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U.S. Secretary of State John Kerry hosts the International Syria Support Group (ISSG) meeting with foreign ministers from 17 countries, including Russia, Iran, Saudi Arabia, and Turkey, as well as top envoys from the United Nations, Arab League, and European Union in New York City on December 18, 2015. [State Department photo/ Public Domain]
A CH-147 Chinook helicopter sits on the tarmac at Fort McMurray, Alberta during a state of emergency on May 8, 2016.
Photo: Cpl Rod Doucet, 8 Wing Imaging
TN05-2016-0347-051
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Un hélicoptère CH-147 Chinook est stationné sur l’aire de trafic à Fort McMurray (Alberta) pendant l’état d’urgence le 8 mai 2016.
Photo : Cpl Rod Doucet, service d’imagerie de la 8e Escadre
TN05-2016-0347-051
Secret Beach Samuel H Boardman Scenic Corridor Southern Oregon Coast Fuji GFX100 Fine Art Landscape Nature Photography! Epic Oregon Summer Wilderness Art! Elliot McGucken 45EPIC Master Medium Format Photographer Fujifilm GFX 100 & Fuji Fujinon GF Lens!
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimension dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
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“The clearest way into the Universe is through a forest wilderness.” --John Muir
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“The mountains are calling and I must go.” --John Muir
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All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
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Homer: Tell me, O muse, of that ingenious hero who traveled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home. . . --Homer's Odyssey, Book I
U.S. Army Sgt. 1st Class Jessie Turner, a flight paramedic with the 2nd General Support Aviation Battalion, 4th Aviation Regiment, 4th Combat Aviation Brigade, 4th Infantry Division, is hoisted up into a HH-60 Black Hawk helicopter at Litochoro, Greece, Jan. 23, 2019. Regionally allocated forces conduct training regularly to maintain readiness and lethality, and participate in future training exercises with partners and allies. (U.S. Army photo by Staff Sgt. Kris Bonet) www.dvidshub.net
In the times before modern mowing machines, an overgrown cemetery wouldn't have been abandoned. That natural meadow would've been the story each summer, grown tall till the scythe came swinging in September. All that mattered was nature not taking over permanently. There was more to do than constantly tending the dead, and wouldn't all those lost souls like somewhere to frolic, anyhow? Many of my visits have little to do with bones, stones, souls, or sad stories. Life is the drive, mine and whatever I encounter on the visit. Today was the tale of spiders, wildflowers, weeds, trees, and me. It seems tragic to make these places all about the dead. As far as what's growing is concerned, there's nothing but life here. I'm getting better at seeing the same.
June 14, 2025
Grafton, Nova Scotia
Year 18, Day 6425 of my daily journal.
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Fine Art Ballet Photography: Nikon D810 Elliot McGucken Fine Art Ballerina Dancer Dancing Classical Ballet Seascape Landscape Photography!
White leotard and flowy dress!
Dancing for Dynamic Dimensions Theory dx4/dt=ic: The fourth dimension is expanding relative to the three spatial dimensions at the rate of c!
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Nikon D810 Epic Fine Art Ballerina Goddess Dancing Ballet! Dr. Elliot McGucken Fine Art Ballet!
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Nikon D810 with the Nikon MB-D12 Multi Battery Power Pack / Grip for D800 and D810 Digital Cameras allows one to shoot at a high to catch the action FPS! Ballerina Dance Goddess Photos! Pretty, Tall Ballet Swimsuit Bikini Model Goddess! Captured with the AF-S NIKKOR 70-200mm f/2.8G ED VR II from Nikon, and the Sigma 50mm f/1.4 DG HSM Art Lens for Nikon! Love them both!
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The 45EPIC landscapes and goddesses are straight out of Homer's Iliad & Odyssey!
I'm currently updating a translation with the Greek names for the gods and goddesses--will publish soon! :)
"RAGE--Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Zeus fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. " --Homer's Iliad capturing the rage of the 45EPIC landscapes and seascapes! :)
Ludwig van Beethoven: "Music/poetry/art should strike fire from the heart of man, and bring tears from the eyes of woman."
The Birth of Venus! Beautiful Golden Ratio Swimsuit Bikini Model Goddess! Helen of Troy! She was tall, thin, fit, and quite pretty!
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LNVS Virsaitis (A53), a Vidar-class support vessel of the Latvian Navy, off Greenock during the arrival stages for Exercise Joint Warrior 17-2.
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A bit of a tablescrap built last night.
Perhaps I should make a few Bricklink and 3rd party orders and continue on a revised faction project.
Concept up for voting at Glennz Tees
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The Eurofighter Tempest has been designed with high manoeuvrability in mind, utilizing an inherently unstable delta-canard wing layout. The J290 engines' thrust vector control further adds to the Tempest's agility.
I'm running out of plausible explanations storyline-wise for the radical design changes on my Tempest, so just try to forget the previous two versions, and let's re-boot from the top, ok?
Priyanka Chopra Supports Save the Children Campaign. Sizzling Hot Priyanka Chopra gives a shot to reporters at a press conference to announce her association with Bvlgari Save the Children campaign in Mumbai. At the event, she was constantly showing her left hand on which there was a ring, now there are speculation that it is her engagement ring, now who the hell she is engaged with ? Shahid or Harman or else ? Any Check Priyanka Chopra is mini dress.
We were stuck inside Nigg Energy Park in Scotland for a few days while I was at work on the ship. Luckily I managed to go for a couple of walks with the camera in hand, which only did me good. I sort of like this one. Done with one of the Nikon FM2 cameras on Ilford PAN400.
Elvis Aaron Presley[a] (January 8, 1935 – August 16, 1977), often referred to mononymously as Elvis, was an American singer and actor. Dubbed the "King of Rock and Roll", he is regarded as one of the most significant cultural figures of the 20th century. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, led him to both great success and initial controversy.
Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee, with his family when he was 13 years old. His music career began there in 1954, recording at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on rhythm acoustic guitar, and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley's classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage him for more than two decades. Presley's first RCA Victor single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the United States. Within a year, RCA would sell ten million Presley singles. With a series of successful network television appearances and chart-topping records, Presley became the leading figure of the newly popular sound of rock and roll; though his performative style and promotion of the then-marginalized sound of African Americans[6] led to him being widely considered a threat to the moral well-being of the White American youth.
In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. Some of his most famous films included Jailhouse Rock (1957), Blue Hawaii (1961), and Viva Las Vegas (1964). In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. Years of prescription drug abuse and unhealthy eating habits severely compromised his health, and he died suddenly in 1977 at his Graceland estate at the age of 42.
Having sold over 400 million records worldwide, Presley is recognized as the best-selling solo music artist of all time by Guinness World Records. He was commercially successful in many genres, including pop, country, rhythm & blues, adult contemporary, and gospel. Presley won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame. He holds several records, including the most RIAA-certified gold and platinum albums, the most albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom.
Elvis Aaron Presley was born on January 8, 1935, in Tupelo, Mississippi, to Vernon Elvis (April 10, 1916 – June 26, 1979) and Gladys Love (née Smith; April 25, 1912 – August 14, 1958) Presley in a two-room shotgun house that his father built for the occasion. Elvis's identical twin brother, Jesse Garon Presley, was delivered 35 minutes before him, stillborn. Presley became close to both parents and formed an especially close bond with his mother. The family attended an Assembly of God church, where he found his initial musical inspiration.
A photo of Elvis's parents at the Historic Blue Moon Museum in Verona, Mississippi
Presley's father Vernon was of German, Scottish and English origins. He was a descendant of the Harrison family of Virginia through his ancestor Tunis Hood. Presley's mother Gladys was Scots-Irish with some French Norman ancestry. His mother and the rest of the family believed that her great-great-grandmother, Morning Dove White, was Cherokee. This belief was restated by Elvis's granddaughter Riley Keough in 2017. Elaine Dundy, in her biography, supports the belief.
Vernon moved from one odd job to the next, showing little ambition. The family often relied on help from neighbors and government food assistance. In 1938, they lost their home after Vernon was found guilty of altering a check written by his landowner and sometime-employer. He was jailed for eight months, while Gladys and Elvis moved in with relatives.
In September 1941, Presley entered first grade at East Tupelo Consolidated, where his teachers regarded him as "average". He was encouraged to enter a singing contest after impressing his schoolteacher with a rendition of Red Foley's country song "Old Shep" during morning prayers. The contest, held at the Mississippi–Alabama Fair and Dairy Show on October 3, 1945, was his first public performance. The ten-year-old Presley stood on a chair to reach the microphone and sang "Old Shep". He recalled placing fifth. A few months later, Presley received his first guitar for his birthday; he had hoped for something else—by different accounts, either a bicycle or a rifle. Over the following year, he received basic guitar lessons from two of his uncles and the new pastor at the family's church. Presley recalled, "I took the guitar, and I watched people, and I learned to play a little bit. But I would never sing in public. I was very shy about it."
In September 1946, Presley entered a new school, Milam, for sixth grade; he was regarded as a loner. The following year, he began bringing his guitar to school on a daily basis. He played and sang during lunchtime and was often teased as a "trashy" kid who played hillbilly music. By then, the family was living in a largely black neighborhood. Presley was a devotee of Mississippi Slim's show on the Tupelo radio station WELO. He was described as "crazy about music" by Slim's younger brother, who was one of Presley's classmates and often took him into the station. Slim supplemented Presley's guitar instruction by demonstrating chord techniques. When his protégé was 12 years old, Slim scheduled him for two on-air performances. Presley was overcome by stage fright the first time, but succeeded in performing the following week.
In November 1948, the family moved to Memphis, Tennessee. After residing for nearly a year in rooming houses, they were granted a two-bedroom apartment in the public housing complex known as the Lauderdale Courts. Enrolled at L. C. Humes High School, Presley received only a C in music in eighth grade. When his music teacher told him that he had no aptitude for singing, he brought in his guitar the next day and sang a recent hit, "Keep Them Cold Icy Fingers Off Me", to prove otherwise. A classmate later recalled that the teacher "agreed that Elvis was right when he said that she didn't appreciate his kind of singing". He was usually too shy to perform openly and was occasionally bullied by classmates who viewed him as a "mama's boy".
In 1950, he began practicing guitar regularly under the tutelage of Lee Denson, a neighbor two and a half years his senior. They and three other boys—including two future rockabilly pioneers, brothers Dorsey and Johnny Burnette—formed a loose musical collective that played frequently around the Courts. That September, he began working as an usher at Loew's State Theater. Other jobs followed at Precision Tool, Loew's again, and MARL Metal Products. Presley also helped Jewish neighbors, the Fruchters, by being their shabbos goy.
During his junior year, Presley began to stand out more among his classmates, largely because of his appearance: he grew his sideburns and styled his hair with rose oil and Vaseline. In his free time, he would head down to Beale Street, the heart of Memphis's thriving blues scene, and gaze longingly at the wild, flashy clothes in the windows of Lansky Brothers. By his senior year, he was wearing those clothes. Overcoming his reticence about performing outside the Lauderdale Courts, he competed in Humes' Annual "Minstrel" show in April 1953. Singing and playing guitar, he opened with "Till I Waltz Again with You", a recent hit for Teresa Brewer. Presley recalled that the performance did much for his reputation: "I wasn't popular in school ... I failed music—only thing I ever failed. And then they entered me in this talent show ... when I came onstage I heard people kind of rumbling and whispering and so forth, 'cause nobody knew I even sang. It was amazing how popular I became in school after that."
Presley, who received no formal music training and could not read music, studied and played by ear. He also frequented record stores that provided jukeboxes and listening booths to customers. He knew all of Hank Snow's songs, and he loved records by other country singers such as Roy Acuff, Ernest Tubb, Ted Daffan, Jimmie Rodgers, Jimmie Davis, and Bob Wills. The Southern gospel singer Jake Hess, one of his favorite performers, was a significant influence on his ballad-singing style. He was a regular audience member at the monthly All-Night Singings downtown, where many of the white gospel groups that performed reflected the influence of African-American spiritual music. He adored the music of black gospel singer Sister Rosetta Tharpe.
Like some of his peers, he may have attended blues venues—of necessity, in the segregated South—only on nights designated for exclusively white audiences. He certainly listened to the regional radio stations, such as WDIA-AM, that played "race records": spirituals, blues, and the modern, backbeat-heavy sound of rhythm and blues. Many of his future recordings were inspired by local African-American musicians such as Arthur Crudup and Rufus Thomas. B.B. King recalled that he had known Presley before he was popular when they both used to frequent Beale Street. By the time he graduated from high school in June 1953, Presley had already singled out music as his future.
Graceland is a mansion on a 13.8-acre (5.6-hectare) estate in Memphis, Tennessee, United States, which was once owned by the rock and roll singer Elvis Presley. His daughter, Lisa Marie Presley, inherited Graceland after his death in 1977. Following Lisa Marie Presley's death in 2023, the mansion is to be inherited by her daughters. In addition to being the final resting place of Elvis Presley himself, the property contains the graves of his parents, paternal grandmother and grandson, and contains a memorial to Presley's stillborn twin brother. In addition, Lisa Marie Presley will be buried there.
Graceland is located at 3764 Elvis Presley Boulevard in the Whitehaven neighborhood, about nine miles (14 kilometers) south of central Memphis and fewer than four miles (6.4 km) north of the Mississippi border.[5] It was opened to the public as a house museum on June 7, 1982. The site was listed in the National Register of Historic Places on November 7, 1991, becoming the first site recognized for significance related to rock music. Graceland was declared a National Historic Landmark on March 27, 2006, also a first for such a site. Graceland attracts more than 650,000 visitors annually.
Graceland Farms was originally owned by Stephen C. Toof, founder of S.C. Toof & Co., the oldest commercial printing firm in Memphis. He worked previously as the pressroom foreman of the Memphis newspaper, the Memphis Daily Appeal. The "grounds" (before the mansion was built in 1939) were named after Toof's daughter, Grace. She inherited the farm/property from her father in 1894. After her death, the property was passed to her niece Ruth Moore, a Memphis socialite. Together with her husband, Thomas Moore, Ruth Moore commissioned construction of a 10,266-square-foot (953.7 m2) Colonial Revival style mansion in 1939. The house was designed by architects Furbringer and Ehrman.
After Elvis Presley began his musical career, he purchased a $40,000 home for himself and his family at 1034 Audubon Drive in Memphis. As his success and fame grew, especially after his appearances on television, the number of fans who would congregate outside the house multiplied. Presley's neighbors, although happy to have a celebrity living nearby, soon concluded that the constant gathering of fans and journalists was a nuisance.
In early 1957, Presley gave his parents, Vernon and Gladys Presley, a budget of $100,000 and asked them to find a "farmhouse"-like property to purchase, with buffer space around it. At the time, Graceland was located in southern Shelby County, several miles south of Memphis' main urban area. In later years, Memphis would expand with residential developments, resulting in Graceland being surrounded by other properties. Presley purchased Graceland on March 19, 1957, for the amount of $102,500.
Later that year, Presley invited Richard Williams and singer Buzz Cason to the house. Cason said: "We proceeded to clown around on the front porch, striking our best rock 'n' roll poses and snapping pictures with the little camera. We peeked in the not-yet-curtained windows and got a kick out of the pastel colored walls in the front rooms with shades of bright reds and purples that Elvis most certainly had picked out." Presley was fond of claiming that the US government had mooted a visit to Graceland by Nikita Khrushchev of the Soviet Union, "to see how in America a fellow can start out with nothing and, you know, make good."
After Gladys died in 1958 aged 46, Presley's father Vernon remarried to Dee Stanley in 1960, and the couple lived at Graceland for a time. There was some discord between Presley and his stepmother Dee at Graceland, however. Elaine Dundy, who wrote about Presley and his mother, said that
"Vernon had settled down with Dee where Gladys had once reigned, while Dee herself – when Elvis was away – had taken over the role of mistress of Graceland so thoroughly as to rearrange the furniture and replace the very curtains that Gladys had approved of." This was too much for the singer, who still loved his late mother deeply. One afternoon, "a van arrived ... and all Dee's household's goods, clothes, 'improvements,' and her own menagerie of pets, were loaded on ... while Vernon, Dee and her three children went by car to a nearby house on Hermitage until they finally settled into a house on Dolan Drive which ran alongside Elvis' estate."
According to Mark Crispin Miller, Graceland became for Presley "the home of the organization that was himself, was tended by a large vague clan of Presleys and deputy Presleys, each squandering the vast gratuities which Elvis used to keep his whole world smiling." The author adds that Presley's father Vernon "had a swimming pool in his bedroom", that there "was a jukebox next to the swimming pool, containing Elvis' favorite records", and that the singer himself "would spend hours in his bedroom, watching his property on a closed-circuit television." According to the singer's cousin, Billy Smith, Presley spent the night at Graceland with Smith and his wife Jo many times: "we were all three there talking for hours about everything in the world! Sometimes he would have a bad dream and come looking for me to talk to, and he would actually fall asleep in our bed with us."
Priscilla Beaulieu lived at Graceland for five years before she and Presley wed in Las Vegas, Nevada, on May 1, 1967. Their daughter Lisa Marie Presley was born on February 1, 1968, and spent the first years of her life on the estate. After her parents divorced in 1972, her mother moved with the girl to California. Every year around Christmas, Lisa Marie Presley and all her family would go to Graceland to celebrate Christmas together. Lisa Marie often returned to Graceland for visits.
When Elvis would tour, staying in hotels, "the rooms would be remodeled in advance of his arrival, so as to make the same configurations of space as he had at home – the Graceland mansion. His furniture would arrive, and he could unwind after his performances in surroundings which were completely familiar and comforting." 'The Jungle Room' was described as being "an example of particularly lurid kitsch."[
On August 16, 1977, Presley died aged 42 at Graceland. The official cause of death was cardiac arrhythmia, although later toxicology reports strongly suggested that polypharmacy was the primary cause of death; "fourteen drugs were found in Elvis' system, with several drugs such as codeine in significant quantities. Presley lay in repose in a 900-pound (410 kg), copper-lined coffin just inside the foyer; more than 3,500 of his mourning fans passed by to pay their respects. A private funeral with 200 mourners was held on August 18, 1977, in the house, with the casket placed in front of the stained glass doorway of the music room. Graceland continued to be occupied by members of the family until the death of Presley's aunt Delta in 1993, who had moved in at Elvis's invitation after her husband's death. Elvis's daughter, Lisa Marie Presley, inherited the estate in 1993 when she turned 25.
Presley's tombstone, along with those of his parents Gladys and Vernon Presley, and his grandmother Minnie Mae Presley, are installed in the Meditation Garden next to the mansion. They can be visited during the mansion tours or for free before the mansion tours begin. A memorial gravestone for Presley's stillborn twin brother, Jesse Garon, is also at the site.
In 2019, the owners of Graceland threatened to leave Memphis unless the city provided tax incentives. The Memphis City Council subsequently voted on a deal to help fund a $100 million expansion of Graceland.
Constructed at the top of a hill and surrounded by rolling pastures and a grove of oak trees, Graceland is designed by the Memphis architectural firm, Furbringer and Erhmanis. It's a two-story, five-bay residence in the Colonial Revival style, with a side-facing gabled roof covered in asphalt shingles, a central two-story projecting pedimented portico, and two one-story wings on the north and south sides. Attached to the wing is an additional one-story stuccoed wing, which was originally a garage that houses up to four cars. The mansion has two chimneys; one on the north side's exterior wall, the second rising through the south side's roof ridge. The central block's front and side facades are veneered with tan Tishomingo limestone from Mississippi and its rear wall is stuccoed, as are the one-story wings. The front facade fenestration on the first floor includes 9x9 double-hung windows set in arched openings with wooden panels above, and 6x6 double-hung windows on the second floor.
Flanked by two marble lions, four stone steps ascend from the driveway to the two-story central projecting pedimented portico. The pediment has dentils and a small, leaded oval window in the center while the portico contains four Corinthian columns with capitals modeled after architect James Stuart's conjectural porticos for the "Tower of the Winds" in Athens, Greece. The portico's cornered columns are matched by pilasters on the front facade. The doorway has a broken arched pediment, full entablature, and engaged columns while its transom and sidelights contain elaborate and colorful stained glass. And above the main entrance is another rectangular window, completed with a shallow iron balcony.
Graceland is 17,552 square feet (1,630.6 m2) and has a total of 23 rooms, including eight bedrooms and bathrooms. To the right of the Entrance Hall, through an elliptical-arched opening with classical details, is the Living Room. The Living Room contains a 15-foot-long (4.6 m) white couch against the wall overlooking the front yard. To the left are two white sofas, a china cabinet and a fireplace with a mirrored wall. The painting that hangs in the room was Elvis' last Christmas present from his father, Vernon, and also displayed are photographs of Elvis' parents Vernon and Gladys, Elvis and Lisa Marie. Behind an adjoined doorway is the Music Room, framed by vivid large peacocks set in stained glass and contains a black baby grand piano and a 1950s style TV. And the third adjacent room is a bedroom that was occupied by Elvis' parents. The walls, carpet, dresser, and queen size bed are bright white with the bed draped in a velvet-looking dark purple bedspread along with an en-suite full bathroom done in pink.
To the left of the Entrance Hall, mirroring the Living Room, is the Dining Room, headlined by a massive crystal chandelier. It features six plush chairs in golden metal frames set around a marble table, all of which are placed on black marble flooring in the center with carpet around the perimeter. Connected to the Dining Room is the Kitchen, which was used by Elvis' aunt Delta until her death in 1993 before it was opened to the public two years later.
The original one-story wing on the north end of the residence includes a mechanical room, bedroom, and bath. In the mid-1960s, Presley enlarged the house to create a den known as the Jungle Room which features an indoor waterfall of cut field stone on the north wall. The room also contains items both related to and imported from the state of Hawaii because, after starring in the tropical film "Blue Hawaii" (1961), the musician wanted to bring some memorabilia from The Aloha State to his mansion, which gives visitors the same feeling. In 1976, the Jungle Room was converted into a recording studio, where he recorded the bulk of his final two albums, From Elvis Presley Boulevard, Memphis, Tennessee (1976) and Moody Blue (1977); these were his final known recordings in a studio setting.[27] During the mid-1960s expansion of the house, Presley constructed a large wing on the south side of the main house that was a sidewalk, between the music room in the original one-story wing and the swimming pool area, that connected to the house by a small enclosed gallery. The new wing initially housed a slot car track and to store his many items of appreciation, but was later remodeled to what is now known as the Trophy Building, which now features an exhibit about the Presley family, and includes Priscilla's wedding dress, Elvis' wedding tuxedo, Lisa Marie's toy chest and baby clothes and more.
The Entrance Hall contains a white staircase leading to the house's second floor with a wall of mirrors. However, the second floor is not open to visitors, out of respect for the Presley family, and partially to avoid any improper focus on the bathroom which was the site of his death. Still, it features Elvis' bedroom at the southwest corner that connects to his dressing room and bathroom in the northwest. His daughter Lisa Marie's bedroom is in the northeast corner, and in the southeast is a bedroom that served as a private personal office for the musician. The floor has been untouched since the day Elvis died and is rarely seen by non-family members.
Downstairs in the basement is the TV room, where Elvis often watched three television sets at once, and was within close reach of a wet bar. The three TV sets are built into the room's south wall and there's a stereo, and cabinets for Elvis' record collection. And painted on the west wall is The King's 1970s logo of a lightning bolt and cloud with the initials TCB, both of which represent 'taking care of business in a flash'. And the last room in the mansion opposite of the TV room is the billiard room; an avid billiards player, Elvis bought the pool table in 1960 and had the walls and ceiling covered with 350–400 yards of pleated cotton fabric after the two basement rooms were remodeled in 1974. The pool balls are arranged just the way they were in the musician's final days along with a strict warning sign to visitors that says "Please Do Not Touch! Thank You!" in capital letters. And in one corner of the pool table, there's a rip in the green felt, which was caused by one of Elvis' friends in a failed attempt of a trick shot.
Critics such as Albert Goldman write: "Though it cost a lot of money to fill up Graceland with the things that appealed to Elvis Presley, nothing in the house is worth a dime." In chapter 1 of his book, Elvis (1981), the author describes Graceland as looking like a brothel: "it appears to have been lifted from some turn-of-the-century bordello down in the French Quarter of New Orleans. Lulu White or the Countess Willie Piazza might have contrived this plushy parlor for the entertainment of Gyp the Blood. The room is a gaudy mélange of red velour and gilded tassels, Louis XV furniture and porcelain bric-a-brac..." And he dismisses the interior as "bizarre," "garish" and "phony," adding that "King Elvis's obsession with royal red reaches an intensity that makes you gag."
In similar terms, Greil Marcus writes that people who visited the inside of Graceland—"people who to a real degree shared Elvis Presley’s class background, and whose lives were formed by his music—have returned with one word to describe what they saw: ‘Tacky.’ Tacky, garish, tasteless—words others translated as white trash."
According to Karal Ann Marling, Graceland is "a Technicolor illusion. The façade is Gone With the Wind all the way. The den in the back is Mogambo with a hint of Blue Hawaii. Living in Graceland was like living on a Hollywood backlot, where patches of tropical scenery alternated with the blackened ruins of antebellum Atlanta. It was like living in a Memphis movie theater... Diehard fans are sometimes disappointed by the formal rooms along the highway side of Graceland. They’re beautiful, in a chilly blue-and-white way, but remote and overarranged." The Jungle Room's "overt bad taste" lets nonbelievers "recoil in horror and imagine themselves a notch or two higher than Elvis on the class scale."
After purchasing the property Presley spent in excess of $500,000 carrying out extensive modifications to suit his needs including a pink Alabama fieldstone wall surrounding the grounds that has several years' worth of graffiti (signatures and messages) from visitors, who simply refer to it as "the wall". Designed and built by Abe Sauer is the wrought-iron front gate shaped like a book of sheet music, along with green colored musical notes and two mirrored silhouettes of Elvis playing his guitar. Sauer also installed a kidney shaped swimming pool and a racquetball court, which is reminiscent of an old country club, furnished in dark leather and a functional bar. There is a sunken sitting area with the ever-present stereo system found throughout Graceland, as well as the dark brown upright piano upon which Elvis played for what were to be his last songs, Willie Nelson's "Blue Eyes Crying in the Rain" and "Unchained Melody".
However, reports conflict about which one was the last song. The sitting area has a floor-to-ceiling shatterproof window designed to watch the many racquetball games that took place there when Elvis was alive. In the early hours of the morning on which Elvis died, he played a game of racquetball with his girlfriend Ginger Alden, his first cousin Billy Smith and Billy's wife Jo before ending the game with the song on the piano before walking into the main house to wash his hair and go to bed. Today the two story court has been restored to the way it was when Elvis used the building.
Elsewhere on the estate is a small white building that served as an office for Vernon, along with an old smokehouse that housed a shooting range and a fully functional stable of horses.
One of Presley's better known modifications was the addition of the Meditation Garden, designed and built by architect Bernard Grenadier. It was used by the musician to reflect on any problems or situations that arose during his life. It is also where his entire family is buried: himself (1935–1977), his parents Gladys (1912–1958) and Vernon (1916–1979), and grandmother Minnie Mae Hood (1890–1980) while a small stone memorializes his twin brother Jesse Garon, who died at birth thirty minutes before Elvis was born on January 8, 1935. In late 2020, Lisa Marie's son Benjamin Keough was laid to rest on the opposite end of the Meditation Garden after his death from suicide in July of that year. Lisa Marie Presley died from sudden cardiac arrest in January 2023 and is buried next to her son.
After Elvis Presley's death in 1977, Vernon Presley served as executor of his estate. Upon his death in 1979, he chose Priscilla to serve as the estate executor for Elvis's only child, Lisa Marie, who was only 11. Graceland itself cost $500,000 a year in upkeep, and expenses had dwindled Elvis's and Priscilla's daughter Lisa Marie's inheritance to only $1 million. Taxes were due on the property; those and other expenses due came to over $500,000. Faced with having to sell Graceland, Priscilla examined other famous houses/museums, and hired a CEO, Jack Soden, to turn Graceland into a moneymaker. Graceland was opened to the public on June 7, 1982. Priscilla's gamble paid off; after only a month of opening Graceland's doors the estate made back all the money it had invested. Priscilla Presley became the chairwoman and president of Elvis Presley Enterprises, or EPE, stating at that time she would do so until Lisa Marie reached 21 years of age. The enterprise's fortunes soared and eventually the trust grew to be worth over $100 million.
An annual procession through the estate and past Elvis's grave is held on the anniversary of his death. Known as Elvis Week, it includes a full schedule of speakers and events, including the only Elvis Mass at St. Paul's Church, the highlight for many Elvis fans of all faiths. The 20th Anniversary in 1997 had several hundred media groups from around the world that were present resulting in the event gaining its greatest media publicity.
One of the largest gatherings assembled on the 25th anniversary in 2002 with one estimate of 40,000 people in attendance, despite the heavy rain. On the 38th anniversary of Elvis's death, an estimated 30,000 people attended the Candlelight Vigil during the night of August 15–16, 2015. On the 40th anniversary of Elvis's death, on August 15–16, 2017, at least 50,000 fans were expected to attend the Candlelight Vigil. No official figure seems to have been released, maybe because, for the first time, attendees had to pay at least the lowest tour fare, $28.75, to cover the extra security costs due to a larger than usual crowd.
For many of the hundreds of thousands of people who visit Graceland each year, the visit takes on a quasi-religious perspective. They may plan for years to journey to the home of the 'King' of rock and roll. On site, headphones narrate the salient events of Elvis's life and introduce the relics that adorn the rooms and corridors. The rhetorical mode is hagiographic, celebrating the life of an extraordinary man, emphasizing his generosity, his kindness and good fellowship, how he was at once a poor boy who made good, an extraordinary musical talent, a sinner and substance abuser, and a religious man devoted to the Gospel and its music. At the meditation garden, containing Elvis's grave, some visitors pray, kneel, or quietly sing one of Elvis's favorite hymns. The brick wall that encloses the mansion's grounds is covered with graffiti that express an admiration for Presley as well as petitions for help and thanks for favors granted.
The Graceland grounds include a new exhibit complex, Elvis Presley's Memphis, which includes a new car museum, Presley Motors, which houses Elvis's Pink Cadillac. The complex features new exhibits and museums, as well as a studio for Sirius Satellite Radio's all-Elvis Presley channel. The service's subscribers all over North America can hear Presley's music from Graceland around the clock. Not far away on display are his two aircraft including Lisa Marie (a Convair 880 jetliner) and Hound Dog II (a Lockheed JetStar business jet). The jets are owned by Graceland and are on permanent static display.
In early August 2005, Lisa Marie Presley sold 85% of the business side of her father's estate. She kept the Graceland property itself, as well as the bulk of the possessions found therein, and she turned over the management of Graceland to CKX, Inc., an entertainment company (on whose board of directors Priscilla Presley sat) that also owns 19 Entertainment, creator of the American Idol TV show.
Graceland Holdings LLC, led by managing partner Joel Weinshanker, is the majority owner of EPE. Lisa Marie Presley's estate retains a 15% ownership in the company.
In August 2018, Gladys Presley's headstone, which contained the Jewish star of David on one side and a cross on the other and was designed by Elvis himself, which become publicly displayed when it placed in Graceland's Mediation Garden after being stored for many years in the Graceland Archive.
Lisa Marie Presley's estate, which is being held in trust for her daughters Riley Keough and Harper and Finley Lockwood, retain 100% sole personal ownership of Graceland Mansion itself and its over 13-acre original grounds as well as Elvis Presley's personal effects – including costumes, wardrobe, awards, furniture, cars, etc. Prior to her death in 2023, Lisa Marie Presley had made the mansion property and her father's personal effects permanently available for tours of Graceland and for use in all of EPE's operations.
According to Elvis Presley's Enterprises, staff at Graceland informally kept a list of celebrities who had visited in the first years following Elvis's death. This practice was not formalized for a decade. Muhammad Ali was an early celebrity visitor in 1978, as was singer Paul Simon. He toured Graceland in the early 80s and afterward wrote a song of the same name; it was the title track of his Grammy-winning album Graceland.
During the Joshua Tree Tour in 1987, U2 toured Graceland. The footage was filmed for the film Rattle & Hum. During the visit, drummer, Larry Mullen Jr., sat on Elvis Presley's motorcycle -- against the rules for Graceland visitors.
On June 30, 2006, then US President George W. Bush hosted Japanese Prime Minister Junichiro Koizumi for a tour of the mansion. It was one of the few private residences on United States soil to have been the site of an official joint-visit by a sitting US president and a serving head of a foreign government. On August 6, 2010, Prince Albert II, Head of State of the Principality of Monaco, and his fiancée (now Princess of Monaco) Charlene Wittstock, toured Graceland while vacationing in the US. On May 26, 2013, Paul McCartney of The Beatles visited Graceland. Prince William and Prince Harry, while in Memphis for a friend's wedding, visited Graceland on May 2, 2014.
The home has also been visited by former US President Jimmy Carter; the late Duchess of Devonshire, the sitting ambassadors of India, France, China, Korea and Israel to the United States; as well as several US governors, members of the US Congress, and at least two Nobel Prize winners, namely singer-songwriter Bob Dylan, a Literature Prize laureate, and the former President of Costa Rica, Oscar Arias, a Peace Prize honoree, who visited it on October 10, 2001.
In May 2016, Graceland welcomed a newlywed couple as its 20 millionth visitor.
In June 2022, actors Austin Butler and Tom Hanks visited the mansion and were interviewed virtually by the Good Morning America news program from the Jungle Room to talk about their biographical film Elvis.
In popular culture
Paul Simon named an album Graceland, as well as its title track. The song won the Grammy Award for Record of the Year in 1987.
The song "Walking in Memphis" by Marc Cohn mentions Graceland; in the second verse, he refers to the mansion and the Jungle Room. This song was later covered by Cher and Lonestar, among others.
The film 3000 Miles to Graceland is about a group of criminals who plan to rob a casino during an international Elvis week, disguised as Elvis impersonators. No scenes take place at or near the estate.
The film Finding Graceland stars Harvey Keitel with Johnathon Schaech. Keitel is an impersonator who claims to be the real Elvis after Schaech picks him up as a hitch-hiker.
In the rock music "mockumentary" This Is Spinal Tap, band members gather around Presley's grave at Graceland and attempt to sing a verse of "Heartbreak Hotel".
Pop punk group Groovie Ghoulies have a song called "Graceland" on their 1997 album Re-Animation Festival.
In the movie Zombieland: Double Tap, the protagonists venture to Graceland in hopes of shelter during a zombie apocalypse, but are distressed to find it in a ruined state.
During the credits of Lilo & Stitch, there's a photograph of Lilo, Nani, David and Stitch visiting the front gates of Graceland. Almost 20 years later, the original painting of that shot was put on display as part of the traveling Walt Disney Archives exhibition at Graceland.
In the season three episode of American Dad “The Vacation Goo”, Steve Smith asks Stan Smith if they can go to Graceland for their next vacation and Stan says “Steve, if you want to pay your respects to a fat man who died on the toilet, we can visit your Aunt Mary’s grave.”
Phoebe Bridgers has a song "Graceland Too" on her second studio album Punisher.
In the third episode of National Treasure: Edge of History, "Graceland Gambit," the main protagonist, Jess (portrayed by Lisette Olivera) is on a treasure hunt that leads her and her friends to Graceland.
Florence + The Machine reference Graceland and Elvis in their song "Morning Elvis" on their 2022 album Dance Fever.
This is a US Navy Light Service Support Truck (LSSV) manufactured by General Motors Defense. This is the 2 Door Base Pickup variant of the LSSV. The LSSV is offered as a light service cargo / troop carrier vehicle. The vehicle is painted in a GM Defense factory offered Desert Tan color.
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01 September, 2017, Somali Region, Ethiopia - IFAD/WB supported Pastoral Community Development Programme (PCDP III) – Human and Animal Health Post.
The heads of the three UN food agencies are visiting Ethiopia to highlight the critical food and nutrition security situation. Consecutive climate shocks have resulted in back-to-back droughts, which have caused hunger to soar and malnutrition rates to rise to alarming levels. The agency chiefs will discuss how best to strengthen their support to the Government and its systems so that Ethiopia can continue meeting its development goals while simultaneously addressing humanitarian challenges along the way. The UN Food and Agriculture Organization (FAO) Director-General José Graziano da Silva, the International Fund for Agricultural Development (IFAD) President Gilbert F. Houngbo and the World Food Programme (WFP) Executive Director David Beasley are in Ethiopia from 1-4 September.In the worst-affected parts of the country, in the south and south-east, rains have failed for the third consecutive year. More than 8.5 million people require food assistance in the second half of 2017. The response led by the Government has begun to stabilize the situation, however additional efforts and support is urgently needed to prevent the situation deteriorating further.The agency heads will witness first-hand the scale of the crisis during a field mission to Somali region where the drought has killed many heads of livestock, causing a breakdown in pastoral livelihoods and a jump in malnutrition.The trio will meet drought-affected people who are receiving food rations, visit nutrition centres treating malnourished children and see distributions of essential support to keep the remaining livestock alive.The current food security and nutrition crisis cannot be resolved by emergency assistance alone. The longer-term solution lies in building communitiesâ resilience to better withstand shocks and avoid being plunged back into crisis. In Tigray region, the agency chiefs will see the dividends of investing in resilience. They will visit communities where the agencies' complementary projects have boosted productivity, strengthened livelihoods and improved nutrition. In Addis Ababa, the three representatives will hold high-level discussions with Government representatives, and UN and other partner organizations, on the life-saving response and the need for greater collaboration and investment in resilience.
Photo: FAO/IFAD/WFP/Michael Tewelde. Editorial use only. Photo credit must be given.
life support
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a contintuation of this shoot !
i met an amazing girl this day, Katie Lingan. she is so funny and a really great photographer/model. thanks so much to her for doing this shot over and over and over haha.
p.s. you should REALLY view on black
www.magazinetoday.org/mum-supported-her-daughter-to-be-su... The mum and daughter both have splashed a staggering £60,000 between them in a bid to copy the glamour model katie price.
Kayla Morris, 21, revealed she’d been planning to get a boob job since she was just 11-years-old.
And as soon as she legally could, she forked over £5,000 to go from a 32C to ...
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Douglas A-4 Skyhawk is a single-seat subsonic carrier-capable light attack aircraft developed for the United States Navy and United States Marine Corps in the early 1950s. The delta-winged, single turbojet-engine Skyhawk was designed and produced by Douglas Aircraft Company, and later by McDonnell Douglas. The Skyhawk was a relatively light aircraft, with a maximum takeoff weight of 24,500 pounds (11,100 kg) and had a top speed of 670 miles per hour (1,080 km/h). The aircraft's five hardpoints supported a variety of missiles, bombs, and other munitions, including nuclear bombs, with a bomb load equivalent to that of a World War II–era Boeing B-17 bomber.
Since its introduction, the Skyhawk had been adopted by countries beyond the United States and saw a very long career, with many baseline variants and local adaptations. Israel was, starting in 1966, the largest export customer for Skyhawks, and a total of 217 A-4s were eventually procured, plus another 46 that were transferred from U.S. units in Operation Nickel Grass to compensate for large losses during the Yom Kippur War.
The Skyhawk was the first U.S. warplane to be offered to the Israeli Air Force, marking the point where the U.S. took over from France as Israel's chief military supplier. A special version of the A-4 was developed for the IAF, the A-4H. This was an A-4E with improved avionics and an uprated J52-P-8A engine with more thrust from the A-4F that had replaced the Wright J65 in earlier Skyhawk variants. Armament consisted of twin DEFA 30 mm cannon in place of the rather unreliable Colt Mk.12 20 mm cannons. Later modifications included the avionics hump and an extended tailpipe, implemented in Israel by IAI to provide greater protection against heat-seeking surface-to-air missiles.
Deliveries began after the Six-Day War, and A-4s soon formed the backbone of the IAF's ground-attack force. In Heyl Ha'avir (Israels Air Force/IAF) service, the A-4 Skyhawk was named as the Ayit (Hebrew: עיט, for Eagle). A total of 90 A-4Hs were delivered and became the IAF’s primary attack plane in the War of Attrition between 1968 and 1970. They cost only a quarter of a Phantom II and carried half of its payload, making them highly efficient attack aircraft, even though losses were high and a number of A-4Es were imported to fill the gaps.
In early 1973, the improved A-4N Skyhawk for Israel entered service, based on the A-4M models used by the U.S. Marine Corps, and it gradually replaced the simpler and less capable A-4Hs, which were still operated in 2nd line duties. Many of the A-4Hs and A-4Es were subsequently stored in reserve in flying condition, for modernization or for sale, and two countries made purchases from this overstock: Indonesia and Uruguay.
Due to the declining relationship between Indonesia and the Soviet Union, there was a lack of spare parts for military hardware supplied by the Communist Bloc. Soon, most of them were scrapped. The Indonesian Air Force (TNI-AU) acquired ex-Israeli A-4Es to replace its Il-28 Beagles and Tu-16 Badgers in a covert operation with Israel, since both countries did not maintain diplomatic relationships. A total of thirty-two A-4s served the Indonesian Air Force from 1982 until 2003.
Uruguay was the other IDF customer, even though a smaller one. The Uruguayan Air Force was originally created as part of the National Army of Uruguay but was established as a separate branch on December 4, 1953, becoming the youngest, and also the smallest branch of the Armed Forces of Uruguay.
Since the end of the 1960s and the beginning of the 1970s, the Air Force was involved in the fight against the guerrilla activity that was present in the country, focusing against the MLN-T (Movimiento de Liberación Nacional – Tupamaros or Tupamaros – National Liberation Movement), that later triggered a participation in the country's politics.
On February 8, 1973, President Juan María Bordaberry tried to assert his authority over the Armed Forces by returning them to their normal duties and appointing a retired Army general, Antonio Francese, as the new Minister of National Defense. Initially, the Navy of Uruguay supported the appointment, but the National Army and Uruguayan Air Force commanders rejected it outright. On February 9 and 10, the Army and Air Force issued public proclamations and demanded his dismissal and changes in the country's political and economic system. Bordaberry then gave up to the pressure, and on February 12, at the Cap. Juan Manuel Boiso Lanza Air Base, Headquarters of the General Command of the Air Force, the National Security Council (Consejo de Seguridad Nacional) was created. The Commander-in-Chief of the Air Force was one of its permanent members, and the Armed Forces of Uruguay from now on were effectively in control of the country, with Bordaberry just participating in a self-coup.
During this period of time, the Air Force took control of the country's airdromes, some aircraft that were seized from the subversion, appointed some of its general officers to led the flag carrier PLUNA, reinforced the combat fleet with Cessna A-37B Dragonfly and FMA IA-58A Pucará attack aircraft in 1976 and 1981, modernized the transport aircraft with the purchase of five Embraer C-95 Bandeirante in 1975 and five CASA C-212 Aviocar and one Gates Learjet 35A in 1981, introduced to service two brand new Bell 212 helicopters, and achieved another milestone, with the first landing of a Uruguayan aircraft in Antarctica, on January 28, 1984, with a Fairchild-Hiller FH-227D.
Since the end of the military government, the Air Force returned to its normal tasks, and always acting under the command of the President and in agreement with the Minister of National Defense, without having entered the country's politics again, whose participation, in addition, has been forbidden in almost all activities for the Armed Forces. Towards the late Eighties, the Uruguayan Air Force underwent a fundamental modernization program: Between 1989 and 1999 a total number of 48 aircraft were acquired, including twelve Skyhawks (ten single seaters and two trainers), followed by three Lockheed C-130B Hercules in 1992, to carry out long-range strategic missions, six Pilatus PC-7U Turbo Trainers, also acquired in 1992 for advanced training (replacing the aging fleet of Beechcraft T-34 Mentors in Santa Bernardina, Durazno, that had been in service with the Air Force since 1977), two Beechcraft Baron 58 and ten Cessna U-206H Stationair in 1998 (with Uruguay becoming the first operator of this variant, used for transport, training and surveillance). Two Eurocopter AS365N2 Dauphin for search and rescue and transport followed, also in 1998, and 13 Aermacchi SF-260 in 1999, to fully replace the aging fleet of T-34 training aircraft and become the new basic trainer of the Uruguayan Air Force within the Military School of Aeronautics (Escuela Militar de Aeronáutica) in Pando, Canelones. Furthermore, on April 27, 1994, through Decree No. 177/994 of the Executive Power, a new Air Force Organization was approved, and the Tactical Regiments and Aviation Groups disappeared to become Air Squadrons, leading to the current structure of the Uruguayan Air Force.
The Skyhawks were procured as more capable complement and partial replacement for the FAU’s Cessna A-37B Dragonfly and FMA IA-58A Pucará attack aircraft fleet. Being fast jets, however, they would also be tasked with limited airspace defense duties and supposed to escort and provide aerial cover for the other attack types in the FAU’s inventory. The Skyhawks were all former IDF A-4H/TA-4Hs. They retained their characteristic tail pipe extensions against IR-guided missiles (primarily MANPADS) as well as the retrofitted avionics hump, but there were many less visible changes, too.
After several years in storage, a full refurbishment had taken place at Israel Aircraft Industries (IAI). The single seaters’ original Stewart-Warner AN/APG-53A navigation and fire control radar was retained, but some critical avionics were removed before export, e. g. the ability to carry and deploy AGM-45 Shrike anti-radar-missiles or the rather unreliable AGM-12 Bullpup, as well as the Skyhawk’s LABS (toss-bombing capability) that made it a potential nuclear bomber. On the other side avionics and wirings to carry AIM-9B Sidewinder AAMs on the outer pair of underwing pylons were added, so that the FAU Skyhawks could engage into aerial combat with more than just their onboard guns.
The A-4Hs’ 30 mm DEFA cannons were removed before delivery, too, even though their characteristic gondola fairings were retained. In Uruguay they were replaced with 20 mm Hispano-Suiza HS.804 autocannons, to create communality with the FAU’s Pucará COIN/attack aircraft and simplify logistics. MER and TER units (Multiple/Triple Ejector Racks), leased from Argentina, boosted the Skyhawks’ ordnance delivery capabilities. A Marconi ARL18223 360° radar warning receiver and a Litton LTN-211 GPS navigation system were introduced, too. Despite these many modifications the FAU’s A-4Hs retained their designation and, unofficially, the former Israeli “Eagles” were aptly nicknamed “Águila” by their new crews and later by the public, too.
Upon introduction into service the machines received a disruptive NATO-style grey/green camouflage with off-white undersides, which they should retain for the rest of their lives – except for a single machine (648), which was painted in an experimental all-grey scheme. However, like the FAU Pucarás, which received grim looking but distinctive nose art during their career, the Skyhawks soon received similar decorations, representing the local ‘Jabalí’ (wild boars).
During the Nineties, the Uruguayan Skyhawks were frequently deployed together with Pucarás along the Brazilian border: Brazilian nationals were detected removing cattle from Uruguayan territory! Dissuasive missions were flown by the Pucarás departing from Rivera to Chuy in eastern Uruguay, covering a span of more than 200 nm (368 km) along the Uruguay/Brazil border, relaying the location of the offending persons to Uruguay’s Army armored units on the ground to take dissuading action. The Skyhawks flew high altitude escorts and prevented intrusion of the Uruguayan airspace from Brazil, and they were frequently called in to identify and repel intruders with low-level flypasts.
The Skyhawks furthermore frequently showed up around the Uruguayan city Masoller as a visible show of force in a longstanding border and territory dispute with Brazil, although this had not harmed close diplomatic and economic relations between the two countries. The disputed area is called Rincón de Artigas (Portuguese: Rincão de Artigas), and the dispute arose from the fact that the treaty that delimited the Brazil-Uruguay border in 1861 determined that the border in that area would be a creek called Arroyo de la Invernada (Portuguese: Arroio da Invernada), but the two countries disagree on which actual stream is the so-named one. Another disputed territory is a Brazilian island at the confluence of the Quaraí River and the Uruguay River. None of these involvements led to armed conflict, though.
The Uruguayan Skyhawk fired in anger only over their homeland during drugbusting raids and for interception of low performance, drug trafficking aircraft which were increasingly operating in the region. However, the slower IA 58 Pucará turned out to be the better-suited platform for this task, even though the Skyhawks more than once scared suspicious aircraft away or forced them to land, sometimes with the use of gunfire. At least one such drug transport aircraft was reputedly shot down over Uruguayan territory as its pilot did not reply or react and tried to escape over the border into safe airspace.
These duties lasted well into the Nineties, but Uruguay’s small Skyhawk fleet was relatively expensive to operate so that maintenance and their operations, too, were dramatically cut back after 2000. The airframes’ age also showed with dramatic effect: two A-4Hs were lost independently in 2001 and 2002 due to structural fatigue. Active duties were more and more cut back and relegated back to the A-37s and IA 58s. In October 2008, it was decided that the Uruguayan A-4 Skyhawk fleet would be withdrawn and replaced by more modern aircraft, able to perform equally well in the training role and, if required, close support and interdiction missions on the battlefield. The last flight of an FAU A-4 took place in September 2009.
This replacement program did not yield any fruits, though. In May 2013 eighteen refurbished Sukhoi Su-30 MKI multirole air superiority fighters were offered by the Russian Federation and Sukhoi in remarkably favorable condition that included credit facilities and an agreement branch for maintenance. These conditions were also offered for the Yak-130 Mitten. By December 2013 Uruguayan personnel had test flown this plane in Russia. In the meantime, a number of A-37B Dragonfly were purchased from the Ecuadorian Air Force in January 2014 to fill the FAU’s operational gaps. Also, the Uruguayan and Swiss governments discussed a possible agreement for the purchase of ten Swiss Air Force Northrop F-5Es plus engines, spare parts and training, but no actual progress was made. The Uruguayan Air Force also used to show interest on the IA-58D Pucará Delta modernization program offered by Fábrica Argentina de Aviones, but more recently, among some of the possible aircraft that the Air Force was considering, there were the Hongdu JL-10 or the Alenia Aermacchi M-346 Master. But despite of how necessary a new attack aircraft is for the FAU, no procurements have been achieved yet.
General characteristics:
Crew: 1
Length: 40 ft 1.5 in (12.230 m)
Wingspan: 27 ft 6 in (8.38 m)
Height: 15 ft 2 in (4.62 m)
Wing area: 260 sq ft (24 m²)
Airfoil: root: NACA 0008-1.1-25; tip: NACA 0005-.825-50
Empty weight: 9,853 lb (4,469 kg)
Gross weight: 16,216 lb (7,355 kg)
Max takeoff weight: 24,500 lb (11,113 kg)
Powerplant:
1× Pratt & Whitney J52-P-8A turbojet engine, 9,300 lbf (41 kN) thrust
Performance:
Maximum speed: 585 kn (673 mph, 1,083 km/h) at sea level
Range: 1,008 nmi (1,160 mi, 1,867 km)
Ferry range: 2,194 nmi (2,525 mi, 4,063 km)
g limits: +8/-3
Rate of climb: 5,750 ft/min (29.2 m/s)
Wing loading: 62.4 lb/sq ft (305 kg/m²)
Thrust/weight: 0.526
Armament:
2× 20 mm (0.79 in) Hispano-Suiza HS.804 autocannon with 100 RPG
5× hardpoints with a total capacity of 8,500 lb (3,900 kg)
The kit and its assembly:
The third build in my recent “Uruguayan What-if Trip”, and a rather spontaneous idea. When I searched for decals for my Uruguayan Sherman tank, I came across a decal sheet from an Airfix IA 58 Pucará (2008 re-boxing), which included, beyond Argentinian markings, a Uruguayan machine, too. This made me wonder about a jet-powered successor, and the omnipresent Skyhawk appeared like a natural choice for a light attack aircraft – even though I also considered an IAI Kfir but found its Mach 2 capability a bit overdone.
Checking history I found a suitable time frame during the Nineties for a potential introduction of the A-4 into Uruguayan service, and this was also the time when Indonesia indirectly bought 2nd hand A-4E/Hs from Israel. This was a good match and defined both the background story as well as the model and its details.
The model kit is an Italeri A-4E/F (Revell re-boxing), built mostly OOB with a short/early fin tip (the kit comes with an optional part for it, but it is too short and I used the alternative A-4M fin tip from the kit and re-shaped its leading edge) and the bent refueling probe because of the radar in the nose (the original straight boom interfered with it). I just implanted an extended resin tailpipe (from Aires, see below), used the OOB optional brake parachute fairing and scratched fairings for the A-4H’s former DEFA guns (which were placed, due to their size, in a lower position than the original 20 mm guns and had an odd shape) from styrene rods.
I also modified the ordnance: the OOB ventral drop tank was taken over but the kit’s original LAU-19 pods molded onto the inner wing pylons were cut off and moved to the outer stations. The inner pylons then received MERs with five Mk. 82 500 lb iron bombs each (left over from a Hasegawa Skyhawk kit) – typically for the Skyhawk, the inner front stations on the MERs (and on TERs, too) were left empty, because anything bigger than a 250 lb Mk. 81 bomb interfered with the landing gear covers.
Building posed no real problems; some PSR was necessary on many seams, though, but that’s standard for the Italeri Skyhawk kit. Just the extended tailpipe caused unexpected trouble: the very nice and detailed Aires resin insert turned out to be a whole 2mm(!) wider than the Skyhawk’s tail section, even though its height and shape was fine. I solved this pragmatically and, after several trials, glued the extended pipe between the fuselage halves, closed them with some force and filled the resulting wedge-shaped ventral gap that extended forward almost up to the wings’ trailing edge with putty. Under the paint this stunt is not obvious, and I suspect that the Italeri Skyhawk’s tail is simply too narrow?
Different/additional blade antennae were added under the front fuselage and behind the canopy as well as a tiny pitot in front of the windscreen (piece of thin wire) and fairings for the radar warning receivers were integrated into the fin’s leading edge and above the extended tail pipe, scratched from styrene sheet material. And, finally, a thin rod (made from heated styrene) was added for the Skyhawk’s steerable front wheel mechanism.
A good thing about the Italeri Skyhawk is that its clear part encompasses the whole canopy, including its frame. It comes as a single piece, though, but can be easily cut in two parts to allow an open cockpit display. The alternative Hasegawa A-4E/F has the flaw that the clear part is molded without the canopy frame, which has a rather complex shape, so that modding it into open position is a very complicated task.
Painting and markings:
Basically very simple: I relied upon FAU Pucarás as benchmark, which carry a rather unremarkable NATO-style livery in dark grey and dark green over very light grey, almost white undersides. This does not sound interesting, but it’s not a color combo typically seen on a Skyhawk, so that this already offers a subtle whiffy touch – and it suits the Skyhawk IMHO well.
To make the simple scheme more interesting, though, I decided to apply the camouflage in a more disruptive, higher resolution pattern, using the Kuwaiti A-4KU pattern as benchmark, just with replaced colors. On real-life pictures, the Uruguayan Pucarás as well as some early A-37s show a good contrast between the green and the grey, so that I chose Tamiya XF-62 (U.S. WWII Olive Drab) and Humbrol 156 (RAF Dark Camouflage Grey) as basic tones; the undersides were painted in Humbrol 147 (FS 36495), leaving a brightness margin for post-shading with an even lighter tone.
The landing gear as well as the air intakes’ interior were painted in white, the landing gear covers’ edges received a thin red edge. The cockpit interior became standard Dark Gull Grey.
For good contrast with the light undersides, the rocket launchers became light grey (Humbrol 127) drab. The MERs became classic white and the ten 250 lb bombs were painted in olive drab.
As usual, the kit received an overall light black ink washing and some post-panel shading, which also acts as a weathering measure. Esp. the Pucarás’ grey appears very bleached on many photos.
Roundels, fin flash and FAU taglines came from the aforementioned Airfix Pucará sheet, even though they turned out to be rather thick and not printed sharply. Most stencils were taken from an Airfix A-4Q Skyhawk, one of the new mold kits, which also came with Argentinian markings and stencils in Spanish. The respective sheet also provided a decal for the black anti-glare panel, even though it had to be cut in two halves to fit in front of the wider A-4E windshield, and the resulting gap was painted out with black. The tactical codes once belonged to a Kawasaki T-4 (Hasegawa). The soot-hiding squares above the gun muzzles are generic black decals. The only decal that was taken over from the Skyhawk’s OOB decal sheet were the rings around the arrester hook.
Overall, the FAU Skyhawk still looked rather dry. To add some excitement, I gave the aircraft a wild boar “face”, similar to the FAU Pucarás. The decoration originally belongs to an USAF A-10 and came from a HiDecal sheet. Unfortunately, this boar face was carried by a rather special A-10 with an experimental desert paint scheme consisting of Brown (FS 20140), Tan Special (FS 20400) and Sand (FS 20266) that was applied before deployment to Saudi Arabia in November 1990. This scheme did not catch on, though, and most A-10s retained their murky Europe One/Lizard scheme. Therefore, the artwork consists primarily of black and sand – white would have been better, stylistically. But I took what I could get and, as a kind of compensation, the sand color does not make the boar snout stand out too much. To my surprise, the four decals that create the wraparound hog face fitted quite well in size and around the Skyhawk’s rather pointed nose. I just left the nostrils away because they’d look odd together with the small black radome and a small ventral gap between the mouth halves had to be bridged with black paint and another piece of decal sheet that simulates a di-electric cover.
Finally, the model was sealed with matt acrylic varnish and ordnance as well as landing gear were mounted.
The third and for now the last build in my recent ‘Uruguayan whif’ model series. I like the grey-green Skyhawk a lot – it’s not spectacular and looks very down-to-earth (except for the nose art, maybe), but it’s very believable. The NATO style livery is rather unusual for the A-4, it was AFAIK not carried by any real in-service Skyhawk, but it suits the aircraft well.
The fairly new Offshore Support Vessel GRAMPIAN EAGLE is pictured on the Corporation Quay, in the Port of Sinderland, on November 18th 2025.
✰ This photo was featured on The Epic Global Showcase here: ift.tt/1TfSxp7
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Redraw of a previous concept in support for #EarthHour | 19 Mar 2016 | 8:30-9:30 pm local time. 🌎💡 #ChangeClimateChange
by @kerbyrosanes on Instagram.
British Red Cross YH13EUJ Emergency Response Support Unit and AE06PUO Renault Emergency Ambulance Leicester river side festival June 2013
Café Landtmann
(further pictures you can see by clicking on the link at the end of page!)
Café Landtmann at the Palais Lieben-Auspitz, left the University Ring
The Café Landtmann, photographed from the roof of the Burgtheater
Winter garden and summer beer garden, behind the Town Hall
Great Hall at Café Landtmann
Schanigarten
(Wikipedia: Schanigarten is the Austro-Bavarian term for tables and chairs set up on the sidewalk in front of eating and drinking places. Unlike normal beer gardens (Gastgärten), the customers actually sit on public property. Originally, Schanigärten (pl.) referred only to Viennese coffee houses, but now the expression is used in other parts of Austria and for other types of establishments like restaurants and taverns)
Projection on the façade
Winter Garden, looking towards Universitätsring
The Zuckerkandl room in Landtmann's Bel-Etage
The Café Landtmann in Vienna is a typical Viennese coffee house in the Ringstrasse style. It is located in the first District at the University Ring 4, corner Löwelstraße 22, and is known throughout the city.
Location
The cafe is located on the ground floor of the Palais Lieben-Auspitz called Mietwohnhauses (apartment building), in the immediate vicinity of the Burgtheater, the University of Vienna and the party headquarters of the Social Democrats and close to the Vienna City Hall with the City Hall Park, the Federal Chancellery and three ministries. The café is therefore frequented by, among other actors, politicians, civil servants and journalists and is the venue for press conferences.
History
The coffee was on 1 October 1873 of the Cafétier (café owner) Landtmann as "Vienna 's most elegant and largest café-localities" in a prominent, 1872 built corner house at the at the time also new Franzensring (so to 1919 the address of this part of Vienna's Ringstrasse) opened. The ring road was indeed opened by emperor Franz Joseph I in 1865, but still long not completed in the area of the coffee house: The city hall was under construction since 1872, but was only opened in 1883. The university main building was built 1877-1884, the Burgtheater from 1874 to 1888. The coffee was thus in his early years surrounded mainly by large construction sites.
1881 sold Landtmann his coffeehouse to the brothers Wilhelm and Rudolf Kerrl who continued it under the name Landtmann and extended it in the direction of Oppolzergasse. Rudolf soon retired from active business life, Wilhelm Kerrl led on the café alone until 1916 and then sold it, worn down by the economy of scarcity of the First World War, to Karl Anton Kraus, previously a butcher and innkeeper. He led the coffee for only five years, because in 1921 it was operated by a Hokare Ges.mbH (unlimited company) (the name stands for hotel, coffee and restoration companies). This company had to be liquidated 1925/1926.
The Café Landtmann was now bought in the fall of 1926 by Mr. and Mrs. Conrad and Angela Zauner. The new owners had it in 1929 after a design by Ernst Meller, experienced in the establishment of coffee houses, fully restored: with the preserved to this day interior which is under preservation order. Particularly striking are four wooden pillars at the entrance, which were created by Hans Scheibner and their decoration representing premiere scenes of the Burgtheater. With this elaborate interior design Landtmann consolidated its position as the most elegant café in town. In 1949, Konrad Zauner's son Erwin took the management of the café and led it on with great success.
In 1974 the company received the National Award and since then it is allowed to use the Federal coat of arms in commercial transactions. In 1976, the present owner family took the local and renovated it in 1980 again.
In the café was Robert Böck, on duty only called Mr. Robert, working for 28 years, many years as head waiter in a tuxedo, and he knew all the important guests personally. On his last working day, on 23 December 2003, many celebrities came to his departure from the cafe. Mayor Michael Häupl served Mr. Robert, who had so often served him a "little brown". To this end, he handed him the "Golden Rathausmann" "for the most famous, most discreet and most accommodating waiter of Vienna".
de.wikipedia.org/wiki/Goldener_Rathausmann_(Wien)
Details
Small stage
In the basement below the coffee was after Czeike already 1936-1938 the Cabaret 'Merry Landtmann" for the dancer Cilli Wang set up by her husband. 1953 in the basement the small stage "The Tribune" was established (since 2002: "The new stand", directed by Karl Heinz Wukow). It is one of the numerous small Viennese theaters that operate with modest public support and which offer authors, actors and directors fields of application.
Winter Garden
2007 was built a conservatory on the facade towards the castle theater, designed by Manfred Wehdorn by 1.5 million euros (Bernd Querfeld). With 87 square meters and 29 tables, the conservatory is almost as spacious as the great hall of the café; thus the capacity of the premises has been extended by a quarter.
Landtmann's Bel-Etage
2012 were opened above the café three function rooms, which are referred to as "Landtmann's Bel-Etage". One of the rooms is named after Berta Zuckerkandl, which in the house (entrance Oppolzergasse 6) from 1917 to 1938 run her famous salon, meeting place of artists, scientists and politicians.
Price of water
2013 got the coffee into media because guests who instead of ordering other beverages only want drink tap water this service no longer receive free. The scheme has been criticized partly violently. The glass of water for ordered coffee, as it corresponds to the Viennese coffee house tradition, still is served free.
Miscellaneous
In the Café Landtmann are according to indications of the owner family on average held 2.8 press conferences per day.
Since 2003, the café is every summer venue of the coffee house theater ink & coffee.
In March 2009, was opened in Tokyo in the central district of Minato-ku, in fact, in the district Kitaaoyama in the Aoyama Street, a "Café Landtmann" called local opened.
Guests
The coffee house was according to Czeike visited, among others, by the artists Attila Hörbiger, Paul Hörbiger, Oskar Kokoschka, Hans Moser, Max Reinhardt, Oskar Werner and Paula Wessely. Among the politicians he names Julius German, Robert Dannenberg and Karl Seitz, who were part of the "Red Vienna", and in the postwar period the then very popular Chancellor Julius Raab. Gustav Mahler was encountering here with Karl Goldmark, Gary Cooper and Marlene Dietrich were among the "by-trotting" guests, the authors Jura Soyfer, Felix Salten, Thomas Mann and John Boynton Priestley also frequented the Landtmann. The owners themselves mention over and above Peter Altenberg, Sigmund Freud, Emmerich Kálmán, Curd Jürgens, Otto Preminger and Romy Schneider as regulars.
My Hatsune Miku: Support Version finally arrived the other day! :D
I was actually surprised to see her so soon. I got some e-mail from Good Smile about a mix up regarding shipping so I didn't think I would get her until October. But she's here! So cheerful for a good cause. :3
More and better photos to come. This was actually taken during the last bit of daylight. It still came out well, but I didn't have time to get all the photos I wanted of her.
A reclining Buddha is a statue that represents Buddha lying down and is a major iconographic and statuary pattern of Buddhism. It represents the historical Buddha during his last illness, about to enter the parinirvana. He is lying on the right flank, his head resting on a cushion or relying on his right elbow, supporting his head with his hand.
This pattern seems to have emerged at the same time as other representations of the Buddha in the Greco-Buddhist art of Gandhara.
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The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
Most MoD contractors' coaches operate anonymously but back in 2008 several were operating with legal lettering, O discs and fleetnames for Fleet Support Limited. One such coach was BX53 NFY, seen on 22nd July, 2008. This Dennis Javelin Plaxton Profile would pass to "civilian" operator Marshalls of Leighton Buzzard in 2014.
Edited advertising sign, Young Henrys Craft Beer Brewery.
I added colours other than red and deep yellow.
Sydney
Amazing and incredibly rare backpack strap from Charles "Pete" Conrad’s PLSS (Personal Life Support System), used on the lunar surface during both of his moonwalks during the Apollo 12 mission.
A 2″ x 1″ label is sewn to the end with “C. C.—R,” (Charles Conrad—Right) printed in the center. Front of the strap is signed in black felt tip, “Backpack strap, worn on the lunar surface by me; Nov. 19-20, 1969. Charles Conrad, Cdr. Apollo XII.”
The letter from Conrad, which reads, in part: “I certify that the accompanying Backpack strap…bearing the stenciled letters C. C.—R…was worn during both my moonwalks on the Ocean of Storms…These straps were individually fitted to each astronaut, and designed for one-time use only due to their customization, for later discard with our backpacks on the Moon. We were allowed to keep, and return, a few personal mementos from the Moon as keepsakes, and I included these disposable straps among mine. After this strap’s release from quarantine, and return to me by NASA, it remained a treasured part of my personal space collection until 1992…Today, it remains among the largest, and finest, fully-documented tools in private hands ever used by Man on the surface of another world!”
Strap measures 29″ in overall length, with a long adjustable strap and metal clip to lower end, numbered B543 V723617-20, with a Beta cloth covered hook and ring assembly at the top. Cloth section also has a sewn on loop and sub-strap to lower portion of cloth, as well as a snap-on cover protecting the lower assembly.
identical developer and toner as previously described, but different results of course
left: bleach 1+50 40 secs, MT5 Sepia 1+10 50 secs
middle: MT5 Sepia 1+10 4 mins
right: MT5 Sepia 1+10 4 mins, bleach 1+50 1 min, MT5 30 secs
(L-R): Amel Karboul - Secretary General of Maghreb Economic Forum, Malala Yousafzai - education campaigner, Elias Bou Saab - Lebanon's education minister, Justine Greening - UK Development Secretary and Erna Solberg - Prime Minister of Norway.
The Supporting Syria conference delivered commitments to support 1.7 million children in education across the region.
BACKGROUND
The Supporting Syria and the Region conference is taking place in London, today on 4 February 2016.
It brings together world leaders in a bid to raise the money needed to help the millions of people whose lives have been torn apart by the devastating civil war in Syria.
Syria is the world's biggest humanitarian crisis. Billions of dollars in international aid are needed to support people caught up in the conflict.
The UK, Germany, Kuwait, Norway, and the United Nations are co-hosting the conference to raise significant new funding to meet the immediate and longer-term needs of those affected.
The conference is also setting ambitious goals on education and economic opportunities to transform the lives of refugees caught up in the Syrian crisis - and to support the countries hosting them.
This event alone cannot solve all these problems. Ultimately a political solution is necessary to bring the Syrian conflict to an end.
Find out more: www.supportingsyria2016.com
FREE-TO-USE PHOTO
This image is in the public domain and free-to-use, as long as you credit the source as: Adam Brown/Crown Copyright