View allAll Photos Tagged Sources
Source: en.wikipedia.org/wiki/Athens
Athens is the capital and largest city of Greece. A significant coastal urban area in the Mediterranean, Athens is also the capital of the Attica region and is the southernmost capital on the European mainland. With its urban area's population numbering over 3.6 million, it is the eighth-largest urban area in the European Union (EU). The Municipality of Athens (also City of Athens), which constitutes a small administrative unit of the entire urban area, had a population of 643,452 in 2021, within its official limits, and a land area of 38.96 square kilometres (15.04 square miles).
Athens is one of the world's oldest cities, with its recorded history spanning over 3,400 years, and its earliest human presence beginning somewhere between the 11th and 7th millennia BC. According to Greek mythology, the city was named after Athena, the ancient Greek goddess of wisdom, but modern scholars generally agree that the goddess took her name after the city. Classical Athens was one of the most powerful city-states in ancient Greece. It was a centre for Hellenistic democracy, the arts, education and philosophy, and was highly influential throughout the European continent, particularly in Ancient Rome. For this reason it is often regarded as the cradle of Western civilisation and the birthplace of democracy in its own right independently from the rest of Greece.
In modern times Athens is a large cosmopolitan metropolis and central to economic, financial, industrial, maritime, political and cultural life in Greece. It is a Beta (+) – status global city according to the Globalization and World Cities Research Network, and is one of the biggest economic centres in Southeast Europe. It also has a large financial sector, and its port Piraeus is both the second-busiest passenger port in Europe and the thirteenth-largest container port in the world. The Athens metropolitan area extends beyond its administrative municipal city limits as well as its urban agglomeration, with a population of 3,638,281 in 2021 over an area of 2,928.717 km2 (1,131 sq mi).
The heritage of the Classical Era is still evident in the city, represented by ancient monuments, and works of art, the most famous of these being the Parthenon, considered a key landmark of early Western culture. Athens retains Roman, Byzantine and a smaller number of Ottoman monuments, while its historical urban core features elements of continuity through its millennia of history. Athens contains two World Heritage Sites recognised by UNESCO: the Acropolis of Athens and the medieval Daphni Monastery. Athens is home to several museums and cultural institutions, such as the National Archeological Museum, featuring the world's largest collection of ancient Greek antiquities, the Acropolis Museum, the Museum of Cycladic Art, the Benaki Museum and the Byzantine and Christian Museum. Athens was the host city of the first modern-day Olympic Games in 1896, and 108 years later it hosted the 2004 Summer Olympics, making it one of five cities to have hosted the Summer Olympics on more than one occasion.
Additional Foreign Language Tags:
(Greece) "اليونان" "希腊" "Grèce" "Griechenland" "יוון" "ग्रीस" "ギリシャ" "그리스" "Греция" "Grecia" "Hellenic Republic" "Ελληνική Δημοκρατία"
(Athens) "أثينا" "雅典" "Athènes" "Athen" "אתונה" "एथेंस" "アテネ" "아테네" "Афины" "Atenas"
(Europe) Europa "European Union" "أوروبا" "欧洲" "אירופה" "यूरोप" "ヨーロッパ" "유럽" "Европа"
Source: en.wikipedia.org/wiki/St._Louis
St. Louis is the second-largest city in Missouri. It sits near the confluence of the Mississippi and the Missouri Rivers. In 2020, the city proper had a population of 301,578, while the bi-state metropolitan area, which extends into Illinois, had an estimated population of over 2.8 million, making it the largest metropolitan area in Missouri, the second-largest in Illinois, and the 20th-largest in the United States.
Before European settlement, the area was a regional center of Native American Mississippian culture. St. Louis was founded on February 14, 1764, by French fur traders Gilbert Antoine de St. Maxent, Pierre Laclède and Auguste Chouteau, who named it for Louis IX of France. In 1764, following France's defeat in the Seven Years' War, the area was ceded to Spain. In 1800, it was retroceded to France, which sold it three years later to the United States as part of the Louisiana Purchase; the city was then the point of embarkation for the Corps of Discovery on the Lewis and Clark Expedition. In the 19th century, St. Louis became a major port on the Mississippi River; from 1870 until the 1920 census, it was the fourth-largest city in the country. It separated from St. Louis County in 1877, becoming an independent city and limiting its political boundaries. In 1904, it hosted the Louisiana Purchase Exposition and the Summer Olympics.
A "Gamma" global city with a metropolitan GDP of more than $160 billion in 2017, metropolitan St. Louis has a diverse economy with strengths in the service, manufacturing, trade, transportation, and tourism industries. It is home to eight Fortune 500 companies. Major companies headquartered or with significant operations in the city include Ameren Corporation, Peabody Energy, Nestlé Purina PetCare, Anheuser-Busch, Wells Fargo Advisors, Stifel Financial, Spire, Inc., MilliporeSigma, FleishmanHillard, Square, Inc., U.S. Bank, Anthem BlueCross and Blue Shield, Federal Reserve Bank of St. Louis, U.S. Department of Agriculture, National Geospatial-Intelligence Agency, Centene Corporation, and Express Scripts.
Major research universities include Saint Louis University and Washington University in St. Louis. The Washington University Medical Center in the Central West End neighborhood hosts an agglomeration of medical and pharmaceutical institutions, including Barnes-Jewish Hospital.
St. Louis has four professional sports teams: the St. Louis Cardinals of Major League Baseball, the St. Louis Blues of the National Hockey League, St. Louis City SC of Major League Soccer, anticipated to begin play in 2023, and the St. Louis BattleHawks of the XFL. Among the city's notable sights is the 630-foot (192 m) Gateway Arch in Downtown St. Louis, the St. Louis Zoo, the Missouri Botanical Garden, the Saint Louis Art Museum, and Bellefontaine Cemetery and Arboretum.
Source: en.wikipedia.org/wiki/St._Louis_Auto_Show
The St. Louis Auto Show is an auto show held annually in St. Louis, Missouri. The first St. Louis Auto Show was held in 1907 at Forest Park Highlands; it was first held indoors at the Willys-Overland Building on Locust Street in 1917. Since resumption of the show in 1983, it has been held annually at the America's Center convention center and, since its construction in 1996, at the adjacent Edward Jones Dome.
In the most recent show, which took place in January 2012, its exhibits featured more than 25 automobile and motorcycle brands, including Acura, Buick, Cadillac, Chevrolet, Chrysler, Dodge, Fiat, Ford, Harley Davidson, Honda, Hyundai, Jeep, Kia, Lexus, Lincoln, Mazda, Nissan, Scion, Subaru, Toyota, Volkswagen, and Volvo. The show also featured a collection of supercars sponsored by St. Louis Motorsports, Inc., including cars manufactured by Bentley, Lamborghini, Lotus, Maserati, and Rolls-Royce. The 2012 show also included three "ride-and-drive" experiences in which attendees were able to drive new vehicles, an environmentally friendly automobile section, and the Camp Jeep experience, in which attendees were able to participate in indoor, off-road driving.
Historically, the show has included a variety of concept cars; in 1990, the show featured the 12-cylinder Cadillac Solitaire and the pivoting-canopied Plymouth Slingshot. During the 1991 show, organizers brought three Deloreans used in the filming of Back to the Future and a pre-production model of the Dodge Viper. For 1996, the show included models of the Cadillac Catera, the Plymouth Prowler, and the Lamborghini Diablo. Also in 1996, the auto show became the first convention to use the Edward Jones Dome for convention space. The 2001 show featured a pre-production model of the Ford Thunderbird and the GMC Envoy, while the 2005 show included the Jeep Hurricane concept car.
Additional Foreign Language Tags:
(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "美国" "미국" "Estados Unidos" "États-Unis"
(Missouri) "ميزوري" "密苏里州" "मिसौरी" "ミズーリ" "미주리" "Миссури"
(St. Louis) "سانت لويس" "圣路易斯" "संत लुई" "セントルイス" "세인트루이스" "святой Луи"
Source: en.wikipedia.org/wiki/St._Peter%27s_Basilica
The Papal Basilica of St. Peter in the Vatican (Italian: Basilica Papale di San Pietro in Vaticano), or simply St. Peter's Basilica (Latin: Basilica Sancti Petri), is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome.
Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and the largest church in the world. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome, St. Peter's is regarded as one of the holiest Catholic shrines. It has been described as "holding a unique position in the Christian world" and as "the greatest of all churches of Christendom".
Catholic tradition holds that the Basilica is the burial site of Saint Peter, chief among Jesus's Apostles and also the first Bishop of Rome. Saint Peter's tomb is supposedly directly below the high altar of the Basilica. For this reason, many Popes have been interred at St. Peter's since the Early Christian period, and there has been a church on this site since the time of the Roman emperor Constantine the Great. Construction of the present basilica, which would replace Old St. Peter's Basilica from the 4th century AD, began on 18 April 1506 and was completed on 18 November 1626.
St. Peter's is famous as a place of pilgrimage and for its liturgical functions. The Pope presides at a number of liturgies throughout the year, drawing audiences of 15,000 to over 80,000 people, either within the Basilica or the adjoining St. Peter's Square. St. Peter's has many historical associations, with the Early Christian Church, the Papacy, the Protestant Reformation and Catholic Counter-reformation and numerous artists, especially Michelangelo. As a work of architecture, it is regarded as the greatest building of its age. St. Peter's is one of the four churches in the world that hold the rank of Major Basilica, all four of which are in Rome. Contrary to popular misconception, it is not a cathedral because it is not the seat of a bishop; the Cathedra of the Pope as Bishop of Rome is in the Archbasilica of St. John Lateran.
Source: en.wikipedia.org/wiki/Rome
Rome is the capital city and a special comune of Italy (named Comune di Roma Capitale). Rome also serves as the capital of the Lazio region. With 2,872,800 residents in 1,285 km2 (496.1 sq mi), it is also the country's most populated comune. It is the fourth most populous city in the European Union by population within city limits. It is the centre of the Metropolitan City of Rome, which has a population of 4,355,725 residents, thus making it the most populous metropolitan city in Italy. Rome is located in the central-western portion of the Italian Peninsula, within Lazio (Latium), along the shores of the Tiber. The Vatican City (the smallest country in the world) is an independent country inside the city boundaries of Rome, the only existing example of a country within a city: for this reason Rome has been often defined as capital of two states.
Rome's history spans 28 centuries. While Roman mythology dates the founding of Rome at around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The city's early population originated from a mix of Latins, Etruscans, and Sabines. Eventually, the city successively became the capital of the Roman Kingdom, the Roman Republic and the Roman Empire, and is regarded by some as the first ever metropolis. It was first called The Eternal City (Latin: Urbs Aeterna; Italian: La Città Eterna) by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the "Caput Mundi" (Capital of the World). After the fall of the Western Empire, which marked the beginning of the Middle Ages, Rome slowly fell under the political control of the Papacy, and in the 8th century it became the capital of the Papal States, which lasted until 1870. Beginning with the Renaissance, almost all the popes since Nicholas V (1447–1455) pursued over four hundred years a coherent architectural and urban programme aimed at making the city the artistic and cultural centre of the world. In this way, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, creating masterpieces throughout the city. In 1871, Rome became the capital of the Kingdom of Italy, which, in 1946, became the Italian Republic.
Rome has the status of a global city. In 2016, Rome ranked as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site. The famous Vatican Museums are among the world's most visited museums while the Colosseum was the most popular tourist attraction in world with 7.4 million visitors in 2018. Host city for the 1960 Summer Olympics, Rome is the seat of several specialized agencies of the United Nations, such as the Food and Agriculture Organization (FAO), the World Food Programme (WFP) and the International Fund for Agricultural Development (IFAD). The city also hosts the Secretariat of the Parliamentary Assembly of the Union for the Mediterranean (UfM) as well as the headquarters of many international business companies such as Eni, Enel, TIM, Leonardo S.p.A., and national and international banks such as Unicredit and BNL. Its business district, called EUR, is the base of many companies involved in the oil industry, the pharmaceutical industry, and financial services. Rome is also an important fashion and design centre thanks to renowned international brands centered in the city. Rome's Cinecittà Studios have been the set of many Academy Award–winning movies.
Source: Scan of a photograph.
Image: RSR144.
Date: 1870s?
Repository: Local Studies at Swindon Central Library
Set: Richard S. Radway Collection.
UnionDocs presents the first screening of the Optical Boundaries tour. This program features three filmmakers whose respective works explore a variety of environments as well as the formal properties of the film medium. Though working independently, their films culminate in an examination of the film material as a true document of past and present. Each artist calls attention to the process of separation and recombination through the use of discarded View-master cells, appropriated 16mm nature footage, and a kaleidoscopic amalgam of the new and old world.
Program runtime approximately 60 minutes.
HHOOWWLLby Steve Cossman
USA, 2010, 7 minutes, 16mm
Shot on a Kodak Cine II special effects camera, a collection of recognizable masks are captured and layered on film. The screaming colors fuse together in a choir of haunting forms, slipping and melting on the screens surface.
CRUSHERby Steve Cossman
USA, 2010 video transferred to 16mm
An unabridged photograph translated from its still print. Read left to right, pixel by pixel, CRUSHER mechanically sequences single color as single frame creating organic waves of color.
TUSSLEMUSCLE by Steve Cossman
USA, 2007-9, 5 minutes, 16mm
The work presented is a reflection on humanity’s ecological relationship and the ritual of restoration. The violent pulse speaks with a sense of urgency and chaotic struggle while the hypnotic arrangement keeps us in blinding awe us to its condition. TUSSLEMUSCLE is composed of 7,000 single frames, which were appropriated from view-master reel cells. Each frame was hand-spliced to create a linear film-strip.
tonal tide by Ross Nugent
USA, 2009,9 minutes, 16mm
This camera-less film was conceived as a darkroom performance to expose the potential and vulnerability of the color film stock at hand. Both the image and sound were created by flashing raw stock; a peculiar pattern emerged in the soundtrack area as light was scattered by the edge of the film base.
Spillway Study/ Carpe Diez by Ross Nugent
USA, 2010, 8 minutes, 16mm
This three-projector piece was created as a color separation project using 16mm Kodachrome nature photography footage from the late ‘70s as its source. The original was optically printed onto three strands and arranged to simultaneously abstract and call attention to the forces at hand. Using a primary color filter on each projector (R-G-B) and some precise hand-jiving, I combine the images and tease out a range colors.
Sahara Mosaic by Fern Silva
USA, 2009, 10 minutes, 16mm
An orientalist kaleidoscope that constitutes a geographically complex yet cinematic whole. From Egypt to Las Vegas: the old and the new world are reflected and doubled in this experimental travelogue.
Steve Cossman received his BFA in Sculpture from Albright College and went on to study Animation in the Czech Republic at FAMU. After returning to the United States, he worked as artist assistant to John Chamberlain from 2006-2009 during which his focus turned primarily to film and video work. Currently he lives and works in Brooklyn, NY. There he is founder/director of Mono No Aware, an ‘annual exhibition of expanded cinema’ showcasing contemporary artists who incorporate live projections as part of their work. Cossman believes that ‘time is constantly moving within a framework of units and that this irrepressible motion is the nexus of human experience’. Working to create a resonating interval, he often re-structures a familiar sequence within a patterned visual language causing the viewer to give thought to established perceptional relationships. Recent film screenings of his work include Ann Arbor Film Festival, Chicago Underground Film Festival, Milwaukee Underground Film Festival, Seattle International Film Festival, and VideoEx in Zurich. His work can be found in the collections of the University of Seattle, WA, University of Hartford Art School, and The Len Lye Foundation, New Zealand. A solo show of his video works will be held in March 2011 at Trinity College, CT.
Ross Nugent hails from wilds of Western Pennsylvania. He earned a BA in Film Studies at the University of Pittsburgh and studied film and video production at Pittsburgh Filmmakers, where he began working in media exhibition in 2003. Ross served as the Exhibition Coordinator from 2005-2008, and matriculated to the University of Wisconsin-Milwaukee to pursue an MFA in Film. He is also the Program Manager of the UWM Union Theatre, the Faculty Advisor for the Milwaukee Underground Film Festival, and an instructor in the Film Dept.
His film, video, installation, and sculptural work is rooted in using process-oriented techniques of film production, including contact and optical printing, and examines nostalgia and decay as mediated through cinema. Poetic gestures emerge through hand-manipulation of film material, which serves as the impetus for many of his artistic endeavors. His current work includes live cinema projects. Exhibitions of these multi-projector performances include The Museum of Modern Art (NYC) as part of a group show utilizing Analyst projectors, Mono No Aware (NYC), and recently at the Onion City Experimental Film and Video Festival (Chicago).
Since 2005, Fern Silva has been an active filmmaker whose personal journeys and impulsery disposition give rise to his visionary process. He has created a body of film, video, and projection work that conveys a congruent existence through the aesthetics of reflections and detriments within controlled microcosms. His work has been screened and performed at various festivals, galleries, and cinematheques including International Film Festival Rotterdam, New York Film Festival, Anthology Film Archive, Images Festival, IndieLisboa International Film Festival, Bangkok Experimental Film Festival, Biennale Bandits-Mages Festival, Roulette Gallery, Millennium Film Workshop, White Box Gallery, 119 Gallery, and P.S.1. Fern Silva is from central Connecticut, he received a BFA from Massachusetts College of Art and his MFA from Bard College. Fern will be screening two works as part of this years Views from the Avant-Garde.
Source: Sold on Ebay for $200 Jan. 2012.
A.H. Gregg was a prominent business man in Farmer Village, now called Interlaken, NY. They originally produced agriculture machinery, and later moved to Trumansburg, NY and established Gregg Iron Works. The principle article of manufacture was the Meadow King Mower, but other implements were added as the capacity of the works increased as the demand warranted. The Osborn Sulky Plow, Sharpe Horse Rake, Morse Horse Rake, King of the Lawn and Young America Lawn Mowers, and later, reaping machines and twine binders were built to quite an extent.The annual out- put for several years was in the neighborhood of 2,000 mowers, 500 reapers, 1,500 rakes, 1,500 lawn mowers, 500 sulky plows, besides hand plows and miscellaneous tools.
This rare pass is signed on front by Gregg, with information on back. There is an embossed stamp on the signature portion as well. In good condition with some wear and light soiling. Please see photo. If you collect 19th century Americana history, World's Fair / Expo, photography, etc. this is a treasure you will not see again! Add this to your image or paper / ephemera collection. Important genealogy research importance too. Combine shipping on multiple bid wins!
International Cotton Exposition (I.C.E) was a World's Fair held in Atlanta, Georgia from October 5 to December 3 of 1881. h The location was along the Western & Atlantic Railroad tracks near the present day King Plow development. It planned to show the progress made since the city's destruction during the Battle of Atlanta and new developments in cotton production.
Placed a short train ride from downtown, it was designed so that the largest building could later be used as a cotton mill. A quarter of a million people attended generating between $220,000 and $250,000 in receipts split evenly between sales and gate receipts.
Founding
The idea of holding such an exhibition in the South was first suggested by Edward Atkinson of york who in August 1880 wrote a letter to a New York journal discussing the great waste incident to the methods then in use in the gathering and handling of the cotton crop and advised the exhibition to bring all of those interested in the production of this great Southern staple for the purpose of improvement. The Atlanta Constitution republished and urged the importance of some action in regard thereto. A few weeks after the publication of this letter it was announced that Mr. Atkinson was about to make a Southern trip for the purpose of putting the suggestion in form. Mr. H. I. Kimball being impressed with the importance of the enterprise and personally acquainted with Mr. Atkinson, invited him to Atlanta to address the people on the subject. This invitation Mr. Atkinson accepted, and at the solicitation of many prominent citizens of Atlanta he delivered, on October 28, 1880, an address in the senate chamber, in which he advocated Atlanta as the proper place in which to hold a cotton exhibition, such as would result in devising improved methods in the cultivation of the cotton as well as to be a stimulus to the entire industrial development of this section.
Early that november, James W. Nagle and J. W. Ryckman came to Atlanta to ascertain what action the citizens proposed to take in the matter. At their suggestion several preliminary meetings were held. A committee consisting of Governor A.H. Colquitt, Mayor W.L. Calhoun, ex-Governor R.B. Bullock and J.W. Ryckman was appointed to prepare a plan for preliminary organization, which resulted in the formation of such an organization and the election of Senator Joseph E. Brown, president; S.M. Inman, treasurer and Ryckman, secretary.
[edit] Incorporation
In February 1881, the chamber of commerce proposed and a corporation was organized under the general law, and a charter was obtained from the court. The Atlanta incorporators were those above plus R.F. Maddox, Benjamin E. Crane, Evan P. Howell, M.C. Kiser, Robert J. Lowry, Sidney Root, Campbell Wallace, J.F. Cummings, W.P. Inman, J.C. Peck, L.P. Grant, W.A. Moore, G.J. Foreacre, Richard Peters and E.P. Chamberlin. Associated with them were citizens of several other counties in Georigia and of the states of Pennsylvania, Maryland, Virginia, North and South Carolina, Alabama, Louisiana, Missouri, Massachusetts, New York, Maine, Rhode Island and of London, England. Thus equipped the new enterprise commenced active operations.
At first it was only contemplated that the exposition should be confined to cotton and all pertaining thereto, in its culture, transportation, manufacture, etc. The capital stock of the corporation was originally fixed at $100,000 in shares of $100. As the work advanced, however, and as the country became interested in the subject, it was decided to open its doors for the admission of all products from every section, and the capital stock was therefore to $200,000. H.I Kimball was elected chairman of the 25 member executive committee whose mission was to raise the money.
It was believed if Atlanta subscribed one-third the amount required, other cities interested in the succedss of the enterprise would contribute the balance. A canvass of the city was made, and in one day the amount proportioned to Atlanta was secured. Mr. Kimball was authorized to visit Northern cities and endeavor to interest them in the undertaking. He visited New York and secured subscriptions to two hundred and fifty-three shares of stock ($25,300); Boston took sixty shares; Baltimore, forty-eight; Norfolk, VA buying twenty-five; Philadelphia, forty-three; Cincinnati, seventy-nine. The gratifying result of Mr. Kimball's work in the North and the apparent interest manifested by the whole country caused the executive committee to take immediate steps to put the whole work of organizing and conducting the enterprise in hand. Kimball was named director-general and CEO.
[edit] Construction begins
Contemporary rendering of the 1881 Exposition
Oglethorpe Park was selected as the site of the exposition. It belonged to the city and was located two and one half miles northwest from the railroad depot, and on the line of the Western & Atlantic Railroad. This park was originally laid out and improved under the direction of Mr. Kimball, in 1870 for the use of agricultural fairs, but the work of adapting the grounds and erecting the necessary buildings for the exposition was not an easy task. The work was begun under Mr. Kimball's direction and rapidly pushed to completion and made ready in ample time for the opening of the exposition.
The main building was constructed after a general model of a cotton factory, as suggested by Mr. Atkinson, the form being a Greek cross, the transept nearly half the length, the agricultural and carriage annexes extending along the southern side, and the mineral and woods department forming an annex at the extreme western end of the building. Its extreme length was seven hundred and twenty feet, the length of the transport four hundred feet, and the width of the arms ninety-six feet. The dimensions of the remaining principal buildings were as follows:
Railroad building, 200x100 fee
Railroad annexes, 40x60 and 40x100 feet
Agricultural implement building 96x288 feet
Carriage annex, 96x212 feet
Art and industry building, 520x60 feet
Judge's hall, 90x120 feet
Horticultural hall, 40x80 feet
Restaurant, 100x200 feet
There were several other buildings, as the Florida building, press pavilion, police headquarters, etc, and quite a number of individuals or collective exhibitors erected buildings for themselves.
[edit] Opening
The exposition was opened on October 5, 1881 and the occasion formed a memorable day in the history of Atlanta. The event was attended by many governors, senators and congressmen and addresses were made by Kimball, Governor Colquitt, North Carolina Senator Z.B. Vance and Indiana Senator D.W. Voorhees.
The exposition was a success in every way. The entire number of exhibits was 1,113 of which the Southern States contributed more than half; New England and Middle States, 341; Western States, 138; foreign, 7. The gross receipts were $262,513, and the total disbursements $258,475. The average daily attendance was 3,816 for the seventy-six days it was open. The largest number of admissions on any one day occurred on December 7th, Planters' Day, when there were 10,293.
The Exposition Cotton Mill was opened on the site in 1882 and remained in operation until 1969.[1]
Source: www.maritimejournal.com/archive101/2002/november/vessel_l...
Anglian Princess is the first of a pair of sister-ships intended to fulfil a vital role in a prestigious contract with the Maritime and Coastguard Agency as Emergency Towing Vessels (ETVs) under a contract awarded in February 2001. Klyne Tugs provide four powerful tugs to assist in protecting the British coastline against marine accidents and any resulting pollution
Anglian Princess was constructed to a Rolls Royce Ulstein UT 719-T design for an anchor handling tug/supply vessel in 2001 (?). The 67m ship is intended primarily for towage and salvage in its present role but is fully equipped to carry out the normal duties of an offshore anchor-handler. Operating under the British flag, the vessel is classed Lloyds Class +100 +LMC, UMS.
The hull follows the well-established UT 700 series configuration and has a length overall of 67.4m, a breadth of 15.5m, a maximum draft of 6.2m and a gross tonnage of 2258 tons.
In common with all UT 700 vessels, sea-keeping qualities are enhanced with a high forecastle and ample freeboard. The clear working deck aft has an area of 344sq/m and a maximum cargo capacity of 700 tonnes.
Substantial guard-rails are fitted, as per normal offshore practice, and the open stern incorporates a 2.5m diameter roller with a safe working load of 500 tonnes.
Two Wartsila 16V 32LND diesels rated at 16,500bhp/ 12,000kW (total) running at 750rev/min MCR supply power for the vessel's main propulsion system. The main engines run at constant speed and transmit power through Rolls Royce Ulstein gearboxes to controllable pitch propellers, rotating within fixed nozzles. Twin 'high lift' flap rudders are operated by Tenfjord SR 662 steering gear and can be controlled independently or in unison.
This propulsion system gives the vessel a bollard pull of over 180 tonnes and a maximum free running speed of 17 knots.
Representative fuel consumption figures are quoted as 45 tonnes per day at 17 knots and 24 tonnes per day at 12 knots. For a vessel of its size Anglian Princess is extremely manoeuvrable, a feature aided by two electrically powered bow thrusters of 588kW and a similar stern thruster of 660kW.
Electrical power aboard a vessel of this type is an extremely important factor. Two AVK shaft generators, coupled to the propulsion gearboxes each have an output of 2,800kVA, at 440V, 60Hz. Two Cummins powered auxiliary generators are also installed. One for general use rated at 300kW and a smaller unit of 70kW for emergency and standby use. Electrical power is controlled and distributed through large switchboards located in the engine control room. The control room, situated forward of the engine room houses controls, monitoring and alarm systems for main propulsion, power generation, tank capacities and auxiliary machinery.
The towing winch installed in Anglian Princess is a massive Brattvag, triple drum, hydraulically powered, machine with a line pull on each drum of 300 tonnes and brake holding capacity of 450 tonnes. Each drum is capable of holding 1500m of 76mm diameter steel wire rope. Non-declutchable cable lifters are fitted, on the port and starboard ends, to handle 3.25in chain. Also provided are hydraulically powered reels for spare towlines, anchor-handling wires and pennants. Line handling equipment includes a set of Karm forks and towing pins with a safe working load of 500 tonnes, located forward of the stern roller.
Other deck equipment includes two 10 tonne hydraulic tugger winches, two 10 tonne capstans, and an ROV approved deck crane. Supplied by 'Crane Power', the latter has a capacity of 3 tonnes at 15m radius.
Stowed beneath it's own single arm davit is a Viking fast rescue boat. On the foredeck, a Brattvag windlass is equipped with two cable lifters to handle a pair of Spek anchors each with 460m of 38mm chain. The windlass is also fitted with two mooring drums and two warping heads.
Anglian Princess is equipped for fire fighting with two Skum 'Fire Chief' combined water /foam monitors located at the after end of the bridge deck.
Water is supplied to the monitors by two Skum SFP250X350 pumps each with a capacity of 1200cu/m/hr. The pumps are driven from the front of each main engine via Norgear 'step-up' gearboxes.
The spacious, well glazed, wheelhouse is divided into three distinct areas - the main console and forward control position, the after control position with windows overlooking the afterdeck and winches, and the radio and communications desk.
Located on the main console are the main propulsion controls and all of the equipment needed to navigate the vessel at sea.
An Anschultz Nautopilot NP 2010 autopilot is fitted, takes inputs from a Standard 20 plus gyro-compass from the same manufacturer. An extensive Furuno 'bridge electronics package' includes Furuno S-band FAR 2835 S and X-band FAR 2825 radars, two Furuno GPS 80 global positioning systems, an FE 700 echo-sounder (with a repeater at the aft station), a DS80 speedlog, and Furuno GD 380 ECDIS display and video plotter.
When manoeuvring the vessel can be controlled using the Rolls Royce 'Poscon' P450, single joystick control system that fully integrates the functions of main propulsion, rudders and bow and stern thrusters. The system enables the vessel to be moved in any direction while a predetermined heading is maintained. A neat 'joystick' controller is provided in three locations, the bridge wings and aft control position. The aft control position, as with all modern vessels of this type, has an exceptional view aft and is the natural location from which to control the vessel whilst manoeuvring to pick up a tow, anchor-handling and many similar operations. All of the major propulsion and winch controls, and many essential navigational and communications systems are duplicated on three consoles adjacent to a pair of fully adjustable chairs.
The radio desk and main console carry an extensive outfit of communication equipment.
A Furuno SSB Transceiver FS-1562-25 and Furuno DSC-60 radios are installed along with FM 850 and FM 8700. A Furuno Felcom 82a satellite communications system is installed with facilities for phone, fax, data and telex. A Telular Corporation SX4e GSM system also provides facilities for phone, fax and data. Navtex is handled by a Furuno NX 50 set and Weather fax by a Furuno FAX 214. An onboard telephone network covers the entire vessel and is controlled by a fully automatic Vingtor ASA-101 exchange. McMurdo R2 handheld VHF radios are provided for GMDSS use and UHM sets are carried for general local communication.
The accommodation aboard Anglian Princess is extensive, fitted out to a good standard, and can be fully air-conditioned.
Fourteen single and three double cabins all have en-suite facilities.
A well equipped ships office, a reception and conference room, and crew lounge are also provided, along with a hospital and a normal galley and laundry.
Storage facilities throughout the vessel are more than adequate for both, domestic, engineering and marine equipment and a small but well equipped workshop is situated aft of the main engine room.
Cathédrale de l'Incarnation (Grenade)
source WIKIPEDIA
La cathédrale de l'Incarnation de Grenade est un édifice de la Renaissance, bâti à partir du xvie siècle dans la ville espagnole de Grenade, en Andalousie. Cette cathédrale, considérée comme la toute première église construite en style Renaissance en Espagne1, fut envisagée dès le règne des Rois catholiques, et sa construction fut commencée sous Charles Ier, pour s’achever en 1704, sous le règne de Philippe V.
Dédiée au mystère de l'Incarnation, elle est le siège de la province ecclésiastique de Grenade, dont l'archevêque étend son autorité sur les diocèses d'Almería, Carthagène, Guadix, Jaén et Malaga. La cathédrale est classée Monument national depuis 1929.
Suite à la reconquête de la ville en 1492, les Rois Catholiques envisagent la construction d'une cathédrale sur le site de l'ancienne grande mosquée nasride de Grenade. Dès le 21 mai 1492 est fondée l'église cathédrale de Grenade, siège du nouveau diocèse. En 1505, la construction est projetée, et sa conception est confiée à Juan Gil de Hontañón et à Enrique Egas, qui travaillent déjà sur la Chapelle royale de la ville. Les travaux commencent en 1518. Les deux architectes prévoient la construction d'un édifice gothique, sur le modèle de la Cathédrale de Tolède, comme cela est encore le cas en de nombreux endroits d'Espagne (Ségovie, Salamanque...). Leur projet est néanmoins abandonné en 1523, peu après le début du chantier.
On adopte alors les plans de l'architecte Diego de Siloé, qui travaille déjà sur le monastère de San Jerónimo à Grenade4. Diego de Siloé prévoit de reprendre les bases du dessein antérieur, et d'élever à parptir de celui-ci un édifice pleinement renaissance. Il va mener les travaux de 1528 jusqu'à sa mort, en 1563. Divers architectes se succèdent pour diriger le chantier, selon les plans maniéristes élaborés par leur prédécesseur : Juan de Maeda, Alonso Cano et Teodoro Ardemans.
En 1590, une première modification importante du plan initial intervient. En raison des fondations trop fragiles, le projet d'élever deux hautes tours de 80 mètres pour encadrer la façade, est abandonné en 1590 sur ordre de Philippe II. Seule une tour a été bâtie ; elle est arasée, sa hauteur se limitant à 51 mètres. En 1665, Alonso Cano parvient à convaincre le chapitre de modifier le projet initial. La construction prend alors une allure plus baroque. Suite au décès de Cano en 1667, la direction du chantier est confiée à Melchior de Aguirre, qui achève l’œuvre en juillet 1703.
La cathédrale de Grenade prend place au cœur du centre historique de la ville, entre la Gran vía Colón et la Calle Reyes Católicos. Entourée par des édifices d'importance comme la Chapelle royale (Capilla Real), la bourse de commerce (Lonja) ou l'ancien marché de la soie (Alcaicería), elle trône sur la place de las Pasiegas, qui offre bien peu de recul pour contempler la grandiose façade de l'édifice. Diego de Siloé a conçu un vaste édifice de 115 mètres sur 67, qui constitue : « "(…)un ensemble alliant pureté, élégance des formes, et blancheur immaculée de la pierre." »
Le monument représente un des sommets de l'architecture de la Renaissance en Espagne, tout en intégrant des éléments décoratifs puisés dans l'art gothique (plan et voûtes) et l'art baroque (façade), témoignant de la longueur du chantier, qui s'est étalé sur près de deux-cents ans. Son influence fut très importante dans les constructions de ce type postérieures en Andalousie.
ENGLISH
Granada Cathedral
From Wikipedia, the free encyclopedia
The cathedral of Granada.
Granada Cathedral, or the Cathedral of the Incarnation (Spanish: Catedral de Granada, Catedral de la Anunciación) is the cathedral in the city of Granada, capital of the province of the same name in the Autonomous Region of Andalusia, Spain. The cathedral is the seat of the Archdiocese of Granada.
Unlike most cathedrals in Spain, construction of this cathedral had to await the acquisition of the Nasrid kingdom of Granada from its Muslim rulers in 1492; while its very early plans had Gothic designs, such as are evident in the Royal Chapel of Granada by Enrique Egas, the construction of the church in the main occurred at a time when Spanish Renaissance designs were supplanting the Gothic regnant in Spanish architecture of prior centuries. Foundations for the church were laid by the architect Egas starting from 1518 to 1523 atop the site of the city's main mosque; by 1529, Egas was replaced by Diego de Siloé who labored for nearly four decades on the structure from ground to cornice, planning the triforium and five naves instead of the usual three. Most unusually, he created a circular capilla mayor rather than a semicircular apse, perhaps inspired by Italian ideas for circular 'perfect buildings' (e.g. in Alberti's works). Within its structure the cathedral combines other orders of architecture. It took 181 years for the cathedral to be built.
Subsequent architects included Juan de Maena (1563-1571), followed by Juan de Orea (1571-1590), and Ambrosio de Vico (1590-?). In 1667 Alonso Cano, working with Gaspar de la Peña, altered the initial plan for the main façade, introducing Baroque elements. The magnificence of the building would be even greater, if the two large 81 meter towers foreseen in the plans had been built; however the project remained incomplete for various reasons, among them, financial.
The Cathedral had been intended to become the royal mausoleum by Charles I of Spain of Spain, but Philip II of Spain moved the site for his father and subsequent kings to El Escorial outside of Madrid.
The main chapel contains two kneeling effigies of the Catholic King and Queen, Isabel and Ferdinand by Pedro de Mena y Medrano. The busts of Adam and Eve were made by Alonso Cano. The Chapel of the Trinity has a marvelous retablo with paintings by El Greco, Jusepe de Ribera and Alonso Cano.
ESPANOL
La Santa Iglesia Catedral Metropolitana de la Anunciación de Granada es un templo católico de la ciudad española de Granada, comunidad autónoma de Andalucía, sede de la archidiócesis de la ciudad. El templo es una de las obras cumbres del Renacimiento español.
Nave central, capilla mayor y bóvedas de la catedral de Granada.
Durante el renacimiento, el Reino de Granada, al igual que Galicia, conformó un centro artístico independiente del estilo predominante en el resto de la península, el herrerianismo.
Con el reinado de Carlos I de España se llevarán a cabo numerosas construcciones en la ciudad de Granada, dada la intención del monarca en convertir a la urbe en el modelo de ciudad del siglo XVI. Así la construcción de la catedral de Granada será coetánea a las de el palacio cristiano de la Alhambra, la Universidad y la chancillería (actual sede del Tribunal Superior de Justicia de Andalucía - TSJA).
Columnas y bóvedas de la catedral de Granada.
El primer proyecto fue encomendado en 1506 a Enrique Egas que concibió un templo de estilo gótico, tomando como modelo la Catedral de Toledo. Las obras comenzaron, bajo la dirección del propio Egas, con la colocación solemne de la primera piedra el 25 de marzo de 1523. Sin embargo, fue Diego de Siloé quien, en 1529, se encargó de las obras, que se concluirán en 1563, presentando un nuevo proyecto mucho más ambicioso. El autor trazó las líneas renacentistas de todo el edificio sobre los cimientos góticos, con girola y cinco naves en lugar de las tres habituales, combinando en su estructura elementos de otros órdenes arquitectónicos.
Con la llegada de la política centralista de Felipe II y, especialmente, con la expulsión de los moriscos de 1609, la región perdió gran parte de su fuerza económica y quedó relegada frente a otros centros locales. Sin embargo, sí se continuó desarrollando proyectos artísticos de importancia. Es el caso de la reforma de la fachada principal emprendida por Alonso Cano (1601 – 1667) en 1664 en la que se introdujeron elementos barrocos.
La magnificencia del proyecto hubiese sido aún mayor si se hubieran erigido las dos grandes torres de ochenta y un metros de altura previstas en los planos. El proyecto no fue terminado por diversos problemas, entre ellos la muerte de Alonso Cano en 1667, y otros económicos, por lo que finalmente, en 1684, la Catedral quedó con una torre, formada solo por tres cuerpos en lugar de los seis previstos y con un total de cincuenta y siete metros de altura.
Interior de la catedral de Granada antes de que se suprimiera el coro. Fotografía de J. Laurent, ca. 1881.
En 1706 Francisco de Hurtado Izquierdo y posteriormente su colaborador José Bada construyeron el actual sagrario de la catedral. En él, el autor rompió su tendencia rococó, respetando la sobriedad de líneas y la estructura clásica del resto del conjunto.
La catedral de Granada es de planta rectangular debido a que sus cinco naves cubren por completo el crucero, que no llega a destacar sobre la planta. Las cinco naves están escalonadas en alturas, siendo mayor la central. En los pies de la catedral, se sitúan las dos torres, siendo la del lado izquierdo, llamada torre de san Miguel, un contrafuerte que sustituyó a la torre prevista en ese lado.
La capilla mayor está compuesta por una serie de columnas corintias sobre cuyo capitel se encuentra el entablamento y sobre éste, la bóveda, que alberga, al igual que los espacios inferiores sobre las columnas, una serie de ventanales con delicadas vidrieras.
La fachada está constituida por una estructura encuadrada en forma de arco del triunfo con portadas y lienzos de empotrados. Está formada por tres ejes coronados por arcos de medio punto sostenidos sobre pilastras, de forma similar a San Andrés de Mantua de Leon Battista Alberti. Las pilastras no tienen capiteles sino resaltes esculpidos en la pared, así como medallones de mármol adosados. Encima de la puerta principal se ubica un tondo en mármol de José Risueño sobre la Anunciación. Destaca también la presencia en la parte superior de un jarrón con azucenas, aludiendo al carácter virginal y puro de la madre de Dios.
El sagrario, elevado entre 1706 y 1759, sigue las proporciones clásicas del conjunto, manteniendo las columnas múltiples del crucero las formas del orden compuesto de Siloé.
Source: Scan of a CDV from our collection.
Image: P...
Date: 1885-1887.
Photographer: Zephaniah Dodson, 58 Regent Street, New Swindon.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an original paper bag.
Date: 1950s?
Donated in June 2018.
Repository: Local Studies at Swindon Central Library.
Source: Scan of a photograph.
Image: P...
Date: June 1991.
Copyright: SBC.
Repository: Local Studies at Swindon Central Library.
Source reference: Juhani Särglep & Katri Palm, Visit Pärnu
Author: Juhani Särglep & Katri Palm
For details on using this image, please see the ALBUM DESCRIPTION or ABOUT page.
For more information, please contact info@visitparnu.com
----------------------------------------------
Allikaviide: Juhani Särglep & Katri Palm, Visit Pärnu
Autor: Juhani Särglep & Katri Palm
Loe täpsemalt, kuidas seda pilti kasutada ABOUT lehelt.
Vajadusel küsi lisainfot aadressil info@visitparnu.com
Source: Scan of an original mounted b&w photograph.
Image: P50574.
Date: 1927-1928.
Repository: Local Studies at Swindon Central Library.
Source: en.wikipedia.org/wiki/St._Louis
St. Louis is an independent city and inland port in the U.S. state of Missouri. It is situated along the western bank of the Mississippi River, which marks Missouri's border with Illinois. The Missouri River merges with the Mississippi River just north of the city. These two rivers combined form the fourth longest river system in the world. The city had an estimated 2017 population of 308,626 and is the cultural and economic center of the St. Louis metropolitan area (home to nearly 3,000,000 people), which is the largest metropolitan area in Missouri, the second-largest in Illinois (after Chicago), and the 22nd-largest in the United States.
Before European settlement, the area was a regional center of Native American Mississippian culture. The city of St. Louis was founded in 1764 by French fur traders Pierre Laclède and Auguste Chouteau, and named after Louis IX of France. In 1764, following France's defeat in the Seven Years' War, the area was ceded to Spain and retroceded back to France in 1800. In 1803, the United States acquired the territory as part of the Louisiana Purchase. During the 19th century, St. Louis became a major port on the Mississippi River; at the time of the 1870 Census it was the fourth-largest city in the country. It separated from St. Louis County in 1877, becoming an independent city and limiting its own political boundaries. In 1904, it hosted the Louisiana Purchase Exposition and the Summer Olympics.
The economy of metropolitan St. Louis relies on service, manufacturing, trade, transportation of goods, and tourism. Its metro area is home to major corporations, including Anheuser-Busch, Express Scripts, Centene, Boeing Defense, Emerson, Energizer, Panera, Enterprise, Peabody Energy, Ameren, Post Holdings, Monsanto, Edward Jones, Go Jet, Purina and Sigma-Aldrich. Nine of the ten Fortune 500 companies based in Missouri are located within the St. Louis metropolitan area. The city has also become known for its growing medical, pharmaceutical, and research presence due to institutions such as Washington University in St. Louis and Barnes-Jewish Hospital. St. Louis has two professional sports teams: the St. Louis Cardinals of Major League Baseball and the St. Louis Blues of the National Hockey League. One of the city's iconic sights is the 630-foot (192 m) tall Gateway Arch in the downtown area.
Source: en.wikipedia.org/wiki/Union_Station_(St._Louis)
St. Louis Union Station is a National Historic Landmark train station in St. Louis, Missouri. At its 1894 opening, the station was the largest in the world that had tracks and passenger service areas all on one level. Traffic peaked at 100,000 people a day the 1940s. The last passenger train left the station in 1978.
In the 1980s, it was renovated as a hotel, shopping center, and entertainment complex. The 2010s and 2020s saw more renovation and expansion of entertainment and office capacity.
An adjacent station serves the light-rail MetroLink Red and Blue Lines, which run under the station in the Union Station subway tunnel. The city's intercity train station sits a quarter-mile to the south, serving MetroLink, Amtrak, and Greyhound Bus.
Rea IRVIN • American
* 26 August 1881 in San Francisco, California.
✝︎ 28 May 1972 in Frederiksted, U.S. Virgin Islands.
The New Yorker — December 6, 1930.
Issue 303 — Volume 6 — Number 42.
www.facebook.com/media/set/?set=a.122102313020613045&...
About Irvin ↓
Few artists have had as enduring an influence on one magazine as cartoonist Rea Irvin has had on The New Yorker. As the magazine's first art editor, Irvin created a style that continues to define the publication to this day, witty, urbane, and socially and culturally aware. He is known for his distinctive thin and trembly line, poached eyes, and almost oriental splendor of his drawings.
Born in San Francisco on August 28, 1881, Irvin started his career in illustration as an unpaid cartoonist for The San Francisco Examiner. His only former training consisted of six months' study at the Hopkins Art Institute. At the age of 25, he moved to the East Coast and was soon a regular contributor to Life and Cosmopolitan magazines.
In 1924, Irvin joined an advisory board to help launch The New Yorker. For the cover of the magazine's debut issue the next year, Irvin created Eustice Tilley, a smartly attired dandy with a monocle and top hat. This amusing and worldly, yet somewhat detached, character embodied the spirit of the new publication. Tilley quickly became Irvin's signature piece and has reappeared on the magazine's cover every year since, with one exception — 1994.
Irvin, as a veteran editor of Life magazine, served for twenty-one years as the art director of The New Yorker. It was said that the first issues of the brash, new magazine were so top heavy with art that one observer dubbed it, 'The best magazine in the world for people who can't read.'
Between 1925 and 1958, Irvin's work appeared on 169 covers of The New Yorker. Hundreds of other illustrations by Irvin were also published inside the magazine. In addition to his illustrations, Irvin contributed significantly to The New Yorker's layout and design. He created the magazine's sharp and casually elegant type style, which is still known as "Irvin type," and he added the squiggly column rules that provide a distinct delineation between text and illustrations.
In 1967, Irvin gave his personal collection of 412 works on paper to the Museum of the City of New York. In March 2000, an exhibition of his work, "The Talk of the Town; Rea Irvin of The New Yorker", was shown at the Brandywine River Museum. It presented 83 original illustrations from the Museum of the City of New York's extensive collection of Irvin's original covers, drawings and cartoons. The exhibition featured many of these works, including caricatures of contemporary figures such as Diego Rivera and Pablo Picasso, and parodies of social issues. One example, The Unity of the Allied Nations which appeared on The New Yorker's July 1, 1944 cover, depicts the American Eagle, the Chinese Dragon, the Russian Bear and the British Lion clearly united in the pursuit of victory during World War II. The exhibit introduced visitors to the broad range of Irvin's talent and explored his enduring influence on The New Yorker magazine and American illustration.
Rea Irvin died on May 28, 1972, in Fredericksted, Virgin Islands, at the age of 90.
#Source: Brandywine Museum of Art.
Source: Digital image.
Set: RIC01.
Date: 1970s.
Photographer: © Mr R. Richens.
Local Studies at Swindon Central Library.
Source: Digital image.
Set: SHE01.
Date: 1983/4.
Photographer: © Mr D. Sheppard.
Local Studies at Swindon Central Library.
Source: en.wikipedia.org/wiki/Pinckneyville,_Illinois
Pinckneyville is a city in and the county seat of Perry County, Illinois, United States. The population was 5,066 at the 2020 census. It is named for Charles Cotesworth Pinckney, an early American diplomat and presidential candidate.
Pinckneyville is the location of the Pinckneyville Power Plant, a combustion turbine generator (CTG)-type power plant run by Ameren.
Source: www.americanthresherman.com/history.html
ATA HISTORY
The American Thresherman Association (ATA) was organized in March of 1959.
At the annual meeting in 1962, Amos Rixman commented that the Association "organized three years ago this month for the purpose of furnishing some enjoyment to its members and to be the beginning of something very worthwhile." Already in its brief life the Association had earned such a reputation that three towns vied for the chance to become the permanent site for the show. The Pinckneyville Chamber of Commerce invited the ATA with open arms and pledges of support, and the Perry County community was chosen over Mascoutah and Highland for the 1962 show site.
Additional Foreign Language Tags:
(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "美国" "미국" "Estados Unidos" "États-Unis"
(Illinois) "الينوي" "伊利诺伊州" "इलिनोइस" "イリノイ" "일리노이" "Иллинойс"
(Pinckneyville) "بينكنيفيل" "平克尼维尔" "पिंकनीविले" "ピンクニービル" "핀크니빌" "Пинкнивилль"
Source: Scan of original item.
Set: THO01.
Date: ?
Repository: From the collection of Judy Thomas and family.
Used here by very kind permission.
Local Studies at Swindon Central Library.
Source: Scan of the original items.
Image: P...
Date: 1920s.
Repository: Local Studies, Swindon Central Library.
Kindly donated in 2014 by R. Williams.
Source: Cropped scan of a AMWAS photograph.
Grid: SU1583.
Date: January 1953.
Copyright: Ordnance Survey.
Used by permission.
Repository: Local Studies, Swindon Central Library.
Source: Scan of an original invoice.
Set: HIC02.
Date: Unknown.
Repository: From the collection of Mr D. Hicks.
Local Studies at Swindon Central Library.
Combinando eliminação única, jogabilidade baseada em times com a noção de uma economia para produzir uma experiência de ação online inacreditável de profundidade e realismo, Counter-Strike é o jogo de ação mais jogado no mundo. Com Counter-Strike: Source, o jogo lendário ganhou uma melhoria completa, com realce nos gráficos como modelos com mais polígonos, sombras e água reflexivas, os quais adicionam dimensão para os novos personagens, itens e ambientes. Além dos mapas famosos do jogo original, Counter-Strike: Source também contém novos mapas.
Toda jobabilidade em tempo real e avançados gráficos trazidos em Counter-Strike: Source são possíveis através de Source, uma tecnologia de engine proprietária da Valve
Configurações Mínima
- Windows 98/2000/ME/XP;
- Pentium III 1.2GHz ou Athlon equivalente;
- 500MB de espaço livre em disco rígido, mais espaço adicional para jogos salvos, arquivos de troca do windows e instalação do DirectX 7.0;
- 256MB de memória RAM;
- CD-ROM 8x de velocidade;
- Placa de som compatível com Directx 7.0;
- Placa de vídeo 3D PCI/AGP de 16 MB;
- Teclado e Mouse.
Cathédrale de l'Incarnation (Grenade)
source WIKIPEDIA
La cathédrale de l'Incarnation de Grenade est un édifice de la Renaissance, bâti à partir du xvie siècle dans la ville espagnole de Grenade, en Andalousie. Cette cathédrale, considérée comme la toute première église construite en style Renaissance en Espagne1, fut envisagée dès le règne des Rois catholiques, et sa construction fut commencée sous Charles Ier, pour s’achever en 1704, sous le règne de Philippe V.
Dédiée au mystère de l'Incarnation, elle est le siège de la province ecclésiastique de Grenade, dont l'archevêque étend son autorité sur les diocèses d'Almería, Carthagène, Guadix, Jaén et Malaga. La cathédrale est classée Monument national depuis 1929.
Suite à la reconquête de la ville en 1492, les Rois Catholiques envisagent la construction d'une cathédrale sur le site de l'ancienne grande mosquée nasride de Grenade. Dès le 21 mai 1492 est fondée l'église cathédrale de Grenade, siège du nouveau diocèse. En 1505, la construction est projetée, et sa conception est confiée à Juan Gil de Hontañón et à Enrique Egas, qui travaillent déjà sur la Chapelle royale de la ville. Les travaux commencent en 1518. Les deux architectes prévoient la construction d'un édifice gothique, sur le modèle de la Cathédrale de Tolède, comme cela est encore le cas en de nombreux endroits d'Espagne (Ségovie, Salamanque...). Leur projet est néanmoins abandonné en 1523, peu après le début du chantier.
On adopte alors les plans de l'architecte Diego de Siloé, qui travaille déjà sur le monastère de San Jerónimo à Grenade4. Diego de Siloé prévoit de reprendre les bases du dessein antérieur, et d'élever à parptir de celui-ci un édifice pleinement renaissance. Il va mener les travaux de 1528 jusqu'à sa mort, en 1563. Divers architectes se succèdent pour diriger le chantier, selon les plans maniéristes élaborés par leur prédécesseur : Juan de Maeda, Alonso Cano et Teodoro Ardemans.
En 1590, une première modification importante du plan initial intervient. En raison des fondations trop fragiles, le projet d'élever deux hautes tours de 80 mètres pour encadrer la façade, est abandonné en 1590 sur ordre de Philippe II. Seule une tour a été bâtie ; elle est arasée, sa hauteur se limitant à 51 mètres. En 1665, Alonso Cano parvient à convaincre le chapitre de modifier le projet initial. La construction prend alors une allure plus baroque. Suite au décès de Cano en 1667, la direction du chantier est confiée à Melchior de Aguirre, qui achève l’œuvre en juillet 1703.
La cathédrale de Grenade prend place au cœur du centre historique de la ville, entre la Gran vía Colón et la Calle Reyes Católicos. Entourée par des édifices d'importance comme la Chapelle royale (Capilla Real), la bourse de commerce (Lonja) ou l'ancien marché de la soie (Alcaicería), elle trône sur la place de las Pasiegas, qui offre bien peu de recul pour contempler la grandiose façade de l'édifice. Diego de Siloé a conçu un vaste édifice de 115 mètres sur 67, qui constitue : « "(…)un ensemble alliant pureté, élégance des formes, et blancheur immaculée de la pierre." »
Le monument représente un des sommets de l'architecture de la Renaissance en Espagne, tout en intégrant des éléments décoratifs puisés dans l'art gothique (plan et voûtes) et l'art baroque (façade), témoignant de la longueur du chantier, qui s'est étalé sur près de deux-cents ans. Son influence fut très importante dans les constructions de ce type postérieures en Andalousie.
ENGLISH
Granada Cathedral
From Wikipedia, the free encyclopedia
The cathedral of Granada.
Granada Cathedral, or the Cathedral of the Incarnation (Spanish: Catedral de Granada, Catedral de la Anunciación) is the cathedral in the city of Granada, capital of the province of the same name in the Autonomous Region of Andalusia, Spain. The cathedral is the seat of the Archdiocese of Granada.
Unlike most cathedrals in Spain, construction of this cathedral had to await the acquisition of the Nasrid kingdom of Granada from its Muslim rulers in 1492; while its very early plans had Gothic designs, such as are evident in the Royal Chapel of Granada by Enrique Egas, the construction of the church in the main occurred at a time when Spanish Renaissance designs were supplanting the Gothic regnant in Spanish architecture of prior centuries. Foundations for the church were laid by the architect Egas starting from 1518 to 1523 atop the site of the city's main mosque; by 1529, Egas was replaced by Diego de Siloé who labored for nearly four decades on the structure from ground to cornice, planning the triforium and five naves instead of the usual three. Most unusually, he created a circular capilla mayor rather than a semicircular apse, perhaps inspired by Italian ideas for circular 'perfect buildings' (e.g. in Alberti's works). Within its structure the cathedral combines other orders of architecture. It took 181 years for the cathedral to be built.
Subsequent architects included Juan de Maena (1563-1571), followed by Juan de Orea (1571-1590), and Ambrosio de Vico (1590-?). In 1667 Alonso Cano, working with Gaspar de la Peña, altered the initial plan for the main façade, introducing Baroque elements. The magnificence of the building would be even greater, if the two large 81 meter towers foreseen in the plans had been built; however the project remained incomplete for various reasons, among them, financial.
The Cathedral had been intended to become the royal mausoleum by Charles I of Spain of Spain, but Philip II of Spain moved the site for his father and subsequent kings to El Escorial outside of Madrid.
The main chapel contains two kneeling effigies of the Catholic King and Queen, Isabel and Ferdinand by Pedro de Mena y Medrano. The busts of Adam and Eve were made by Alonso Cano. The Chapel of the Trinity has a marvelous retablo with paintings by El Greco, Jusepe de Ribera and Alonso Cano.
ESPANOL
La Santa Iglesia Catedral Metropolitana de la Anunciación de Granada es un templo católico de la ciudad española de Granada, comunidad autónoma de Andalucía, sede de la archidiócesis de la ciudad. El templo es una de las obras cumbres del Renacimiento español.
Nave central, capilla mayor y bóvedas de la catedral de Granada.
Durante el renacimiento, el Reino de Granada, al igual que Galicia, conformó un centro artístico independiente del estilo predominante en el resto de la península, el herrerianismo.
Con el reinado de Carlos I de España se llevarán a cabo numerosas construcciones en la ciudad de Granada, dada la intención del monarca en convertir a la urbe en el modelo de ciudad del siglo XVI. Así la construcción de la catedral de Granada será coetánea a las de el palacio cristiano de la Alhambra, la Universidad y la chancillería (actual sede del Tribunal Superior de Justicia de Andalucía - TSJA).
Columnas y bóvedas de la catedral de Granada.
El primer proyecto fue encomendado en 1506 a Enrique Egas que concibió un templo de estilo gótico, tomando como modelo la Catedral de Toledo. Las obras comenzaron, bajo la dirección del propio Egas, con la colocación solemne de la primera piedra el 25 de marzo de 1523. Sin embargo, fue Diego de Siloé quien, en 1529, se encargó de las obras, que se concluirán en 1563, presentando un nuevo proyecto mucho más ambicioso. El autor trazó las líneas renacentistas de todo el edificio sobre los cimientos góticos, con girola y cinco naves en lugar de las tres habituales, combinando en su estructura elementos de otros órdenes arquitectónicos.
Con la llegada de la política centralista de Felipe II y, especialmente, con la expulsión de los moriscos de 1609, la región perdió gran parte de su fuerza económica y quedó relegada frente a otros centros locales. Sin embargo, sí se continuó desarrollando proyectos artísticos de importancia. Es el caso de la reforma de la fachada principal emprendida por Alonso Cano (1601 – 1667) en 1664 en la que se introdujeron elementos barrocos.
La magnificencia del proyecto hubiese sido aún mayor si se hubieran erigido las dos grandes torres de ochenta y un metros de altura previstas en los planos. El proyecto no fue terminado por diversos problemas, entre ellos la muerte de Alonso Cano en 1667, y otros económicos, por lo que finalmente, en 1684, la Catedral quedó con una torre, formada solo por tres cuerpos en lugar de los seis previstos y con un total de cincuenta y siete metros de altura.
Interior de la catedral de Granada antes de que se suprimiera el coro. Fotografía de J. Laurent, ca. 1881.
En 1706 Francisco de Hurtado Izquierdo y posteriormente su colaborador José Bada construyeron el actual sagrario de la catedral. En él, el autor rompió su tendencia rococó, respetando la sobriedad de líneas y la estructura clásica del resto del conjunto.
La catedral de Granada es de planta rectangular debido a que sus cinco naves cubren por completo el crucero, que no llega a destacar sobre la planta. Las cinco naves están escalonadas en alturas, siendo mayor la central. En los pies de la catedral, se sitúan las dos torres, siendo la del lado izquierdo, llamada torre de san Miguel, un contrafuerte que sustituyó a la torre prevista en ese lado.
La capilla mayor está compuesta por una serie de columnas corintias sobre cuyo capitel se encuentra el entablamento y sobre éste, la bóveda, que alberga, al igual que los espacios inferiores sobre las columnas, una serie de ventanales con delicadas vidrieras.
La fachada está constituida por una estructura encuadrada en forma de arco del triunfo con portadas y lienzos de empotrados. Está formada por tres ejes coronados por arcos de medio punto sostenidos sobre pilastras, de forma similar a San Andrés de Mantua de Leon Battista Alberti. Las pilastras no tienen capiteles sino resaltes esculpidos en la pared, así como medallones de mármol adosados. Encima de la puerta principal se ubica un tondo en mármol de José Risueño sobre la Anunciación. Destaca también la presencia en la parte superior de un jarrón con azucenas, aludiendo al carácter virginal y puro de la madre de Dios.
El sagrario, elevado entre 1706 y 1759, sigue las proporciones clásicas del conjunto, manteniendo las columnas múltiples del crucero las formas del orden compuesto de Siloé.
Source: Scan of a print from our image collection.
Image: P30742.
Date: c1905?
Donated by S.C. Wheeler.
Repository: Local Studies at Swindon Central Library.
Source: en.wikipedia.org/wiki/Chicago
Chicago, officially the City of Chicago, is the most populous city in the U.S. state of Illinois, and the third-most-populous city in the United States. With an estimated population of 2,705,994 (2018), it is also the most populous city in the Midwestern United States. Chicago is the county seat of Cook County, the second-most-populous county in the US, with a small portion of the northwest side of the city extending into DuPage County near O'Hare Airport. Chicago is the principal city of the Chicago metropolitan area, often referred to as Chicagoland. At nearly 10 million people, the metropolitan area is the third most populous in the United States.
Located on the shores of freshwater Lake Michigan, Chicago was incorporated as a city in 1837 near a portage between the Great Lakes and the Mississippi River watershed and grew rapidly in the mid-19th century. After the Great Chicago Fire of 1871, which destroyed several square miles and left more than 100,000 homeless, the city made a concerted effort to rebuild. The construction boom accelerated population growth throughout the following decades, and by 1900, less than 30 years after the great fire, Chicago was the fifth-largest city in the world. Chicago made noted contributions to urban planning and zoning standards, including new construction styles (including the Chicago School of architecture), the development of the City Beautiful Movement, and the steel-framed skyscraper.
Chicago is an international hub for finance, culture, commerce, industry, education, technology, telecommunications, and transportation. It is the site of the creation of the first standardized futures contracts, issued by the Chicago Board of Trade, which today is the largest and most diverse derivatives market in the world, generating 20% of all volume in commodities and financial futures alone. Depending on the particular year, the city's O'Hare International Airport is routinely ranked as the world's fifth or sixth busiest airport according to tracked data by the Airports Council International. The region also has the largest number of federal highways and is the nation's railroad hub. Chicago was listed as an alpha global city by the Globalization and World Cities Research Network, and it ranked seventh in the entire world in the 2017 Global Cities Index. The Chicago area has one of the highest gross domestic products (GDP) in the world, generating $689 billion in 2018. In addition, the city has one of the world's most diversified and balanced economies, with no single industry employing more than 14% of the workforce. Chicago is home to several Fortune 500 companies, including Allstate, Boeing, Caterpillar, Exelon, Kraft Heinz, McDonald's, Mondelez International, Sears, United Airlines Holdings, and Walgreens.
Chicago's 58 million domestic and international visitors in 2018 made it the second most visited city in the nation, as compared with New York City's 65 million visitors in 2018. The city was ranked first in the 2018 Time Out City Life Index, a global quality of life survey of 15,000 people in 32 cities. Landmarks in the city include Millennium Park, Navy Pier, the Magnificent Mile, the Art Institute of Chicago, Museum Campus, the Willis (Sears) Tower, Grant Park, the Museum of Science and Industry, and Lincoln Park Zoo. Chicago's culture includes the visual arts, literature, film, theatre, comedy (especially improvisational comedy), food, and music, particularly jazz, blues, soul, hip-hop, gospel, and electronic dance music including house music. Of the area's many colleges and universities, the University of Chicago, Northwestern University, and the University of Illinois at Chicago are classified as "highest research" doctoral universities. Chicago has professional sports teams in each of the major professional leagues, including two Major League Baseball teams.
Source: en.wikipedia.org/wiki/Museum_of_Science_and_Industry_(Chicago)
The Museum of Science and Industry (MSI) is a science museum located in Chicago, Illinois, in Jackson Park, in the Hyde Park neighborhood between Lake Michigan and The University of Chicago. It is housed in the former Palace of Fine Arts from the 1893 World's Columbian Exposition. Initially endowed by Julius Rosenwald, the Sears, Roebuck and Company president and philanthropist, it was supported by the Commercial Club of Chicago and opened in 1933 during the Century of Progress Exposition.
Among the museum's exhibits are a full-size replica coal mine, German submarine U-505 captured during World War II, a 3,500-square-foot (330 m2) model railroad, the command module of Apollo 8, and the first diesel-powered streamlined stainless-steel passenger train (Pioneer Zephyr).
David R. Mosena has been president and CEO of the private, non-profit museum since 1998.
Waters in Vichy surge from many fountains, most of them enclosed in vintage buildings, built during Napoleon IIIrd reign.