Relatable photos on Flickr

VENICE MUDA TO ALEXANDRIA IN 1504 Ref 431 f.6r by RMGYMss.

GENERAL DESCRIPTION

PLEASE NOTE: -

“MUDA” is a singular word relating to one of the mercantile convoys sailing out of Venice each year.

“MUDE” is a plural word relating to several, or all, of the mercantile convoys sailing out of Venice each year.

27 leaves, leaf size 249mm x172mm (9 3/4ins. X 6 8/10ins.) with a text block of 172mm x 98mm (6 8/10ins. x 3 17/20ins.).

Single column, 29 lines in a superb, elegant, humanistic cursive minuscule script in black, probably all written by the same scribe. Many ascenders on the top line, and descenders on the bottom line, have been embellished.

This manuscript include two texts, the first being the Regulations of the Muda of Venice to Alexandria, and the second being the Journal of the Muda to Alexandria that set sail from Venice on 21st. May, 1504. The manuscript was probably written in that city in that year.

A FULL DESCRIPTION IS ATTACHED TO THE OVERVIEW.

Folio 6 recto (Original Folio 7 recto)

TRANSCRIPTION

contra id quid dictum est, et sine praecepto patronorum suorum cadant

de liber . C . parvorum pro qualibet vice, et ultra hoc sint perpetuo priva -

ti Comitaria, Patronia posticia, vel scribania sicut essent. Nauclerii vel

et alie persone minoris condictionis contra facietes predictis, et caricantes

mercimonia sine praecepto patronorum suorum ut dictum est cadat de li -

bris . XXV . Et stent uno mense in uno carcere inferiorum pro quolibet et

qualibet vice. Et praedicta comissimus inquirenda Provisoribus Cois

Cathavere Capitum postarum officialibus levantis : Dominis de nocte . Caputum

sesteriorum, et extrordinariis : q per sacramentum inquirere tenentur de

contrafacientibus, et penas exiger habendo partem ut de aliis sui officii, et

si fuerit accator in praedictis habeat tertium, et sit de credentia in offici -

ales primo invenientes tertium, et Commune reliquum. Et de omnibus

dictis penis non possit fieri gratia : donum : remissio, aut recumpensa -

tio ullo modo vel forma sub pena liber mille pro quolibet ponente

vel consentiente partem in contrarium. Et propetea Committimus tibi q

semel antiquo transeas Raguseum teneris praedicta facere in galeis cri -

dari ut omnibus nota sint sub pena liber. CC . in tuis bonis, et cum

applicveris ad loca tui magii antiquo incipias fieri facere bulletas a -

liquas. Similr facias ipas cri dari sub Dicta pena : de qua tibi non

potest fieri gratia aliqua, vel remissio, sub dicta pena liber mille.

Et commissum est de de voccatoribus qui inquirant contra te si fue -

ris negligens : et penas exigant habendo partem ut de aliis sui of -

ficii. Intelligendo q si Capitaneus, vel supra comiti. Comiti Patroni po -

sticii, Scribae vel Nauclerii, et alii ut dictum est Galearum Cois se re -

perirentur ad dicta viagia, vel Daretur ordo q irent, q teneantur

ad omnia praedicta. Et si contrafecerint praedictis est comissum solum

A duocatoribus qui inquirant contra eos et paenas exigant cum mo -

dis et ordinibus suprascriptis.

(42)PAtroni galearum nostrarum Alexandrie teneatur in ??tibus

Folio 6 recto (Original Folio 7 recto)

POSSIBLE ENGLISH TRANSLATION

41. …...... contrary to what has been said, that they fall from his own book and without the permission of the patrons, one hundred or smaller for each time, and above this they are always free to accompany the patron at the rear, or written as if it were. The owner and other persons or other persons to make the said agreement being underestimated, and responsible for their wares without the permission of the owners as it is a matter for the twenty five books, and stand the same for each month as one and on each occasion imprison on the lower decks. The predicted connection looked for the provision of official Cathavere taxation in the Levant : The Owners of the night. On the head of the extrordinary sesterce thyat are bound by oath to seek out those opposed, and rightly demand of some of the others of its own for part of the office, and if it is pressed as above it is a third, and the third is the finding of a belief of the first official and the common belief of the others. And out of all that is said the grace of the penalties cannot be done then the gift of forgiveness, or any recompense laid down in any way or form, or with the consent, under pain of a part of the book of the thousand in favour of the contrary. And allowing things to be done that were once allowed when passing Ragusa requires gallies to go free of all pain. 200. in your property, and when you beginn to become older and closer to places you make some notes. Similar to those given under the said penalty for other charges, and with it you shall not use it by some special grace, or the for the remission of sins, under the said penalty of the book of the thousand. And theyof those who joined together against you, inquire who is concerned about the eason you have been negligent , for part of the as one of the others in his own office has to imposese the penalties. Understanding that it is the captain more than the count. The count at the rear and patron of the scribes and others that have a galleys, from taxation are said to fund the journey, or which would give the order to go, and are bound to all the above. And should anyone contravene the aforesaid there there is an exact panalty to be made against them but only by the methods and arrangements described above.

42. Partons of our galleys in Alexandria ????? …............

Eclipse of Moon, March '22, 1033377 by Auckland Museum Commons

2

This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), dated 5 April 1905.

The slide shows a photograph of a diagram of the Moon, being eclipsed by the Earth.

Inscription Details: Handwritten in pencil on recto, left of image, "Eclipse of Moon Holland March '22". Handwritten in pencil on recto, bottom left corner, "G99".

Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.

Rights: No known copyright restrictions.

Reference: 235836|PH-1984-1-LS78-3-12|G99

For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033377

Moon, Evening Apennines [G113], 1033240 by Auckland Museum Commons

2

This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), dated 5 April 1905.

The slide shows a yellow/green tinted image of the Moon, with left 1/4 obscured by shadow. Details of craters, lunar maria, and ridges are visible on the surface.

Inscription Details: Handwritten in blue ink at the top of the plate, 'Moon, Evening, Apennines'. Handwritten in blue ink in lower left corner of plate, 'G 113' CLW [tint] Aug '22'. Printed in black ink on lower right ridge of plate, '9407'.

Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.

Rights: No known copyright restrictions.

Reference: 235975|PH-1984-1-LS78-3-46|113

For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033240

Rosemary, Baby by Clint Midwestwood

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The Maysville murals depict moments from Maysville's history, and Maysville is the type of place where the favorite bits of history relate to local folks who left town and made good in Hollywood. The blond woman seen here is local legend, actress Rosemary Clooney, who was born here in 1928. She became a popular local singer in her teenage years, and in 1945, she and her sister Betty got their own spot on Cincinnati radio station WLW. In 1946, Columbia records picked her up, and things started taking off. In 1954, she starred with Bing Crosby and a bunch of people in the movie White Christmas, and then there was no looking back. But Clooney never forgot her Maysville roots, and when she died of lung cancer in 2002, she was buried in Maysville in St. Patrick's Cemetery.

Rosemary Clooney is probably as famous now for her relatives as she was for her own career. Her son, Miguel Ferrer, is one of those character actors who you see on a lot of TV shows and think, "Oh, it's that guy." Another son, Rafael Ferrer, did a few bit parts before becoming a popular voice actor. And, of course, there's her brother's kid, George, who seems to have done okay for himself. (Maysville also claims George, though he was born in Lexington and went to school in the Cincinnati suburb of Fort Mitchell.)

Even more popular than George, though--at least to Northern Kentucky people--is George's dad and Rosemary's brother, Nick Clooney. If you're not from the Cincinnati area, you've probably never heard of Nick Clooney, but he spent decades as kind of the local media catch-all guy for various TV news stations around Cincinnati. According to Wikipedia, he also spent time on local TV in Los Angeles and Salt Lake City, but Cincinnati people talk like he was glued to Cincinnati media. Anytime I've been around Cincinnati people and somebody's mentioned George Clooney, they always say, "You know, his dad was a TV news anchor here for years and years."

Empire Mine Hoist Gears by Wayne Hsieh

1

Gears relating to either the Hoist Building behind me,an alternative way of sending men and material to the lower tunnels, or the Compressor Building in the background, which ventilated the tunnels that stretched for kilometers.

Empire Mine State Historic Park, Grass Valley, California

Pen Drive - T.S Tirumurti by The Gateway to South Asian Diplomacy

1

He is the current Joint Secretary in the Ministry of External Affairs. In charge of UN affairs relating to economic and social issues, TS Tirumurti was one of India’s main interlocutors when the UN Human Rights Council adopted the resolution on Sri Lanka recently. However, what many do not know about this 1985-batch Indian Foreign Service officer is his penchant for writing. “I started writing at night to unwind and take my mind off from work,” he states, sharing how the process of wielding the pen began years ago, when he was the director at the foreign secretary’s office. While his first novel, Clive Avenue, released in 2002, now, Tirumurti has published another book, Chennaivaasi. A romantic novel set in the heart of Chennai, this narrates the tale of a Tamil-Brahmin boy who falls in love with a Jewish-American girl. The duo travel to seek the consent of their parents for marriage.

While Tirumurti waits for feedback from the readers, he is excited about the growing fraternity of diplomats who are turning into authors. “For the first time, Indian diplomats are taking up fiction writing seriously and are able to sustain it,” he says.

The bookshelves are an indicator. Leading the pack is Vikas Swarup, Indian Consul General in Osaka. If his bestseller Q&A was adapted into Oscar-winning movie Slumdog Millionaire, now Swarup has come out with his second book, Six Suspects. Also on a pen drive is Navtej Sarna, India’s ambassador to Israel, who’s first novel We Weren't Lovers Like That was published in 2003. A regular at the Jaipur Literature Festival, he has also penned The Book of Nanak and The Exile.

Pavan K Varma, Indian envoy in Bhutan, also has several books to his credit, including Ghalib: The Man, The Times, Krishna: The Playful Divine, The Great Indian Middle Class, The Book of Krishna and Being Indian, all published by Penguin. He has also translated Gulzar (Selected Poems), Kaifi Azmi (Selected Poems) and Atal Bihari Vajpayee (21 Poems) into English.

Also dabbling with translation is Navdeep Suri, another IFS officer, who started the Twitter, Facebook and social media connect of the MEA. Suri has stepped into the world of writing with A Life Incomplete and The Saintly Sinner (relaunched as The Watchmaker). Both are translations of his grandfather Nanak Singh’s works.

Even though his colleagues seem to be partial to novels, Abhay Kumar, who is now posted in Kathmandu, has written several poems. He has to his credit several books, from Remains to Candling the Light, Fallen Leaves of Autumn and Enigmatic Love, apart from the non-fiction novel River Valley to Silicon Valley.

While they borrow from their experiences, the diplomats have their own writing styles. “I believe in minimal writing and maximum impact,” says Tirumurti, who is related to renowned author RK Narayan. “He is my uncle and a hero to me,” notes Tirumurti, who has also written a travelogue on the Mansarovar Yatra.

www.indianexpress.com/news/pen-drive/981141/2

86-8c-31: Derelict Phoenix Warehouse, Spear, Houfe & Co. Ltd., High St,Hull, 1986 by Peter Marshall

It is hard to relate this riverside warehouse, at 11 High St (or 'Little High St') just south of Blaides Staithe and north of Drypool Bridge, exactly to the structural boundaries shown on old maps, but I think it was the Phoenix Warehouse of Spear, Houfe & Co. Ltd. (Or is that Spear, House & Co Ltd.) There is some lettering on the building but it is difficult to make out much of it and there seem to have been at least two names written over each other in some places. One of these at the lower left could be 'Phoenix' and at top right it is more clearly 'E & Co Ltd'. There are a few distinct letters but not enough to make any sense of, and my photograph isn't quite as clear as it might be. The plate on the side is for W & T SPEAR Co Ltd, a company that owned a number of warehouses and commercial buildings in Hull.

The building was probably Victorian, possibly earlier, and was in poor condition; it was demolished not long after I took this picture. Had it remained standing a few more years it would have been listed, and if it were beside the Thames in London would doubtless have been converted into luxury flats. In Hull, the site remains empty over 30 years later and has only been used since demolition for car parking.

Thinker by Daniel Bryant

3 4

I can really relate with this guy right now.

Mary is relateable by Totus2us

2

'I think Mary can relate to us in very different ways, from her poverty and her struggle, from her exclusion in her own hometown and having to move from place to place, the difficulty she must have had with her husband...I think every woman can relate to her. She can relate to us on a very human level."

~Paula from Britain

Image of Our Lady at the Gates of Dawn, Ostra Brama, Vilnius, Lithuania.

參觀香港標準及檢定中心 Visit to Hong Kong Standards and Testing Centre (2015.04.27) by 立法會 Legislative Council

立法會中醫藥發展事宜小組委員會參觀香港標準及檢定中心

立法会中医药发展事宜小组委员会参观香港标准及检定中心

LegCo Subcommittee on Issues Relating to the Development of Chinese Medicine visits the Hong Kong Standards and Testing Centre (2015.04.27)

Relate much!!?! by Amber Stagliano

[Text, U57], 1033173 by Auckland Museum Commons

2

This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), likely dating between 1890-1922.

The slide shows the black text 'How the Sun affects the Earth and the Seasons. Eclipses.' on a yellow/orange oval.

Inscription Details: Handwritten in blue ink on lower left corner of plate 'U57'.

Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.

Rights: No known copyright restrictions.

Reference: 236043|PH-1984-1-LS78-4-36|57

For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033173

[Milky Way, Lick Observatory], 1033194 by Auckland Museum Commons

2

This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), likely dating between 1890-1922.

The slide shows image of starry sky of varying density.

Inscription Details: Handwritten in black ink at top of plate 'Milky Way- Lick' Handwritten in blue ink in lower left corner of plate 'U end E' Handwritten in black ink in lower right corner of plate 'Rebound - Huntser [3-'0] Handwritten in black ink on to and right edges f plate 'V.L BIG'.

Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.

Rights: No known copyright restrictions.

Reference: 236022|PH-1984-1-LS78-4-15

For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033194

The Catharsis Of Edgar Allen Poe by Sera Bray

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Someone once said that if you can relate to Edgar Allen Poe then you must be mentally ill. That person was also a simpleton and devoid of any real awareness of the dark corners of the human character. There is no doubt Poe was tortured man, an eccentric man and just maybe towards the end of his life mentally ill due to disease. No one knows for sure. His works are an expedition into love and loss, grief and insanity. They smite our emotions so hard because the human spirit is largely enveloped in feelings of sadness, rage, longing and feeling out of place. We may not perceive these things every second of everyday but they are there occasionally and they are very real for us. You cannot gaze upon the line “And all I loved, I loved alone” and not feel your heart fracture just a little, not because of the simple cluster of words but because we know all too well what he means! We feel it so deeply! That’s a truly great poet! A great poet deserves great homage, a series bridging many artistic journeys through some of the most adored compositions in Poe’s collection, a chance to create our own visions and build so much more on what he gave us.

"The Masque of the Red Death “is a short story by Edgar Allan Poe. The story follows Prince Prospero's attempts to avoid a dangerous plague, known as the Red Death. He, along with many other wealthy nobles, host a masquerade ball within seven rooms, each decorated with a different color. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut. At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. When the figure turns to face him, the Prince lets out a sharp cry and falls dead... Only then do we realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums it up, "And Darkness and Decay and the Red Death held illimitable dominion over all".

Isthmic Spondylolysthesis | Chronic Back Pain | Fracture in the Spine | Denver Spine Doctor by Dr. Donald Corenman, MD, DC

Isthmic spondylolisthesis of the spine occurs when one vertebra slips forward on the one below because of a break or a fracture in a piece of bone that connects the two joints on the back side of the spinal segment. This condition can lead to chronic back pain and spinal pain for the patient.

This figure shows a reduced shear force on the L5 vertebra in the case of Isthmic spondylolisthesis with posterior pelvic rotation.

Dr. Donald Corenman, Vail, CO Orthopedic Spine Surgeon, has written countless articles and documents on spine and back pain. He is also the author of books relating to the spine and back.

Sugriwa sends his commander the white monkey by T Ξ Ξ J Ξ

The performance relates the shorter version of the epic Ramayana Saga with dancers playing as Rama, Shinta (Sita), Lakshmana, Rahwana (Ravana), Hanoman (Hanuman), Sugriwa (Sugriva), and other characters. The storyline starts when Prince Rama wanders into the woods with his wife Shinta and brother Lakshmana. There, the giant Rahwana kidnaps Shinta and holds her in his palace. Rama then seeks help and sends Lakhsmana to find his friend Sugriwa, the King of the Monkey Kingdom. Sugriwa sends his commander the white monkey, by the name of Hanoman, to check on Shinta in Rahwana’s Palace.

A dramatic scene is portrayed when Hanoman is captured by Rahwana’s troops and put inside a circle of fire to burn him alive. Instead of burning to crisp, the white monkey warrior remains unharmed and breaks out only to burn Rahwana’s palace instead. Thus, began the battle between the two forces.

At first, Rahwana and his troops manage to overrun Rama. However, Sugriwa and Hanoman then come to Rama’s aid along with the rest of the monkey troops, defeat the evil king once and for all.

Taken @Bali, Indonesia

Educational Postcard; "Students want teachers that relate to them." by Ken Whytock

Quote from students compiled by Grant Wiggins. Image is modified from a Microsoft Clipart file.

14) Current window was 1920 x 1032 and the window size was set to 2560 x 1440 by Jan Second

Relates to fix on Firestorm 4.7.4 UNRELEASED with OpenSimulator support.

Uploaded at the current window size (was set to 2560 x 1440, more than the screen setting is set to.

Result:

The shot is full quality. The size of the resulting shot is 1924 x 1064. The inworld snapshot thumbnail & preview showed the correct preview.

VERIFYING: The bug assigned to Ansariel Hiller and testedy by Whirly Fizzle is FIXED

Taken: OSGrid, Crown Land estates, Wolflandia sims using Firestom Fizzlefire 4.7.4.47531 to test direct Flickr uploads /fixed issue/ - 1920 x 1032, keeping aspect ratio

===============================================

SCREENSHOTS 14-15 in this album

The screenshots document that the problem described bellow was solved.

18) Current (not set in advanced) windows size - 1920 x 1032

17) A snapshot set at any of the preset sizes (here we set 1600 x 1200)

16) Custom, manualy set size 1920 x 1032 for the snapshot, the same setting is for the window size in the menu Advanced

15) Posting a snapshot to Flickr at size 320 x 240

14) Current window was 1920 x 1032 and the window size was set to 2560 x 1440

================================================

SCREENSHOTS 1-10 in this album (the original post):

The screenshots document that the similar settings, when used in Second Life and Opensim generate different results. This behavior persists since the latest beta release and it is present also in the final version. Firestom 64 bit for Second Life and Opensim was used to create these snapshots. First the clean reinstall of beta version was performed and no settings were automatically restored from the previous installation.

Uploads taken at the Opensim grid are not being uploaded for me with the best possible quality. To get them online I must save them first to disk. This way the procedure is longer, not so comfortable and the result does not contain data about the place where it was taken.

Visit this location at CrownLand in OSGrid

New UNDP supported safe site, Kampong Cham, -6 by UNDP Climate

November 2019. Photo credit: Kelsea Clingeleffer/UNDP Cambodia

Relates to the UNDP-supported project 'Strengthening Climate Information and Early Warning Systems to Support Climate-Resilient Development in Cambodia' www.adaptation-undp.org/projects/ldcf-ews-cambodia

Monsoonal Ligtening Queensland O112, 1033329 by Auckland Museum Commons

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This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), likely dating between 1890s-1920s.

The slide shows an arch shaped photograph picturing bolts of lightning in a dark sky.

Inscription Details: Handwritten in blue ink on recto, "Monsoonal Lightening Queensland". Handwritten on blue ink on recto, bottom left corner "O112". Handwritten in blue ink on verso, "C.L.W. Repd -13-14-7-22".

Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.

Rights: No known copyright restrictions.

Reference: 235884|PH-1984-1-LS78-3-113|O112

For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033329

86-8c-32: Derelict Phoenix Warehouse, Spear, House & Co. Ltd., High St,Hull, 1986 by Peter Marshall

It is hard to relate this riverside warehouse, at 11 High St (or 'Little High St') just south of Blaides Staithe and north of Drypool Bridge, exactly to the structural boundaries shown on old maps, but I think it was the Phoenix Warehouse of Spear, Houfe & Co. Ltd. (Or is that Spear, House & Co Ltd.) There is some lettering on the building but it is difficult to make out much of it and there seem to have been at least two names written over each other in some places. One of these at the lower left could be 'Phoenix' and at top right it is more clearly 'E & Co Ltd'. There are a few distinct letters but not enough to make any sense of, and my photograph isn't quite as clear as it might be. The plate on the side is for W & T SPEAR Co Ltd, a company that owned a number of warehouses and commercial buildings in Hull.

The building was probably Victorian, possibly earlier, and was in poor condition; it was demolished not long after I took this picture. Had it remained standing a few more years it would have been listed, and if it were beside the Thames in London would doubtless have been converted into luxury flats. In Hull, the site remains empty over 30 years later and has only been used since demolition for car parking.

Acorn RiscPC 700 (StrongARM) by Andy Taylor

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Please check out my website retrocomputers.wordpress.com. You will find loads more stuff relating to old computers like the one above.

視察三跑道系統項目填海工程 Observes three-runway system reclamation works (2017.05.05) by 立法會 Legislative Council

立法會跟進香港國際機場三跑道系統相關事宜小組委員會視察三跑道系統項目填海工程

立法会跟进香港国际机场三跑道系统相关事宜小组委员会视察三跑道系统项目填海工程

LegCo Subcommittee to Follow Up Issues Relating to Three-runway System at HK International Airport observes three-runway system reclamation works (2017.05.05)

E21-00176-D2-Index by MarsAtlantian007

A (complex image) with (multiple items) that relate to each other logically, and shows a complete scene in Henry Crater. Individual elements by themselves is anomalous enough, but all together they show a scene and should be considered as one group. This lends credence to the anomalies and to their true existence. singular anomalies can be explained away easier but multiple anomalies or clusters that relate and tell a story are more difficult to explain, such as the case above.

The left of this image crop is the edge of the Narrow-Angle Image from Nasa, so acquiring more information beyond this pictures edge is moot.

The goal here in this crop is to show that this scene is from Nasa's MOC image while asking a few questions along the way.

Is this Circumstantial evidence of other forms of life in the universe? and this is a sign telling travelers of possible dangers on earth? Playing devils advocate, if you wanted to put knowledge somewhere so others in the future can understand the dangers of traveling to earth, and what to expect there while crossing vast spans of time,

Would you?

(a) Put it on the planet your referring too? where humans can destroy it?

or

(b) Put information somewhere desolate and out of reach of human interference.

looks as though the Alien race chose plan (b) from the looks of this image crop, but what other reasons would someone put such a bleak carving on planet Mars? for fun? nothing to do? lots of questions and no real answers. what ever the reason they probably didn't count on humans gazing down on their abode.

Click the button "All sizes" above to see the image closer.

to see the animation of this anomaly go to this Flickr page.

(Shark Attack-GIF)

MSSS.com, Henry-Crater, MOC: Mars Chart-12:Arabia.

Mars Orbiter Camera (MOC) image E21-00176

Download the image from MSSS here

MOC narrow-angle image E2100176

Me Buying Bratz Online Like... by ♥strawberryswirrl♥

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This is SO me!!

edit made by me obviously...:L

Image taken from page 62 of 'Historical Collections of the State of New York ... relating to its history and antiquities, with geographical descriptions of every township in the State' by Mechanical Curator's Cuttings

Image from 'Historical Collections of the State of New York ... relating to its history and antiquities, with geographical descriptions of every township in the State', 000194809

Author: BARBER, John Warner and HOWE (Henry)

Page: 62

Year: 1846

Place: New-York

Publisher: S. Tuttle

Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.

VENICE MUDA TO ALEXANDRIA IN 1504 Ref 431 f.4r by RMGYMss.

1

GENERAL DESCRIPTION

PLEASE NOTE: -

“MUDA” is a singular word relating to one of the mercantile convoys sailing out of Venice each year.

“MUDE” is a plural word relating to several, or all, of the mercantile convoys sailing out of Venice each year.

27 leaves, leaf size 249mm x172mm (9 3/4ins. X 6 8/10ins.) with a text block of 172mm x 98mm (6 8/10ins. x 3 17/20ins.).

Single column, 29 lines in a superb, elegant, humanistic cursive minuscule script in black, probably all written by the same scribe. Many ascenders on the top line, and descenders on the bottom line, have been embellished.

This manuscript include two texts, the first being the Regulations of the Muda of Venice to Alexandria, and the second being the Journal of the Muda to Alexandria that set sail from Venice on 21st. May, 1504. The manuscript was probably written in that city in that year.

A FULL DESCRIPTION IS ATTACHED TO THE OVERVIEW.

Folio 4 recto (Original Folio 5 recto)

TRANSCRIPTION

(32)

Culphi,ordmatum, et firmatum est per nostra consilia, et sic servabis

q Capitaneus Galearum Culphi sit et esse debeat Capitanens generalis

dictarum galearum, et omnium navigiorum nostrorum armatorum &

disarmatorum, et facere Capitaneariam dones erunt simul.

(33)OMnes bulletas quas extra Venetias fieri facies pro cari eando merca -

tiones in galeis debeas facere ordinate registrari, & seribi in uno qua -

terno ut bene appareant, Et similiter debeas comittere patronis gale -

arum tibi commissarum, q onmes bullete que facte fuerint p te pro car -

ricondo debeant p sim seribam notari facere, & diligenter registra -

ri : Salvando tamen bulletas predictas ne perdantur, quos omnes

quaternos tu, et Patroni praedicti simul cum dictis cedulis dare

teneamini in vestro reditu, & prontare exordinariis quibus com -

missum est q debeant disearricare galeas iuxta formam dictorum

quaternorum et cedularum.

(34)QUicunq patronus approbatus p nostra consilia qui exinerit remane -

re in aliqua parte aliqua causa, nisi causa infirmitatis sue persone

que sit talis : q acceptet per Capitaneum armatae, et ut in isto cau

Capitanei ponant alium sufficientiorem quem poterunt, et contrafacien -

tes cadant ad penam libr quinq pro quolibet, & quolibet vice et com -

misum est advocatoribus comunis in Venetiis, et Capitano ex Venetiis

q predicta faciant observari, & exigant a contrafacientibus penam

predictam de qua haenant medietatem, et reliquum sit cois. Et si ad -

vocatores erunt negligentes ad excutiendum dictam penam, cadant

de tantundem, & Domini de nocte exigant penam ab advocatoribus

et Capitanus vel Advocatores sub pena libr ducenorum pro quolibet

ponente vel consentiente partem in contrarium.

(35)ET teneris dare sacramentum omnibus mercatoribus galearum tibi

Folio 4 recto (Original Folio 5 recto)

POSSIBLE ENGLISH TRANSLATION

32. …................ Culpho, ordered and confirmed by our plans, and so perfect that the said captain Captain General of the said galley Culpho and and all our galleys and boats both armed and unarmed and made accountable to him.

33. All those armed galleys that are in the same trade that that can get together outside of Venice should do so in order to be registered, and at greater length one in four appear as well to be similarly bound to the committee of the patrons of the galleys, yourself have also committed, that all the armed galleys have been made available to you should be noted by the scribe, and carefully registered, so that those armed shall not be lost, and that all four are together with with the above mentioned patrons and to give assurance of committing to a safe return extraordinarily quickly which should be decided upon according to the terms agreed by these four galleys.

34. Whosoever is the patron that is accordingly approved to remain in any part of our plans has any cause, who is such a person, unless it be for reasons of: a person for reasons of: a person the be accepted by the captain of armed men, and that in the case of the captain's account, which will be able to be put by someone else more adequate, and, opposed to the punishment of five pounds for each one, then after it was discussed and at any time, as is common in Venice and from Venice, and the captain may have observed the aforesaid, and, opposed the penalty aforesaid, of which ????? half of the demand and the rest of the costs. And if the advocates carelessly strike off a penalty imposed, so much of the loss, and of the increasing requirements from the penalty of the advocates and the captain or the advocates under the pain of two hundred pounds for each reckoning or with the consent of the other.

35. And being bound to you the secrets of all the merchant's galleys ….............

Women, (Be)coming / Exhibition Layout | 8 March – 13 April 2019 | UGM Studio, Maribor, Slovenia | Photo: Sara Rezar by Wom@rts Project

On 8 March, the International Women's Day, we have opened the first of two consecutive exhibitions of art works that emerged from the Wom@rts project's artistic residencies. The residencies were in the fields of printmaking, comics & illustration, and lens-based media. The artists had responded to Simone de Beauvoir's groundbreaking work The Second Sex that was published seventy years ago. The international exhibition of altogether 32 artists from over 10 different countries premieres in Maribor and is scheduled later on to roam the project's partner exhibition grounds in Vilnius (Lithuania), Santiago de Compostela (Spain) Grand Angoulême (France), Rijeka (Croatia), and Limerick (Ireland). The second part of the exhibition opens on 26 April.

In their work, the artists relate to various media, cultural, and generational experiences, asking themselves about the "nature" of the woman, her social embeddedness, about their own history and their future steps.

The first part – on 8 March – presents the artists from the lens-based media:

Ana Pečar (Slovenia), María Castellanos (Spain), Cristina Busto Alvarez (Spain), Marija Stonytė (Lithuania), Hanne Larsen (Norway), Stéphanie Cadoret (France);

from the field of printmaking:

Haya Blanco (Spain), Fernanda Álvarez Jimenez (Spain), Aoiffe Barret (Ireland), Neringa Žukauskaitė (Lithuania) and Audrey Potrat (France);

and from comics & illustration:

Samira Kentrić (Slovenia), Korina Hunjak (Croatia), Merieme Mesfioui (France), Nanu González (Spain), Fionnualla Doran (Ireland).

Breda Kolar Sluga is the exhibition curator.

East London Ephemera by B

Objects collected by Iain Sinclair relating to his walks in East London.

Taken in the exhibition

Ghost

The show’s second act, Ghost, marks the collapse of hyperinflated 80s culture into an uncanny temperature change that presided over the 90s and early 00s. It traces an unsettling path through to the global financial crisis of 2008, a turning point in time between a century of old and new, at the dawn of a digital age of faceless audiences and invisible cyber wars.

Derek Jarman’s last feature and magnum opus, Blue (1993), offers a profound evocation of the artist’s final days, marrying comforting connection with disconnection from the world, warmth with coldness, as Jarman poetically narrates his approach towards death. Newly commissioned, immersive sound installations from Laura Grace Ford and Nick Ryan highlight the strange frequencies of an age that saw the emergence of trance music and readily accessible sampling machines. Ford’s installation explores the sonic textures of the city to uncover those hiding in the black spots that neoliberalism has failed to assimilate, while Ryan’s voices form a call-and-response, as visitors become spectator, spectacle and a ghost in the machine. Works from Jeremy Millar and Gavin Turk unsettle with a paradoxical clash of ghostly presence and absence, familiarity and otherness. Cornelia Parker’s map, scorched with a heated meteorite fragment, tells a tale of apocalypse for the end of the millennium and the fear of the unknown.

Contributing artists include A Guy Called Gerald, Barry Adamson, Hamad Butt, Adam Chodzko, Kevin Cummins, Graham Dolphin, Tim Etchells, Angus Fairhurst, Paul Finnegan, Laura Grace Ford, Ghostwatch, Lucy Gunning, Paul Heartfield, Susan Hiller, Matthew Holness & Richard Ayoade, Stewart Home, Derek Jarman, Michael Landy, Richard Littler (Scarfolk), Jeremy Millar, Haroon Mirza, Drew Mulholland, Pat Naldi & Wendy Kirkup, Cornelia Parker, Steve Pemberton, Nic Roeg, Nick Ryan, Scanner (Robin Rimbaud), Adam Scovell, Sensory Leakage, Reece Shearsmith, David Shrigley, Iain Sinclair, Kerry Stewart, Tricky, Gavin Turk, Richard Wells, Rachel Whiteread and Words & Pictures.

[Somerset House]

The Horror Show! A Twisted Tale of Modern Britain

(October 2022 - February 2023)

Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.

Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:

Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.

Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.

[Somerset House]

Sad Love Quotes : ExtraMadness - Inspiring & Relatable Quotes - #Love by Quotes Time

Sad Love Quotes :

QUOTATION – Image :

Quotes Of the day – Life Quote

ExtraMadness – Inspiring & Relatable Quotes

Sharing is Caring

- #Love

quotestime.net/sad-love-quotes-extramadness-inspiring-rel...

Fairy Tail draws pictures relating to San Valentin by news hubz

anime.saqibsomal.com/2016/02/26/anime/fairy-tail-draws-pi... -http://anime.saqibsomal.com/2016/02/26/anime/fairy-tail-draws-pictures-relating-to-san-valentin/537 - anime.saqibsomal.com/wp-content/uploads/2016/02/fairy-tai...

My world turned upside down by John Russell

2 25

Kinetic: Relating to, caused by, or producing motion.

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!

None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

If you'd like to see more please check out my set, "Vertigo:"

www.flickr.com/photos/motorpsiclist/sets/72157630591282642/

.

To read more about Kinetic Photography click the Wikipedia link below:

en.wikipedia.org/wiki/Kinetic_photography

.

My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

Florida Beach, Cuba by UNDP Climate

Photo credit: David Estrada/Grupo Creativo Naturaleza Secreta

Relates to UNDP-supported Green Climate Fund-financed project 'Coastal Resilience to Climate Change in Cuba through Ecosystem Based Adaptation' ("Mi Costa") www.adaptation-undp.org/GCF-Cuba

Cruising down the main street of Florida Beach, bumping into the fishing base and returning down the beach road makes one realize that the town is very narrow.

The penetrating sea is like a sharp sword, taking land from the fragile town and the houses.

Unfortunately, it is estimated that by 2050 Florida Beach will disappear from the sea and be stranded on muddy soil.

This is additional to the wear and tear suffered through the years from hurricanes, with Irma (2017) one of the most devastating.

Shrinkage isn't the only thing visible when walking its streets. The village is empty, closed houses abound, and it's almost rare to see villagers loitering.

“This is one of the places in Cuba where more evidence exists of coastline modification caused by climate change," says Isabel Cristina Marquez Ulloa, Coordinator of the 'Mi Costa' project.

With finance from the Adaptation Fund and support from UNDP, the 'Mi Costa' project aims to develop adaptation, and enhance the resilience of coastal ecosystems: corals, seagrasses and cedar forests.

The inclusion of communities in the area in the project is vital, because currently, among the most important problems, is the mismanagement of solid waste and environmental custodianship.

Restoring and caring for the coasts is crucial for ecosystems and people. Many villagers, although migrating to the municipality, intend to keep their work at the fishing base and continue this activity as the main source of income.

Florida Beach, which still retains part of its beauty and colour, is also a potential national and international tourist destination.

#proyectomicosta

Signing the Armistice Agreement by red :))) art

with A23H

Alfred 23 Harth’s art works and performances relating to the Korean Demilitarized Zone (DMZ) reflect a deeply layered and nuanced engagement with the physical, historical, and cultural realities of the DMZ area, extending far beyond simple representation. Since establishing his studio near the DMZ around 2007, Harth has explored the militarized border zone as an uncanny and charged site, embodying both intense geopolitical tension and paradoxically, a reserve of rare flora and fauna. Through his artistic practice, he discovered and documented military objects like trenches, bunkers, barbed wire fences with stone inserts and alarm bells, recognizing some as strange art objects in themselves. These findings formed a part of his broader artistic narrative, intertwining historical layers of Korean kingdoms (Silla and Goguryeo) with the contemporary division of North and South Korea symbolized by the DMZ.

Harth’s art is informed by archaeological curiosities he pursued in the vicinity, such as shards of celadon ceramics from ancient Korean dynasties found near the DMZ, and the memory of historic places like the wiped-out 20th-century river port Gorangpo. His work reflects an echo from his excursions near the DMZ rather than direct occurrences, capturing the borderline space as a cultural and political phenomenon. This is apparent in his multimedia installation “DUGOUT” (2013) exhibited at the Artsonje Center in Seoul, where he presents a playful yet serious reflection on the DMZ reality, combining military archival material, ancient history, and contemporary urban experiences. The installation embodies the concept proposed by director David Lynch that for every military installation, there should be a peaceful counterbalance.

Harth’s video artwork “Deconstruct Mental Zymotics” delves into the DMZ as a hyperreal cultural trance zone, layered with illusions and political theater, underscored by philosophical voices like Jean Baudrillard and Vilém Flusser. It highlights the DMZ as a vast open-air contemporary art museum surrounded by leisure spots and tourist attractions, illustrating the paradox between militarization and commodification. He further integrates the political situation of the Korean division into his music and performances, collaborating with Korean artists and producing works imbued with these themes, including his mother-of-pearl CDs “nu:clear re:actor” (2004) and “T_error” (2005) and performances along the DMZ spots guided by his unique perspective.

Moreover, Harth relates the contemporary Korean divide to his personal experience growing up in Cold War Germany, where he initially perceived nuclear threats as theatrical fakes, co-founding the group Duck and Cover to artistically comment on militarism. His art thus bridges personal and historical narratives across geopolitical borders, transforming military overkill into a poetic and conceptual meditation on division, conflict, history, and peace.

In summary, Alfred 23 Harth’s DMZ-related artworks and performances engage the border as a complex multi-dimensional space—melding military reality, cultural memory, ecological paradox, political critique, historical archaeology, and artistic interpretation into a rich, reflective body of work.

Hannah Aldred by TinTrunk

2 4

This relates to the St David's Day photograph because on the (very grubby) back the name Hannah Aldred is pencilled in twice with the same address as the Edward mentioned on the back of that photo.

Found in Clitheroe, printed with a postcard back.

LA 02 Films by University of Stirling Archives

1

Photographs and promotional material relating to Anderson’s films.

Although not a prolific director, Lindsay Anderson is best known as a filmmaker. In a career spanning over 40 years he directed 6 feature films (including If…., This Sporting Life and O Lucky Man!) and a small number of short films and documentaries. The collection includes an extensive record of Anderson's filmmaking career including scripts, production notes, correspondence, photographs, promotional material and press cuttings. This material provides a detailed record of all the stages in the production and promotion of his films from early drafts of scripts, through location scouting and shooting schedules to press releases and advertising. An extensive photographic record of the making of Anderson’s films is also present.

Further details can be found at:

www.is.stir.ac.uk/libraries/collections/anderson/LA1Films...

i can relate. https://t.co/mpaFegrShY - Posted by Lauren Cohan (Maggie) by TheWalkingDead CastPictures

Posted by Lauren Cohan (Maggie) - i can relate. t.co/mpaFegrShY #LaurenCohen #TWD #TheWalkingDead

Source: walkingdead.affiliatebrowser.com/i-can-relate-httpst-comp...

WIPO Symposium on Trade Secrets and Innovation – Trade Secret Systems in Innovation, Intellectual Property Policies and Development by World Intellectual Property Organization

David Kappos, Partner, Cravath, Swaine & Moore LLP, New York, United States of America, moderating session 2 of the WIPO Symposium on Trade Secrets and Innovation on Trade Secret Systems in Innovation, Intellectual Property Policies and Development.

Taking place at the WIPO Headquarters in Geneva from November 25-26, 2019, the Symposium provided a forum for exchanging ideas and perspectives on issues relating to the interface between trade secrets and innovation. It brought together panelists from across the globe to share their insights in the aspects related to policy, law, economics and businesses.

Copyright: WIPO. Photo: Pierre Albouy. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.

FISHERMAN OF SEA AND LAND by UNDP Climate

January 2023. Photo credit: David Estrada/Grupo Creativo Naturaleza Secreta

Relates to UNDP-supported Green Climate Fund-financed project 'Coastal Resilience to Climate Change in Cuba through Ecosystem Based Adaptation' ("Mi Costa") www.adaptation-undp.org/GCF-Cuba

FISHERMAN OF SEA AND LAND

The fishermen of Troy are now sea and land.

Ernesto has found a way to organize his days to go fishing and also tend to the land. He goes out on his boat around 9pm at night and doesn't come back until 6am in the morning. He then spends the afternoon cultivating.

He says things have changed. "I tell you, I'm 59 years old, and that sea was there - way over there." He gestures.

He says that there aren't as many "peje" as before and that he can't catch either jurel nor sting.

"In this area (Ensenada del Cave) you used to see Carey and manatees, but not anymore - they are endangered."

The shape of the place has also changed a lot, the sea has penetrated.

He wonders about the melting of glaciers far away.And emphasis the importance of planting mangroves for protection.

The popular wisdom of fishermen like Ernesto are examples of the work in terms of environmental education that is also carried out in Manzanillo.

Projects like 'Mi Costa' aim to reinforce that knowledge and contribute with technical advice to protect this area so important within the Gulf of Guacanayabo.

#proyectomicosta

I can relate by L A White

Snapshots

視察廣深港高鐵香港段建築工地 Visit to construction sites of Hong Kong Section of Guangzhou-Shenzhen-Hong Kong Express Rail Link (2013.06.24) by 立法會 Legislative Council

立法會鐵路事宜小組委員會視察廣深港高速鐵路香港段西九龍總站，以及石蔭至海庭道隧道段的建築工地

立法会铁路事宜小组委员会视察广深港高速铁路香港段西九龙总站，以及石荫至海庭道隧道段的建筑工地

LegCo Subcommittee on Matters Relating to Railways visits the construction sites of the West Kowloon Terminus of the Hong Kong Section of Guangzhou-Shenzhen-Hong Kong Express Rail Link & the Shek Yam to Hoi Ting Road tunnel section (2013.06.24)

Bangor RFC V Dundalk RFC Irish Junior Cup Final 31st January 2015 curl up by John Mooney

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

Bangor RFC V Dundalk RFC Irish Junior Cup Final 31st January 2015 man down, ball down by John Mooney