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After a lot of Questions you guys gave me.. YES i accept Clients again.
I decided to start off with a Promo Week, limited for the first five new Clients.
Every Single Picture costs 800 L (Normal Price would be 1000), Couple Pictures 1200 (Normal Price would be 1500)
Make sure to book me today also for AD Work, Club Pics, Wedding Pictures, whatever your heart needs !
Send me a Flickrmail or a message Inworld (Missyummycandy Resident).
♥
Dear friend, here are 5 things you should know:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
Sincerely,
Someone who cares about you
You may view more of my Orchids, by clicking here !
Orchidaceae is a diverse and widespread family of flowering plants with blooms that are often colourful and often fragrant, commonly known as the orchid family. Along with the Asteraceae, they are one of the two largest families of flowering plants, with between 21,950 and 26,049 currently accepted species, found in 880 genera. Selecting which of the two families is larger is still under debate, as concrete numbers on such enormous families are constantly in flux. Regardless, the number of orchid species equals more than twice the number of bird species, and about four times the number of mammal species. The family also encompasses about 6â11% of all seed plants.The largest genera are Bulbophyllum (2,000 species), Epidendrum (1,500 species), Dendrobium (1,400 species) and Pleurothallis (1,000 species). The family also includes Vanilla (the genus of the vanilla plant), Orchis (type genus), and many commonly cultivated plants such as Phalaenopsis and Cattleya. Moreover, since the introduction of tropical species in the 19th century, horticulturists have produced more than 100,000 hybrids and cultivars. The name comes from the Ancient Greek á½ÏÏÎ¹Ï (órkhis), literally meaning "testicle", because of the shape of the root. Carl Linnaeus classified the family as Orchidaceae. Orchid was introduced in 1845 by John Lindley in School Botany, due to an incorrect attempt to extract the Latin stem (orchis) from Orchidaceae. The Greek myth of Orchis explains the origin of the plants. Orchis, the son of a nymph and a satyr, came upon a festival of Dionysus (Bacchus) in the forest. He drank too much, and attempted to rape a priestess of Dionysus. For his insult, he was torn apart by the Bacchanalians. His father prayed for him to be restored, but the gods instead changed him into a flower.
These flowers were previously called Orchis, Satyrion (Satyrion feminina), or "ballockwort".
From Wikipedia, the free encyclopedia
Last evening (22nd March 2010) I learned that a print of this photograph has been accepted in the 2010 Welsh Salon of Photography. In addition, Bridgend & District Camera Club have also won the "Gwyn Morgan Trophy" for the "Best Club Panel of Six Prints" and this image is one of them! Sorry for blowing the club trumpet, but we are very pleased to be awarded this! Also we came joint 1st in the "Best Club Panel of Projected Images" and I also had a photograph in that as well!
A similar photograph from this file has previously featured on my flickr pages, but I have to say, it looks heaps better as a print!
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There is a certain joy that comes out of finally being able to develop an idea that has been aching to leap out into a piece of art for a long time. I had this concept etched into the realms of my sketchbook since the summer, and was waiting for the leaves to completely fall off the trees before I could find the perfect set for this image.
This image explores the concept of heritage and self identity. The girl is essentially a tree, her branches grown beneath her, forming a dress, a part of who she is. Her arms reach out seeking her roots, the things that keep her planted. Being of the tree itself however, her arms are in themselves roots, and thus, she seeks for something that she is- she seeks for who she is. Our past, our blood, our culture, our environment all play a large role in who we become as individuals.
Having been brought up for the large majority of my life in the west (minus two to three months or so), identity in the cultural sense can be a topic I struggle with, that many struggle with. Learning to accept who you are, to accommodate for the different social customs we encounter in our everyday lives and how they vary in different settings is a task that takes time. We need that time. We need to learn who we are, and that we can be from all over the world in terms of our inheritance, but still belong to the place we call home.
On a side note, I only have one week remaining :o
モモイロシロツメクサ
Trifolium repens L., 1753 ‘Roseum’
This name is accepted. 05/27, 2022.
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Family: Fabaceae (APG IV)
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Authors:
Carl von Linnaeus (1707-1778)
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Published In:
Species Plantarum 2: 767. 1753. (1 May 1753) (Sp. Pl.)
Name publication detailView in BotanicusView in Biodiversity Heritage Library
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Type-Protolog
Locality:"Europe"
Distribution:Geront. bor. temp.
Type Specimens:
LT: ; ; (LINN-930.16) LT designated by ?; cited by D'Arcy, Ann. Missouri Bot. Gard. 67: 787 (1980)
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Accepted By:
AFPD. 2008. African Flowering Plants Database - Base de Donnees des Plantes a Fleurs D'Afrique.
Abrams, L.R. 1944. Buckwheats to Kramerias. 2: 1–635. In L.R. Abrams (ed.) Ill. Fl. Pacific States. Stanford University Press, Stanford.
Brako, L. & J. L. Zarucchi. (eds.) 1993. Catalogue of the flowering plants and gymnosperms of Peru. Monogr. Syst. Bot. Missouri Bot. Gard. 45: i–xl, 1–1286.
Breedlove, D.E. 1986. Flora de Chiapas. Listados Floríst. México 4: i–v, 1–246.
Böcher, T. W. 1978. Greenlands Flora 326 pp.
Böcher, T. W., K. Holmen & K. Jacobsen. 1968. Fl. Greenland (ed. 2) 312 pp.
CONABIO. 2009. Catálogo taxonómico de especies de México. 1:. In Capital Nat. México. CONABIO, Mexico City. download by taxa
Cody, W. J. 1996. Fl. Yukon Terr. i–xvii, 1–669. NRC Research Press, Ottawa.
Correa A., M. D., C. Galdames & M. Stapf. 2004. Cat. Pl. Vasc. Panamá 1–599. Smithsonian Tropical Research Institute, Panamá.
Correll, D. S. & M. C. Johnston. 1970. Man. Vasc. Pl. Texas i–xv, 1–1881. The University of Texas at Dallas, Richardson.
Cronquist, A. J., A. H. Holmgren, N. H. Holmgren, Reveal & P. K. Holmgren. 1989. Vascular Plants of the Intermountain West, U.S.A., FABALES. 3B: 1–279. In A. J. Cronquist, A. H. Holmgren, N. H. Holmgren, J. L. Reveal & P. K. Holmgren (eds.) Intermount. Fl.. Hafner Pub. Co., New York.
Duchen, P. & S. G. Beck. 2012. Estudio taxonómico de las Leguminosas del Parque Nacional Area Natural de Manejo Integrado (PN-ANMI) Cotapata, La Paz-Bolivia. Revista Soc. Boliv. Bot. 6(1): 13–51.
Fernald, M. 1950. Manual (ed. 8) i–lxiv, 1–1632. American Book Co., New York.
Galán, P. 2020. Diez nuevos registros para la flora vascular de El Salvador. Phytoneuron 2020-51: 1-14.
Gleason, H. A. & A. J. Cronquist. 1991. Man. Vasc. Pl. N.E. U.S. (ed. 2) i–910. New York Botanical Garden, Bronx.
Great Plains Flora Association. 1986. Fl. Great Plains i–vii, 1–1392. University Press of Kansas, Lawrence.
Hickman, J. C. 1993. The Jepson Manual: Higher Plants of California 1–1400. University of California Press, Berkeley.
Hitchcock, C. L., A. J. Cronquist, F. M. Ownbey & J. W. Thompson. 1961. Saxifragaceae to Ericaceae. Part III: 614pp. In C. L. Hitchcock Vasc. Pl. Pacif. N.W.. University of Washington Press, Seattle.
Hokche, O., P. E. Berry & O. Huber. (eds.) 2008. Nuevo Cat. Fl. Vasc. Venez. 1–859. Fundación Instituto Botánico de Venezuela, Caracas.
Hultén, O. E. G. 1968. Flora of Alaksa and neighboring territories. i–1008. In Fl. Alaska. Stanford University Press, Stanford.
Idárraga-Piedrahita, A., R. D. C. Ortiz, R. Callejas Posada & M. Merello. 2011. Listado de las plantas vasculares del departamento de Antioquia. 2: 9–939. In A. Idárraga-Piedrahita, R. D. C. Ortiz, R. Callejas Posada & M. Merello Fl. Antioquia: Cat.. Universidad de Antioquia, Medellín.
Isely, D. 1990. Leguminosae (Fabaceae). 3(2): xix, 1–258. In Vasc. Fl. S.E. U. S.. The University of North Carolina Press, Chapel Hill.
Jørgensen, P. M. & C. Ulloa Ulloa. 1994. Seed plants of the high Andes of Ecuador—A checklist. AAU Rep. 34: 1–443.
Jørgensen, P. M. & S. León-Yánez. (eds.) 1999. Catalogue of the Vascular Plants of Ecuador. Monogr. Syst. Bot. Missouri Bot. Gard. 75: i–viii, 1–1181.
Jørgensen, P. M., M. H. Nee & S. G. Beck. 2014. Catálogo de las plantas vasculares de Bolivia. 127(1–2): i–viii, 1–1744. In P. M. Jørgensen, M. H. Nee & S. G. Beck (eds.) Cat. Pl. Vasc. Bolivia, Monogr. Syst. Bot. Missouri Bot. Gard.. Missouri Botanical Garden Press, St. Louis.
Jørgensen, P. M., M. H. Nee, S. G. Beck & A. F. Fuentes. 2015 en adelante. Catalogo de las plantas vasculares de Bolivia (adiciones).
Long, R. W. & O. K. Lakela. 1971. Fl. Trop. Florida i–xvii, 1–962. University of Miami Press, Coral Cables.
Luteyn, J. L. 1999. Páramos, a checklist of plant diversity, geographical distribution, and botanical literature. Mem. New York Bot. Gard. 84: viii–xv, 1–278. view online
Macbride, J. F. 1943. Leguminosae. Publ. Field Mus. Nat. Hist., Bot. Ser. 13(3/1): 3–507. View in Biodiversity Heritage Library
Marticorena, C. F. S. & M. Quezada. 1985. Catálogo de la Flora Vascular de Chile. Gayana, Bot. 42: 1–157.
Molina Rosito, A. 1975. Enumeración de las plantas de Honduras. Ceiba 19(1): 1–118. view article
Monro, A. K., D. Santamaría-Aguilar, F. González Brenes, O. Chacón, D. Solano, A. Rodríguez González, N. Zamora Villalobos, E. Fedele & M. D. Correa A. 2017. A first checklist to the vascular plants of La Amistad International Park (PILA), Costa Rica-Panama. Phytotaxa 322(1): 1–283.
Moss, E. H. 1983. Fl. Alberta (ed. 2) i–xii, 1–687. University of Toronto Press, Toronto.
Munz, P. A. 1974. Fl. S. Calif. 1–1086. University of California Press, Berkeley.
Munz, P. A. & D. D. Keck. 1959. Cal. Fl. 1–1681. University of California Press, Berkeley.
Nasir, E. & S. I. Ali (eds). 1980-2005. Fl. Pakistan Univ. of Karachi, Karachi.
Porsild, A. E. & W. Cody. 1980. Vasc. Pl. Continental Northw. Terr. Canada i–viii, 1–607. National Museum of Natural Sciences, Ottawa.
Radford, A. E., H. E. Ahles & C. R. Bell. 1968. Man. Vasc. Fl. Carolinas i–lxi, 1–1183. University of North Carolina Press, Chapel Hill.
Scoggan, H. J. 1978. Dicotyledoneae (Saururaceae to Violaceae). 3: 547–1115. In Fl. Canada. National Museums of Canada, Ottawa. View in Biodiversity Heritage Library
Shreve, F. & I. L. Wiggins. 1964. Veg. Fl. Sonoran Desert 2 vols. Stanford University Press, Stanford.
Small, J. K. 1933. Man. S.E. Fl. i–xxii, 1–1554. Published by the Author, New York. View in BotanicusView in Biodiversity Heritage Library
Standley, P. C. & J. A. Steyermark. 1946. Leguminosae. In: Standley, P.C. & Steyermark, J.A. (eds.), Flora of Guatemala - Part V. Fieldiana, Bot. 24(5): 1–368. View in Biodiversity Heritage Library
Stevens, W. D., C. Ulloa Ulloa, A. Pool & O. M. Montiel Jarquín. 2001. Flora de Nicaragua. Monogr. Syst. Bot. Missouri Bot. Gard. 85: i–xlii,.
Talbot, S. S., S. L. Talbot & W. B. Schofield. 2006. Vascular flora of Izembek National Wildlife Refuge, westernmost Alaska Peninsula, Alaska. Rhodora 108(935): 249–293.
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Welsh, S. L. 1974. Anderson's Fl. Alaska Adj. Parts Canada i–xvi, 1–724. Brigham Young University Press, Provo.
Wunderlin, R. P. 1998. Guide Vasc. Pl. Florida i–x, 1–806. University Press of Florida, Gainesville.
Zamora Villalobos, N. 2010. Fabaceae. En: Manual de Plantas de Costa Rica. Vol. V. B.E. Hammel, M.H. Grayum, C. Herrera & N. Zamora (eds.). Monogr. Syst. Bot. Missouri Bot. Gard. 119: 395–775.
Zuloaga, F. O., O. Morrone, M. J. Belgrano, C. F. S. Marticorena & E. Marchesi. (eds.) 2008. Catálogo de las plantas vasculares del Cono Sur. Monogr. Syst. Bot. Missouri Bot. Gard. 107(1–3): i–xcvi, 1–3348.
General:
Flora of China Editorial Committee. 2010. Flora of China (Fabaceae). 10: 1–642. In C. Y. Wu, P. H. Raven & D. Y. Hong (eds.) Fl. China. Science Press & Missouri Botanical Garden Press, Beijing & St. Louis.
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SONY NEX-3C
OLYMPUS OM Zuiko MC Auto Macro 50mm F3.5
[12:14] мαχтσя ƒяιѕк (MaxtorFrisk Resident): guess what?!
[12:15] ღ ѕтяαωвєяяу ღ (Hanne Kenin): what what ? You marrying ?
[12:15] ღ ѕтяαωвєяяу ღ (Hanne Kenin): oh wait ... you're out dancing !
[12:16] мαχтσя ƒяιѕк (MaxtorFrisk Resident): LOL
[12:16] мαχтσя ƒяιѕк (MaxtorFrisk Resident): yes, our wedding is tomorrow
[12:16] ღ ѕтяαωвєяяу ღ (Hanne Kenin): Cool I'll get on the next flight Xd
[12:18] мαχтσя ƒяιѕк (MaxtorFrisk Resident): haha!
[12:18] мαχтσя ƒяιѕк (MaxtorFrisk Resident): SL wedding is at 12.30
[12:18] мαχтσя ƒяιѕк (MaxtorFrisk Resident): didnt find a priest, so we will just improvise
[12:19] ღ ѕтяαωвєяяу ღ (Hanne Kenin): Just cal I've done a few weddingsi n SL .. can't remember if it's 2 or 3 :P
[12:19] мαχтσя ƒяιѕк (MaxtorFrisk Resident): but chru will be </3 when he finds out!
[12:20] ღ ѕтяαωвєяяу ღ (Hanne Kenin): He'll survive
.
.
.
.
[12:25] мαχтσя ƒяιѕк (MaxtorFrisk Resident): right..so you got less than 4 mins to get a wedding dress and grab a priestL(O}L
[12:25] мαχтσя ƒяιѕк (MaxtorFrisk Resident): i dont have an SL ring to give you
[12:26] мαχтσя ƒяιѕк (MaxtorFrisk Resident): a piece of string will have to do
[12:26] ღ ѕтяαωвєяяу ღ (Hanne Kenin): I accept cash too
[12:26] мαχтσя ƒяιѕк (MaxtorFrisk Resident): so much for 'no strings' lloll
[12:26] ღ ѕтяαωвєяяу ღ (Hanne Kenin): hahah
[12:26] ღ ѕтяαωвєяяу ღ (Hanne Kenin): I guess I gotta hurry fixing up the avenue I'm building then eh
[12:27] мαχтσя ƒяιѕк (MaxtorFrisk Resident): lol
[12:28] мαχтσя ƒяιѕк (MaxtorFrisk Resident): 2 minutes 25 seconds remaining
[12:28] ღ ѕтяαωвєяяу ღ (Hanne Kenin): how hard can it be
[12:35] мαχтσя ƒяιѕк (MaxtorFrisk Resident): ok, so it;s gone 12.35... you did say ';I DO!' right?
[12:35] ღ ѕтяαωвєяяу ღ (Hanne Kenin): Sure
[12:35] мαχтσя ƒяιѕк (MaxtorFrisk Resident): in which case we are pronounced SL husband and wife
[12:36] ღ ѕтяαωвєяяу ღ (Hanne Kenin): I did mention I'm a spoiled princess, right ?
[12:36] Second Life:
мαχтσя ƒяιѕк has given you this object: = REBELLION "MENACE" SKULL RING (GREEN)
[12:36] мαχтσя ƒяιѕк (MaxtorFrisk Resident): our wedding ring
-----------------
Head: Lelutka - Chloe (Bento)
Body: Maitreya - Lara Mesh Body
Skin: Glam Affair - Hazel ( LeLutka Applier ) Artic
Eyes: Lelutka hud - gray
Lipstick: [Pink Fuel] - My My Matte Autumn (Powder Pack SL- LELUTKA (September 2018))
Eyeshadow/face lace: MESANGE - Shaani Miraj Adornment Lelutka 1
Hair: Dreaming Thicket - Veiled Promise Hair
Dress: 17. Dead Dollz - The House of Brides - Bridal Gown RARE (Gacha)
Neckcover: {AS} Rekha Rigged Mesh Neck Cover
Shirt: alaskametro<3 "Norma" shirt - White
Gloves: [Aleutia] Rowan Gloves (Maitreya) Red Pear
Shoes: !!BH!! GLASS SLIPPERS MID V2 MAITREYA
Bouquet: Evocative Floral "Calla&Rose" Claret Bridal Bouquet v1
Necklace: Lazuri Valentina Necklace
Ring: = REBELLION = "MENACE" SKULL RING (GREEN)
Pose: Poet's Heart - mermaidgown 9
Background: {moss&mink} Drop Curtain L (G)
After I have been asked so many times I decided finally to accept commissions for Disney or other cartoon doll repaints!
Here how it works:
1. I will give your doll a totally new repaint of the face after removing carefully the factory paint. I use just high quality artist acrylic paints and brushes. If desired I will style the hair of the doll as well, but I will not reroot! I will work with the hair the doll already has.
2. You have to choose reference pictures of the desired character with the expression you want your doll to have.
3. The doll must be already in your possession. You have to know, that face sculpts of dolls limite the possibilities of expressions, f.e. a doll with a smiling face showing teeth cannot be painted into a sad doll.
4. I will not copy my earlier work or work of other artists! Every repaint is unique and must be accepted as is, of course I will give my very best and if you like my dolls you won´t be disappointed.
5. Sewing an outfit is not included in the commission, just repaint and hairstyle.
If you´re interested please pm me and we can talk about more details!
In one of my strolls along La Rambla I noticed Han, a well dressed and handsome asian guy with an amazing haircut and rather femenine expressions. Since I have a slight bias towards women in portraits, I wanted to ask him for some shots.
I was lucky he accepted eagerly. What I didn't initially intend was to have her girlfriend in the photo as well. Hege, a nordic straightforward woman, introduced herself and from that moment onward, she was the only one to talk, acting like the couple spokeperson. I noticed she was kind of jealous that I asked him for a portrait instead of her, who initially was some meters ahead and I didn't relate as her partner.
Maybe that was the reason why I didn't get much more information out of them: apparently they were a couple of tourists and travelled with another group who was a bit ahead of them, due to my impromptu interruption.
As I didn't want to be rude or anything (it is always unconfortable to me to ask only one of the members of a couple) I accepted the group picture, so they share the number 21 in my Stranger series, even though the approach is rather simplistic and not as ellaborated as I'd have desired.
This picture is #21 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page.
Source: en.wikipedia.org/wiki/Augusta,_Georgia
Augusta, officially Augusta–Richmond County, is a consolidated city-county on the central eastern border of the U.S. state of Georgia. The city lies across the Savannah River from South Carolina at the head of its navigable portion. Georgia's second-largest city after Atlanta, Augusta is located in the Piedmont section of the state.
According to the U.S. Census Bureau, Augusta–Richmond County had a 2017 estimated population of 197,166, not counting the unconsolidated cities of Blythe and Hephzibah. It is the 123rd largest city in the United States. The process of consolidation between the City of Augusta and Richmond County began with a 1995 referendum in the two jurisdictions. The merger was completed on July 1, 1996. Augusta is the principal city of the Augusta metropolitan area, situated in both Georgia and South Carolina on both sides of the Savannah River. In 2017 it had an estimated population of 600,151, making it the second-largest metro area in the state. It is the 93rd largest metropolitan area in the United States.
Augusta was established in 1736 and is named for Princess Augusta of Saxe-Gotha (1719–1772), the bride of Frederick, Prince of Wales and the mother of the British monarch George III. During the American Civil War, Augusta housed the principal Confederate powder works. Augusta's warm climate made it a major resort town of the Eastern United States in the early and mid-20th century. Internationally, Augusta is best known for hosting The Masters golf tournament each spring. The Masters brings over 200,000 visitors from across the world to the Augusta National Golf Club. Membership at Augusta National is widely considered to be the most exclusive in the sport of golf across the world.
Augusta lies approximately two hours east of downtown Atlanta by car via I-20. The city is home to Fort Gordon, a major U.S. Army base. In 2016, it was announced that the new National Cyber Security Headquarters would be based in Augusta, bringing as many as 10,000 cyber security specialists to the Fort Gordon area.
Source: www.georgiacarolinastatefair.com/about/history/
It was the roaring 1920s. The world war was long since over and the hardships of it forgotten. The war had continued the industrial boom from the last century, but a post-war recession had slowed things down dramatically. In the South there had been some bankruptcies of formerly strong businesses, but overall the future looked bright. Business leaders stayed busy with their daily routines, and there was an aura of fun in the air. The workweek was long and the weekend was short. Everyone looked for spots of joviality and breaks in the seriousness of life. Money was becoming more readily available, and everyone looked for something fun to do.
The civic leaders of Augusta realized that there were needs in the community and it was their moral obligation to give back to their community some of the benefits they had reaped. They wanted to exchange some of their spare time for the benefits of personal community service.
Among those leaders was a bright young lawyer, William M. Lester, and he felt that need. He felt that something was missing in his life. He needed to give back to the community. Just as he and nine of his close friends were meeting to discuss the needs of the community, he was approached by a representative of the National Exchange Club, only recently formed in Ohio; and the match was perfect. Mr. Bill, as he was known, saw the opportunity to accomplish exactly what he wanted as a part of a national organization that had quite similar goals and objectives. This group of nine quickly expanded to 34 enthusiastic young men who wanted to exchange ideas, service, and fellowship. They were eager to exchange some of their free time for service to their community.
They worked together quickly that summer of 1923 and on August 8, the charter was presented to the Exchange Club of Augusta in a ceremony headlined by the Augusta Chronicle. Mr. Lester had been named president and responded to the granting of the charter by stating,
“It is our purpose to accomplish something worthwhile for our city, our state, and our country…. We want to help the boys and girls of Augusta and the delinquent and neglected child.”
Almost as soon as the charter was accepted, the club began to take on a huge project. The Savannah Valley Association of Agricultural Clubs had appealed for financial support all over the community, and finally decided to abandon its plans for a Fall Agricultural Fair. On October 3, 1923, the Exchange Club met and voted to take on the Fair as a project. By October 11, the Club announced that the famous Johnny J. Jones Exposition Company was coming to Augusta for one week, November 12th to the 19th. A site was chosen by the carnival on the corner of 15th Street and what is now known as Laney-Walker Blvd. It would host the carnival nicely, but the Club quickly began to expand the plans and more space was needed. A poultry show was added, followed by a Miss Augusta pageant, and a Baby Show. Fifty-seven babies had been entered by October 25th and by opening day there were more than 700. There were 47 young ladies in the Miss Augusta Pageant. The Fair was to open with a parade with four bands, 25 business floats, 20 fraternal order floats, and numerous military organizations. A crowd of over 25,000 persons lined Broad Street to see this grand parade which ended at a newly chosen site for the Fair at the lower end of Greene Street. Each day of the Fair was dedicated to a different theme, such as Merchants, Farmers, Children, Augusta, and Everyone. The entire production was a smashing success, especially considering it was taken from being merely an idea to becoming a huge production, all within the span of six weeks.
The Fair continued to expand its operations, so in 1937, the Club negotiated with the Board of Trustees of the Academy of Richmond County for the purchase of 18 acres between 3rd and 4th Streets running from Hale Street on the North to Laney-Walker Blvd. on the South. This was the old baseball field where Ty Cobb played his first professional game and had his first hit and his first home run. It was on this field that numerous major league teams practiced and played exhibition games. This field was the perfect place for a fairground where the citizens of the area could again come for entertainment. The Club bought the field and continues to hold the fair there.
The Fair operated under the name of the Augusta Exchange Club Fair until 2001 when the name was changed to the Georgia-Carolina State Fair in order to recognize that it is truly a Fair that draws from and benefits residents all over the Central Savannah River Area, from both sides of the River. It continues to be sponsored and operated by the Exchange Club of Augusta.
Daniel LaRusso is a fictional character and the protagonist of The Karate Kid media franchise.
He is portrayed by Ralph Macchio.
Overview
Daniel LaRusso was born in Newark, New Jersey, on December 18, 1966, into an Italian-American family. When he was eight, his father died after a 2-year battle with stomach cancer. Daniel's mother Lucille never remarried. In September 1984, Daniel and Lucille moved to Reseda, California, after Lucille accepted a job offer at a computer firm. Shortly after moving to California, Daniel meets and starts a rivalry with Johnny Lawrence, the two-time winner of the All Valley Under-18 Karate Championship after the latter mistakened him for having a fling towards his ex-girlfriend Ali Mills. Luckily for Daniel, after being jumped by Johnny and his friends, he met Mr. Miyagi, the maintenance man at his apartment, who becomes his karate mentor and also a perfect friend of his, as well as a father figure. Through this training, Daniel becomes skilled enough to defeat Johnny in the tournament's final match and become the new champion. Despite their mutual respect afterward, Daniel and Johnny become rivals.
Over the summer, Daniel gets to spend more time with Mr. Miyagi as they go to Okinawa, where Daniel ends up meeting a girl named Kumiko who becomes his love interest and eventual girlfriend along with also getting into a rivalry with Chozen, who is Sato's karate student and nephew. He ends up defeating Chozen in a fight to the death, although instead of killing him, he obeys Mr. Miyagi's teachings and instead shows mercy to Chozen. After returning home, Daniel picks up one more karate championship in the All-Valley Tournament after being forced to compete in the tournament and defeats the national karate champion Mike Barnes, becoming a 2-time champion, and ending Terry Silver and John Kreese's vision of opening up multiple Cobra Kai dojos all across the valley.
Thirty-three years later, Daniel becomes the owner of a successful car dealership in Southern California and is married to his co-owner, Amanda, with whom they have two children named Samantha (nicknamed Sam) and Anthony. They live in a large home with a swimming pool in Encino. Despite his success as an adult, he lacks the life balance he had in his youth, as Mr. Miyagi had died in 2011. Daniel's interest in karate reignites after LaRusso learns of the return of the Cobra Kai dojo, now run by Lawrence. This drives Daniel to reopen Miyagi-Do, passing on the teachings of the dojo to a new generation of students, leading to a massive rivalry between the two dojos and their students.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
クリナム・ブルビスペルマム
Crinum bulbispermum (Burm.f.) Milne-Redhead et Schweickerdt, 1939
This name is accepted.
Confirmation Date: 12/17, 2022.
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Family:Amaryllidaceae (APG IV)
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Authors:
Nicolaas Laurens (Nicolaus Laurent) Burman (1734-1793)
Edgar Wolston Bertram Handsley Milne-Redhead (1906-1996)
Herold Georg Wilhelm Johannes Schweickerdt (1903-1977)
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Publication:
Journal of the Linnean Society. Botany. London
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Collation:
lii. 161 (1939), in adnot.
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The native range of this species is S. Africa. It is a bulbous geophyte and grows primarily in the subtropical biome. It is has environmental uses, as a poison and a medicine and for food.
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DistributionNative to:
Cape Provinces, Free State, KwaZulu-Natal, Lesotho, Northern Provinces, Swaziland
Lifeform:Bulb geophyte
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Basionym/Replaced Synonym
Amaryllis bulbisperma Burm.f., 1768
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Homotypic Synonyms:
Amaryllis bulbisperma Burm.f. in Fl. Indica, Prodr. Fl. Cap.: 9 (1768)
Amaryllis vivipara Lam. in Encycl. 1: 123 (1783), nom. superfl.
Crinum viviparum R.Ansari & V.J.Nair in J. Econ. Taxon. Bot. 11: 205 (1987 publ. 1988), nom. superfl.
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Heterotypic Synonyms:
Amaryllis capensis Mill. in Gard. Dict. ed. 8.: n.° 12 (1768), nom. illeg.
Amaryllis longifolia var. minor Ker Gawl. in Bot. Reg. 4: t. 303 (1818)
Amaryllis longifolia var. riparia (Herb.) Ker Gawl. in Bot. Reg. 4: t. 303 (1818)
Amaryllis longifolia var. rosea Tubergen in Wholesale Cat. Flowerroots 1892: 13 (1892)
Amaryllis riparia Burch. ex Kunth in Enum. Pl. 2: 580 (1837)
Crinum bulbispermum var. sanguineum Traub in Pl. Life 13: 61 (1957)
Crinum capense Herb. in Bot. Mag. 47: t. 2121 (1820)
Crinum capense var. flore-albo Herb. in Amaryllidaceae: 270 (1837), contrary to Art. 23.6. (ICN, 2012).
Crinum capense var. princeps Herb. in Amaryllidaceae: 269 (1837), not validly publ.
Crinum capense var. riparium Herb. in Bot. Mag. 47: t. 2121 (1820)
Crinum capense var. viridifolium Herb. in Bot. Mag. 47: t. 2121 (1820)
Crinum govenium Herb. in Trans. Hort. Soc. London 3: 190 (1822)
Crinum longifolium var. riparium Herb. in Bot. Reg. 7: t. 546 (1821)
Crinum riparium (Herb.) Herb. in Appendix: 23 (1821)
Crinum spofforthianum Herb. ex Sweet in Hort. Brit., ed. 3: 678 (1839)
Erigone govenica Salisb. in Gen. Pl.: 116 (1866), not validly publ.
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Publications:
POWO follows these authorities in accepting this name:
Acevedo-Rodríguez, P. & Strong, M.T. (2012). Catalogue of seed plants of the West Indies. Smithsonian Contributions to Botany 98: 1-1192.
Dobignard, A. & Chatelain, C. (2013). Index synonymique de la flore d'Afrique du nord 5: 1-451. Éditions des conservatoire et jardin botaniques, Genève.
Flora of North America Editorial Committee (2002). Flora of North America North of Mexico 26: 1-723. Oxford University Press, New York, Oxford.
Fournet, J. (2002). Flore illustrée des phanérogames de Guadeloupe et de Martinique 2: 1325-2538. Gondwana editions.
Germishuizen, G. & Meyer, N.L. (eds.) (2003). Plants of Southern Africa: an annotated checklist. Strelitzia 14.: i-vi, 1-1231. National Botanical Institute, Pretoria.
Govaerts, R. (1999). World Checklist of Seed Plants 3(1, 2a & 2b): 1-1532. MIM, Deurne.
Kral, R., Diamond, A.R., Ginzbarg, S.L., Hansen, C.J., Haynes, R.R., Keener, B.R., Lelong, M.G., Spaulding, D.D. & Woods, M. (2011). Annotated checklist of the vascular plants of Alabama: 1-112. Botanical reseach institute of Texas.
Muer, T., Sauerbier, H. & Cabrara Calixto, F. (2020). Die Farn- und Blütenpflanzen Madeiras: 1-792. Verlag und Versandbuchhandlung Andreas Kleinsteuber.
Nelson Sutherland, C.H. (2008). Catálogo de las plantes vasculares de Honduras. Espermatofitas: 1-1576. SERNA/Guaymuras, Tegucigalpa, Honduras.
Stevens, W.D. & al. (eds.) (2001). Flora de Nicaragua 2: 945-1910. Missouri Botanical Garden Press, St. Louis.
Sykes, W.R. (1970). Contributions to the Flora of Niue: 1-321. Botany Division, Sept. of Sci. and Industrial Research, Christchurch.
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Catálogo de Plantas y Líquenes de Colombia:
Bernal, R., Gradstein, S.R. & Celis, M. (eds.). 2015. Catálogo de plantas y líquenes de Colombia. Instituto de Ciencias Naturales, Universidad Nacional de Colombia, Bogotá. catalogoplantasdecolombia.unal.edu.co
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Kew Backbone Distributions:
Acevedo-Rodríguez, P. & Strong, M.T. (2012). Catalogue of seed plants of the West Indies. Smithsonian Contributions to Botany 98: 1-1192.
Dobignard, A. & Chatelain, C. (2013). Index synonymique de la flore d'Afrique du nord 5: 1-451. Éditions des conservatoire et jardin botaniques, Genève.
Flora of North America Editorial Committee (2002). Flora of North America North of Mexico 26: 1-723. Oxford University Press, New York, Oxford.
Fournet, J. (2002). Flore illustrée des phanérogames de Guadeloupe et de Martinique 2: 1325-2538. Gondwana editions.
Kral, R., Diamond, A.R., Ginzbarg, S.L., Hansen, C.J., Haynes, R.R., Keener, B.R., Lelong, M.G., Spaulding, D.D. & Woods, M. (2011). Annotated checklist of the vascular plants of Alabama: 1-112. Botanical reseach institute of Texas.
Nelson Sutherland, C.H. (2008). Catálogo de las plantes vasculares de Honduras. Espermatofitas: 1-1576. SERNA/Guaymuras, Tegucigalpa, Honduras.
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Useful Plants and Fungi of Colombia:
Bernal, R., Gradstein, S.R., & Celis, M. (eds.). (2020). Catálogo de Plantas y Líquenes de Colombia. v1.1. Universidad Nacional de Colombia. Dataset/Checklist. doi.org/10.15472/7avdhn
Diazgranados et al. (2021). Catalogue of plants of Colombia. Useful Plants and Fungi of Colombia project. In prep.
Diazgranados, M., Allkin, B., Black N., Cámara-Leret, R., Canteiro C., Carretero J., Eastwood R., Hargreaves S., Hudson A., Milliken W., Nesbitt, M., Ondo, I., Patmore, K., Pironon, S., Turner, R., Ulian, T. (2020). World Checklist of Useful Plant Species. Produced by the Royal Botanic Gardens, Kew. Knowledge Network for Biocomplexity.
FPI (2021). Food Plants International. fms.cmsvr.com/fmi/webd/Food_Plants_World?homeurl=https://...
GBIF.org (2021). GBIF species matching tool. www.gbif.org/tools/species-lookup
GRIN (2021). Germplasm Resources Information Network from the United States Department of Agriculture. www.ars-grin.gov
Medicinal Plant Names Services (MPNS) v.10 (2021); mpns.kew.org
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Accepted By:
Anonymous. 1986. List-Based Rec., Soil Conserv. Serv., U.S.D.A. Database of the U.S.D.A., Beltsville.
Flora of North America Editorial Committee, e. 2002. Magnoliophyta: Liliidae: Liliales and Orchidales. 26: i–xxvi, 1–723. In Fl. N. Amer.. Oxford University Press, New York.
Gibbs Russell, G. E., W. G. M. Welman, E. Retief, K. L. Immelman, G. Germishuizen, B. J. Pienaar, M. Van Wyk & A. Nicholas. 1987. List of species of southern African plants. Mem. Bot. Surv. South Africa 2(1–2): 1–152(pt. 1), 1–270(pt. 2).
Nelson, C. H. 2008. Cat. Pl. Vasc. Honduras i–xxix, 31–1576. Secretaría de Recursos Naturales y Ambiente, Tegucigalpa.
Radford, A. E., H. E. Ahles & C. R. Bell. 1968. Man. Vasc. Fl. Carolinas i–lxi, 1–1183. University of North Carolina Press, Chapel Hill.
Stevens, W. D., C. Ulloa Ulloa, A. Pool & O. M. Montiel Jarquín. 2001. Flora de Nicaragua. Monogr. Syst. Bot. Missouri Bot. Gard. 85: i–xlii,.
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The following description is by Mr. Andrew Hankey.
Andrew Hankey
from Walter Sisulu National Botanical Garden
October 2001
www.plantzafrica.com/plantcd/crinumbulbisp.htm
The Orange River lily is a large bulbous plant up to 1m high, which produces attractive grey green gracefully arching leaves during the summer months. A tall stem bearing large, hanging, lily-type flowers which are white with a pink to red stripe in each petal, is produced early in the growing season. The word "Krinon" means lily and the specific epithet refers to the bulblike shape and size of the seed.
Crinum bulbispermum is a highly attractive garden subject and can be grown all over South Africa provided it is given adequate water during its growing season. It does prefer the wetter parts of the country and does very well if planted in soggy soils. This is a good plant for swamp or water gardens.
Although this plant is widespread, it occurs naturally mainly on the highveld areas of the eastern hinterland wherever conditions allow. In nature it grows along stream banks and in swampy grasslands that usually dry out during the winter months when these plants are dormant.
The sickly-sweet scented flowers are pollinated by insects. Once the flowers fall they are followed by the large attractive pink fruit capsules containing few to many bulbous seeds which germinate as soon as they fall to the ground. The large bulb is protected from drying out during the dry winter months by many layers of papery dry bulb scales.
This plant is used in traditional healing for the common cold, rheumatism, varicose veins, reduction of swelling and the treatment of septic sores. It is also used during the delivery of babies and to stimulate breast milk. Local people believe that this plant protects homes from evil.
How to Growing Crinum bulbispermum:
The Orange River Lily is easily propagated by seed and is quick growing, reaching flowering age after three to four years. The large irregularly shaped seed can be sown in deep trays or directly into the garden where they should be just covered and watered well. Seed viability is short-lived, so sow them as soon as possible. The bulblets are susceptible to attack by Amaryllis Caterpillar {Brithys crini (Fabricius, 1775)} which will also attack adult plants and can be responsible for much damage or even the demise of the plant, especially young bulbs.
Adult plants are best grown in deep soils that receive and hold a lot of water during the growing season. They can be transplanted but ideally should be left to grow in the same place without disturbance. They require full sun and plenty of water although they can endure periods of drought during their growing season without adverse effects. They also make good container plants. In nature they survive summer temeratures of up to 40°C and cold dry winters of -8°C.
This plant belongs to a large group of plants that are found widespread around the globe with many in Africa, some water loving and many with astoundingly attractive flowers. They belong to the family Amaryllidaceae, which includes highly prized groups of bulbous, lily-like plants that are grown extensively in commercial horticulture and floriculture. Among the other genera found in southern Africa are: Brunsvigia, Nerine, Cyrtanthus, Haemanthus, Scadoxus and Amaryllis. There are about 20 other species of Crinum in southern Africa.
References:
Pooley. E 1998. A field guide to wildflowers of Kwazulu-Natal and the Eastern Region. Natal FloraPublications Trust: Durban.
Oliver, I.B. 1990. Crinum bulbispermum in Veld & Flora Vol 76 p.57.
Smith. C.A. 1966. Common Names of South African Plants. The Government Printer: Pretoria.
Jackson. W.P. U. 1990. Origins and meanings of names of South African plant genera.UCT Ecolab: Capetown.
Arnold, T.H. & De Wet, B.C. (Eds) 1993. Plants of southern Africa: names and distribution. Memoirs of the botanical Survey of South Africa No 62.
Du plessis, N. & Duncan, G. 1989. Bulbous Plants of southern Africa. Tafelberg; Capetown.
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PENTAX K-x
PENTAX SMC PENTAX-A Dental Macro 100mm F4
Brief History of Maryborough.
This fertile area of Queensland was the fifth area to be settled when it was still part of NSW. The first settlement in QLD was at Redcliffe (and later Moreton Bay) as a convict colony in 1824. This was followed by white settlement at Ipswich in 1842 and further inland in the mountains at Warwick in 1847. The NSW government sent explorers to the Mary River area in 1842 which was when the river was named. Then in 1847 inland from the Mary River a town was surveyed but not gazetted until 1849. It was Gayndah which now claims to be the oldest town in QLD. The establishment of Gayndah is remarkable given transport difficulties. Near the coast Maryborough was the site of a wharf for pastoralists in 1847 and later a small town was created in 1850 making Maryborough the fifth settlement in what is now QLD. The first land sales at Maryborough were in 1852 although a general store had opened before this time on leased land in 1848. The new town of Maryborough was sited on the Mary River which rises near the Glasshouse Mountains inland from the Sunshine Coast. It generally flows northwards to enter the sea a few miles downstream from the town of Maryborough. The Mary River was named after Lady Mary Lennox the wife of the Governor of NSW Charles Fitzroy. The little town struggled to establish itself but once QLD got independence from NSW in 1859 Maryborough began to grow more quickly as free white settlers spread around the new colony. The delays in growth were partly caused by local Aboriginal resistance to the white pastoralists. Between 1847 and 1853 twenty eight white settlers were killed by Aboriginal people. A white massacre of around 100 Aboriginal people in the early 1850s brought some calm to the area and broke the resistance of the Gubbi Gubbi people. The Gubbi Gubbi people were called the Gin Gins by white settlers hence the name for that town north of Maryborough. Like so many Australian towns Maryborough’s growth was fuelled by mining discoveries. Maryborough was declared an official QLD port in 1859 and the first ship load of immigrants disembarked directly at Maryborough in 1860. Most were female and instead of obtaining work as servants immediately accepted offers of marriage from the men of the district. Maryborough became a municipality in 1861. It soon had a Customs House, a Courthouse and School of Arts but it really grew with the discovery of gold inland at Gympie. Maryborough served as the pot for goods going to and from Gympie from 1867 onwards. The QLD Land Acts of 1867 also opened up the pastoral leasehold lands to farmers for the first time. The main crops grown were maize and sugar. At about the same time as the Gympie gold rush Maryborough got its first sugar mill, a timber mill and John Walker of Ballarat opened a foundry and engineering works to produce mining equipment just as he had done previously in Ballarat. The port expanded and the town grew. A new Post Office (1869), hotels and general stores opened to cater for the miners and the townspeople. By 1871 Maryborough had 3,500 residents with its own newspaper’s, churches and schools. The wider district population was 9,000 people. By 1876 the population had swelled to 5,700 people. The first railway opened in Maryborough in 1881 when a line connected the port with Gympie gold fields.
The Port of Maryborough.
The town actually began with a wharf as once prospective settlers learned that the River Mary was navigable white pastoralist and cotton and maize farmers moved into the district upstream from around 1848. Then in 1859 as the colony of Queensland was created from New South Wales a new international port was created at Maryborough. The town had moved from West Maryborough to the present site. Consequently the first Customs House was erected in 1861. In 1860 the first vessels arrived at the port of Maryborough direct from Europe with a load of immigrants. In 1869 nearly 7,000 immigrants had landed in Maryborough and by 1878 nearly 16,000 had landed here. In fact between 1860 and 1900 around 22,000 immigrants arrived directly in Maryborough from England and Europe. Maryborough also had a coastal steamer service to Brisbane and Rockhampton. From 1867 it also handled all the goods going into and the gold coming out of the goldfields at Gympie. In the last quarter of the 19th century the port of Maryborough handled saw timber, sugar, wool, meat, gold, maize, etc. Before the end of the 19th century when river ports like Maryborough were about to be forgotten because they could not handle larger steamers its imports and exports were roughly in balance in terms of value. The most valuable exports were: gold, silver, copper, fruit, hides and skins, sugar and wool. Of these the most valuable were sugar £50,000, raw and refined, followed by silver/lead £33,000, gold/silver £9,000 and skin/hides £8,000.
Among the early immigrants were shiploads of German settlers from 1860. As the numbers grew the first Lutheran pastor arrived in 1864 followed by a second in 1867. These and later pastors came from Germany or Denmark, mainly the Schleswig district, which was occupied by Germany from 1864 after it defeated the Danes. Between 1860 and 1891 around 180,000 immigrants arrived in Queensland with an assisted government passage and some rights to lease land. Around 16,000 were non British mainly Germans, Danes, Norwegians and Swedes. Other Australian colonies only gave assisted passages to British immigrants except for Tasmania and Queensland. Most of the non-British immigrants were German but the QLD government’s agent I Germany also recruited Scandinavians, Swiss etc. Queensland became the colony with the greatest number of Danes and it had almost as many Norwegians and Swedes as NSW. Some of these non-British immigrant’s landed in Maryborough with the first ship load arriving in March 1871 on the Reichstag from Hamburg. The Scandinavians especially settled at Tiaro and Tinana near Maryborough, around Bundaberg, Pialba at Hervey Bay and in other places like Kingaroy where Sir Jo Bjelke-Petersen lived. The town of Eidsvold, near Gayndah is a Norwegian name and it was established by the Archer brothers from Larvik in Norway. As most of the Scandinavians were Lutheran (but some were Catholic), Danish, Norwegian and Swedish names are often linked to the Lutheran churches of the Maryborough district. Some Scandinavian names (mainly Danish) of Maryborough early settlers include the Jocumsen, Claussen,Madsen, Kehlet, Weinberg, Okeden, Boge, Möller, etc. Many Danish and other Scandinavian names can also be found in the Polson cemetery at Pialba Hervey Bay such as Christensen, Hansen, Mortensen, Nielsen, Petersen, Thomsen etc.
As has happened many times before, this encounter took place after I had accepted that my photo walk was not going to result in any encounters. I have learned that such walks need to be enjoyed on their own terms and should not be experienced with a sense of frustration. I turn my eye to other subjects and enjoy the combination of exercise and discovery. This time I entered Toronto’s City Hall and took some photos of the building.
Proceeding up University Avenue I recalled a street portrait I had made on the covered walkway in front of a bank at the corner of Dundas Street at least a year ago. Just then, this man caught my eye. In fact, it was his eyes that caught my eye. They seemed penetrating. He was standing with his wife and I stopped to make my introduction and my request. I told him I thought he would make a very good portrait and showed him my card. He was agreeable. I checked with his wife that she wouldn’t mind a slight delay in their day but he explained she doesn’t speak English. Meet Erno. (When I looked it up later, I discovered that the name Erno stems from Finnish and Hungarian and in English is Ernest.)
I invited the two of them up three or four stairs and showed Erno where to stand and gave my usual request that he simply look into the lens of my camera. I took a few exposures and was struck by the way his intense eyes were mirrored by his serious expression. His wife was standing behind me and she spoke to him and he cracked a smile. She must have been telling him he looked too serious. In the end, I felt this serious expression best revealed Erno as I experienced him – intense and serious, yet friendly.
Erno came to Canada from Hungary twenty years ago. “Did you speak English when you came?” I asked. “No. Well, yes and no.” When I asked how long his wife has been in Canada he said “One year.” When I asked how they met he told me “She was my first love many years ago. We rediscovered each other recently through Facebook.” I said it sounded like a nice love story. “So now you will be her English teacher?” He nodded. Erno works as an auto body technician. His biggest challenge in life? “Changing countries.” I can only imagine how challenging that must be, learning a new language and culture. Erno’s message to the project? “Never give up.” I couldn’t help thinking he was making reference to his relationship with Brigitta which took so many years to come to fruition.
I asked if they wanted a portrait together and Brigitta indicated yes. Erno either wasn’t sure of his email or didn’t have one but Brigitta typed hers into my cell phone notes so I could send them their photos.
Thank you Erno and Brigitta for participating in my Human Family photography project. May you have many happy years together in Canada.
This is my 466th submission to The Human Family Group on Flickr.
You can view more street portraits and stories by visiting The Human Family.
"The Masonic Temple is a historic Masonic building in Philadelphia. Located at 1 North Broad Street, directly across from Philadelphia City Hall, it serves as the headquarters of the Grand Lodge of Pennsylvania, Free and Accepted Masons. The Temple features the Masonic Library and Museum of Pennsylvania, and receives thousands of visitors every year to view the ornate structure, which includes seven lodge rooms, where today a number of Philadelphia lodges and the Grand Lodge conduct their meetings.
The Temple was designed in the medieval Norman style by James H. Windrim, who was 27 years old at the time he won the design competition. The massive granite cornerstone, weighing ten tons, was leveled on St. John the Baptist's Day, June 24, 1868. The ceremonial gavel used on that day by Grand Master Richard Vaux was the same gavel used by President George Washington in leveling the cornerstone of the nation's Capitol building in 1793.
The construction was completed five years later, in 1873. The interior, designed by George Herzog, was begun in 1887 and took another fifteen years to finish.
The bold and elaborate elevations on Broad and Filbert Streets, especially the beautiful portico of Quincy granite, make it one of the great architectural wonders of Philadelphia. The exterior stone of the building on Broad and Filbert Streets is Cape Ann Syenite from Syne in Upper Egypt.
On May 27, 1971, the Temple was listed on the National Register of Historic Places. It was designated a National Historic Landmark in 1985. It was cited in its landmark designation as one of the nation's most elaborate examples of Masonic architecture.
Philadelphia, often called Philly, is the largest city in the Commonwealth of Pennsylvania, the sixth-largest city in the U.S., the second-largest city in both the Northeast megalopolis and Mid-Atlantic regions after New York City, and the 68th-largest city in the world. Since 1854, the city has been coextensive with Philadelphia County, the most populous county in Pennsylvania and the urban core of the Delaware Valley, the nation's seventh-largest and world's 68th-largest metropolitan region, with 6.245 million residents as of 2020. The city's population as of the 2020 census was 1,603,797, and over 56 million people live within 250 mi (400 km) of Philadelphia.
Philadelphia was founded in 1682 by William Penn, an English Quaker. The city served as capital of the Pennsylvania Colony during the British colonial era and went on to play a historic and vital role as the central meeting place for the nation's founding fathers whose plans and actions in Philadelphia ultimately inspired the American Revolution and the nation's independence. Philadelphia hosted the First Continental Congress in 1774 following the Boston Tea Party, preserved the Liberty Bell, and hosted the Second Continental Congress during which the founders signed the Declaration of Independence, which historian Joseph Ellis has described as "the most potent and consequential words in American history". Once the Revolutionary War commenced, both the Battle of Germantown and the Siege of Fort Mifflin were fought within Philadelphia's city limits. The U.S. Constitution was later ratified in Philadelphia at the Philadelphia Convention of 1787. Philadelphia remained the nation's largest city until 1790, when it was surpassed by New York City, and served as the nation's first capital from May 10, 1775, until December 12, 1776, and on four subsequent occasions during and following the American Revolution, including from 1790 to 1800 while the new national capital of Washington, D.C. was under construction.
During the 19th and 20th centuries, Philadelphia emerged as a major national industrial center and railroad hub. The city’s blossoming industrial sector attracted European immigrants, predominantly from Germany and Ireland, the two largest reported ancestry groups in the city as of 2015. In the 20th century, immigrant waves from Italy and elsewhere in Southern Europe arrived. Following the end of the Civil War in 1865, Philadelphia became a leading destination for African Americans in the Great Migration. In the 20th century, Puerto Rican Americans moved to the city in large numbers. Between 1890 and 1950, Philadelphia's population doubled to 2.07 million. Philadelphia has since attracted immigrants from East and South Asia, Eastern Europe, and Latin America.
With 18 four-year universities and colleges, Philadelphia is one of the nation's leading centers for higher education and academic research. As of 2021, the Philadelphia metropolitan area was the nation's ninth-largest metropolitan economy with a gross metropolitan product (GMP) of US$479 billion. Philadelphia is the largest center of economic activity in Pennsylvania and the broader multi-state Delaware Valley region; the city is home to five Fortune 500 corporate headquarters as of 2022. The Philadelphia skyline, which includes several globally renowned commercial skyscrapers, is expanding, primarily with new residential high-rise condominiums. The city and the Delaware Valley are a biotechnology and venture capital hub; and the Philadelphia Stock Exchange, owned by NASDAQ, is the nation's oldest stock exchange and a global leader in options trading. 30th Street Station, the city's primary rail station, is the third-busiest Amtrak hub in the nation, and the city's multimodal transport and logistics infrastructure, including Philadelphia International Airport, the PhilaPort seaport, freight rail infrastructure, roadway traffic capacity, and warehouse storage space, are all expanding.
Philadelphia is a national cultural hub, hosting more outdoor sculptures and murals than any other American city. Fairmount Park, when combined with adjacent Wissahickon Valley Park in the same watershed, is 2,052 acres (830 ha), representing one of the nation's largest contiguous urban parks and the 45th largest urban park in the world. The city is known for its arts, culture, cuisine, and colonial and Revolution-era history; in 2016, it attracted 42 million domestic tourists who spent $6.8 billion, representing $11 billion in total economic impact to the city and surrounding Pennsylvania counties.
With five professional sports teams and a hugely loyal fan base, the city is often ranked as the nation's best city for professional sports fans. The city has a culturally and philanthropically active LGBTQ+ community. Philadelphia also has played an immensely influential historic and ongoing role in the development and evolution of American music, especially R&B, soul, and rock.
Philadelphia is a city of many firsts, including the nation's first library (1731), hospital (1751), medical school (1765), national capital (1774), university (by some accounts) (1779), stock exchange (1790), zoo (1874), and business school (1881). Philadelphia contains 67 National Historic Landmarks, including Independence Hall. From the city's 17th century founding through the present, Philadelphia has been the birthplace or home to an extensive number of prominent and influential Americans. In 2021, Time magazine named Philadelphia one of the world's greatest 100 places." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
www.holyspiritspeaks.org/videos/party-is-not-done-talking/
Introduction
Li Ming'ai is a Christian in mainland China. She is a woman of upright character who respects her parents-in-law, assists her husband and educates her child, and has a happy and harmonious family. In China, where atheism exercises control, however, the Chinese Communist government always wildly arrests and persecutes people who believe in God. In 2006, Li Ming'ai was arrested and fined because of her belief in God. After Li Ming'ai returned home, the Chinese Communist police often threatened and intimidated her and her family, and tried to prevent Li Ming'ai from continuing her belief in God. One day, when Li Ming'ai was away from home holding a meeting, she was reported by an informer. The police went to Li Ming'ai's home trying to arrest her. She was forced to leave home, and from that time on, Li Ming'ai's life hiding from place to place and fleeing from home began. The Chinese Communist police still won't leave her alone, always keeping watch on her home, and waiting for an opportunity to arrest her. One evening, Li Ming'ai stealthily goes home to see her family, but almost immediately the police hurry to arrest her. Luckily someone warns her, and Li Ming'ai escapes disaster.
Three years later, while Li Ming'ai is practicing her faith and doing her duty far from home, she is followed and arrested by Chinese Communist police. The Chinese Communist police carry out inhuman torture and torment on Li Ming'ai, and utilize family affection to try to lure her. They use threats such as denying her child a right to attend school, and blocking future access to jobs in the government that the child might have to try to force her to abandon her faith in God, to betray the leaders in the church , and to make known the finances of the church. During this time, Li Ming'ai prays to God and places her faith in God. In God's word she finds enlightenment and guidance. She endures torture and torment by the Chinese Communist police, sees through Satan's tricks, and resolves to not betray God. She stands firm witness for God. The interrogation by the Chinese Communist police bears no fruit, and they are shamed into anger. They lead Li Ming'ai dressed in prisoner's clothing to her village home, parading her for all to see. They do this to shame her, and then try to get her family members to tempt her to betray God, and sell out the church. Li Ming'ai is most enraged by how the Chinese Communists attribute the difficulties of her family to her belief in God. Filled with righteous indignation, Li Ming'ai angrily brings to light the evil reality of how the Chinese Communist government arrests and persecutes Christians. She states that the real destroyer of Christians' families is the Chinese Communist government, which is the arch-criminal who brings people all sorts of calamity. Thus she serves up a thorough and shameful defeat to the Chinese Communists.
Eastern Lightning, The Church of Almighty God was created because of the appearance and work ofAlmighty God , the second coming of the Lord Jesus, Christ of the last days. It is made up of all those who accept Almighty God's work in the last days and are conquered and saved by His words. It was entirely founded by Almighty God personally and is led by Him as the Shepherd. It was definitely not created by a person. Christ is the truth, the way, and the life. God's sheep hear God's voice. As long as you read the words of Almighty God, you will see God has appeared.
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Quite old shot,but wanted to upload it anyway.Back in the time when I took shot of this Challenge Stradale I didn't have flickr,nor I wanted to.I actually just wanted to have snips of cars that I've seen.However,now the things have changed and I really want to 'kill' myself for all those rubbish shots of great cars that I've seen last year.Aaaanyway,tried to fix this one,just as I will try to fix some other old shots,and I think that I've done quite good job since the original looks like this.What do you think?
Thanks for watching.Comments,suggestions and faves are appreciated.
DO NOT USE OR SHARE THIS IMAGE WITHOUT MY PERMISSION!
Nikon FM2N
Nikkor AI 28mm
Fujifilm 400 expired 12/2007 as 100asa
1/4-1/8 flash
f/8, 1/8s
Times Square
6/30/24
A few more from yesterday - I'm kind of excited about the color I found, and I'm trying to hold off putting them all up at once.
This is my final photo on flickr.
People have different ideas about photography. People have different ideas in general. I respect different ideas, I welcome discussion, I acknowledge criticism. What I cannot accept is being offended by people who don't even know me. This is not a farewell. My flickr account stays active and though I won't post photos of mine I'll keep on watching and commenting on the photos of those nice people I'm happy I met here (make sure you're in my contact list). As for me, I'll post some photos on a personal photoblog.
Thanks to all those who constructively commented on my photos and that will hopefully keep on encouraging me.
Questa e' l'ultima foto che pubbblichero' su flickr. Le persone hanno differenti idee di fotografia. Le persone hanno differenti idee in generale. Io rispetto le idee diverse, accolgo discussioni e critiche. Quello che non posso accettare e' venire offeso da persone che non mi conoscono e non sanno niente di me (chi vuole approfondire puo' leggere qui. Questo non e' un addio. Il mio account di flickr resta attivo e anche se non postero' piu' mie foto, continuero' a guardare e commentare le foto di quelle persone in gamba che sono lieto di aver incontrato qui (controllate la vostra presenza tra i miei contatti). In quanto a me, continuero' a postare in un fotoblog personale. Grazie a tutti coloro che hanno commentato le mie foto costruttivamente, e che mi auguro continueranno a commentarle e ad incoraggiarmi.
Dear friend, here are 5 things you should know:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. 9 Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
Sincerely,
Someone who cares about you
Wolf Hoffmann - ACCEPT - copyright © JLC 2014
MORE PHOTOS ON MY BLOG : concertliveguitar.blogspot.fr/
COPYRIGHT © No images may be reproduced, copied or used without my written permission.
Aucune de mes photographies ne peut être reproduite, copiée ou utilisée en partie ou en intégralité, sans permission écrite. Tous droits réservés ©
"Forever Free"
11x14" white charcoal drawing of a truly beautiful white Arabian gelding named, Sorria. Sadly he passed away too soon.
Commission for L.D.
Please contact me on Flickr or by email if you would like a special portrait of your furry or non-furry family members. I also accept commissions of vehicles. My commission fee is rea
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Francisco Aragão © 2014. All Rights Reserved.
Use without permission is illegal.
Attention please !
If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
Many images are available for license on Getty Images
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Portuguese
A Igreja de Santo Inácio de Loyola no Campo de Marte (em italiano: Chiesa di Sant'Ignazio di Loyola a Campo Marzio) é uma igreja de Roma, na Itália, dedicada ao fundador da ordem dos jesuítas.
Construída em estilo barroco entre 1626 e 1650, a igreja funcionou inicialmente como igreja paroquial adjacente ao Collegio Romano, que se mudou em 1584 para um novo prédio maior e tornou-se a Pontifícia Universidade Gregoriana.
Após a canonização de Santo Inácio de Loyola em 1622, o Papa Gregório XV sugeriu a seu sobrinho, o Cardeal Ludovico Ludovisi, que uma nova igreja deveria ser erigida para o fundador da Companhia de Jesus. O cardeal aceitou a idéia e pediu a vários arquitetos para desenhar planos, entre os quais Carlo Maderno. Ludovisi finalmente escolheu o do matemático jesuíta Orazio Grassi, professor no Collegio Romano. A pedra fundamental foi lançada apenas em 2 de agosto de 1626, quatro anos mais tarde, um atraso que foi causado pelo fato de que uma parte dos antigos edifícios pertencentes ao Collegio Romano tiveram de ser demolidos. Igreja de Santo Inácio foi aberta ao culto público apenas em 1650, por ocasião do Jubileu de 1650, e só foi concluída no final do século. A consagração solene da igreja foi celebrada apenas em 1722. A igreja tem uma planta em cruz latina, com numerosas capelas laterais. O edifício foi inspirado na igreja matriz dos Jesuítas, a Igreja de Jesus. As imponentes pilastras coríntias que estruturam todo o interior, a ênfase teatral sobre o altar na abside, mármores coloridos, vívidas esculturas em estuque e mármore ornamentando os altares, fartas douraduras, e ousadas pinturas em trompe-l'oeil no teto nave, produzem um efeito de conjunto festivo e suntuoso.
Andrea Pozzo, um irmão jesuíta, pintou após 1685 o grandioso afresco que se estende por todo o teto da nave. Ele celebra a obra de Santo Inácio e da Companhia de Jesus no mundo, apresentando o santo recebido no Paraíso por Cristo e a Virgem Maria e rodeado por representações alegóricas dos quatro continentes. Pozzo trabalhou de modo a dissolver ilusionisticamente a superfície real da abóbada da nave, criando uma projeção em perspectiva que faz o observador ver uma cúpula aberta para o céu brilhante e cheio de figuras voando. Um disco de mármore no meio do chão da nave marca o ponto ideal a partir do qual os observadores podem perceber melhor a ilusão. Pozzo também pintou os afrescos nos pendentes da cúpula, cada um com uma passagem do Antigo Testamento, figurando Judite, Davi, Sansão e Jael. Novamente por Pozzo, os afrescos da abside apresentam a vida e a apoteose de Santo Inácio. O cerco de Pamplona, no painel à esquerda, comemora o ferimento de Santo Inácio, que levou à convalescença e conversão que transformou sua vida. O painel sobre o altar-mor tem a Visão de Santo Inácio na Capela de La Storta, comemorando o lugar onde o santo recebeu o chamado divino. Santo Inácio recebendo Francisco Borgia recorda o recrutamento do nobre espanhol que se tornou o Geral da Companhia dos Jesuítas. Pozzo é também responsável pelo afresco na concha da abside representando Santo Inácio curando os pestilentos.
A capela do transepto direito, dedicada a São Luís Gonzaga, tem um mármore em alto-relevo representando São Luís Gonzaga na Glória (1697-1699), de Pierre Le Gros, o Jovem, e abaixo fica o caixão de vidro de São Roberto Bellarmino. Le Gros foi autor também da suntuosa tumba de Gregório XV e de seu sobrinho, em associação com Pierre-Étienne Monnot, que esculpiu duas figuras da Fama para o monumento. A capela do transepto esquerdo tem um altar em mármore da Anunciação de Filippo della Valle, com figuras alegóricas e os anjos (1649) por Pietro Bracci, e um teto com afrescos de Andrea Pozzo. A parede oeste da nave tem um grupo escultórico mostrando a Magnificência e a Religião (1650) por Alessandro Algardi. Algardi também ajudou a projetar os altos-relevos em estuque que existem em ambas as paredes laterais da nave logo acima das entradas das capelas e debaixo da grandiosa entablatura da nave.
English
The Church of Saint Ignatius of Loyola at Campus Martius (Italian: Chiesa di Sant'Ignazio di Loyola a Campo Marzio, Latin: S. Ignatius a Loyola in Campo Martio) is Roman Catholic titular church dedicated to Ignatius of Loyola, the founder of the Jesuit order, located in Rome, Italy. Built in Baroque style between 1626 and 1650, the church functioned originally as Rectory church to the adjacent Collegio Romano, that moved in 1584 to a new larger building and became the Pontifical Gregorian University. The Cardinal Priest of the Titulus S. Ignatii de Loyola in Campo Martio is Cardinal Roberto Tucci, S.J.
History
The Collegio Romano opened very humbly in 1551, with an inscription over the door summing up its simple purpose: "School of Grammar, Humanity, and Christian Doctrine. Free". Plagued by financial problems in the early years, the Collegio Romano had various provisional centres. In 1560, Vittoria della Tolfa, Marchesa della Valle, donated her family isola, an entire city block and its existing buildings, to the Society of Jesus in memory of her late husband the Marchese della Guardia Camillo Orsini, founding the Collegio Romano. She had intended to donate it previously to the Order of Poor Ladies to found a minor nunnery. This order had already started to build what had been intended to become the church of Santa Maria della Nunziata, erected on the spot where the Temple of Isis had stood in Imperial Rome.
Although the Jesuits got the Marchesa's land, they did not get any money from her for completing the church. Budgetary restraints compelled them to hire their own architect. Construction of the church was taken over by the Jesuit architect Giovanni Tristano. Built entirely by Jesuit labour, the church of the Most Holy Annunciation was first used for worship in 1567. A three-aisled church dedicated to the Most Holy Annunciation (Italian: Santissima Annunziata) was built in the Collegio Romano between 1562 and 1567 on the foundations of the pre-existing construction. Since the earlier church had already been built to the height of the ground floor in 1555, there was no way for the Jesuits to expand the structure to hold the increasing number of students attending the Collegio Romano. The facade was very similar to that of the contemporary Church of Sant'Andrea al Quirinale, which was also designed by Giovanni Tristano. In accordance with the wishes of the Marchesa, the façade proudly displayed the Orsini arms. The Church of the Most Holy Annunciation was enlarged in 1580 when Pope Gregory XIII expanded the Collegio Romano itself, especially the side chapels.
The old church became insufficient for over two thousand students of many nations who were attending the College at the beginning of the 17th century. Pope Gregory XV, who was an old pupil of the Collegio Romano, was strongly attached to the Church. Following the canonization Saint Ignatius of Loyola in 1622, he suggested to his nephew, Cardinal Ludovico Ludovisi, that a new church should be erected to the founder of the Society of Jesus, at the College itself. The young cardinal accepted the idea, asked several architects to draw plans, among which Carlo Maderno. Ludovisi finally chose that of the Jesuit mathematician Orazio Grassi, professor at the Collegio Romano itself.
The foundation stone was laid only on August 2, 1626, four years later, a delay which was caused by the fact that a section of the buildings belonging to the Roman College had to be dismantled. The old church was eventually demolished in 1650 to make way for the massive Church of Saint Ignatius of Loyola, which was begun in 1626 and finished only at the end of the century. In striking contrast to the Church of the Most Holy Annunciation, which occupied only a small section of the Collegio Romano, the Church of Saint Ignatius of Loyola took up a quarter of the entire block when it was completed.
The church was opened for public worship only in 1650, at the occasion of the Jubilee of 1650. The final solemn consecration of the church was celebrated only in 1722 by Cardinal Antonfelice Zondadari. The church's entrance now faces on to the Rococo Place of San Ignazio was planned by the architect Filippo Raguzzini.
Spanish
San Ignacio de Loyola es una iglesia barroca de Roma, construida en 1626 y dedicada a San Ignacio de Loyola, el fundador de la Compañía de Jesús.
Breve historia
El Colegio Romano contaba con la pequeña capilla de la Anunciación (del 1562) como espacio para las celebraciones litúrgicas, con unas pinturas de los Zuccari. En el primer cuarto del siglo XVII la capilla se había quedado pequeña y la familia Ludovisi, a la que pertenecía el pontífice de ese momento, Gregorio XV, se compromete a construir una nueva. Llevará el nombre del recién canonizado Ignacio de Loyola.
Inicio y desarrollo del proyecto
Ludovico, sobrino del papa Gregorio XV, se encargó del patrocinio de la nueva iglesia y de dirigir el proyecto después de la muerte del pontífice. Para ello se convoca un concurso entre los arquitectos jesuitas, para poder así economizar el proyecto. Primero se presentó el arquitecto Antonio Sasso pero después fue desbancado por el proyecto del jesuita Horazio Grassi que fue aceptado en 1627. En 1640, con motivo del centenario de la fundación de la Compañía de Jesús, se celebra una eucaristía en una iglesia a medio construir, con un techo provisional. En el proceso de construcción de la iglesia se plantean dos problemas que hacen modificar el proyecto original de Grassi. El primero será la fachada, cuyo segundo piso se modificará y se adaptará a la altura más baja de las naves laterales, empleando para ello unas elegantes volutas. Otro grave problema que se planteó fue la construcción de la cúpula. El espacio era excesivamente amplio y la comisión de arquitectos reunida para buscar una solución, no encuentra una adecuada, ni siquiera la propuesta por Grassi, y que además se adaptase al nuevo recorte de presupuesto por parte del competente Ludovisi, que marchó a Cerdeña y al poco tiempo murió. Grossi también fallece sin darle solución. La solución más sencilla y a la vez la más genial viene de la mano de otro jesuita, Andrea Pozzo en 1685, que realiza una falsa cúpula pintada sobre tela. Terminados todos los trabajos, la iglesia es inaugurada finalmente en 1722.
Wikipedia
As far as I can tell, the tattoo reads, "Accept yourself, everything about yourself. You are you, there in the beginning and there in the end. No regrets. No apologies. I am me."
ニチニチソウ ‘フェアリー・スター・ホワイト’
(サントリー・フェアリー・スター・シリーズ)
Catharanthus roseus (L.) G.Don, 1837 ‘Fairy Star White’
(Suntory Fairy Star Series)
This name is accepted. 06/11, 2022.
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Family: Apocynaceae (APG IV)
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Authors:
Carl von Linnaeus (1707-1778)
George Don (1798-1856)
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Published In:
A General History of the Dichlamydeous Plants 4(1): 95. 1838[1837]. (Gen. Hist.)
Name publication detailView in BotanicusView in Biodiversity Heritage Library
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Basionym:
Vinca rosea L., Syst. Nat., ed. 10. 2: 944 (1759).
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Synonyms:
Ammocallis rosea (L.) Small, Fl. S.E. U.S. [Small]. 936, 1336 (1903).
Catharanthus roseus var. albus G. Don
Catharanthus roseus var. roseus
Hottonia littoralis Lour., Fl. Cochinch. 1: 105 (1790).
Lachnea rosea (L.) Rchb.
Lochnera rosea (L.) Rchb. ex Endl., Gen. Pl. [Endlicher] 8: 583 (1838), nom. inval.
Lochnera rosea var. alba (G. Don) Hubbard
Lochnera rosea forma alba (Sweet) Woodson, N. Amer. Fl. 29(2): 124 (1938).
Lochnera rosea var. flava Tsiang, Sunyatsenia 2: 103 (1934).
Pervinca rosea (L.) Gaterau, Descr. Pl. Montauban 52 (1789); vide Raynal in Taxon, xvii. 516 (1968).
Pervinca rosea (L.) Moench, Methodus (Moench) 463 (1794), isonym.
Vinca gulielmi-waldemarii Klotzsch, Bot. Ergebn. Reise Waldemar [Klotzsch & Garcke] 89 (1862).
Vinca rosea L., Syst. Nat., ed. 10. 2: 944 (1759).
Vinca rosea var. alba (G. Don) Sweet
Vinca rosea var. albiflora Bertol., Nuovi Ann. Sci. Nat. 4: 411 (1840).
Vinca speciosa Salisb., Prodr. Stirp. Chap. Allerton 147 (1796), nom. illeg.
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Accepted By:
AFPD. 2008. African Flowering Plants Database - Base de Donnees des Plantes a Fleurs D'Afrique.
CONABIO. 2009. Catálogo taxonómico de especies de México. 1:. In Capital Nat. México. CONABIO, Mexico City. download by taxa
Carnevali, G., J. L. Tapia Muñoz, R. Duno de Stefano & I. M. Ramírez-Morillo. 2010. Fl. Ilustr. Peníns. Yucatán 1–326. Centro de Investigación Científica de Yucatán, A.C., Mérida.
Correa A., M. D., C. Galdames & M. Stapf. 2004. Cat. Pl. Vasc. Panamá 1–599. Smithsonian Tropical Research Institute, Panamá.
Davidse, G., M. Sousa Sánchez, S. Knapp & F. Chiang Cabrera. 2009. Cucurbitaceae a Polemoniaceae. 4(1): i–xvi, 1–855. In G. Davidse, M. Sousa Sánchez, S. Knapp & F. Chiang Cabrera (eds.) Fl. Mesoamer.. Missouri Botanical Garden, St. Louis.
De la Torre, H. Navarrete, P. Muriel, M. J. Macía & H. Balslev. 2008. Enciclopedia Pl. Utiles Ecuador
Flora of China Editorial Committee. 1995. Flora of China (Gentianaceae through Boraginaceae). 16: 1–479. In C. Y. Wu, P. H. Raven & D. Y. Hong (eds.) Fl. China. Science Press & Missouri Botanical Garden Press, Beijing & St. Louis.
Funk, V. A., T. H. Hollowell, P. E. Berry, C. L. Kelloff & S. Alexander. 2007. Checklist of the plants of the Guiana Shield (Venezuela: Amazonas, Bolivar, Delta Amacuro; Guyana, Surinam, French Guiana). Contr. U.S. Natl. Herb. 55: 1–584. View in Biodiversity Heritage Library
Gentry, A.H. 2001. Apocynaceae. In: W.D. Stevens, C. Ulloa Ulloa, A. Pool & O.M. Montiel (eds.). Fl. Nicaragua. Monogr. Syst. Bot. Missouri Bot. Gard. 85(1): 116–132.
Idárraga-Piedrahita, A., R. D. C. Ortiz, R. Callejas Posada & M. Merello. 2011. Listado de las plantas vasculares del departamento de Antioquia. 2: 9–939. In A. Idárraga-Piedrahita, R. D. C. Ortiz, R. Callejas Posada & M. Merello Fl. Antioquia: Cat.. Universidad de Antioquia, Medellín.
Jørgensen, P. M., M. H. Nee & S. G. Beck. 2014. Catálogo de las plantas vasculares de Bolivia. 127(1–2): i–viii, 1–1744. In P. M. Jørgensen, M. H. Nee & S. G. Beck (eds.) Cat. Pl. Vasc. Bolivia, Monogr. Syst. Bot. Missouri Bot. Gard.. Missouri Botanical Garden Press, St. Louis.
Jørgensen, P. M., M. H. Nee, S. G. Beck & A. F. Fuentes. 2015 en adelante. Catalogo de las plantas vasculares de Bolivia (adiciones).
Killeen, T. J. & T. S. Schulenberg. 1998. A biological assessment of Parque Nacional Noel Kempff Mercado, Bolivia. RAP Working Papers 10: 1–372.
Madsen, J. E., R. Mix & H. Balslev. 2001. Fl. Puná Isl. 1–289. Aarhus University Press, Aarhus.
Morales Quirós, J. F. 2005. Estudios en las Apocynaceae neotropicales XIX: La familia Apocynaceae s. str. (Apocynoideae, Rauvolfioideae) de Costa Rica. Darwiniana 43(1–4): 90–191.
Morales Quirós, J. F. 2006. Estudios en las Apocynaceae Neotropicales XXVIII: La familia Apocynaceae (Apocynoideae, Rauvolfioideae) de El Salvador, Centroamérica. Darwiniana 44(2): 453–489.
Morales Quirós, J. F. 2009. La familia Apocynaceae (Apocynoideae, Rauvolfioideae) en Guatemala. Darwiniana 47(1): 140–184.
Nasir, E. & S. I. Ali (eds). 1980-2005. Fl. Pakistan Univ. of Karachi, Karachi.
Nelson, C. H. 2008. Cat. Pl. Vasc. Honduras i–xxix, 31–1576. Secretaría de Recursos Naturales y Ambiente, Tegucigalpa.
Novelo Retana, A. & L. Ramos Ventura. 2005. Vegetación acuática. (Cap. 5): 111–144. In J. Bueno, F Álvarez & S. Santiago (eds.) Biodivers. Tabasco. CONABIO-UNAM, México.
Pérez J., L. A., M. Sousa Sánchez, A. M. Hanan-Alipi, F. Chiang Cabrera & P. Tenorio L. 2005. Vegetación terrestre. Cap. 4: 65–110. In J. Bueno, F Álvarez & S. Santiago (eds.) Biodivers. Tabasco. CONABIO-UNAM, México.
Schatz, G. E. , S. Andriambololonera , P.P. Lowry II , P.B. Phillipson , M. Rabarimanarivo , J. I. Raharilala , F. A. Rajaonary , N. Rakotonirina , R. H. Ramananjanahary , B. Ramandimbisoa , A. Randrianasolo , N. Ravololomanana & C. M. Taylor & J. C. Brinda. 2021. Catalogue of the Plants of Madagascar.
Standley, P. C. & L. O. Williams. 1969. Apocynaceae. In Standley, P.C. & Williams, L.O. (eds.), Flora of Guatemala - Part VIII, Number 4. Fieldiana, Bot. 24(8/4): 334–407. View in Biodiversity Heritage Library
Stevens, W. D., C. Ulloa Ulloa, A. Pool & O. M. Montiel Jarquín. 2001. Flora de Nicaragua. Monogr. Syst. Bot. Missouri Bot. Gard. 85: i–xlii,.
Trusty, J. L., H. C. Kesler & G. Haug Delgado. 2006. Vascular Flora of Isla del Coco, Costa Rica. Proc. Calif. Acad. Sci., ser. 4, 57(7): 247–355. View in Biodiversity Heritage Library
Zuloaga, F. O., O. Morrone, M. J. Belgrano, C. F. S. Marticorena & E. Marchesi. (eds.) 2008. Catálogo de las plantas vasculares del Cono Sur. Monogr. Syst. Bot. Missouri Bot. Gard. 107(1–3): i–xcvi, 1–3348.
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Nikon D800E
SIGMA MACRO 70mm F2.8 EX DG for Nikon AF Mount
Fotos del concierto de Accept en La Riviera, Madrid.
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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Focke-Wulf Project VII Flitzer ("streaker" or "dasher", sometimes incorrectly translated as "madcap") was a jet fighter under development in Germany in World War II.
The design began as Focke-Wulf Project VI which had a central fuselage and two booms carrying the rear control surfaces having great similarity with the de Havilland Vampire. Project V had the air inlets still positioned on either side of the nose, just below the cockpit.
The estimated horizontal speed was not satisfactory and in the next development, Project VII, the jet intakes were situated in the wing roots. Further improvements over Project VI were a narrower fuselage and a changed pilot's canopy. In order to improve the rate of climb, a Walter HWK 109-509 hypergolic liquid-propellant rocket was added.
In spite of the fact that a complete mock-up was built and all construction and assembly plans finished, the aircraft was not accepted by the RLM (Reich Air Ministry, or Reichsluftfahrtministerium).
But the design was not shelved, though: with the Project VIII, Focke-Wulf began a design study for a turboprop-powered fighter-bomber. It was based on the work previously done on Project VII, but became a very different aircraft.
Biggest change of the Project VIII was its turboprop engine, based on the Heinkel S 011 jet engine. While the engine was still placed in the section behind the wing main spar, the power shaft that ran through the lower fuselage and drove a three-bladed variable pitch propeller required major changes. For instance, the front wheel had to be lengthened in order to make enough room for the propeller.
To accomodate the new gearbox and a bigger front landing gear well, the whole aircraft nose had to be modified, too. The front wheel now retracted backwards and rotated by 90°, so that it could lie flat under the power shaft, flanked by two machine cannons. Two more were mounted in the wings, which were at an initial stage taken over wholesale from the P.VII, and a heavy 30mm MK 108 autocannon fired through the propeller hub.
Due to the aircraft's "nose-up" position on the ground, the tail arrangement was changed and simplified, too: the Flitzer's twin boom gave way to a more conventional single boom above the jet exhaust, ending in a simple tail with swept surfaces. This had the positive side effects of better aerodynamics, as well as a reduced overall weight.
The design was submitted to the RLM in November 1944 and quickly accepted, despite serious delays with the DB 109-021 turboprop engine. This was eventually ready in May 1945, when first tests and the Fw 260's maiden flight (how the type was now officially designated, the two prototypes having the suffix A-0) took place.
The turboprop was a very effective engine, especially at low and medium altitude, where the Project VIII would outperfrom any contemporary pure piston engine fighter. It was also more manoueverable than comparable jet fighters (esp. concerning acceleration and rate of climb - the aircraft was able to climb twice as fast as the former pure jet Flitzer design), and operations only required much shorter runways for operations.
The initial Fw 260 A-1 was delivered to front line units in late 1945 and immediately thrown into the defensive battles at the Eastern front, where they flew missions against point targets and even night time missions.
An improved version with new, thinner wings and a slightly increased sweep for even better performance, the A-2, was scheduled to enter production in summer 1946, but the end of hostilities limited overall production to less than 100 Fw 260 A-1.
General characteristics:
Crew: One pilot
Length: 10,30 m (33 ft 8 3/4 in)
Wingspan: 8.00 m (26 ft 2 in)
Wing sweep: 30° at quarter chord
Height: 3,31 m (10 ft 10 in)
Wing area: 17.0 m2 (183 ft2)
Empty weight: 3.396 kg (7.486 lb)
Gross weight: 4.900 kg (10.802 lb)
Powerplant:
1× Daimler-Benz DB 109-021 turboprop, rated at 1,491 kW (2,000 hp)
plus 770 kp (1.697 lb) residual thrust
Performance:
Maximum speed: 900 km/h (559 mph) at 9.000 m (30.00 0ft)
Range: 1.020 km (633 miles) on internal fuel at 7.000 m (23.000 ft)
Endurance: 1 hour 17 min at full load and at 7.000 m (23.000 ft)
Service ceiling: 13,000 m (42,500 ft)
Rate of climb: 39 m/s (128 ft/sec)
Armament:
1× 30 mm (1.18 in) MK 108 cannon (40 RPG), firing through the propeller hub
4× 20 mm MG 213 cannons, one pair in the lower front fuselage and one in each wing,
each with 100 RPG.
Up to 1.000kg (2.202 lb) of external ordnance at two wing hardpoints, including bombs
of up to 500 kg (1.100 lb) caliber, drop tanks, racks with unguided missiles, or podded
cannons
The kit and its assembly:
I had this Luft '46 project on the list for a while, and while waiting for parts for other projects I decided to dig a Revell "Flitzer" kit out of the pile and start a quick conversion.
Yes, this one is based on a real German project: Fact is that this one was a turboprop-powered derivative of the pure jet Flitzer, with swept surfaces and a conventional tail boom. And it was intended as an attack aircraft, not a fighter.
Its designation, be it internally or through the RLM, varies widely, though. Some sources call it "Project VIII" (because the Flitzer was Project VII), but that's doubtful because there were several iterations with twin and single boom arrangements, as well as different wing shapes (ranging from the Flitzer's clipped delta shape to swept, slender wings that remind of the F-86).
Unicraft did a resin kit of this paper project, calling it "P.127" for whatever reason, and they also did a kit of its twin-boom predecessor - the latter being christened Fw 258 by Unicraft, even though this number had not been allocated by the RLM.
I took that idea up and gave my creation the fictional designation Fw 260 - the "260" was never used by the RLM, too, and it is even uncertain which number the Flitzer would have had, had it been built or accepted for Luftwaffe service.
Anyway, changing the Revell Flitzer into its successor was not an easy task. It started with a new nose that would not only carry the scratched propeller, it would also have to blend into the trapezoid diameter of the original "pod" fuselage. The solution was found through a rear drop tank end from a vintage Revell F4U that was cut in two pieces: the rear tip would become the propeller spinner (onto which single, deep blades from a vintage Frog Ta 152 were glued), while the rest replaced the original Flitzer nose and holds a 6x6mm, square styrene tube inside that carries the propeller on a round styrene axis. It's even spinning!
Because this scratched arrangement needed space, the original front landing gear well had to be cut away, as well as parts of the cockpit floor. Lots of putty created some new nose lines, and before the hull was glued together as much lead as possible was hidden behind the cockpit and even inside of the front landing gear well.
The cockpit was taken almost OOB: I just used a deeper seat - the original part looks tiny, but the cockpit is really cramped so that a replacement was not easy to fit in.
At the pod's rear end, a new tail had to be created. First measure was to "reverse" the original exhaust position, flipping it from top to bottom, and adding a tail boom as a spine extension. The boom is actually a tail from a Hobby Boss P-39, which was considerably modified and cut into shape. Again, lots of putty smoothed out the lines.
With the tail in place and the new, longer nose, the wings' position was not right anymore. Consequently, the wings were moved forward by 7mm - an easy task, thanks to the kit's construction. New stabilizers were scratched from the spares box, too.
Speaking of the wings: the Flitzer's toeholds for the twin tail booms had to disappear, too - done through cutting and putty inserts on/in the wings' trailing edges. Worked pretty well.
The landing gear was taken OOB from the original kit. The front wheel wa not inserted as deep as in the Flitzer (there's no space anymore, anyway...) and slightly offset - profile drawings from Focke Wulf suggest such an arrangement, probably due to the power shaft that had to run somewhere under the cockpit floor.
Another issue became the new, forward position of the wings: this would push the tail even more down. So, I added a 3mm console at the main gear struts' bases - just enough to get the tail high enough for a plausible ground position. The real aircraft would have had a high nose, too, so the odd look is not as farfetched as it might seem.
Final touches included additional underwing hardpoints and a pair of 250 kg bombs (IIRC, from an Italeri Ju 188), outfitted with scratched fuze extensions for soggy ground, suitable ordnance for the intended ground attack role.
Painting and markings:
The late WWII canon for German aircraft leaves not much room for paint scheme experiments, but I did not want to repeat myself. So I was lucky to find a real Me 262 in the rather odd night paint scheme that I eventually used - and the result is... interesting.
Top cammo basically consists of RLM 81 and 82 (Braunviolett and Light Green enamels, from Modelmaster's Authentic line) in wavy, but sharply defined fields. On the fuselage flanks, RLM 81 and 82 also feature "counter-blotches" of the respective other tone. The undersides are painted black (RLM 22) - originally, this could also have been dark grey (RLM 66), but I found black more attractive, also as a contrast to the dark grey landing gear.
Markings were minimal on the Me 262 paradigm: all insignia in a simplified version, and even in black on the flanks. The only code was red number (outlined in white) - that's all! On the kit I added the heart emblems and the red spinner with a white spiral as a personal touch, but the aircraft still looks murky and purposeful - for night attack sorties.
The basic tones were shaded with lighter colors, including Humbrol 120, 155 and 32. Since the putty work on the fuselage made almost any engraving disappear, I added painted panel lines (with the help of some Tamiya "Smoke").
The exhaust area was painted with Modelmaster Metallizer and treated with grinded graphite, which was also used to add soot stains around the many gun nozzles.
The decals were puzzled together, stencils were taken over from the Flitzer Sheet - and these many red bits make the dark aircraft a bit more lively. Finally, everything was sealed under a coat of matt Revell Acrylics varnish.
Even if this model does not look like it: it was a major surgery job, especially the nose and the landing gear caused severe headaches. But the result looks pretty cool and sleek, and the unique paint schem adds to the mysterious look of this Luft '46 whif.
ゼフィランサス・ロブスタ ‘ジョン・フェレンス’
Zephyranthes robusta (Herb.) Baker, 1888 ‘John Fellens’
This name is Accepted. 12/08, 2022.
-------------------------------------
Family: Amaryllidaceae (APG IV)
-------------------------------------
Authors:
William Herbert (1778-1847)
John Gilbert Baker (1834-1920)
-------------------------------------
Publication:
Handbook of the Amaryllideae
-----------------
Collation:
35
-----------------
Date of Publication:
Apr 1888
-------------------------------------
Distribution:
E. & S. Brazil to N. Argentina
(27) nat (29) mau (78) fla (83) clm 84 BZE BZL BZS 85 AGE AGW URU
Lifeform: Bulb geophyte
Original Compiler: R.Govaerts
-------------------------------------
The native range of this species is E. & S. Brazil to N. Argentina. It is a bulbous geophyte and grows primarily in the seasonally dry tropical biome. It is has environmental uses.
-------------------------------------
Distribution Native to:
Argentina Northeast, Argentina Northwest, Brazil Northeast, Brazil South, Brazil Southeast, Uruguay
-------------------------------------
Basionym/Replaced Synonym:
Habranthus robustus Herb. in R.Sweet, Brit. Fl. Gard. 4: t. 14 (1829).
-------------------------------------
Homotypic Synonyms:
Amaryllis robusta (Herb.) Sweet ex Steud. in Nomencl. Bot., ed. 2, 1: 74 (1840)
Habranthus robustus Herb. in R.Sweet, Brit. Fl. Gard. 4: t. 14 (1829)
-------------------------------------
Heterotypic Synonyms:
Amaryllis berteroi Spreng. in Syst. Veg., 2: 49 (1825)
Atamasco taubertiana (Harms) Greene in Pittonia 3: 188 (1897)
Habranthus berteroi (Spreng.) M.Roem. in Fam. Nat. Syn. Monogr. 4: 102 (1847)
Habranthus quilmesianus Ravenna in Onira 1: 54 (1988)
Hippeastrum berteroi (Spreng.) Christenh. & Byng in Global Fl. 4: 58 (2018)
Hippeastrum quilmesianum (Ravenna) Christenh. & Byng in Global Fl. 4: 63 (2018)
Zephyranthes taubertiana Harms in Notizbl. Königl. Bot. Gart. Berlin 1: 81 (1895)
Zephyranthes taubertii Harms in Gartenflora 44: 386 (1895)
-------------------------------------
Publications:
An alternative taxonomy had been proposed by the following authorities:
Govaerts, R.H.A. (2011). World checklist of selected plant families published update Facilitated by the Trustees of the Royal Botanic Gardens, Kew. [Cited as Habranthus robustus.]
-----------------
Catálogo de Plantas y Líquenes de Colombia:
Bernal, R., Gradstein, S.R. & Celis, M. (eds.). 2015. Catálogo de plantas y líquenes de Colombia. Instituto de Ciencias Naturales, Universidad Nacional de Colombia, Bogotá. catalogoplantasdecolombia.unal.edu.co
-----------------
Kew Backbone Distributions:
Bosser, J. & al. (eds.) (1978). Flore des Mascareignes 177-188 IRD Éditions, MSIRI, RBG-Kew, Paris.
Flora of North America Editorial Committee (2002). Flora of North America North of Mexico 26: 1-723. Oxford University Press, New York, Oxford.
Germishuizen, G. & Meyer, N.L. (eds.) (2003). Plants of Southern Africa: an annotated checklist. Strelitzia 14.: i-vi, 1-1231. National Botanical Institute, Pretoria.
Ravenna, P. (1974). Contributions to South American Amaryllidaceae VI. Plant Life 30: 29-79.
Walderley, M.G.L., Shepherd, G.J., Melhem, T.S. & Giulietti, A.M. (eds.) (2005). Flora Fanerogâmica do Estado de São Paulo 4: 1-392. Instituto de Botânica, São Paulo.
-----------------
Useful Plants and Fungi of Colombia:
Bernal, R., Gradstein, S.R., & Celis, M. (eds.). (2020). Catálogo de Plantas y Líquenes de Colombia. v1.1. Universidad Nacional de Colombia. Dataset/Checklist. doi.org/10.15472/7avdhn
Diazgranados et al. (2021). Catalogue of plants of Colombia. Useful Plants and Fungi of Colombia project. In prep.
GRIN (2021). Germplasm Resources Information Network from the United States Department of Agriculture. www.ars-grin.gov
-------------------------------------
Accepted By:
Forzza, R. C. 2010. Lista de espécies Flora do Brasil floradobrasil.jbrj.gov.br/2010. Jardim Botânico do Rio de Janeiro, Rio de Janeiro.
Ulloa Ulloa, C., P. Acevedo-Rodríguez, S. G. Beck, M. J. Belgrano, R. Bernal, P. E. Berry, L. Brako, M. Celis, G. Davidse, S. R. Gradstein, O. Hokche, B. León, S. León-Yánez, R. E. Magill, D. A. Neill, M. H. Nee, P. H. Raven, H. Stimmel, M. T. Strong, J. L. Villaseñor Ríos, J. L. Zarucchi, F. O. Zuloaga & P. M. Jørgensen. 2018 [Onwards]. An integrated Assessment of Vascular Plants Species of the Americas (Online Updates).
-------------------------------------
I got this individual because it was said to be “Zephyranthes robusta (Herb.) Baker, 1888 = Habranthus robustus Herb. ex Sweet, 1831”. However, hybrids such as “Zephyranthes × floryi L.B.Spencer, 1986 = Habranthus ×floryi Traub, 1951
” are also possible.
Nikon D800E
OLYMPUS OM Zuiko MC Auto Macro 135mm F4.5
for Bellows Lens
Made in China, Self-Modified and Bellows System for Photography.
You know, there are dolls we aspire to have that we consider holy grails that you MAYBE think one day you can find and then there are dolls you love but accept you'll never have. The original 3 Darius Reids were dolls that - alongside ones like Style Mantra Eden, Great Pretender Lilith, A Brighter Side Kyori and several others - I considered part of that group so Imagine my surprise to find one in a price range I ACTUALLY had the budget for!
His listing was misspelled and thr seller had taken him down once before so I didn't expect to get him but fortune was on my side last week and here he is today!! I would love to say more but I just feel speechless, humbled, grateful and excited to add him to my life.
Welcome Home Mr. Reid!!
Dear friend, here are 5 things you should know:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. 9 Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
Sincerely,
Someone who cares about you
"No, Stanley ... 'Accept no substitutes' does not apply to substitute teachers. You're stuck with me for the rest of the week!"
A Boeing B-17G Flying Fortress on static display at the Destin Executive Airport in Destin, Florida.
From the foundation's web page:
No longer avoiding anti-aircraft fire or the terror of enemy fighters, the B-17 stands as a living history exhibit for the nation.
The most widely recognized and revered aircraft type of World War II, the B-17 Flying Fortress, takes to the skies again. The B-17G (Serial # 44-83575) has been returned to its wartime configuration under the auspices of the nonprofit Collings Foundation of Stow, MA and given the name Nine-O-Nine.
The Collings Flying Fortress was built at Long Beach, CA by the Douglas Aircraft Company and accepted on April 7, 1945. Although she was too late for combat, #44-83575 did serve as part of the Air/Sea 1st Rescue Squadron and later in the Military Air Transport Service.
In April 1952, #44-83575 was instrumented and subjected to the effects of three different nuclear explosions. After a thirteen-year “cool down” period, #44-83575 was sold as part of an 800-ton scrap pile and Aircraft Specialties Company began the restoration of the aircraft.
Damaged skin was fabricated and replaced on site; engines and props were stripped, cleaned, repaired, and tested; four thousand feet of new control cable was installed; all electrical wiring and instrumentation was replaced. As she neared completion, the jeers and laughter of those who said she would never fly again faded as the sounds of four 1200 HP Wright-Cyclone engines echoed across the desert and Yucca Lady rose as the phoenix and climbed into the sky.
For twenty years, without a major problem or incident, #44-83575 served as a fire bomber dropping water and borate on forest fires. She was sold in January 1986 to the Collings Foundation. Restored back to her original wartime configuration by Tom Reilly Vintage Aircraft, she represented one of the finest B-17 restorations and won several awards.
In August 1987, while performing at an airshow in western Pennsylvania, Nine-O-Nine was caught by a severe crosswind moments after touchdown. The right wing lifted in the air, finally coming down too far down the runway. Despite the efforts of her crew, she rolled off the end of the runway, crashed through a chain link fence, sheared off a power pole and roared down a 100-foot ravine to a thundering stop. The landing gear sheared off, the chin turret was smashed and pushed into the nose; the Plexiglas nose was shattered; bomb bay doors, fuselage, fuselage, ball turret, wing and nacelles all took a tremendous beating. Engines and propellers were also torn form their mounts. Fortunately, there were no fatalities to the crew or riders although there were injuries.
For a second time, this B-17 “rose from the ashes”. With nacelles from the famed B-17 Shoo Shoo Shoo Baby, thousands of volunteer hours, support from the folks of Beaver Falls, PA, and donations from individuals and corporations, she was made whole again to carry on the proud and rugged heritage of the B-17.
Since the crash at Beaver Falls, the B-17 has succeeded in visiting over 1200 tour stops. This means that millions, who would otherwise never seen the Flying Fortress, have been able to experience first hand the plane that helped change the history of the world fifty years ago.
The Collings Foundation B-17 was named Nine-O-Nine in honor of a 91st Bomb Group, 323rd Squadron plane of the same name which completed 140 missions without an abort or loss of a crewman.
The original Nine-O-Nine was assigned to combat on February 25, 1944. By April 1945, she had made eighteen trips to Berlin, dropped 562,000 pounds of bombs, and flown 1,129 hours. She had twenty-one engine changes, four wing panel changes, fifteen main gas tank changes, and 18 Tokyo tank changes (long-range fuel tanks). She also suffered from considerable flak damage.
After European hostilities ceased, Nine-O-Nine, with its six-hundred patched holes, flew back to the United States. While the rigors of war never stopped the historic Nine-O-Nine, she succumbed at last to the scrappers guillotine, along with thousands of other proud aircraft.
Wingspan 103 feet, 9 inches
Length 74 feet, 9 inches
Height 19 feet, 1 inch
Empty Weight 36,135 pounds
Max. Weight 72,000 pounds
Powerplants 4 1,200 hp Wright R-1820-97 Engines
Armament 13 M2 .50 Cal Browning Machine Guns
Crew 10
Max Speed 250 Mph
Service Ceiling 35,000 feet
Range 2,400 miles
Accept the Pain, Future will be Fruitful
درد (سختی) را قبول کنید، آینده پرثمر خواهد بود
Don't feel the work you are doing is pain, because there will be always a
reason for that pain or work.
احساس نکنید کاری که میکنید رنج است، زیرا همیشه دلیلی برای آن رنج یا کار هست
So face the pain, for the pain you face, there will be definitely happiness ahead.
پس با دردش روبرو شوید، دردی که با آن مواجه میشوید قطعاً خوشبختی را به دنبال خواهد داشت "Don't ask for a lighter load, but pray god for a stronger back"