où tu n'as rien répandu.
25 Aussi, pris de peur, je suis allé enfouir ton talent dans la terre : le voici, tu as ton bien. »
26 Mais son maître lui répondit : «Serviteur mauvais et paresseux ! tu savais que je moissonne où je n'ai pas semé, et que je ramasse où je n'ai rien répandu ?
27 Eh bien ! tu aurais dû placer mon argent chez les banquiers, et à mon retour j'aurais recouvré mon bien avec un intérêt.
28 Enlevez-lui donc son talent et donnez-le à celui qui a les dix talents.
29 Car à tout homme qui a, l'on donnera et il aura du surplus ; mais à celui qui n'a pas, on enlèvera ce qu'il a.
30 Et ce propre à rien de serviteur, jetez-le dehors, dans les ténèbres : là seront les pleurs et les grincements de dents. »
Mt 25, 14-30 (Bible de Jérusalem (1973))
In review session for advanced organic chemistry today, I asked a question, and the professor picked up my notebook to see the molecule. I had done the problem set in hot pink marker as a joke, and he thought I meant it. When I went to the board to work the synthesis, he apologized that there wasn't any pink chalk, and I thought, yeah, I may wear heels to class, but I'll still beat the mean on the exam.
Top: Juju S'Amuse
Skirt: Vintage St. John
Sweater vest: Forever 21
Shoes: Cole Haan Nike Airs - I bought these in 2005 and forgot about them until last month. They're curiously Marc Jacobs-y...
La première grande rétrospective après la mort de l'artiste Jörg Immendorff, décédé en 2007, s'est déroulée jusqu'au 27 janvier à la Haus der Kunst de Munich. L'œuvre centrale de cette exposition à succès était la sculpture monumentale « Près de la porte de Brandebourg – Question mondiale », prêtée par le Ludwig Forum for International Art. Aujourd'hui, l'œuvre de 4,5 tonnes est revenue « à la maison » et est désormais exposée en permanence dans le hall du Ludwig Forum. Depuis l'ouverture du Ludwig Forum for International Art Aix-la-Chapelle, la grande sculpture en bronze de Jörg Immendorff représente la compréhension de l'art du nouveau musée : l'œuvre « Près de la porte de Brandebourg - Question du monde » a été exposée à la documenta 7 en 1982 et a ensuite été achetée du couple de collectionneurs d'Aix-la-Chapelle Peter et Irene Ludwig
L'œuvre monumentale de Jörg Immendorff « Près de la porte de Brandebourg - Question mondiale » a trois niveaux de signification : il s'agit d'une interface symboliquement visualisée de blocs de pouvoir politiques mondiaux, d'un mémorial historique et d'une expression de l'histoire personnelle de l'artiste.
The first major retrospective after the death of the artist Jörg Immendorff, who died in 2007, ran until January 27 at the Haus der Kunst in Munich. The central work of this successful exhibition was the monumental sculpture “Near the Brandenburg Gate – World Question”, on loan from the Ludwig Forum for International Art. Today, the 4.5 ton work has come “home” and is now on permanent display in the lobby of the Ludwig Forum. Since the opening of the Ludwig Forum for International Art Aachen, the large bronze sculpture by Jörg Immendorff has represented the new museum's understanding of art: the work “Near the Brandenburg Gate - Question of the World” was exhibited at documenta 7 in 1982 and was later purchased from the Aachen collector couple Peter and Irene Ludwig
Jörg Immendorff's monumental work “Near the Brandenburg Gate - World Question” has three levels of meaning: it is a symbolically visualized interface of global political power blocs, a historical memorial and a expression of the artist's personal history.
We were with my daughter Margarita in a bar, for an afternoon snack. At one point her face lit up with a glow. A sunlight carom. "What a beautiful light!", I said. As I reached for the camera in my bag, the 12-year-old photography lover asked me, "When you say 'what a beautiful light', how do you realize it? What do you see?"
.
Shot with my very first camera and lens, from the 1990s:
Canon EOS 5 + Canon EF 50mm f/1.8 II + Kodak Vision 3 500T.
A Question Mark feeding on decaying fruit in my backyard feeder log. Our beautiful world, pass it on.
If you have any questions or would like to contribute to this archive, please visit www.underjams.art and contact me on Twitter DM or Telegram ♥
..."Ogni Zona Rossa è una questione Nazionale". (da una scritta in piazza Duomo)
Reportage: "ZonaRossa - L'Aquila, 4 anni dopo".
6 aprile 2009 alle ore 3:32. Una scossa sconvolge una Regione, una popolazione, una Nazione. "Ogni zona rossa è una questione nazionale". Si legge in uno dei tanti messaggi in giro per la città.
Il mio reportage, vuole fare il punto della situazione 4 anni dopo il sisma. Per non dimenticare chi ha perso la casa, gli affetti, la vita. Per non dimenticare quanto successo.
Arrivare sul posto, e trovare tutto diverso da come lo si era lasciato anni prima. Ascoltare le parole tra le lacrime della gente. Ascoltare il ricordo di chi in quelle zone è nato e vissuto da sempre. E' l'unico vero autentico modo per comprendere e capire quanto si è fatto e quanto ancora ci sia da fare per ricostruire. E rinascere.
I O N O N D I M E N T I C O.
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A full interview with the Israeli painter Raphael Perez (in Hebrew Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and CV
Question: Raphael Perez Tell us about your work process as a naive painter?
Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers.
Question: How do you give depth in your naive paintings?
Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites.
A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard.
Question: Raphael Perez What characterizes your naive painting?
Answer: Most naive paintings have the same characteristics
(Definition as it appears in Wikipedia)
• Tells a simple story to absorb from everyday life, usually with humans.
• The representation of the painter's idealization to reality - the mapping of reality.
• Failure to maintain perspective - especially details even in distant details.
• Extensive use of repeating patterns - many details.
• Warm and bright colors.
• Sometimes the emphasis is on outlines.
• Most of the characters are flat, lack volume
• No interest in texture, expression, correct proportions
• No interest in anatomy.
• There is not much use of light and shadow, the colors create a three-dimensional effect.
I find these definitions to be valid for all my naive paintings
Question: Raphael Perez Why do you mainly choose the city of Tel Aviv?
Answer: I was born in Jerusalem, the capital city which I love very much and also paint,
I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one
Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel.
Question: raphael perez are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem
Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism of today
In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs
Question: Raphael Perez Tell us about which buildings and their architects you usually choose in your city paintings
Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples:
In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality,
In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more
I also created three paintings of the city of Haifa and one painting of Safed
In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city
Question: Have you created series of other cities from around the world?
Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings
Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments
I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city