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This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), likely dating between 1890s-1920s.
The slide shows text inscribed on black background, "Every one that really thinks must be a "spiritualist" on the one hand and a "theosophist" on the other ; in the highest and noblest meanings of those terms.".
Inscription Details: Handwritten in blue ink on recto, bottom left corner, "U2A".
Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.
Rights: No known copyright restrictions.
Reference: 235932|PH-1984-1-LS78-4-77|U2A
For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033282
HB632 (Relating to Open Data) requires state departments to make electronic data sets available to the public. The bill also requires the chief information officer (CIO) to develop policies and procedures to implement the Open Data Initiative, and appropriates $100,000 each fiscal year of the biennium to Office of Information Practices (OIP).
HB635 (Relating to Broadband) requires the state and counties to take action in advancing the Hawaii Broadband Initiative within 60 days (for conservation districts, the state must take action within 145 days). The initiative's goal is to provide ultra high-speed Internet access by 2018, and this clear and decisive timeline will reduce uncertainty for broadband companies and serve as an incentive to invest in increased bandwidth.
SB1003 (Relating to Information Technology), another of the administration's bills, authorizes the CIO to conduct security audits and direct remedial actions, as necessary, in the management of the state's cyber security.
There is some confusion relating to this photograph? Researching for details of this lady kept bringing me back to Betty White, hence the details below but I make no claims the photo is an early shot of Betty White?
Betty White, is an American actress, comedian, singer, author, producer and television personality. In 2013, the Guinness World Records awarded White with having the longest television career for a female entertainer. To contemporary audiences, White is best known for her television roles as Sue Ann Niven's on 'The Mary Tyler Moore Show' (1973–77) and Rose Nylund on 'The Golden Girls' (1985–92).
White is regarded as a pioneer of American television for being one of the first women to have creative control in front of and behind the camera, she is also noted for being the first woman to produce a sitcom which contributed to her receiving the honorary title as the Mayor of Hollywood in 1955. In a career that has spanned over 70 years, Betty has gone on to win seven Emmy Awards (six for acting), receiving 21 Emmy nominations over her career, including being the first woman to receive an Emmy for game show hosting (for the short-lived Just Men!) and is the only woman to have won an Emmy in all performing comedic categories.
Wikipedia.
Part of a set of images relating to the Mass Trespass that took place at Pangdean Bottom in the Sussex downs on 24th July 2021.
www.instagram.com/landscapesoffreedom/
Part of a rich english tradition - see: Mass trespass of Kinder Scout
en.wikipedia.org/wiki/Mass_trespass_of_Kinder_Scout
The linoprint illustrations featured are by Nick Hayes:
www.instagram.com/nickhayesillustration/
folioart.co.uk/illustrator/nick-hayes/
The police were outnumbered by film crews and Radio 4!
#right2roam #righttoroam #freeroamers #masstrespass #access2land #accesstoland #linoprint #redkite #birdofprey #meatismurder #streetart #art #satire #landscapesoffreedom
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 ‘hitting the streets’ assignment because i captured it while in an arts market in florence. while trying to take a photo of the cow sculpture by itself, an older man came along and pet the tip of its nose, creating this perfect photo.
21 October 2014 - President Kutesa addresses the opening of the general debate of the Assembly’s Special Political and Decolonization Committee (Fourth Committee) on questions relating to information. Mr. Kutesa is flanked by Maher Nasser (left), Acting Head of the Department of Public Information; and Durga Prasad Bhattarai, Permanent Representative of the Federal Democratic Republic of Nepal to the UN and Chairperson of the Fourth Committee.
UN Photo/Eskinder Debebe
Inspired by issues relating to climate change, Water Will Be Here imagines what it might feel like if sea levels rose to the point where cities found themselves underwater.
Water Will Be Here is a site-specific digital video installation that was presented as part of Scotiabank's 2012 Nuit Blanche Festival and was installed at the CICB building in downtown Toronto.
Relating to a discover of natural gas in Alberta, what it says there:
"CPR Langevin No. 1, Alberta's first natural gas discovery:
125 feet southwest of this location the first discovery of natural gas in what became the province of Alberta was made in December 1883 by the Canadian Pacific Railway while drilling for water.
On January 8, 1884 the gas ignited and the subsequent fire destroyed the rig.
Eight feet west of the original well site, the railway company drilled a second well in 1884 (CPR Langevin No. 2) from which gas was produced and piped to the company's buildings then located on the right of way, this second well thus became Alberta's first producing gas well, providing gas to railway company buildings for over 50 years."
en.wikipedia.org/wiki/Alderson%2C_Alberta
Road trip day! 12 hours of driving, covering 640 kilometres of southern Alberta scenery, not going to the usual places...
Image from 'A Lytell Geste of Robin Hode, with other ancient & modern ballads and songs relating to this celebrated yeoman. To which is prefixed his history and character, grounded upon other documents than those made use of by ... “Mister Ritson.” Edited by J. M. Gutch', 001726444
Author: HOOD, Robin.
Volume: 01
Page: 327
Year: 1847
Place: London
Publisher: Longman, Brown, Green & Longmans
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
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.
12 J. Robert Hillier relates the history of the Florence Bell Hillier Award.
The Women's College Club of Princeton-Annual College Scholarship Tea-May 16, 2013-Honoring Scholarship Winners and Their Families
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
立法會改善環境衞生及市容事宜小組委員會視察元朗垃圾收集及鼠患監察設施
立法会改善环境卫生及市容事宜小组委员会视察元朗垃圾收集及鼠患监察设施
LegCo Subcommittee on Issues Relating to the Improvement of Environmental Hygiene and Cityscape visits refuse collection and rodent surveillance facilities in Yuen Long (2021.04.26)
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
This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), dated 7 March 1905.
The slide shows an image depicting a circular yellow tinted shape with a black piece of paper in centre of plate.
Inscription Details: Handwritten in black ink at the top of the plate, 'Total Eclipse 1893'. Handwritten in black ink on white sticker placed in upper left and right corners of image, '9'. Handwritten in black ink on left side of plate, '..on 'blank' of 1889 [illegible]. Handwritten in blue ink on white sticker in lower left corner of plate, 'G 85'. Handwritten in black ink at bottom of plate, '...shed Hobart'. Handwritten in black ink on right side of plate, 'Lick [Sat?]'. Handwritten in black ink on the left , right, top and bottom ridges of plate, 'ECLIPSE 1893 (NEW C.L.W).
Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.
Rights: No known copyright restrictions.
Reference: 235977|PH-1984-1-LS78-3-48|85|9
For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033238
Annotated image indicating how an image could be tagged with comments relating to 'content'.
There could be numerous pictures on this theme. Equally, there could be numerous themes attached to this one picture.
Correspondence relating to the administration of the "Princess Victoria" Distress Fund and legal opinion about the possible amalgamation with the [London] Lord Mayor's National Flood and Tempest Distress Fund. 1953-55
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.
This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), likely dating between the 1890s and the 20th Century.
The slide shows a photograph of a painting or drawing depicting the full face of the moon. Craters and maria are visible in the image. 3/4 of plate is damaged.
Inscription Details: Handwritten in black ink on recto, top, "Moon as seen in N. Hemisphere". Handwritten in grey ink on recto, bottom, "From Proctor".
Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.
Rights: No known copyright restrictions.
Reference: 235784|PH-1984-1-LS78-2-8
For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033429
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.
Debate sobre a MP 651 no Senado Federal cujo o relator é o dep. Newton Lima (PT-SP.
Brasília, 02/set/2014
Foto:Gustavo Bezerra
Postcard
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
relates to Leeds TOTW
An insight into perceptions and often misperceptions regarding fragility and disabled people. Even gross misperceptions ie only in a wheelchair temporarily!
At closer inspection this lady appears to be suffering from an injured foot/leg but can be misperceived as having permanent disability from a distance!
Relator do PLP 18/2022, senador Fernando Bezerra Coelho (MDB-PE), concede entrevista.
O parlamentar fala sobre projeto que limita a cobrança de ICMS sobre combustíveis, telecomunicações e energia elétrica. Fernando Bezerra fez a leitura, em plenário, do relatório do PLP 18/2022. Duas propostas de Emenda à Constituição sobre combustíveis e biocombustíveis devem ser apresentadas.
Foto: Roque de Sá/Agência Senado
PM Dr Ngirente presented before Rwanda parliament, Government of Rwanda achievements relating to ICT in the knowledge-based economy | Kigali, 2 December 2019
December 8th 2011, Alexis Campisi's room in New York City,looking for old notes relating to psychology
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
Postcard FTP01316_23
Postcard
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
Research technician, Sydney Acton, works under the hood completing experiments for Dr. Jeff Krause relating to radio isotopes.
Can you relate to the feeling of waking up every morning on a weekday, with a calculation of number of days remaining for the Saturday to arrive? Well, I guess it is the only motivation to leave the bed and get ready for a hectic day at office. Oh! How we love weekends and how carefully we plan them so that none of it goes waste, even if it includes sleeping. Many of us also like to bid goodbye to Delhi over the weekend to explore new places around it. While, some escape to closeby places to spend a weekend in a cool resort that gives ample time to relax and indulge in different activities. I kind of like this thought and so does Tour My India, of exiting Delhi on weekends and also the idea of not going really far from the city but far enough so that the hustle and bustle fades away. That is why we thought of coming up with a blog about top resorts that make great weekend options from Delhi. resorts.neardelhi.in/
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.
The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). "Digging Resumed At Pompeii Ambitious Five-Year Plan." The Times, Nov. 7, 1951. p. 3.
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I cannot find any information relating to this cluster of statues in Kings Inns Park in Dublin. A local informed me that they were part of a film set for the film "Moonfleet" and that could be true as the area around Henrietta Street current features in many films as well as BBC TV dramas. I did read in a local newspaper that a 300 year old statue was destroyed by accident in 2012 during the production of a series about Jack the Ripper
The first accounts relating to Meleto date back to the eleventh century, at which time it was a property of the Benedictine monks. Subsequently it became the property of a certain “Guardellotto”, a member of a local feudal family, whom Frederick I Barbarossa dispossessed of his properties, giving them to the Ricasoli-Firidolfi family.
The family branch of Firidolfi da Meleto originated here. The name “Meleto in Chianti” was first included in the “Libro degli Estimi” (Book of surveying) of the Florentine Guelphs as property of Firidolfi family in 1256.
Its location, set between the Republics of Siena and Florence, ensured that the Castle was the background of many wars between the Guelphs and the Ghibellines, one of which was the second Aragonese invasion of Chianti in 1478 when it was occupied by enemy troops, and during the Medici War, in 1529, when it was besieged by the Senesi militia. For more information, see: www.castellomeleto.it/eng/castle/historical-background.php