Portrait Classics - COMPETITIONS to resume soon - Members Only
View allAll Photos Tagged Resume
Milwaukee Road eastbound "Morning Hiawatha" heads south after backing down from a detour on the C&NW, resulting from a Milwaukee Road wreck at Caledonia. The detour was on C&NW's "New Line" Subdivision, that crossed above the Milwaukee about a mile behind me, and this train had backed down from that route on the "dump track" behind the pilot of the lead unit; now the Hi could resume its normal routing into Chicago. This move was controlled by the operator in Tower A-20 behind me. It appears that the op backed him through the crossover onto the northward main before proceeding south on the usual southward main. Possibly the dispatcher wanted to keep clear signals as far as possible - to Tower A-20 - for a southward commuter train that would follow the Hi down into Duh Big City.
FR – 28 mars 2007 14h43 – Foucaucourt-sur-Thabas (Meuse) – Km 200,5 LGV Est-Européenne
C’était un record du monde du freinage, mais un record tout à fait involontaire.
Vers le km 207, un flasque en résine fixé sur une roue instrumentée pour protéger les capteurs de contraintes s’est détaché alors que la V150 roulait à 506 km/h, en cours d’accélération. Une fois détaché, le flasque, surnommé « frisbee » s’est cassé en morceaux, les débris ont rebondi sur le ballast, ce qui a fait voler des cailloux du ballast, provoquant quelques dégâts mineurs. Une vitre d’une remorque (R1) s’est cassée, mais, surtout, la conduite générale de frein a été coupée, ce qui a déclenché un freinage d’urgence.
La température des disques de frein mesurée sur le bogie porteur de la remorque R8 est montée jusqu’à 650°C mais le freinage s’est bien passé. Le train s’est arrêté en 16,8 km au PK 191.
La rame de servitude TGV POS 4404 est venue se positionner derrière la V150 pour s’y raccorder et l’ensemble est rentré à Paris. De retour au Technicentre de Pantin, les réparations toute la nuit ont permis à la V150 de reprendre ses essais dès le lendemain. Bien entendu, tous les « frisbees » ont été enlevés.
- - - - - - - - - - - -
EN – 28 March 2007 14:43 – Foucaucourt-sur-Thabas – Km 200.5 East-European HSL
It was a world record in braking, albeit an entirely unintended one.
At around km 207, a composite flange fitted to an instrumented wheel intended to protect strain gauges became detached while the V150 was accelerating through 506 km/h (314.4 mph).
Once loose, the component, nicknamed the “frisbee”, fragmented, its debris bouncing off the ballast and sending stones flying, causing minor damage. A window in one of the intermediate trailers (R1) was shattered, but more significantly, the main brake pipe was severed, triggering an emergency brake application.
Brake disc temperatures recorded on the carrying bogie of trailer R8 rose to 650°C, yet the braking performance remained fully under control. The train came to a stand after 16.8 km, at km 191.
The support trainset, TGV POS 4404, was then brought up behind and coupled to the V150, and the combined consist returned to Paris. Back at the Pantin Technicentre, overnight repairs enabled testing to resume the following day. Unsurprisingly, all remaining “frisbees” were promptly removed.
© Jean-Marc Frybourg – 070328-2159
Merci de ne pas partager ni publier ailleurs sans l’autorisation de l’auteur. Tous droits réservés.
Please do not share or post elsewhere without permission from the photographer. All rights reserved.
While in the midst of this “wait a little longer” I am going to hush my incessantly worrying mind and harness opportunity. There is a “resume” button on the horizon. So here we go.
Time to press “resume” and move forward into this year with expectancy. Step into the future.
Do you need to recommence?
Sexto día • Sixth day
Pompeya, Anfiteatro - tarde • Pompeii, Amphitheatre - afternoon
Ya suponía que la visita a Pompeya iba a ser larga, así que había llenado la mochila de provisiones. Encontré un sitio maravilloso para comer algo, descansar e incluso cerrar los ojos un rato: debajo de un pino piñonero con sombra tupida y lejos de los visitantes. Las únicas sensaciones eran el olor a piñones y resina y los cantos de los pájaros... pero no quiero plagiar a Virgilio.
Con energías nuevas reanudo la visita y me encuentro con este cuadro. Un pino —no puedo dejar de pensar en Plinio el Joven: "como un pino" describió la columna de humo que ascendía del volcán—, el anfiteatro a la derecha y el cráter al fondo.
Hay una paz profunda en esta escena que no soy capaz de describir. Quizá esta era la vista de la que disfrutaban los pompeyanos aquella fatídica mañana del 24 de octubre del 79, segundos antes del cataclismo.
(De "Apuntes de Campania" - jmsdbg.com/campania)
________________________________________________
I already supposed the visit to Pompeii would be long, so I'd filled my rucksack with provisions. I found a marvellous spot to eat something, rest and even close my eyes for a while: beneath a stone pine with dense shade and far from visitors. The only sensations were the smell of pine nuts and resin and birdsong... but I don't want to plagiarise Virgil.
With renewed energy I resume the visit and encounter this scene. A pine—I can't stop thinking of Pliny the Younger: "like a pine" he described the column of smoke ascending from the volcano—the amphitheatre to the right and the crater in the background.
There's a deep peace in this scene I'm unable to describe. Perhaps this was the view the Pompeians enjoyed that fateful morning of 24th October 79 AD, seconds before the cataclysm.
(From "Notes from Campania" - jmsdbg.com/campania)
Back on the Moray Firth for a couple of days so thought it best to make the most of being by the sea again. Fortunately a brief spell of activity in between the calm meant that I was able to grab a couple of images that I was happy with. Here's the first.
After recrewing a quad of fresh Candian Pacific et44acs lead 181 through Nahant yard. Local railfan Jeff Toff gets some video of the train as they pass the south end of the yard.
As I was intently focused on the lead red-tail hawk as it soared overhead, boy was I surprised when his/her mate popped into the viewer. After a quick hello they resumed their separate soaring.
I read under our often-ideal conditions here in the foothills they'll fly at an altitude of 2 to 4,000 feet high. I love it when they just look like a kite floating way up there - no wing movements, no nothing.
They are also generally monogamous, with very strong pair bonding (unlike my hummingbirds, where the dudes' rape and run)
"Every time I see an adult on a bicycle, I no longer despair for the future of the human race.”
(H.G. Wells)
The Jerónimos Monastery or Hieronymites Monastery is a former monastery of the Order of Saint Jerome near the Tagus river in the parish of Belém, in the Lisbon Municipality, Portugal; it was secularised on 28 December 1833 by state decree and its ownership transferred to the charitable institution, Real Casa Pia de Lisboa.
The monastery is one of the most prominent examples of the Portuguese Late Gothic Manueline style of architecture in Lisbon. It was classified a UNESCO World Heritage Site, along with the nearby Tower of Belém, in 1983.
The Jerónimos Monastery replaced the church formerly existing in the same place, which was dedicated to Santa Maria de Belém and where the monks of the military-religious Order of Christ provided assistance to seafarers in transit. The harbour of Praia do Restelo was an advantageous spot for mariners, with a safe anchorage and protection from the winds, sought after by ships entering the mouth of the Tagus. The existing structure was inaugurated on the orders of Manuel I (1469–1521) at the courts of Montemor o Velho in 1495, as a final resting-place for members of the House of Aviz, in his belief that an Iberian dynastic kingdom would rule after his death. In 1496, King Manuel petitioned the Holy See for permission to construct a monastery at the site. The Hermitage of Restelo (Ermida do Restelo), as the church was known, was already in disrepair when Vasco da Gama and his men spent the night in prayer there before departing on their expedition to India in 1497.
The construction of the monastery and church began on 6 January 1501, and was completed 100 years later. King Manuel originally funded the project with money obtained from the Vintena da Pimenta, a 5 percent tax on commerce from Africa and the Orient, equivalent to 70 kilograms of gold per year, with the exception of those taxes collected on the importation of pepper, cinnamon and cloves, which went directly to the Crown. With the influx of such riches, the architects were not limited to small-scale plans, and resources already prescribed for the Monastery of Batalha, including the Aviz pantheon, were redirected to the project in Belém.
Manuel I selected the religious order of Hieronymite monks to occupy the monastery, whose role it was to pray for the King's eternal soul and to provide spiritual assistance to navigators and sailors who departed from the port of Restelo to discover lands around the world. This the monks did for over four centuries until 1833, when the religious orders were dissolved and the monastery was abandoned.
The monastery was designed in a manner that later became known as Manueline: a richly ornate architectural style with complex sculptural themes incorporating maritime elements and objects discovered during naval expeditions, carved in limestone. Diogo de Boitaca, the architect, pioneered this style in the Monastery of Jesus in Setúbal. Boitaca was responsible for drawing the plans and contracting work on the monastery, the sacristy, and the refectory. For its construction he used calcário de lioz, a gold-coloured limestone quarried from Ajuda, the valley of Alcántara, Laveiras, Rio Seco and Tercena. Boitaca was succeeded by the Spaniard Juan de Castilho, who took charge of construction around 1517. Castilho gradually moved from the Manueline to the Spanish Plateresque style, an ornamentation that included lavish decorations suggesting the decorative features of silverware (plata). The construction came to a halt when King Manuel I died in 1521.
Several sculptors left their mark on this building: Nicolau Chanterene added depth with his Renaissance themes, while the architect Diogo de Torralva resumed construction of the monastery in 1550, adding the main chapel, the choir, and completing the two stories of the monastery, using only Renaissance motifs. Diogo de Torralva's work was continued in 1571 by Jérôme de Rouen (also called Jerónimo de Ruão) who added some classical elements. The construction stopped in 1580 with the union of Spain and Portugal, as the building of the Escorial in Spain was now draining away all the allocated funds.
On 16 July 1604, Philip of Spain (who ruled after the Iberian Union) made the monastery a royal funerary monument, prohibiting anyone but the royal family and the Hieronymite monks from entering the building. A new portal was constructed in 1625, as well as the cloister door, the house of the doorkeepers, a staircase and a hall that was the entrance to the upper choir designed by the royal architect Teodósio Frias and executed by the mason Diogo Vaz. In 1640, the prior Bento de Siqueira ordered construction of the monastery's library, where books owned by the Infante Luís (son of King Manuel I) and others linked to the religious order were deposited.
With the restoration of Portuguese Independence in 1640, the monastery regained much of its former importance, becoming the burial place for the royal pantheon; within its walls four of the eight children of John IV of Portugal were entombed: the Infante Teodósio (1634–1653), the Infanta Joana (1636–1653), King Afonso VI (1643–1683) and Catarina de Bragança (1638–1705). In 1682 the body of Cardinal Henrique was buried in the transept chapels. On 29 September 1855, the body of King Afonso VI was transported to the royal pantheon of the House of Braganza in the Monastery of São Vicente de Fora, along with his three brothers and sister.
In 1663, the Brotherhood of the Senhor dos Passos occupied the old Chapel of Santo António, which was redecorated with a gold tiled ceiling in 1669, while the staircase frescos with the heraldry of Saint Jerome were completed in 1770. The retables were completed in 1709 and 1711, valuable alfaias were presented to the religious order, and the sacristy was redecorated in 1713. The painter Henrique Ferreira was commissioned in 1720 to paint the Kings of Portugal: the regal series was placed in the Sala dos Reis (Hall of the Kings). Henrique Ferreira was also commissioned to complete a series of nativity paintings.
The monastery withstood the 1755 Lisbon earthquake without much damage: only the balustrade and part of the high choir were ruined, but they were quickly repaired. On 28 December 1833, the Jerónimos Monastery was secularised by state decree and its title transferred to the Real Casa Pia de Lisboa to serve as a parochial church for the new civil parish of Santa Maria de Belém. Many of the artworks and treasures were either transferred to the crown or lost during this period. It was vacant most of the time and its condition began to deteriorate.
Restoration work began on the monastery after 1860, starting with the southern façade under supervision of the architect Rafael Silva e Castro, and in 1898 under Domingos Parente da Silva. Although the cloister cistern, internal clerical cells and the kitchen were demolished at this time, three reconstruction projects proposed by architect J. Colson, including the introduction of revivalist neo-Manueline elements, failed to gain the required approval. In 1863, architect Valentim José Correia was hired by the ombudsman of the Casa Pia, Eugénio de Almeida, to reorganise the second storey of the old dormitory and design the windows (1863–1865). He was subsequently replaced by Samuel Barret, who constructed the towers in the extreme western end of the dormitories. Similarly and inexplicably, Barret was replaced by the Italian scenery designers Rambois and Cinatti, who had worked on the design of the São Carlos Theatre, to continue the remodelling within the monastery in 1867. Between 1867 and 1868, they profoundly altered the annex and façade of the Church, which then appeared as it does today. They demolished the gallery and Hall of the Kings, constructed the towers of the eastern dormitory, the rose window of the upper choir and substituted the pyramid-shaped roof of the bell tower with the mitre-shaped design. The remodelling was delayed by the 1878 collapse of the central dormitory. After 1884, Raymundo Valladas began to contribute, initiating in 1886 the restoration of the cloister and the Sala do Capítulo, including construction of the vaulted ceiling. The tomb of Alexandre Herculano, designed by Eduardo Augusto da Silva, was placed in the Sala do Capítulo in 1888.
To celebrate the 1898 fourth centenary of the arrival of Vasco da Gama in India, it was decided to restore the tomb of the explorer in 1894. The tombs of Vasco da Gama and Luís de Camões, carved by the sculptor Costa Mota, were placed in the southern lateral chapel. A year later the monastery received the remains of the poet João de Deus, later joined by the tombs of Almeida Garret (1902), Sidónio Pais (1918), Guerra Junqueiro (1923) and Teófilo Braga (1924).
The Minister of Public Works opened a competition to finish the annex, which would serve as the National Museum of Industry and Commerce (Museu Nacional da Indústria e Comércio), but the project was canceled in 1899, and the Ethnological Museum of Portugal was installed.
Further remodelling of the monastery was begun in 1898 subsequent to the work done by Parente da Silva in 1895 on the central annex, now simplified, as well as restoration of the cadeirals (the chairs used by the clergy in religious services), which were completed in 1924 by sculptor Costa Mota. In 1938 the organ in the high choir was dismantled at the same time that a series of stained-glass windows, designed by Abel Manta and executed by Ricardo Leone, were replaced in the southern façade.
As part of the celebrations marking the centenary of modern Portugal in 1939, yet more remodelling was completed in the monastery and tower. During these projects, the baldachin and tomb of Alexandre Herculano were dismantled and the cloister patio was paved. In 1940 the space in front of the monastery was redesigned for the Portuguese Exposition. The Casa Pia vacated the interior spaces of the cloister and the tombs of Camões and Vasco da Gama were transferred to the lower choir. A series of windows designed by Rebocho and executed by Alves Mendes were completed in 1950.
In 1951 the remains of president Óscar Carmona were entombed in the Sala do Capítulo. They would later be transported to the National Pantheon in 1966 to join the bodies of other former presidents and literary heroes of the country.
The Maritime Museum was inaugurated in the western wing of the monastery in 1963.
The church and the monastery, like the nearby Torre de Belém and Padrão dos Descobrimentos, symbolise the Portuguese Age of Discovery and are among the main tourist attractions of Lisbon. In 1983, UNESCO formally designated the Monastery of the Hieronymites and Tower of Belém as a World Heritage Site.
When Portugal joined the European Economic Community, the formal ceremonies were held in the cloister of the monument (1985).
Two major exhibitions took place at the monastery during the 1990s: 4 séculos de pintura, in 1992; and the exposition "Leonardo da Vinci – um homem à escala do mundo, um Mundo à escala do homem", in 1998 (which included the Leicester Codex, on temporary loan from Bill Gates).
At the end of the 20th century, remodelling continued with conservation, cleaning and restoration, including the main chapel in 1999 and the cloister in 1998–2002.
On 13 December 2007, the Treaty of Lisbon was signed at the monastery, laying down the basis for the reform of the European Union.
Many people ask me advice about their portfolio and CV and I always tell them to be creative to stand out of the crowd. This doesn't apply to all kind of jobs, but when you're talking about creative jobs, there are simply no rules on how to present yourself.
Don't mention the name of your kindergarden school, don't mention you've been working at McDonalds during summer break. Believe me, nobody cares. And if your future employer does care, then he'll select you on the wrong criteria. You don't want to work for such a company.
So get creative and make something awesome from your portfolio. Take the above portfolio as an example. Michael doesn't show any of its works and still he succeeds in showing off his talent. Not only he can create great graphics, he also proves to be able to turn 'boring' facts and figures into something exciting. Well done Michael!
Check out Michael's blog:
theportfolio.ofmichaelanderson.com/portfolio/resume-infog...
Oh yeah, and also check out my portfolio:
[Having returned home and as we inch into late Fall and Winter with no plans for extended photo trips until next year, I resume uploading the rest of my selected photos from 2020 (10 per day, usually in the morning CET), as well as a selection of my current, 2021 photos (usually 3 or 4 per day, in the evening CET).]
The Gers is a small part of the region of Aquitaine, which covers most of southwestern France. On July 2020, we rented a house for three weeks in the Gers area, and commencing today, I will upload a selection of the photographs I took while we were there. I hope you will enjoy them!
As usual, I will caption more specifically in bold type below whenever necessary.
Fans of Mediæval architecture and art are in for a good time when in Gascony, as many villages have a strong house, fortified farm, manor or castle of varying size and condition.
This one is the manor or small castle of Avezan, less than a kilometer from the old house that we had rented.
••••••••••••••••••••••••••••••••••••••••••••••••••
facebook • blog • ask me something !
••••••••••••••••••••••••••••••••••••••••••••••••••
Please tell me what you like/dislike in this photo ! I want to improve !
Dites moi ce qui vous plaît/déplaît dans cette photo ! Je veux progresser !
South Wheal Frances is a former mine accessing the copper and tin of the Great Flat Lode south of Camborne in Cornwall .
Mining began in the local area in the early 1720s. Mining for copper was first documented at the site in the 1820s. After Lady Frances Bassett, the mineral Lord, offered a new lease on the land in 1834 production resumed. Tin mining commenced in 1852. The mine complex is centred on Marriott's Shaft which had been sunk by 1845. It was at its most productive between 1844 and 1895. Altogether 67,866 tons of copper and 9,716 tons of tin ores were extracted. After the extent of the Great Flat Lode was discovered in 1872-74 a winding engine house was built at Pascoe's Shaft in 1879 and a pumping engine house housing an 80-inch cylinder was built in 1887.
An engine house with a 75-inch cylinder pumping engine installed at Marriott's shaft in 1847 pumped water from Pascoe's shaft as well as Marriott's. In 1857 a 24-inch winder was installed in close proximity. An engine house housing a 30-inch cylinder engine for both pumping and winding was built at the Daubuz shaft between 1879 and 1881. The shaft was sunk when mining reached the Great Flat Lode and was named after a company shareholder. The mine was owned by South Frances United in 1892 and the company amalgamated with neighbouring Wheal Basset in 1895 becoming the Basset Mines. Between 1896 and 1899 a major refurbishment of the shaft was undertaken, enabling mining to take places as far down as 6,000 feet.
By the early 20th century, several thousand men, women, bal maidens, and children worked in the mine. A slump in tin prices during World War I led to the mine's closure in 1918.
The site of the mine is marked by extensive remains around Marriott's and Pascoe's shafts. The surviving features include the derelict, roofless winding engine house to Marriott's shaft that was built in the 1890s. It is constructed of granite rubble with quoins and brick arches to the window openings. As are most remains on the site, it is a Grade II listed building. It contained a horizontal cross-compound engine made by Holman's of Camborne, with 23- and 43-inch cylinders either side of its conical winding drum.
The derelict boiler house at Marriott's shaft is built of granite rubble with quoins at the corners and brick arch openings. Now roofless, it once contained six Lancashire boilers to power a pumping engine, winder, compressor, crusher, and capstan .
All in all a fascinating area to explore with old engine house near and far and on top of Carn Brea The Basset Monument .
At the highest point of the hill is a 90-feet high (27m) Celtic cross erected as a monument to Francis Basset, 1st Baron de Dunstanville and Basset (1757–1835). Basset, a mine owner, gained his titles for erecting earthworks to defend Plymouth from combined French and Spanish fleets in 1779, and suppressing a miners' "food riot" in 1785. I seem to recall also that he did a lot of building to house the people who worked his mines . Along with others, he petitioned the House of Lords against slavery in 1828. The monument was erected by public subscription in 1836. It is inscribed "The County of Cornwall to the memory of Francis Lord de Dunstanville and Basset A.D. 1836.
Just before I left work this morning, I heard this humming sound. I looked out the window and saw the workers on the lift was outside my window again to resume the work which was halted by a storm. I grabbed my camera and threw on my ultra-wide 10-22mm lens and started shooting. Of course I was late for work again.
Yorketown- Five Ways- Private Town.
The area here was near Pentonvale, the head station of Anstey and Giles. The government resumed the leasehold in 1869 and sold off the land as farm blocks. The government had intended to lay out a town in addition to Edithburgh in the Troubridge Agricultural Area but a Mr Green beat them to it. He subdivided land at the junction of five roads which go to Edithburgh, Warooka, Minlaton and Stansbury. Green acted in 1872 as by then there already existed a store here built by Edward Jacobs and the Melville Hotel. With a few years the private town had major town status with a Court House, two hotels, a school, Institute, churches and more. A windmill factory, so important for Yorke Peninsula farmers operated here from 1880 and the first plough competitions, a common activity on Yorke Peninsula in the 19th century began in 1875 with the first Yorketown Agricultural Show being held in 1876. Each year the trade and population in the town was boosted by the salt harvesters.