View allAll Photos Tagged Relatable
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
Finally, another HBO series I can get totally hooked into. And not just 'cuz of the sex. (I mean, REALLY... does anyone want to see Jane Alexander naked, giving head, really?)
It's extremely well written and acted (primarily a female writing staff), and really groundbreaking in looking at dysfunctional relationships through the prism of unflinching portrayal of sex.
Last night (we're a couple of weeks behind, watching it On Demand) we finally got to see Tim DeKay's weenie, just a little. I still think Carnivàle was the best thing that's ever been done on TV (DeKay was in it), so I was eager to see what he'd do in this show.
Turns out he and his wife, despite clearly loving each other, have a sex life that has completely fallen apart, and by ignoring the problem, dancing around it, avoiding it, etc., have now gone for over a year without having sex. While there are plenty of dissimilarities, there are enough parallels between this story and my recent history that it's both fascinating to watch... and a little strange to be watching it with Tom... then, true to form, never discussing how it relates to our own past.
Another picture relating to the Steed family of Stanton Suffolk. Named after his father Arthur John he was known as Jack He was born in Stanton in around 1894. .His records show that he married an Ethel Denney in Diss in Aug 1918 and was a Wesleyan. 5ft 9 inch tall.
The back of the card lists Christmas wishes from jack Steed and his wife Ethel (Denny) and his 1st daughter Peggy born in 1923 but not the 2nd Cynthia born 1929 . So this must date to between these dates.
Photograph taken by Mr & Mrs G Swain of Norwich 1867-1933. George Edwin Swain was based at 2a Davey Place and Mrs G Swain at 25 St Giles St.
Part of a a big collection of several hundred photos which were unwanted by any one at an auction sale.Rather than see them go in the bin I rescued them.
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
Information relating to the aircraft is on the Cessnock Aerodrome - Hunter Valley Vintage Wings website at www.huntervalleyjoyflights.com.au
This photograph was taken by Mr Barry Howard who has kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to his collection and allowed us to publish the images.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose please obtain permission by contacting the University of Newcastle's Cultural Collections.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
If you would like to comment on the photograph, please contact Cultural Collections at the University of Newcastle, NSW, Australia, or leave a comment below.
Relating to the Guildford Student Protest, the letter apologies to the inconvenience to Printing students, as they are 'taking over' the space for discussions
often i relate a photo to a piece of music, more than to a pithy quote or thought.
this reedit of a photo i took of sammi kay last spring reminds me of debussy’s “la fille au cheveux de lin.” it’s a little slip of a piano piece, beautifully nostalgic, that always transports me to places i haven’t been, places that probably don’t exist.
It took me a long time to find any information relating to these three heads located on Lower Abbey Street. Almost two years ago I discovered that art installation is known as “Talking Heads” and the artist is Carolyn Mulholland. On the wall beside the Talking Heads is a plaque which states that the unveiling of the national flag took place in the music hall at this location on Lower Abbey street on 15th April 1858.
This art installation is known as “Talking Heads” and the artist is Carolyn Mulholland. On the wall beside the Talking Heads is a plaque which states that the unveiling of the national flag took place in the music hall at this location on Lower Abbey street on 15th April 1858.
In my opinion this public art installation is not in a suitable location and I am fairly certain that the majority of people walk by without seeing it.
Houston is a city of beauty and at night it is a city of lights. Beneath all the beauty and
lights it is a city full of people who are striving to survive, who have lost all hope
with the system and only find strength in those who can relate or those who are in the same situation or predicament and find comfort in knowing that they are not alone
no matter how lost, lonely or forgotten they may be.
PM Dr Ngirente presented before Rwanda parliament, Government of Rwanda achievements relating to ICT in the knowledge-based economy | Kigali, 2 December 2019
PM Dr Ngirente presented before Rwanda parliament, Government of Rwanda achievements relating to ICT in the knowledge-based economy | Kigali, 2 December 2019
PM Dr Ngirente presented before Rwanda parliament, Government of Rwanda achievements relating to ICT in the knowledge-based economy | Kigali, 2 December 2019
this photo relates to the ‘ancient and modern’ assignment because of the relationship between tourist and ancient relics and architecture. i loved the tiny opening into a vast ancient place, and being able to capture lacey inside of this tiny opening and also capturing an arch with sunlight settling on it was really cool.
La ministra de Justicia, Javiera Blanco, recibió a Maina Kiai, relator especial de Naciones Unidas sobre el Derecho a la Libertad de Reunión Pacífica y de Asociación. 21.09.2015
Foto:Claudia Basaure P.
Information relating to the aircraft is on the Cessnock Aerodrome - Hunter Valley Vintage Wings website at www.huntervalleyjoyflights.com.au
This photograph was taken by Mr Barry Howard who has kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to his collection and allowed us to publish the images.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose please obtain permission by contacting the University of Newcastle's Cultural Collections.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
If you would like to comment on the photograph, please contact Cultural Collections at the University of Newcastle, NSW, Australia, or leave a comment below.
Informational signage relating the history of the Irving Power Plant.
The Flume Trail starts at the old Irving Power Plant site. The five mile long trail follows the old flume access road along the canyon wall above Fossil Creek, providing beautiful, wide-open views of the wilderness. There is an easy low-water crossing across flat, solid rock at the trailhead on Forest Road 708. From the trailhead, the trail heads up towards the cliff wall where informational signs can be found. The steep hillside offers little shade to the gently rolling trail. The trail ends at the Old Fossil Springs Dam, where it meets up with Fossil Springs Trail.
Then negativity simply becomes food, pure strength. You no longer relate to negativity as being good or bad, but you continually use energy that comes out of it as a source of life so that you are never really defeated in a situation. Crazy wisdom cannot be defeated. If someone attacks or if someone praises, crazy wisdom will feed on either equally. As far as crazy wisdom is concerned, both praise and blame are the same thing because there is always some energy occurring ... a really terrifying thought.
Crazy wisdom could become satanic, but somehow it doesn't. Those who fear crazy wisdom destroy themselves. The negative destruction they throw at it bounces back at them, for crazy wisdom has no notion of good or bad or destruction or creation at all. Crazy wisdom cannot exist without communication, without a situation with which to work: whatever needs to be destroyed, it destroys; whatever needs to be cared for, it cares for. Hostility destroys itself, and openness also opens itself. It depends on the situation. Some people may learn from destruction, and some people may learn from creation. That is what the wrathful and peaceful deities, the mahakalas and the buddhas symbolize.
The four arms of the mahakala represent the four karmas. The whole structure of the image is based on energy and complete compassion devoid of idiot compassion. The first left arm represents pacifying. It holds a skull cup of amrita, the intoxicating nectar of the gods that is a means of pacification. Another arm holds a hooked knife, which symbolizes enriching, extending your influence over others, feeling the texture of the ground and the richness. The hooked knife is also regarded as the scepter of the gods. The third arm, on the right, holds a sword, which is the tool for gathering energies together. The sword need not strike, but just through its being waved around, energies come together. The fourth arm holds the three-pronged spear, which symbolizes destruction. You do not have to destroy three times, but with one thrust of this spear, you make three wounds, the ultimate destruction of ignorance, passion, and aggression simultaneously.
The mahakala sits on the corpses of demons, which represents the paralysis of ego. This is very interesting and relates to what we have already discussed. You must not make an impulsive move into any situation. Let the situation come, then look at it, chew it properly, digest it, sit on it. The sudden move is unhealthy, impulsive, and frivolous rather than spontaneous.
Spontaneity sees situations as they are. You see, there is a difference between spontaneity and frivolousness, a very thin line dividing them. Whenever there is an impulse to do something, you should not just do it; you should work with the impulse. If you are working with it, then you will not act frivolously; you want really to see it and taste it properly, devoid of frivolousness. Frivolousness means reacting according to reflex. You throw something, and when it bounces back, you react. Spontaneity is when you throw something and watch it and work with the energy when it bounces back at you. Frivolousness involves too much anxiety. Once you are emotionally worked up, then too much anxiety is put into your action. But when you are spontaneous, there is less anxiety, and you just deal with situations as they are. You do not simply react, but you work with the quality and structure of the reaction. You feel the texture of the situation rather than just acting impulsively.
The mahakala is traditionally surrounded by flames, representing the tremendous unceasing energy of anger without hatred, the energy of compassion. The skull crown symbolizes the negativities or emotions that are not destroyed or abandoned or condemned for being "bad". Rather, they are used by the mahakala for his ornaments and crown.
CHOGYAM TRUNGPA / The Myth of Freedom / Shambhala Publications
Foto: Miha Skerlep / Design: Alan Hranitelj
Information relating to the aircraft is on the Cessnock Aerodrome - Hunter Valley Vintage Wings website at www.huntervalleyjoyflights.com.au
This photograph was taken by Mr Barry Howard who has kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to his collection and allowed us to publish the images.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose please obtain permission by contacting the University of Newcastle's Cultural Collections.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
If you would like to comment on the photograph, please contact Cultural Collections at the University of Newcastle, NSW, Australia, or leave a comment below.
Relating to the pictures taken inside these chambers. This is what you will see from underwater.
Pipes inside the chambers are often called Steel Chimneys they lead to the diffuser at the top.
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.
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
rockin the boom bap on a buried entrance ramp, well there stairs i think but so badly worn away its more or lass a ramp
The JAME MOSQUE of NA'IN (Buyid, late 10th cent, early 11th.):
- This mosque is duly famous as it's one of the oldest in the country. (I read that it's the 2nd oldest after the Tari-Khaneh in Damghan, but the internet variously claims that it's the 3rd or 4th.) While it dates to the late 10th cent. and the reign of the Buyid dynasty, it includes some earlier remnants, and of course later additions with renovations. It's also renowned for its extensive and unusual carved stucco-work, "the richness [of which is the] chief glory of this mosque", adorning the mihrab and surrounding bays, the soffits and columns of the prayer hall, "including the oldest extant epigraphic friezes in Iran". Stylistically the stucco-work bridges the styles and patterns of the Sassanian and Abbasid periods with those of the Seljuk era; "effusive floral forms released from earlier geometric constraints" ("although the use of stucco to conceal rather than reveal architectural structure relates more to the earlier periods" [AOTIW]). I remember the pillars near the mihrab that were densely coated in a vineyard's-worth of tiny bunches of grapes in stucco between leaves and flowers. Those pillars and the dense plaster-work on other surfaces and the brickwork, while busy, give a whimsical, folk-art impression, but also one of great antiquity. I stared at and took in every detail, as is my wont.
- "The mosque comprises a hypostyle hall of irregular configuration surrounding a small, rectangular courtyard. ... The qibla axis is emphasized by angled piers, and by the slightly increased width and height of the central nave, forming a lip which projects above the arcade roofline. This structure represents an emergent form of the monumental portal that would later [become characteristic of] Iranian mosque design." This mosque lacks a dome and predates or eschews the emergence or re-emergence of the 4-eivan plan (with its Sassanian roots) soon to become ubiquitous in mosque design in Iran and Central Asia. According to Wikipedia, it was built in the 'Khorasani' architectural style, which is simple and symmetrical on an Arabic plan, includes a nave or 40-column space, and makes use of geometric shapes, symmetrical patterns, floral motifs, and calligraphy in its decoration.
- The subterranean 'shabestan', popular in the hottest days of summer and the coldest in winter, was very atmospheric. (See the photo in the comments below.) I was most impressed with a collection of colourful, translucent alabaster skylights, one of which you see in this photo. See in this vlog (a leisurely tour of the mosque) that someone's broken into the qanat or tunnel below the shabestan at the 11:22 min. pt. (It wasn't me.) youtu.be/mDo5AkVFXDw?si=_2WeC68nQMuomeV9 See 3 of the skylights (but not this one, and less washed out than in my photo) from the 12:35 min. pt. to 14:50.
- The simple minaret, again the oldest extant in Iran, "represents a transition from the square minarets of the Western Islamic world www.flickr.com/photos/97924400@N00/8315139427/in/photolis... to the later 11th and 12th cent. [cylindrical or round and tapering] minarets of Iran." Maintaining the early square plan at the base, a tall tapering octagonal mid-section rises to a short cylindrical shaft terminating in a cornice decorated with carved stucco. The cornice holds a brick railing, forming a balcony on which stands a thin cylindrical cap, pierced with apertures and resembling a dovecote. Later additions enclose the minaret which was originally freestanding. The transitional form of this minaret, and its simple, relatively unadorned state suggest that it dates from the late 10th and early 11th cent.s." (All Archnet and AOTIW)
- youtu.be/NnshwSCWihU?si=VnRJUq4Sa4OVF7Oi
- www.youtube.com/watch?v=5nYx_8Jf9Bw
- "In general, ancient alabaster is calcite in the wider Middle East, including Egypt and Mesopotamia, while it is gypsum in medieval Europe. ... When cut into thin sheets, alabaster is sufficiently translucent to be used as panes in small windows, as it was in Byzantine churches and later in medieval churches, primarily in Italy. ... Calcite alabaster ... is found as either a stalagmitic deposit from the floor and walls of limestone caverns, or as a kind of travertine, similarly deposited in springs of calcareous water."
- youtu.be/xl0PPntj0X0?si=qXF6Rm3BOMF3ERP3
More re the nature of memory.:
I wrote the following paragraph in a comment on the last photo a couple of years ago.
"- I toured a ghost town [rather 2 or 3 blocks of derelict bldg.s] near and just SE of the mosque with adobe houses with collapsed walls, pointed arches, elaborate niches and alcoves and such inside, at the start of a bit of an aimless but magical walk that I took for a few hours or so from here. Judging from google maps it seems I walked into and along through Mohammadiyeh. I recall an exotic, adobe-built community with more badgirs and ab-anbars and a time-capsule quality. www.google.ca/maps/place/%D8%A2%D8%A8+%D8%A7%D9%86%D8%A8%... (I get the impression from the net that the area's become much more touristy since I was there.)" So I remembered how impressed I was with Mohammadiyeh as an exotic stitch in time, but in looking through the photos I took there for the first time in a decade or so just now, I see one big reason why I was impressed with the place, and which I'd forgotten when I wrote that comment. The sunny town of adobe bldg.s, badgirs, etc. spreads out below a mesa topped by another incredible adobe citadel with corner towers, the sprawling, MOHAMMADIYEH or ASHOURGAH CASTLE (with Sassanian foundations), lofty (with walls 16 m.s tall) and looming in a scene from the Arabian nights. That pile is another of the type I've been noting as "big misses" in lists of sites and sights en route, etc. as I write about Iran and this trip. (I guess you might remember your state of mind at a given moment and your impression of something better than the basis for it. That's something interesting in itself.) I experienced and explored the town as I walked through it from the south to the north towards the castle like an iron filing to a magnet, and hiked up to and all @ it as is my wont. One interesting photo taken within is of an arch on a high, intact wall with a window and a huge, antique urn beneath it, on its side but intact, the type you see in museums in Iran. But the best thing to see at this castle is the view.
- I took a photo in the town itself of a series of spray-painted stencils like this www.flickr.com/photos/97924400@N00/2992288243/in/photostr... with images of the faces of Iranian men killed in the Iran-Iraq war.
- I can't find much information re the history of Mohammadiyeh's huge, ancient pile online, while the 2,000 yr. old pile in Na'in has a Wikipedia entry only 2 lines long. Iran has such an embarrassment of riches in the great abundance of ancient adobe castles and mud-brick ghost towns in this region that they don't even bother to make up legends about most of them, or share them with foreigners.
Misses in Na'in and Mohammadiyeh:
- The Bazaar: It's interesting and photogenic (from what I see on google maps), said to be 700 yr.s old, 400 m.s long, with 170 shops.
- The Pirnia House (Safavid) / Kavir Ethnographic museum, with handicraft exhibits, hand-looms, mannequins simulating performance of craft-related tasks, huge urns, and sgraffiti, stenciled plasterwork and beautiful muqarnas vaults on the ceilings, etc. It's handy to the mosque, but wasn't open in 2000.
- The Fatemi House (Qajar), another mansion with some lovely latticed windows and muqarnas ceilings.
- The ancient Baba Abdullah mosque (@ 1300, Ilkhanid) built with brick with its simple but lovely dome. Not overly renovated at all, and filled with ancient features.
- Chehel Dokhtaran Hussainiya (Qajar, @ 1811): There are several Hussainiyas in town (facilities with courtyards used during Ashura) and this, which is in the bazaar, has a nice white and blue eivan at least.
- The Imamzadeh Soltan Seyyed Ali has a very colourful and unusual dome exterior. The Safavid dome is 22 m.s in height from the ground level. A miss for the photo.
- "Traditional pit workshops", the 'Abafafi workshops' in dug-outs in Mohammadiyeh where camel-hair cloaks "worn by the [local] Muslim clergy" are woven, and which are now a tourist attraction.
- مسجد سرکوچه محمدیه , a very intimate, visibly ancient adobe mosque in Mohammadiyeh. A miss for a photo of the band of ancient, trippy calligraphy. www.google.ca/maps/place/%D9%85%D8%B3%D8%AC%D8%AF+%D8%B3%... According to one site online, this is Mohammadiyeh's Jame mosque, and dates from the reign of the Buyids in the 10th cent.
- The Rigareh water-mill, an ancient mill at the bottom of a step tunnel at qanat level.
- Misses in the vicinity of Na'in and Mohammadiyeh:
- قلعه برج تاریخی روستای خانه سنجد , a round, intact tower atop a hill @ 30 km.s SW of Na'in, @ 5 W-SW of Akbarad,
- Nujuk, @ 1 km. NW of the 62 and @ 1.5 NW of Amirabad is home to a small but visibly ancient, adobe caravanserai with a well-preserved exterior.
- Blabad is just south of the 62 @ 20 km.s SW of Na'in, and it's too bad there's nothing to see there as it would be fun to say "It happened in Blabad".
- From Na'in or Mohammadiyeh I caught a bus in the mid-to-late afternoon, and with anticipation I set out to travel 167 km.s (or a little less, see below) further SE down the 71 towards Yazd, my destination.
Misses en route from Na'in to Yazd:
- Bafram, a town 4 km.s SE of Na'in, has its own massive, (very) wide, looming, sprawling adobe castle that dominates the town, which needs to be explored, and another ancient Jame mosque (Seljuq) with an impressive but simple minaret, with a Sassanian ateshkade at its core or its base
- The Nogonbad Caravanserai (Safavid), two caravanserais rather, side by side right by the 71 @ 30 km.s SE of Na'in, both built of mud-brick, sprawling, square, semi-intact and very impressive with large corner towers and much brick-work. A very photogenic, round tower stands @ 150 m.s further back from the road.
- Yaqmish caravanserai, @ 40 km.s SW of the 71 as the crow flies from a pt. @ 40 kms. SE of Na'in, is an intact, lone bldg. in the desert
- Aqda, a city on the 71 @ 60 km.s SE of Na'in, "founded by one of the military commanders of Yazdegerd I [r 399-420]" (Wikipedia), is lovely with its townscape of terraces, domes, pointed arches and badgirs, all in the same adobe hue as seen in this episode that vlogger Ali A. devotes to it.: youtu.be/PTW6plcaZzE?si=e3Ph-ppL7DUjXhoY Sites and sights include the intact, adobe city gates; the tall, square, adobe Khajeh Nemat watch-tower, with its double walls and secret escape tunnel; the Jame mosque; the Rashti caravanserai, etc. I've read that the legendary 'Fire of Bahram' (the 'Fire of the Priests' which burned at Kariyan in Fars, with its origins in Khwarazm, possibly the holiest thing in the Sassanian world, was brought to Aqda from Kariyan during or shortly after the Islamic conquest, and was sustained there until it was taken to Ardakan in 1174, and then to Yazd in 1474 (where I saw it behind glass). I've read a contradictory or more specific history that the fire was taken to the 'Eshkaft cave' "/b/ Aqda and Pars Bano" where it burned for 30 yr.s, it was then moved from village to local village for safe-keeping and maintenance for @ 200 yr.s, and was moved to Ardakan (see below) or to Turkabad near Ardakan, which became a Zoroastrian centre and where the fire was kept for 300 yr.s ... (a rabbit-hole). gopersis.com/zoroastrians-fire-temple/
- Arjenan caravanserai, @ 5 km.s SE of the 71, 15-20 km.s due west of Ardakan, has a large ancient tower with impressively preserved brick-work.
- Nedushan is another timeless town with a collection of interesting ancient bldg.s, incl. a mosque with a tall brick minaret, a large adobe castle in town, a stone castle atop a hill, the 'Charbar tower', mud-brick and adobe city gates and towers, brick, domed and tiled domes galore, strangely wide badgirs, etc. The photos of it on google maps are of a town 90% from a timeless alternate reality. According to Wikipedia, "[h]istorically, many of the inhabitants are believed to [have been] Zoroastrians." A big miss.
- The entrance to Sar-Khoun cave is somewhere close to Nedushan, a wet cave with photogenic bits. The Nabati cave (which might be the same cave?), equally wet and photogenic, is 50 km.s SW of the 71 at a pt. just below Meybod.
- The 'Stone-Trough' @ 10 km.s east of Nedushan, is a series of green, colourful and photogenic limestone pools in a rift comparable (but smaller) to Huanglong in Szechuan and Pammukale (although much of the "trough" looks like melted ice cream).
- مزرعه عروسک ها ,a fun collection of @ 100 anthropomorphic assemblages of bags, clothes, pillows, etc. to create facsimiles of people, by the side of a road @ 15 km.s N-NE of Ardakan.
- The 71 passes an oval roundabout /b/ Turkabad and Ardakan with a statue of a yellow cheetah on it.
- The city of Ardakan is a large one in an urban conglomerate of towns or cities that blend from the north to the south and that the 71 skirts with a sharp turn south 5 km.s before Turkabad and 10 before Ardakan, etc. This area was and remains important to Zoroastrians. The legendary sacred 'fire of Bahram' from Kariyan, the Azar Faranbagh, was allegedly brought to Ardakan or to Turkabad (?) from Aqda (see above) in 1174, according to one version of events, where it was tended to and burned for @ 300 yr.s before it was then taken to Yazd (in the 15th cent. or in 1775?) as written about here.: fa.wikipedia.org/wiki/%d8%a2%d8%aa%d8%b4%da%a9%d8%af%d9%8... Where was it kept in town? (See my write-up for the next photo taken in Yazd for more re the history of the Azar Faranbagh.)
- Sharifabad, ancient Shariabad, a neighbourhood of Ardakan (which I've read was home to the sacred Azar Faranbagh fire from Kariyan from 1174 or thereafter), is just east of the 71 as it passes through Ardakan, and has a lengthy Wikipedia entry. "Sharifabad is a Zoroastrian centre, home to numerous Zoroastrian holy sites [incl. a "famous" ateshkade]. Every summer, thousands of Zoroastrians from around the world gather here on pilgrimage." Anthropologist Mary Boyce described the village as "a Persian stronghold of Zoroastrianism."
- The ancient city of Meybod! Just NE of the 71 and 30-40 km.s NW of Yazd, the city is proposed for designation as 'World Heritage' by Unesco in Iran's tentative list. Home to the huge and awesome, adobe, 2,000 yr. old Narin castle (not to be confused with this castle with the same name [?]), and a wonderful dovecote, the city is known for its city planning.
- دخمه اله آباد DAKHME in ALLAHABAD Rural District (Zoroastrian): A dakhme (a 'Tower of silence') seen from the bus window en route to Yazd, then promptly disembarked and explored late at dusk and just after dusk before walking into the city.: www.google.com/maps/place/Zoroastrians+cellar+Allah+Abad+...
This picture was taken in the Distillery District located in Down Town Toronto. Not only does this image relate to visual culture in our society but it also makes a connection to the various topics discussed in recent Modules.
The first image establishes a clear image on propaganda. It relates to the usual sign of a store that claims "Come in, We're Open" but instead states that the store is closed. This can confuse the viewer, as they are unsure if it is actually closed, or if the place they wish to enter is actually open.
In the second sign, it associates the text to the idea of public sphere, as examined in module 7. It provides a drastic solution to a problem that we are all faced with. In our world today, the quality of our environment has become a major dilemma and creates many controversies that have yet to be solved. It also shows how greenwashing is essential because we are the ones who are destroying our planet.
This relates to the visual culture in our society because it allows room for interpretation and also provides connections to the issues that we face in our world today.
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
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.
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.
Vendors and community agencies display products and programs relating to physical and mental wellness.
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
Mentor with young person playing pool at Heavy Sound
Mentors with relatable life experience help young people build positive relationships.
Background info:
Heavy Sound is a social enterprise aiming to transform the lives of vulnerable and disengaged young people and adults across East Lothian.
Its mission is to improve their health, wellbeing and capability by teaching them new skills in music, biking, sports and mentoring, leading them to become contributing citizens with positive pathways to future destinations.
It runs a range of innovative projects which include music (hip hop, rapping, song writing, being a DJ, electronic music production and sound recording) as well as Muay Thai. Getting involved in the Thai boxing art teaches them skills in sport, fitness, nutrition, keeping safe and conflict resolution. They can also learn about cycle maintenance and take part in activities. Mentors with relatable life experience help them build positive relationships.
The projects teach people new skills in the creative arts and sports, whilst addressing issues around self-confidence, self-esteem, improving general health, mental health and wellbeing.
Those who take part complete skills development courses which can help improve their life chances by receiving recognised qualifications and they’re also supported with individual routes to further education, training and employment.
Heavy Sound helps with prevention and early intervention by directing people away from the justice system by trying to address risky behaviour and giving people the chance of more positive outcomes in life.
The city of Bath in South West England was founded in the 1st century AD by the Romans who used the natural hot springs as a thermal spa. It became an important centre for the wool industry in the Middle Ages but in the 18th century under the reigns of George l, ll and III it developed into an elegant spa city, famed in literature and art.
The City of Bath is of Outstanding Universal Value for the following cultural attributes: The Roman remains, especially the Temple of Sulis Minerva and the baths complex (based around the hot springs at the heart of the Roman town of Aquae Sulis, which have remained at the heart of the City’s development ever since) are amongst the most famous and important Roman remains north of the Alps, and marked the beginning of Bath’s history as a spa town.
The Georgian city reflects the ambitions of John Wood Senior (1704-1754), Ralph Allen (1693-1764) and Richard “Beau” Nash (1674-1761) to make Bath into one of the most beautiful cities in Europe, with architecture and landscape combined harmoniously for the enjoyment of the spa town’s cure takers.
The Neo-classical style of the public buildings (such as the Assembly Rooms and the Pump Room) harmonises with the grandiose proportions of the monumental ensembles (such as Queen Square, Circus and Royal Crescent) and collectively reflects the ambitions, particularly social, of the spa city in the 18th century.
The individual Georgian buildings reflect the profound influence of Palladio (1508-1580) and their collective scale, style and the organisation of the spaces between buildings epitomises the success of architects such as the John Woods (elder 1704-1754, younger 1728-1782), Robert Adam (1728-1792), Thomas Baldwin (1750-1820) and John Palmer (1738-1817) in transposing Palladio’s ideas to the scale of a complete city, situated in a hollow in the hills and built to a picturesque landscape aestheticism creating a strong garden city feel, more akin to the 19th century garden cities than the 17th century Renaissance cities.
Criterion (i): Bath’s grandiose Neo-classical Palladian crescents, terraces and squares spread out over the surrounding hills and set in its green valley, are a demonstration par excellence of the integration of architecture, urban design and landscape setting, and the deliberate creation of a beautiful city. Not only are individual buildings such as the Assembly Rooms and Pump Room of great distinction, they are part of the larger overall city landscape that evolved over a century in a harmonious and logical way, drawing together public and private buildings and spaces in a way that reflects the precepts of Palladio tempered with picturesque aestheticism.
Bath’s quality of architecture and urban design, its visual homogeneity and its beauty is largely testament to the skill and creativity of the architects and visionaries of the 18th and 19th centuries who applied and developed Palladianism in response to the specific opportunities offered by the spa town and its physical environment and natural resources (in particular the hot springs and the local Bath Oolitic limestone). Three men – architect John Wood Senior, entrepreneur and quarry owner Ralph Allen and celebrated social shaper and Master of Ceremonies Richard “Beau” Nash – together provided the impetus to start this social, economic and physical rebirth, resulting in a city that played host to the social, political and cultural leaders of the day. That the architects who followed were working over the course of a century, with no master plan or single patron, did not prevent them from contriving to relate each individual development to those around it and to the wider landscape, creating a city that is harmonious and logical, in concord with its natural environment and extremely beautiful.
Criterion (ii): Bath exemplifies the 18th century move away from the inward-looking uniform street layouts of Renaissance cities that dominated through the 15th–17th centuries, towards the idea of planting buildings and cities in the landscape to achieve picturesque views and forms, which could be seen echoed around Europe particularly in the 19th century. This unifying of nature and city, seen throughout Bath, is perhaps best demonstrated in the Royal Crescent (John Wood Younger) and Lansdown Crescent (John Palmer). Bath’s urban and landscape spaces are created by the buildings that enclose them, providing a series of interlinked spaces that flow organically, and that visually (and at times physically) draw in the green surrounding countryside to create a distinctive garden city feel, looking forward to the principles of garden cities developed by the 19th century town planners.
Criterion (iv): Bath reflects two great eras in human history: Roman and Georgian. The Roman Baths and temple complex, together with the remains of the city of Aquae Sulis that grew up around them, make a significant contribution to the understanding and appreciation of Roman social and religious society. The 18th century re-development is a unique combination of outstanding urban architecture, spatial arrangement and social history. Bath exemplifies the main themes of the 18th century neoclassical city; the monumentalisation of ordinary houses, the integration of landscape and town, and the creation and interlinking of urban spaces, designed and developed as a response to the growing popularity of Bath as a society and spa destination and to provide an appropriate picturesque setting and facilities for the cure takers and social visitors. Although Bath gained greatest importance in Roman and Georgian times, the city nevertheless reflects continuous development over two millennia with the spectacular medieval Abbey Church sat beside the Roman temple and baths, in the heart of the 18th century and modern day city.
Integrity
Remains of the known Roman baths, the Temple of Sulis Minerva and the below grounds Roman archaeology are well preserved and within the property boundary as are the areas of Georgian town planning and architecture, and large elements of the landscape within which the city is set. Despite some loss of Georgian buildings prior to inscription, the Georgian City remains largely intact both in terms of buildings and plan form. An extensive range of interlinked spaces formed by crescents, terraces and squares set in a harmonious relationship with the surrounding green landscape survive. The relationship of the Georgian City to its setting of the surrounding hills remains clearly visible. As a modern city, Bath remains vulnerable to large-scale development and to transport pressures, both within the site and in its setting that could impact adversely on its garden city feel and on views across the property and to its green setting.
Authenticity
The hot springs, which are the reason for the City’s original development, are of undoubted authenticity. The key Roman remains are preserved, protected and displayed within a museum environment, and the Roman Baths can still be appreciated for their original use. The majority of the large stock of Georgian buildings have been continuously inhabited since their construction, and retain a high degree of original fabric. Repairs have largely been sympathetic, informed by an extensive body of documentation, and aided by a programme of restoration in the late twentieth century. More vulnerable is the overall interaction between groups of buildings in terraces, crescents and squares and views to the surrounding landscape that contributed to the City’s visual harmony. There is a need for new developments to respect the planning of the Georgian terraces, to respect the scale and rhythm of its structures, and to contribute to picturesque views.
Circumstances too bizarre to relate here brought the thought of Black Magic chocolates into my head the other day. I had totally forgotten about them - could you still get them?? Yes, apparently you can....thank goodness!
I received many a box of these in the early 60s from my, now, husband of over 50 years.....but why? Their advertising must have been very effective to have reached him in those days. This perhaps explains why www.telegraph.co.uk/foodanddrink/foodanddrinknews/1025724...
Now the taste of them instantly takes me back half a century.
Do you know what......buy some for your mother/granny - it will make her very happy!!
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
Relating the growing discord of today's America into a historical context. These quotes closely relate to the feelings of the modern political climate in our country, and the growing anger and discord our nation as a whole must confront head on if we are to avoid the mistakes of the past. This is the only political photograph i have ever done.
History is more then where we have been, It's how we got to be who we are.
Ancient Art Week! Black-Figure Vase with The Departure of Memnon for Troy Greek, circa 550-525 BC. Royal Museums of Art and History, Brussels, Belgium. Modern scholars all relate this simple scene to one of the last moments of the Trojan War. The black man is Memnon, the great warrior said to be from “Aethiopia,” who is briefly mentioned by Homer in the Iliad, the epic account of the struggle between Greece and Troy. The story of Memnon was greatly enlarged upon by subsequent writers, who relate his arrival at Troy with innumerable troops. Although Achilles slays him in battle, in the manner of the Greek epic, Memnon’s fame only increases, and he is made immortal by the gods. Read More at TheRoot.com This work is an example of something that I’ve had to explain to people who thought they were being extremely clever. A lot of people, including art history teachers, will tell you that “Black figure technique” has nothing to do with depicting race. And it doesn’t necessarily, except for when…you know…it does. Memnon is a canonically Black character from Greek literature, depicted above on a vase in which he is shown to be Black, with this technique, and obviously contrasted with two figures who aren’t Black. And yet, even given the evidence of their own eyes, people will still argue that Memnon is fictional, and that somehow “doesn’t count” towards *ahem* “proving” whatever they have decided my point is supposed to be. Expect, well, you also have the surviving portrait bust of a real man who was also called “Memnon” (he was a student of philosopher Herodes Atticus) specifically because of his Ethiopian ancestry and his perceived resemblance to the Memnon of legend. Too much of what we conceptualize around the aesthetics of Ancient Greece and Rome is actually from the European Renaissance, with its focus on “Classical” virtues, values, and aesthetics. Then, you have the Enlightenment, with its scientific racism, racial-cultural claim-making, and philosophical justifications for enslavement, genocide, and colonialism. The imposition of whiteness onto the past, and “cleaning it up” (I’m talking dunking the Elgin Marbles in acid) to better fit a misconception of the past, can be related to Western chromophobia. What we think of as our own personal, “aesthetic” choices are actually shaped by these massive social and historical forces. And that doesn’t even begin to go into how Greco-Roman cultural achievements are perceived in the United States as belonging to whiteness and as evidence to support white supremacy, as opposed to being culturally-specific to the people descended from Greek and Roman cultures in antiquity. And before you start to think, “oh, well, not ME, I haven’t been affected by these ideas” take a look at Augusta Prima Portia’s original color scheme and let me know whether it bothers you: It’s a source of aggravation for me that we lie so much to ourselves and others when it comes to just how much we project OUR ideals onto the past, and then throw up our hands and say, “it’s not ME, it’s history!” Too much of art history writing approaches its subjects with the assumption that we can somehow know the intricacies of the society and culture, much less the individual(s), that produced the art we see before us today. And even so, this massive cultural arrogance would be less destructive if it didn’t also cut off other lines of speculation and research. So, how many exceptions does it take to show that the rule is wrong? How many things can be “the only”, or “an anomaly” or “just an artistic convention” or other terms that mean the same thing, in essence? How much “cherry picking” can I truly be doing if I am pretty much buried in flipping cherries? But that doesn’t matter when you come to the research table with the preconceived notion that whiteness is the default, and every human figure you’re going to see “from history!” is white until “proven” otherwise, in a field where “proof” is irrelevant to actual evidence. Anyhow, I’m going to be posting more black-figure works I think are relevant to the topic at hand. And as always, it is up to you to decide what you see.