Relatable photos on Flickr

Strengthening the resilience of Sri Lankan smallholder farmers in the Dry Zone to climate variability and extreme events by UNDP Climate

Relates to UNDP-supported GCF-funded project 'Strengthening the Resilience of Smallholder Farmers in the Dry Zone to Climate Variability and Extreme Events' (known locally as CRIWMP)

Resident Representative's field visit, Feb 2023. Credit: UNDP Sri Lanka

Relating it to bathtime by Kate Measures

This again brings the experience back to the visitor. Centre for Alternative Technology. July 2014. For more ways to improve your visitor experience and interpretation visit www.katemeasures.co.uk

Storms of the Moment by Steve Skafte

Every aging home has a relatable past, that old familiar face of history we all found ourselves in. Some kind of happy holidays for someone, sometime – if not the last generation to live here, then some other through the years. It's hard for most folks to value now over then, when looking back seems so warm and sheltering. I think of memories like hiding from the wind chill, the break is our skull and body heat keeps us safe from storms of the moment. Why embrace our very modern senses when recollection is such a comforting place? Nostalgia over presence is a familiar choice, one that worries more how we're perceived than what we've done to be seen that way. In her later years, my grandmother described warzone memories of Holland with more fondness than a peacetime present. But those were years of starvation, and crippling worries when her father was sent off in shackles, interned by the Nazis – and still, she felt better looking back. What's the explanation? It's not times that change, it's us. So with bright eyes trained to an ever-shifting passage, I believe this Christmas is as happy as any other already good and gone. Hold fast.

December 16, 2021

Annapolis County, Nova Scotia

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Kinetic by Laura Slattery

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"relating to the motion of material bodies and the forces and energy associated therewith"

A creative outing with my photo club - Inland Empire Photo Club - where we played with light and motion and long exposures to create kinetic art. It was a wonderful, creative evening.

Manali Trip 2008 by DJ SINGH

Manali, (alt. 1,950 m or 6,398 ft) in the Beas River valley, is an important hill station in the Himalayan mountains of Himachal Pradesh, India, near the northern end of the Kullu Valley. Manali is administratively a part of the Kullu district. The population is approx. 30,000. The small town was the beginning of an ancient trade route to Ladakh and, from there, over the Karakoram Pass on to Yarkand and Khotan in the Tarim Basin. Manali and its surrounding areas are of great significance to the Indian culture and heritage as it was the home and abode of the Saptarshi or seven sages. The ancient cave temple, Hidimba Devi Temple, is not far from town.

Contents

[hide]

* 1 Geography

* 2 Demographics

* 3 Etymology

* 4 History

* 5 Transport

* 6 Tourism in Manali

o 6.1 Tourist Attractions

o 6.2 Places around Manali

o 6.3 Adventure Sports

* 7 Notes

* 8 References

* 9 External links

[edit] Geography

Manali is located at [show location on an interactive map] 32°10′N 77°06′E / 32.16, 77.1[1]. It has an average elevation of 2625 metres (8612 feet).

[edit] Demographics

As of 2001 India census[2], Manali had a population of 6265. Males constitute 64% of the population and females 36%. Manali has an average literacy rate of 74%, higher than the national average of 59.5%: male literacy is 80%, and female literacy is 63%. In Manali, 9% of the population is under 6 years of age.

[edit] Etymology

Manali is named after the Brahmin lawgiver Manu. The word Manali literally means “the abode of Manu”. Legend has it that sage Manu stepped off his ark in Manali to recreate human life after a great flood had deluged the world. Manali is known as the "Valley of the Gods". The Old Manali village has an ancient temple dedicated to sage Manu.

[edit] History

In ancient times, the valley was sparsely populated by nomadic hunters known as "rakshas". The next arrivals were the shepherds who arrived from the Kangra valley and settled to take up agriculture. Some of the earliest inhabitants of the region are the 'naur' or 'nar', which is a caste unique to the Kullu valley. Only a few naur families are known to exist now. A naur family in the village Soyal near Haripur on the west bank of Manali was famous for the vast land they owned and their practice of having 'rakshas' as their labourers.

The British were responsible for introducing apples and trout which were not native to Manali. It is said that when apple trees were first planted the fruits were so plentiful that often branches, unable to bear the weight would collapse. To this day apple along with plum and pear remains the best source of income for the majority of its inhabitants.

Tourism in Manali received a real boost after the rise of militancy in Kashmir in the late 1980s. This once quiet village was transformed into a bustling town with hundreds of hotels and restaurants.

[edit] Transport

Mall street, Manali

Manali is well connected by road to Delhi through NH-21 which goes on the Leh and is the world's highest motorable road.[citation needed] Leading up to Manali from New Delhi are the towns of Panipat and Ambala in Haryana, Chandigarh(Union Territory), Ropar in Punjab, and Bilaspur, Sundernagar, and Mandi in Himachal.

Manali is not easily approachable by rail. The nearest broad gauge railheads are at Chandigarh (315 km), Pathankot (325 km) and Kalka (310 km). The nearest narrow gauge railhead is at Joginder Nagar (135 km)

The nearest airport is at Bhuntar, which is about 50 km from Manali. The only private airline in the region is Jagson Airlines. Offlate services have been started by Air Deccan as well as Indian Airlines who fly daily to Bhuntar Airport.

[edit] Tourism in Manali

Traditional home, Manali, 2004

River Beas and mountains as seen from Van Vihar

A view of Rohtang Pass in Manali

Mountain ranges in Manali

Bridge in the middle of town with prayer flags

Buddha Statue at Buddhist monastery

Image:Snowfallinmanali.JPG

A view of Circuit House Road covered in snow

[edit] Tourist Attractions

Manali is a popular Himalayan tourist destination and accounts for nearly a quarter of all tourist arrivals in Himachal Pradesh. It is visited by many trekkers who follow the hashish trail. Manali's charas is considered to be the best in India. The valleys provide natural U.V lights as fields are high up the mountain and high grade grows directly from the sunlight.ala. Manali's cool atmosphere provides a perfect haven for the ones afflicted by the hot Indian summers. It is famous for adventure sports like skiing, hiking, mountaineering, para gliding, rafting, trekking, kayaking, and mountain biking. It also offers hot springs, spectacular religious shrines and temples, Tibetan Buddhist temples, and trekking in the surrounding mountains.

Naggar Fort south of Manali is a reminder of the 1500 year old Pal Dynasty. Made from rocks, stones, and elaborate wood carvings, it is an ensemble of the rich and elegant artworks of Himachal. The castle was later converted to a rest house and luxury hotel. Tourists often stop at the castle to see the small shrine located in the building's courtyard, a fine example of architecture and design from the Pal Dynasty.

The often visited site in Manali is the Dhungri or Hadimba Temple. Erected in 1533, this temple is dedicated to the local deity Hadimba, wife of the Pandava prince, Bhim. A major festival is held here in the month of May. The temple is noted for its four-storeyed pagoda and exquisite wooden carvings.

Manali is known for its shiny gompas or Buddhist monasteries. With the highest concentration of Tibetan refugees in the entire Kullu valley, it is famous for its Gadhan Thekchhokling Gompa, built in 1969. The monastery is maintained by donations from the local community and through the sale of hand-woven carpets in the temple workshop

The smaller and more modern Himalayan Nyingamapa Gompa stands nearer the bazaar, in a garden blooming with sunflowers. Its main shrine, lit by dozens of electric bulbs and fragrant with Tibetan incense, houses a colossal gold-faced Buddha, best viewed from the small room on the first floor.

The Museum of Traditional Himachal Culture, near the Hadimba temple, is worth a visit, which houses artifacts of folk art of the entire Kullu valley.

[edit] Places around Manali

Rohtang Pass, at an altitude of 13,050 feet above sea level, is another adventure tourist site where it can be cold even on a summer day. It is the highest point on the Manali-Keylong road and provides a wide panoramic view of mountains rising far above clouds, which is truly breath taking. Close by is a small lake called Dassaur Lake. Beas Kund, the source of river Beas, is also nearby. In winter, the road of Rothang Pass is closed.

Rahala waterfalls: About 16 km from Manali at the start of the climb to the Rohtang Pass, are the beautiful Rahalla Falls at an altitude of 2,501 m.

Monasteries: Manali is known for its shiny gompas or Buddhist monasteries. It is maintained by donations from the local community and by sale of hand-woven carpets in the temple workshop.

Rani Nala - 46 km from Manali, it is the glacier point where snow is available throughout the year.

Vashist Hot Water Springs and Temple: Around 3 km from Manali, across the Beas river is Vashist, a small village with natural sulphur springs. Modern bathhouses,now closed, due to a conflict with the elders of the village and Manali council. Vasistha [3] a sage narrated Yoga Vasishtha an ancient scripture to Rama. A unique and an extremely profound discourse, that provides innumerable insights and secrets to the inner world of consciousness. This extremely huge scripture covers all the topics that relate to the spiritual study of a seeker. Vaishisht, also boasts a pair of old stone temples, opposite each other above the main square. Dedicated to the local patron saint Vashista, the smaller of the two opens on to a partially covered courtyard, and is adorned with elaborate woodcarvings those lining the interior of the shrine, blackened by years of oil-lamp and incense smoke, are particularly fine. In this ornate quadrangle is the resting place of the local and transient sadhus, drinking chai, and smoking chillums with whoever will join them in reverence to The Lord Shiva and Guru Vashshist. The temple baths are separated into male and female and the water is often unbearably hot.

Solang valley, popularly known as Snow Point, is 13 km northwest of Manali and famous for its 300-meter ski lift. It is a picturesque spot and offers splendid views of glaciers and the snow-capped mountains. Jagatsukh, the former capital of Manali, is also an important spot.

At a distance of 3 km northwest of Manali is Old Manali, famous for its orchards and old guesthouses. There is ruined fort here by the name of Manaligarh. There is also the Manu Maharishi Temple, dedicated to sage Manu.

Manikaran: 85 km from Manali and 45 km from Kullu, lies in the Parvati Valley. Here icy cold waters of the Parvati river co-exist with hot-water springs side-by-side. The springs are known for their healing properties.

[edit] Adventure Sports

Skiing is a major pastime in Manali. Facilities for skiing are available at Solang Nullah (January-March) and Rohtang La (during summer). The Mountaineering Institute at Solang Nullah is a good training institute. Heli skiing is possible at the deep snowfields.

Skiing at Solang

The Mountaineering Institute and Allied Sports is about 3 km from the Mall and offers mountaineering and kayaking courses. Kayaking is possible on the Beas River.

There are several good hikes from Manali. The 12 km hike up the western banks of the Beas to the Solang Valley is noteworthy. Lama Dugh meadow is a 6 km hike up to the Manalsu Nala, west of Manali town.

For the best trekking expedition, take a trek from Solang Valley, on to Dhundhi and from there to Dussar lake and then onwards to Manali. This stretch will take you to places you would have only dreamt of. Pure, unadulterated adventure and fun. Be sure to have a good guide at your disposal who knows this area otherwise you would be lost forever. The trek would typically last for 5 days.

In the summers, several travel agencies organize paragliding on the slopes of the Solang Nullah. The charges generally include accommodation, food, equipment, and a guide, but not transport.

From May to July and, depending on the monsoons, from mid-September to mid-October, some basic rafting is possible on the Beas. The trips generally begin at Pirdi and continue 16 km down to Jhiri.

The HPTDC provides day permits for fishing. Permits can be obtained also at Patlikhul. Angling in the Kullu valley is possible at Larji, Katrain and Kasol.

Beas Kund is the lake from which the River Beas originates. It is considered holy and sacred. Besides being a holy pilgrimage place, it is a popular destination for trekking.

River Crossing over Beas is a popular sport in Manali

Manali is among the most popular adventure sports destinations in India. Manali offers opportunities for mountaineering, skiing, trekking, paragliding, white water rafting, river crossing and mountain biking. Yak skiing is a sport unique to this area.[4]. Manali also featured in Time magazine's "Best of Asia" for its "Extreme Yak Sports".[4]

The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). "Prof. A. Maiuri. The People Of Herculaneum - New Finds Reveal," The Times, Sep 29, 1932; p. 11. [2/3]. by Martin Conde

he Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). "Prof. A. Maiuri. The People Of Herculaneum - New Finds Reveal," The Times, Sep 29, 1932; p. 11. [2/3].

iPad Photographer by Dan Hill

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Relates to www.cityofsound.com/blog/2012/09/essay-21st-century-gestu...

Living room 1 by Sue Jones

relating to objection to planning application 14/03676/ADV

22-ភូមិល្ហុង by UNDP Climate

Photo credit: UNDP

Relates to the project 'Reducing the Vulnerability of Cambodian Rural Livelihoods through Enhanced Sub-National Climate Change Planning and Execution of Priority Actions' www.adaptation-undp.org/projects/reducing-vulnerability-c...

Octobre: je me souviens. by Michelle Héon

2 6

The flollowing photos relate to:

www.worldphotomontreal.com/eg/program/expo.html

The Fifth Season

The Fifth Season is the story of a 27 year old woman who meets a photographer. Christine learns she has breast cancer. Ladislas Kadyszewski loves trees. Together they will go on a voyage lasting four seasons. This celebration of life over death started late in the fall of 2006, as Christine's cancer was already making progress

by crazy_ass_dancer13

#teenager #post #relatable #tumblr #always #do #this #green #im #a #fearless #bastard #calling #your #parents #by #their #first #names #teens #lads #girls photo #hashtag

BT Relate 180 phone by Phil Gyford

Sorting through boxes. From around 1993.

[Lightening G17], 1033251 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 1890-1922.

The slide shows a cluster of electrical energy with radiating lighting strikes against a black background.

Inscription Details: Handwritten in blue ink in lower left corner of plate, 'G17'. VERSO: Printed text (in reverse) above and below image.

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

Rights: No known copyright restrictions.

Reference: 235964|PH-1984-1-LS78-3-35|17

For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033251

Energy Bill Signings by Governor Neil Abercrombie

HB811 (Relating to Energy Information Reporting) simplifies the registration and reporting process for fuel distributors. Part of the Governor's legislative package, the bill also amends Public Utilities Commission (PUC) responsibilities and powers in relation to energy industry information reporting and allows the state Department of Business, Economic Development, and Tourism to receive energy industry information.

HB1405 (Relating to the Public Utilities Commission) requires the PUC to include a summary of the power purchase agreements in effect during the fiscal year in its annual report to the Governor. It also expands the use of the public benefits fee to support clean energy technology, demand response technology, energy use reduction, and demand-side management infrastructure.

SB19 (Relating to Renewable Energy) removes barriers for landlords to invest in renewable energy and allows renters/tenants to benefit from lower energy costs. The bill also exempts landlords and lessors who install renewable energy systems on their property and provide, sell or transmit electricity generated from those systems to tenants or lessees.

HB1149 (Relating to Wind Energy Facilities) requires a wind energy facility owner to be responsible for facility decommissioning and provide evidence of financial security unless the owner has an existing lease or other agreement that provides for decommissioning. It also establishes standards and assurances of adequate financial resources to avoid abandoned or neglected wind energy facilities.

cámara de tele by vdevivienda

Gran cobertura mediática

Plato, Pico and Valley of the Alps [G119], 1033237 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 1890-1922.

The slide depicts an image of the surface of the moon. Details of a lunar mountain range and craters are visible. A particularly large crater (Plato) is visible in lower left corner.

Inscription Details: Handwritten in blue ink on the upper left corner of plate, 'G119'. Printed at bottom of plate, '12. Plato, Pico, and Valley of the Alps' Printed on plate in upper right corner, 'TRADE MARK'.

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

Rights: No known copyright restrictions.

Reference: 235978|PH-1984-1-LS78-3-49|119

For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033237

Milky Way around Cygni, 1894, 1033432 by Auckland Museum Commons

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This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), dated 8 March 1905.

The slide depicts a section of the Milky Way around the star system 61 Cygni. The edges of the plate are hand tinted blue.

Inscription Details: Handwritten in black ink on recto, top, "55". Cardinal points hand written in black ink on recto, top right. Handwritten in black ink on recto, bottom, "Milky Way around Cygni 1894. Exposure 9h 7m Wolfe Heidelberg". Hand written on top, right and left edges, "V. L." Handwritten on bottom edge "V. L. 55".

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

Rights: No known copyright restrictions.

Reference: 235781|PH-1984-1-LS78-2-5|55

For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033432

Entrevistas Diversas by Agência Senado

Relator-geral do Orçamento de 2023, senador Marcelo Castro (MDB-PI), concede entrevista.

Foto: Roque de Sá/Agência Senado

Relator con Monitores Participación Ciudadana by Fonasa Chile

"Inter-relate" by cynthia korzekwa

weaving strips of fabric in and out.....

Tablet relating to former almshouses, Tarporley 100310 pictures downloaded 110310 001 by Leslie Platt

The tablet and plaque refer to there being on this site 4 almshouses which were built in 1704. They were endowed by Sir John Crewe and left in trust to St Helen's Church, Tarporley.

視察將軍澳環保大道回收場 Visit to waste recycling yards in Wan Po Road, Tseung Kwan O (2017.05.13) by 立法會 Legislative Council

立法會議員視察將軍澳環保大道回收場，以跟進一宗有關該回收場對附近居民造成滋擾的申訴個案

立法会议员视察将军澳环保大道回收场，以跟进一宗有关该回收场对附近居民造成滋扰的申诉个案

LegCo Members visit the waste recycling yards in Wan Po Road, Tseung Kwan O to follow up on a complaint relating to the nuisance caused by the waste recycling yards to nearby residents (2017.05.13)

Rachel Reeves MP relates by Gary and Lisa

Crewe Depot by David Brown

Scanned from an album I've had since the early 1980's. If you have any information relating to this photo, please feel free to leave a comment. Thank you.

School Reward Card (1905) - Constable Painting by pepandtim

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The Reward Card

An Edwardian School reward card. On the back is printed and hand-written:

'Norfolk Education Committee.

Wymondham Infants' School.

This card is awarded to:

William Woods

For punctual and regular

attendance during the school

quarter ended:

June 30th. 1905.

C. Smith, Head Teacher.'

Information relating to John Constable is also printed on the back of the card:

'The son of a well-to-do landowner and miller, John

Constable was born at East Bergholt, Suffolk in 1776.

Contrary to the practice at that time, he resolved

"...to adopt a pure and unaffected manner of

representing the scenes that may employ me;"

As a result he was nearly forty before he sold a

single landscape beyond the circle of his friends,

though now his paintings are most valuable.

In 1821 his "Hay-Wain," now in the National Gallery,

was exhibited in the Paris Salon, and won him the

best artistic triumph of his life.

The "White Horse" and "Salisbury Cathedral From

The Meadows," now in South Kensington Museum,

are other notable examples of his skill.

In 1829 he was elected an R.A., and died in 1837.'

The Cornfield

Although it doesn't say so, the painting on the front of the card is the The Cornfield, painted in 1826.

The Cornfield is a fine example of John Constable’s landscape paintings. In exquisite detail, it portrays a boy and his dog herding sheep down a rustic country road, as the boy stops to drink from a stream.

Constable said “I should paint my own places best”, and it was a statement that certainly influenced his art throughout his life. He painted many landscapes over his career such as The Hay Wain, Hadleigh Castle, and Salisbury Cathedral.

Constable’s landscapes are considered some of the first from the Romantic period which drew inspiration directly from nature, rather than an idealized, emotional portrayal.

His attention to detail was so specific, and so scientific, that he would spend hours studying the clouds in the sky in order to ensure that he could paint them with the greatest accuracy.

Although he shared some ideals with Impressionists – namely, evoking emotion through an artwork and painting en plein air – his works recalled more nostalgic memories, and he took certain artistic liberties in order to portray the scenes as he recalled them from his youth.

At a time when brushstrokes were ideally small and refined, Constable rebelled against this line of thought with canvases that were textured with a range of surfaces and marks. He believed that this was one way he could reflect the different textures he saw in nature.

Not just confining himself to a paintbrush, he also used palette knives to create different textures in his paintings. He was also known for using a technique that became known as “Constable’s snow”, described by art historian Sarah Cove as:

"The finishing technique Constable

developed to depict fleeting effects

of light, movement and texture.”

Constable stated that he used the technique in an attempt to portray the “dewy freshness” he wanted to show in his landscapes.

Constable hoped that The Cornfield would sell quickly, remarking in a letter to a friend that:

“It has certainly got a little more

eye-salve than I usually condescend

to give them.”

It was indeed well-received when it was first exhibited, though it failed to find a buyer. The painting depicts a tranquil trail leading to a cornfield, with a dog herding sheep along the road. To the left of the painting we can see a young boy drinking from the stream – Constable had originally called the artwork The Drinking Boy.

The colours in The Cornfield are similar to the natural, calming palette used by Constable in the majority of his work, with the exception being the splash of bright red used for the boy’s coat that draws the viewer’s eye to the left of the piece.

Green is the dominant color used in the painting, creating a serene, lush landscape.

It is generally believed that The Cornfield portrays a field on the Essex-Suffolk border, Fen Lane being the most likely setting. As a boy, Constable often walked along the lane from his home in East Bergholt to his school in Dedham.

However it is suggested that Constable also took inspiration from a number of different landscape for the painting..

The church in the background, for example, did not exist in this spot, but was added to the painting by Constable in order to enhance the sedate, peaceful feelings provoked by the piece.

Although he may have taken certain artistic licence with the piece, Constable still used his renowned attention to detail, consulting with naturalist Henry Philips to ensure that the plants he painted in The Cornfield were all accurate for the setting and time period.

The painting was displayed alongside these lines from 'Summer' by James Thomson:

“A fresher gale begins to wave the

woods and stir the streams

Sweeping with shadowy gusts the

fields of corn”.

The Cornfield is now displayed in London’s National Gallery.

In the summer of 2023, John Constable's 'The Cornfield' went on tour, popping up in unexpected places on high streets across England.

Surprising and delighting visitors in shopping centres and community spaces, the painting visited the Isle of Wight, Essex, Tyne and Wear, the West Midlands and Croydon.

Visitors were able to see this much-loved painting up-close in their hometowns and enjoy performances and activities, including street art, songs, dances, poems, and special sensory experiences, which were delivered in partnership with local organisations.

John Constable

John Constable RA, who was born on the 11th. June 1776, was an English landscape painter in the Romantic tradition. Born in Suffolk, he is known principally for revolutionising the genre of landscape painting with his pictures of Dedham Vale, the area surrounding his home – now known as "Constable Country" – which he invested with an intensity of affection.

In 1821 he wrote to his friend John Fisher:

"I should paint my own places best.

Painting is but another word for feeling".

Constable's most famous paintings include Wivenhoe Park (1816), Dedham Vale (1828) and The Hay Wain (1821).

Although John's paintings are now among the most popular and valuable in British art, he was never financially successful. He was elected to the Royal Academy of Arts at the age of 52.

His work was embraced in France, where he sold more than in his native England, and where he inspired the Barbizon school.

-- John Constable - The Early Years

John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann (Watts) Constable. His father was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill in Essex.

Golding Constable owned a small ship, The Telegraph, which he moored at Mistley on the Stour estuary, and used to transport corn to London.

Although Constable was his parents' second son, his older brother was intellectually disabled, and John was expected to succeed his father in the business. After a brief period at a boarding school in Lavenham, he was enrolled in a day school in Dedham, Essex.

John worked in the corn business after leaving school, but his younger brother Abram eventually took over the running of the mills.

In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk and Essex countryside, which was to become the subject of a large proportion of his art. He recalled:

"These scenes made me a painter,

and I am grateful. The sound of water

escaping from mill dams etc., willows,

old rotten planks, slimy posts, and

brickwork, I love such things."

He was introduced to George Beaumont, a collector, who showed him his prized Hagar and the Angel by Claude Lorrain, which inspired Constable. Later, while visiting relatives in Middlesex, he was introduced to the professional artist John Thomas Smith, who advised him on painting, but also urged him to remain in his father's business rather than take up art professionally.

In 1799, Constable persuaded his father to let him pursue a career in art, and Golding granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended life classes and anatomical dissections, and studied and copied old masters.

Among works that particularly inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci and Jacob van Ruisdael.

John also read widely among poetry and sermons, and later proved a notably articulate artist.

In 1802 he refused the position of drawing master at Great Marlow Military College (now Sandhurst), a move which Benjamin West (then master of the RA) counselled would mean the end of his career. In that year, Constable wrote a letter to John Dunthorne in which he spelled out his determination to become a professional landscape painter:

"For the last two years I have been running after

pictures, and seeking the truth at second hand...

I have not endeavoured to represent nature with

the same elevation of mind with which I set out,

but have rather tried to make my performances

look like the work of other men.

There is room enough for a natural painter. The

great vice of the present day is bravura, an

attempt to do something beyond the truth."

John's early style has many qualities associated with his mature work, including a freshness of light, colour and touch, and reveals the compositional influence of the old masters he had studied, notably of Claude Lorrain.

Constable's usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins.

By 1803, he was exhibiting paintings at the Royal Academy. In April he spent almost a month aboard the East Indiaman Coutts as it visited south-east ports while sailing from London to Deal before leaving for China.

In 1806 Constable undertook a two-month tour of the Lake District. He told his friend and biographer, Charles Leslie, that the solitude of the mountains oppressed his spirits, and Leslie wrote:

"His nature was peculiarly social, and could not

feel satisfied with scenery, however grand in

itself, that did not abound in human associations.

He required villages, churches, farmhouses and

cottages."

Constable adopted a routine of spending winter in London and painting at East Bergholt in the summer. In 1811 he first visited John Fisher and his family in Salisbury, a city whose cathedral and surrounding landscape were to inspire some of his greatest paintings.

To make ends meet, Constable took up portraiture, which he found dull, though he executed many fine portraits. He also painted occasional religious pictures but, according to John Walker:

"Constable's incapacity as a religious

painter cannot be overstated."

Another source of income was country house painting. In 1816, he was commissioned by Major-General Francis Slater Rebow to paint his country home, Wivenhoe Park, in Essex. The Major-General also commissioned a smaller painting of the fishing lodge in the grounds of Alresford Hall, which is now in the National Gallery of Victoria.

Constable used the money from these commissions to help pay for his wedding to Maria Bicknell. This period of Constable's painting is heavily populated with idyllic country scenes with heavy detail, notably his 1816 work The Wheat Field.

-- John Constable's Marriage

From 1809, his childhood friendship with Maria Elizabeth Bicknell developed into a deep, mutual love. Their marriage in 1816 when Constable was 40 was opposed by Maria's grandfather, Dr. Rhudde, rector of East Bergholt.

He considered the Constables his social inferiors, and threatened Maria with disinheritance. Maria's father, Charles Bicknell, solicitor to George IV and the Admiralty, was reluctant to see Maria throw away her inheritance.

Maria selflessly pointed out to John that a penniless marriage would detract from any chances he had of making a career in painting. Golding and Ann Constable, while approving the match, held out no prospect of supporting the marriage until Constable was financially secure.

However after his parents died in quick succession, Constable inherited a fifth share in the family business. This enabled John and Maria to wed in October 1816 at St. Martin-in-the-Fields (with Fisher officiating).

The ceremony was followed by time at Fisher's vicarage and a honeymoon tour of the south coast. The sea at Weymouth and Brighton stimulated Constable to develop new techniques of brilliant colour and vivacious brushwork. At the same time, a greater emotional range began to be expressed in his art.

While on honeymoon, Constable began to experiment with works exploring nature's grandeur, characterized by dominating skies, such as Osmington Bay.

-- Flatford Mill

Three weeks before their marriage, Constable revealed that he had started work on his most ambitious project to date. In a letter to Maria Bicknell he wrote:

’I am now in the midst of a large picture

here which I had contemplated for the

next exhibition."

The picture was Flatford Mill (Scene on a Navigable River). It was the largest canvas of a working scene on the River Stour that John had worked on to date, and the largest he would ever complete largely outdoors.

Constable was determined to paint on a larger scale, his objective not only to attract more attention at the Royal Academy exhibitions, but also to project his ideas about landscape on a scale more in keeping with the achievements of the classical landscape painters he so admired.

Although Flatford Mill failed to find a buyer when it was exhibited at the Royal Academy in 1817, its fine and intricate execution drew much praise, encouraging Constable to move on to the even larger canvases that were to follow.

-- The ‘Six-Footers’

Although he managed to scrape an income from painting, it was not until 1819 that Constable sold his first important canvas, The White Horse, described by Charles Robert Leslie as:

"On many accounts the most

important picture Constable

ever painted."

The painting (without the frame) sold for the substantial price of 100 guineas to his friend John Fisher, finally providing Constable with a level of financial freedom he had never before known.

The White Horse marked an important turning point in Constable’s career; its success saw him elected an associate of the Royal Academy, and it led to a series of six monumental landscapes depicting narratives on the River Stour known as the ‘six-footers’ (named for their scale).

The extraordinary size of the works helped Constable attract attention in the competitive space of the Academy's exhibitions. Viewed as "the knottiest and most forceful landscapes produced in 19th.-century Europe", for many they are the defining works of the artist's career.

The series also includes Stratford Mill, 1820 (National Gallery, London); The Hay Wain, 1821 (National Gallery, London); View on the Stour near Dedham, 1822 (Huntington Library and Art Gallery); The Lock, 1824 (Private Collection); and The Leaping Horse, 1825 (Royal Academy of Arts, London).

The following year, his second six-footer Stratford Mill was exhibited. The Examiner described it as having:

"... a more exact look of nature than

any picture we have ever seen by an

Englishman."

The painting was a success, acquiring a buyer in the loyal John Fisher, who purchased it for 100 guineas, a price he himself thought too low. Fisher bought the painting for his solicitor and friend, John Pern Tinney.

Tinney loved the painting so much, he offered Constable another 100 guineas to paint a companion picture, an offer the artist didn’t take up.

Constable's growing popularity in turn led to more lucrative commissions, such as Malvern Hall (1821, Clark Art Institute).

In 1821, John's most famous painting The Hay Wain was shown at the Royal Academy's exhibition. Although it failed to find a buyer, it was viewed by some important people of the time, including two Frenchmen, the artist Théodore Géricault and writer Charles Nodier.

According to the painter Eugène Delacroix, Géricault returned to France ’quite stunned‘ by Constable’s painting, while Nodier suggested French artists should also look to nature rather than relying on trips to Rome for inspiration.

The Hay Wain was eventually purchased, along with View on the Stour near Dedham, by the Anglo-French dealer John Arrowsmith, in 1824. A small painting of Yarmouth Jetty was added to the bargain by Constable, with the sale totalling £250.

Both paintings were exhibited at the Paris Salon that year, where they caused a sensation, with the Hay Wain being awarded a gold medal by Charles X. The Hay Wain was later acquired by the collector Henry Vaughan who donated it to the National Gallery in 1886.

Of Constable's colour, Delacroix wrote in his journal:

"What he says here about the

green of his meadows can be

applied to every tone".

Delacroix repainted the background of his 1824 Massacre de Scio after seeing the Constables at Arrowsmith's Gallery, which he said had done him a great deal of good.

A number of distractions meant that The Lock (1824) wasn't finished in time for the 1823 exhibition, leaving the much smaller Salisbury Cathedral from the Bishop's Grounds as the artist's main entry. This may have occurred after Fisher forwarded Constable the money for the painting.

This both helped John out of a financial difficulty and nudged him along to get the painting done. The Lock was therefore exhibited the following year to more fanfare and sold for 150 guineas on the first day of the exhibition, the only Constable ever to do so.

The Lock is the only upright landscape of the Stour series, and the only six-footer that Constable painted more than one version of. A second version, now known as the ‘Foster version,’ was painted in 1825, and kept by the artist to send to exhibitions.

A third, landscape version, known as ‘A Boat Passing a Lock’ (1826) is now in the collection of the Royal Academy of Arts. Constable’s final attempt, The Leaping Horse, was the only six-footer from the Stour series that didn’t sell in Constable’s lifetime.

-- John Constable - The Later Years

Constable’s pleasure at his own success was dampened after his wife started displaying symptoms of tuberculosis. Her growing illness meant that Constable took lodgings for his family in Brighton from 1824 until 1828, hoping that the sea air would restore her health.

During this period Constable split his time between Charlotte Street in London and Brighton. This change saw Constable move away from large scale Stour scenes in favour of coastal scenes. He continued painting six-foot canvases, although he was initially unsure of the suitability of Brighton as a subject for painting. In a letter to Fisher in 1824 he wrote:

"The magnificence of the sea, and its (to use

your own beautiful expression) everlasting

voice, is drowned in the din & lost in the

tumult of stage coaches - gigs - “flys” etc.,

and the beach is only Piccadilly (that part of it

where we dined) by the sea-side."

In his lifetime, Constable sold only 20 paintings in England, but in France he sold more than 20 in just a few years. Despite this, he refused all invitations to travel internationally to promote his work, writing to Francis Darby:

"I would rather be a poor man in

England than a rich man abroad."

In 1825, perhaps due partly to the worry of his wife's ill-health, the uncongeniality of living in Brighton ("Piccadilly by the seaside"), and the pressure of numerous outstanding commissions, he quarreled with Arrowsmith and lost his French outlet.

Chain Pier, Brighton was his only ambitious six-foot painting of a Brighton subject; it was exhibited in 1827. The Constables persevered in Brighton for five years to aid Maria’s health, but to no avail.

After the birth of their seventh child in January 1828, they returned to Hampstead where Maria died on the 23rd. November at the age of 41. Intensely saddened, Constable wrote to his brother Golding:

"Hourly do I feel the loss of my departed

Angel — God only knows how my children

will be brought up ... the face of the World

is totally changed to me".

Thereafter, he dressed in black and was, according to Leslie:

"A prey to melancholy and anxious thoughts".

He cared for his seven children alone for the rest of his life. The children were John Charles, Maria Louisa, Charles Golding, Isobel, Emma, Alfred, and Lionel.

Only Charles Golding Constable produced offspring.

Several of Constable's children also painted, notably his son Lionel. While Lionel eventually gave up painting for photography, several of his works are within the collection of the Clark Art Institute.

Shortly before Maria died, her father had also died, leaving her £20,000. Constable speculated disastrously with the money, paying for the engraving of several mezzotints of some of his landscapes in preparation for a publication.

He was hesitant and indecisive, nearly fell out with his engraver, and when the folios were published, could not interest enough subscribers. Constable collaborated closely with mezzotinter David Lucas on 40 prints after his landscapes, one of which went through 13 proof stages, corrected by Constable in pencil and paint. Constable said:

"Lucas showed me to the public

without my faults."

However the venture was not a financial success.

This period saw John's art move from the serenity of its earlier phase to a more broken and accented style. The turmoil and distress of his mind is clearly seen in his later six-foot masterpieces Hadleigh Castle (1829) and Salisbury Cathedral from the Meadows (1831), which are amongst his most expressive pieces.

John was elected to the Royal Academy in February 1829, at the age of 52. In 1831 he was appointed Visitor at the Royal Academy, where he seems to have been popular with the students.

He began to deliver public lectures on the history of landscape painting, which were attended by distinguished audiences. In a series of lectures at the Royal Institution, Constable proposed a three-fold thesis: firstly, landscape painting is scientific as well as poetic; secondly, the imagination cannot alone produce art to bear comparison with reality; and thirdly, no great painter was ever self-taught.

John also spoke against the new Gothic Revival movement, which he considered mere "imitation".

In 1835, his last lecture to students of the Royal Academy, in which he praised Raphael and called the Academy the "cradle of British art", was "cheered most heartily".

John died at the age of 60 on the night of the 31st. March 1837, apparently from heart failure, and was buried with Maria in the graveyard of St John-at-Hampstead Church in London. (His children John Charles Constable and Charles Golding Constable are also buried in this family tomb.)

-- John Constable's Art

Constable quietly rebelled against the artistic culture that taught artists to use their imagination to compose their pictures rather than nature itself. He told Leslie:

"When I sit down to make a sketch from

nature, the first thing I try to do is to forget

that I have ever seen a picture".

Constable attributed his gift "to all that lay on the Stour river", however, biographer Anthony Bailey attributed his artistic development to the influence of his well-to-do relative, Thomas Allen and the London contacts to whom he introduced Constable.

Although Constable produced paintings throughout his life for the "finished" picture market of patrons and R.A. exhibitions, constant refreshment in the form of on-the-spot studies was essential to his working method. He was never satisfied with following a formula.

John wrote:

"The world is wide, no two days are alike,

nor even two hours; neither were there

ever two leaves of a tree alike since the

creation of all the world; and the genuine

productions of art, like those of nature,

are all distinct from each other."

Constable painted many full-scale preliminary sketches of his landscapes in order to test the composition in advance of finished pictures. These large sketches, with their free and vigorous brushwork, were revolutionary at the time, and they continue to interest artists, scholars and the general public.

The oil sketches of The Leaping Horse and The Hay Wain convey a vigour and expressiveness missing from Constable's finished paintings of the same subjects. Possibly more than any other aspect of Constable's work, the oil sketches reveal him in retrospect to have been an avant-garde painter, one who demonstrated that landscape painting could be taken in a totally new direction.

Constable's watercolours were also remarkably free for their time: the almost mystical Stonehenge, 1835, with its double rainbow, is often considered to be one of the greatest watercolours ever painted.

When he exhibited it in 1836, Constable appended a text to the title:

"The mysterious monument of Stonehenge, standing

remote on a bare and boundless heath, as much

unconnected with the events of past ages as it is

with the uses of the present, carries you back

beyond all historical records into the obscurity of a

totally unknown period."

In addition to the full-scale oil sketches, Constable completed numerous observational studies of landscapes and clouds, determined to become more scientific in his recording of atmospheric conditions.

The power of his physical effects was sometimes apparent even in the full-scale paintings which he exhibited in London; The Chain Pier, 1827, for example, prompted a critic to write:

"The atmosphere possesses a characteristic

humidity about it, that almost imparts the wish

for an umbrella".

The sketches themselves were the first ever done in oils directly from the subject in the open air, with the notable exception of the oil sketches Pierre-Henri de Valenciennes made in Rome around 1780.

To convey the effects of light and movement, Constable used broken brushstrokes, often in small touches, which he scumbled over lighter passages, creating an impression of sparkling light enveloping the entire landscape.

One of the most expressionistic and powerful of all his studies is Seascape Study with Rain Cloud, painted about 1824 at Brighton, which captures with slashing dark brushstrokes the immediacy of an exploding cumulus shower at sea.

Constable also became interested in painting rainbow effects, for example in Salisbury Cathedral from the Meadows, 1831, and in Cottage at East Bergholt, 1833.

To the sky studies he added notes, often on the back of the sketches, of the prevailing weather conditions, direction of light, and time of day, believing that:

"The sky is the key note, the standard of

scale, and the chief organ of sentiment in

a landscape painting."

In this habit he is known to have been influenced by the pioneering work of the meteorologist Luke Howard on the classification of clouds; Constable's annotations of his own copy of Researches About Atmospheric Phaenomena by Thomas Forster show him to have been fully abreast of meteorological terminology.

Constable wrote to Fisher on the 23rd. October 1821:

"I have done a good deal of skying.

I am determined to conquer all

difficulties, and that most arduous

one among the rest".

Constable once wrote in a letter to Leslie:

"My limited and abstracted art is to be

found under every hedge, and in every

lane, and therefore nobody thinks it

worth picking up".

He could never have imagined how influential his honest techniques would turn out to be. Constable's art inspired not only contemporaries like Géricault and Delacroix, but the Barbizon School, and the French impressionists of the late nineteenth century.

In 2019 two drawings by Constable were found among the possessions of the late playwright and poet, Christopher Fry; the drawings later sold for £60,000 and £32,000 at auction.

Albert Einstein

So what else happened on the day that the reward card was written?

Well, on Friday the 30th. June 1905, Albert Einstein submitted for publication his paper "On the Electrodynamics of Moving Bodies", establishing his theory of special relativity.

His paper was published on the 26th. September 1905.

John Van Ryn

The day also marked the birth, in Newport News, Virginia, of the American tennis champion John Van Ryn.

John was Grand Slam doubles champion at Wimbledon (1929-1931), the French Open (1931) and the U.S. Open (1931, 1935).

John died in Palm Beach, Florida at the age of 94 on the 7th. August 1999.

John died in 1999.

Nestor Paiva

Also born on the 30th. June 1905, in Fresno, California, was the American TV and film actor Nestor Paiva.

Nestor Paiva was an American stage, radio, film and television actor of Portuguese descent. He performed in over 400 motion pictures either as an extra, a bit player, or as a significant supporting character.

He also appeared in such roles in a variety of television series produced during the 1950's and early 1960's.

Among his notable screen appearances is his recurring role as the innkeeper Teo Gonzales in Walt Disney's late 1950's televised Spanish Western series Zorro, as well as in its adapted theatrical release The Sign of Zorro (1958).

Paiva also appears as the boat captain Lucas in the Creature from the Black Lagoon (1954) and in that horror film's sequel Revenge of the Creature (1955).

Paiva married Maxine Yvette Kurtzman in Clark, Nevada in January 1941. The couple had two children, Joseph and Caetana, both of whom performed with their father in the 1956 film Comanche starring Dana Andrews.

A decade later, on the 9th. September 1966 at a hospital in Sherman Oaks, Nestor died of cancer. He was 61 years of age when he died.

E_140206_Clinical_Bench_Research_0025 by Bates College Photography

BCDC Landing a job in Clinical and Bench Research, February 6, 2014 from 5:30-6:30pm, Commons 226. Interested in a JOB doing research relating to Depression, Cancer, Surgical ICU’s, Neuroscience or Endocrinology? 5 alums are coming to campus to talk about their jobs. 2 of them will be leaving their positions for graduate and medical school. Those jobs will be open in early summer… Come hear about them!! Refreshments: Pizza will be provided Chris Calahan ’12 Clinical Research — Surgical ICU doing Translational Research Brigham and Women’s Hospital Abby King ’12 Clinical Research — endocrine department on a few different projects focusing on preventative and therapeutic options for people with high blood pressure Brigham and Women’s Hospital Adrienne Jaeger ’13 Clinical Research MGH: Depression Clinical and Research Program Colin O’Leary ’13 Bench Research Dana Farber Cancer Center Sam Landino ’13 Neuroscience Bench Research McLean Hospital

AIRL_INTERVIEW-PAGE-110 by ⵔᙁᴥꖴᗩⵔᗩꖴᴥᙁⵔ

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Bangor RFC V Dundalk RFC Irish Junior Cup Final 31st January 2015 digging in 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.

06_22_18-020208 by Terry Ross

Counter-protest against Westboro Baptist Church/Phelps clan protest relating to the recent death of three sailors from HM15 Blackhawks, a mine countermeasures unit.. Their Sea Dragon helicopter crashed near Corpus Christi a couple of weeks ago.

Finalized Research Question 4 by Alex Uballe

This image relates to my research question "Can you tell a person's sexuality by their clothes?" because this is a man dressed for a special occasion, by he would be viewed as gay because he has a lot of bright colored patterns on at the same time and a floral print bow tie. Speaking from personal experience, I have worn a similar outfit to my high school once and I over heard someone say how gay I looked, even though I thought I was just dressed up I someone looked the part of being gay without even knowing it apparently. Something as simple as the pattern on your tie can label you as gay or straight and that does not sit well with me.

~ the X factor ~ by Mac Evans

1 4

this one relates to an art term , where the eye is lead to a central point ( though the eye goes to a point just above the car - a white square - )

View of the rainforest near Kapawi, Pastaza by Heather Cowper

This photo relates to my blog posts on Ecuador

www.heatheronhertravels.com/category/world/ecuador/

www.sarayaku.com/

Realtors Care Day 2023 by Charlotte Housing and Neighborhood Services

Every year, Realtors® Care Day offers a helping hand to homeowners in need by providing exterior home repairs and adaptive safety modifications. Regional Habitat for Humanity chapters, the City of Charlotte, and other housing partners identify homeowners who qualify for the program.

Last month, realtors and City of Charlotte Code Enforcement volunteers joined forces to make a meaningful difference in Charlotte neighborhoods. They performed various tasks such as cleaning gutters, landscaping, repairing stairs, and enhancing exterior areas. We express our gratitude for their hard work and dedication.

Relatable. Happy Friday. (: by Egle

Prei by UNDP Climate

Photo credit: UNDP

Relates to the project 'Reducing the Vulnerability of Cambodian Rural Livelihoods through Enhanced Sub-National Climate Change Planning and Execution of Priority Actions' www.adaptation-undp.org/projects/reducing-vulnerability-c...

Attack the attack run 5 by Pete & Jeanette

Blog relating to this story .... peterjemmett.blogspot.com/2020/08/heart-attack-to-10k-par...

HB 178 and HB 1207 by Governor Neil Abercrombie

HB 178 Relating to Continuing Education

Requires licensed social workers to complete a minimum of 15 credit hours of continuing education courses for the licensing renewal period beginning July 1, 2013, through June 30, 2016, and 45 credit hours of continuing education courses during each licensing renewal period, for the period beginning July 1, 2016, and thereafter.

HB 1207 Relating to Human Services

Requires Department of Human Services to submit to the Legislature interim reports on program integrity prior to 2015 and 2016 Regular Sessions and a final report prior to 2017 Regular Session on its compliance with the federal Patient Protection and Affordable Care Act of 2010 as it relates to Medicaid. Effective July 1, 2014.

Bangor RFC V Dundalk RFC Irish Junior Cup Final 31st January 2015 touching distance by John Mooney