View allAll Photos Tagged augmented
(en) : Medusa's crematory auto-petrification under effect of the very high throughput connection of his augmented narcissism to his archaic reptilian brain.
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Etude du jour:
"Une gare c'est un lieu où on croise les gens qui réussissent et les gens qui ne sont rien."
"A station is a place where one meets people who succeed and people who are nothing."
( Emmanuel Macron - at Xavier Niel Station-F inauguration )
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
This is project included 3d realistic character development of Bear and doing 3d animation. The final output should be with live video footage compositing to match real time environment and lighting.
GameYan Studio – art outsourcing studio for feature films and could work as production house to do entire 3d development for any animated movie.
Kindly visit our website: www.gameyan.com/
New Ear Augment available in Slink today. Cute little round ears that stick out a little more than the default ears. Male and Female fit both included. Bakes on mesh compatible - simply wear with your Visage Redux head.
The Gay Games is the world's largest sporting and cultural event organized by and specifically for LGBT athletes, artists, musicians, and others. It welcomes participants of every sexual orientation and every skill level. Originally called the Gay Olympics, it was started in San Francisco in 1982, as the brainchild of Tom Waddell, whose goals were to promote the spirit of inclusion and participation, as well as the pursuit of personal growth in a sporting event. It retains many similarities with the Olympics, including the Gay Games flame which is lit at the opening ceremony.
The Gay Games is open to all who wish to participate, without regard to sexual orientation. There are no qualifying standards to compete in the Gay Games. It brings together people from all over the world, many from countries where homosexuality remains illegal and hidden.
The Federation of Gay Games (FGG) is the sanctioning body of the Gay Games. From its statement of concept and purpose:
The purpose of the Federation of Gay Games is to foster and augment the self-respect of lesbians and gay men throughout the world and to engender respect and understanding from the nongay world, primarily through an organized international participatory athletic and cultural event held every four years, and commonly known as the Gay Games.
Gay Games VIII were held in Cologne, Germany from July 31 to August 6, 2010.
getting ready to replace a 10 yr old ipad and finding lots of pieces i may have judged too harshly ;)
LAFD Augments Fast Response Vehicle Deployment
LOS ANGELES – Los Angeles Fire Department Chief Ralph Terrazas joined Mayor Eric Garcetti, Councilwoman Monica Rodriguez and LAFD Medical Director, Marc Eckstein MD, at the LAFD Frank Hotchkin Memorial Training Center in Elysian Park on February 11, 2020 to announce the expansion of the LAFD’s Fast Response Vehicle (FRV) program.
The LAFD now has four FRV’s in service citywide, which provide a flexible, multi-mission resource to respond to fire and emergency medical service calls.
The firefighter/paramedics assigned to LAFD FRV’s have a unique authorization from the Los Angeles County Department of Health Services to medically clear certain patients experiencing acute behavioral crises or chronic public inebriation for transport to either a Mental Health Urgent Care Center or Sobering Center, rather than to a traditional hospital emergency room.
This brings the total to 10 LAFD field resources now approved to clear patients to alternative destinations, instead of simply transporting them to the hospital emergency room.
In addition, all LAFD FRV personnel are now certified Tactical EMS (TEMS) units and are available to support LAPD SWAT Team efforts. With the addition of FRV 82 in Hollywood, the LAFD now has FRV's assigned within all four of the Department's geographic bureaus.
LAFD Event - 021120 FRV Augmentation
Photo Use Permitted via Creative Commons - Credit: LAFD Photo
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
On a augmenté la superficie du château par l'adjonction d'une enceinte, précédée par un fossé, qui se développe sur approximativement 200 mètres de long sur 10 mètres de haut, flanquée de tours, dont la plus célèbre reste la Tour du prisonnier, constituant un témoignage de l'architecture philipienne dans la région. Plusieurs caves souterraines ont été aménagées sous le château
"Event Horizon" Twenty Interlocking Irregular Augmented Tetrahedra 150 units
In my hand.
Another model that I had to refold for the sake of my book was Twenty Irregular Tetrahedra, and I maintain that it is the most difficult assembly I have ever done (again). Regardless, I took the opportunity to make another woven solid with wrinkled units, and the result is ridiculous. Simply join frames opposite each two axis would have been passé, so I added a few extra crimps in and joined the next vertex around counterclockwise on each five-fold axis. There are thirty extra units, and twenty frames...so I have a number of additions that cannot divide into the number of frames, leaving me with no good potential geometric name, so I took the old nickname from 20 tetrahedra, which never really caught on anyway, and reapplied it here.
Design by me.
Folded out of Cordenons' Stardream paper.
Parámetros :: Parameters :: Paramètres: Canos EOS 7D ; ISO 400; 0 ev; f6.3; 1/360 s; 18 mm Sigma 18-250mm f/3.5-6.3 DC OS HSM..
Título :: Title :: Titre ::: Fecha (Date): Testing ::: 2016/05/02 09:54
Palabras Clave, Keywords: Asturias, España, Animales, Perro, Mascota, Montaña, Rocas, Rio, Dálmata, Spain, Animals, Dog, Pet, Mountain, Rocks, River, Dalmatian, Espagne, Animaux, Chien, Mascotte, Montaigne, Rocher, Rivière, Dalmatien.
(Es). Historia: Olla de San Vicente. Asturias. España. Asturias también es infinita, no sólo Cantabria. Todo lugar de España es infinito…Bueno, todos no. No son infinitos lugares como Tordesillas, Algemesí, Medinaceli y otros lúgubres y siniestras localidades donde una parte importante de sus habitantes disfrutan con la Cultura de la Tortura. Son sólo lugares que producen una gran vergüenza, no sólo para esta Querida España sino para toda la Humanidad. Pero no venía Yo a contar eso.
La Olla de San Vicente es un recodo del rio Dobra, a la que se llega por una senda que sale de la carretera del Desfiladero de los Bellos, esa carretera que une Asturias con León, Cangas de Onís con Oseja de Sajambre. El Dobra se une al Sella en el mismo punto donde comienza esa senda. Durante el recorrido, el Dobra es silencioso unas veces y ruidoso otras. Se presenta en remansos oscuros o en cascadas ruidosas de poca altura. En una zona de remanso está Fray comprobando hasta dónde puede seguir caminando hacia lo oscuro sin que haya algo que le llame la atención más allá de la orilla. Antes me preguntaba hasta dónde se aleja de la orilla cuando simplemente curiosea, cuando no tiene un verdadero interés en meterse hasta mucho más allá a buscar algo. No pasó más allá de donde está; miró corriente arriba y corriente abajo y se dio la vuelta. Si aumentáis la imagen y analizáis a Fray con un poco de "detalle" veréis que tiene un sensor que, cuando detecta agua, creo que le dice algo así como: "Si no hay algo importante por lo que seguir adelante, mejor nos damos la vuelta.". Después de muchas observaciones para conseguir una foto, creo que ese es el sensor.
Toma: Aprovechando una zona de remanso de acceso fácil, Fray se separa de la senda y se adentra por las piedras hasta el agua, que cambia de color por la profundidad que hay a los pocos metros de la orilla. Le sigo con la mirada para verificar lo comentado antes del sensor y me llama la atención el gradiente de luces y colores, desde las piedras secas y blancas, pasando por los verdes y amarillo de la orilla, hasta el turquesa y, de pronto, el azul verdoso oscuro e intenso. Es una de las zonas silenciosas del Dobra. Fray se mantiene un rato quieto, creo que cuando el sensor le dice: "Hasta aquí hemos llegado". Nosotros, que nos creemos mucho más inteligentes que el resto de los animales , pensamos en esos instantes y en ese lugar en cosas como: "Del agua mansa líbreme Dios…". A ellos no les hacen falta Dioses, tienen sensores que, por lo que observo, funcionan mejor que los Dioses. Encuadro y disparo.
Tratamiento: Con Lightroom. Original en RAW. Aparte del nuevo encuadre, trabajo las luces para marcar la diferencia y resolver el problema de ligero quemado de las piedras a las que le da el sol de plano. Aumento un poco el detalle y aplico una viñeta mínima.
¡Eso es todo amigos!
(En). The History: Olla de San Vicente. Asturias. Spain. Asturias is also infinite, is not only infinite Cantabria. Every place of Spain is infinite ... Well, not all the sites. They are not infinite places like Tordesillas, Algemesí, Medinaceli and other lugubrious and sinister locations where a large part of its inhabitants enjoy the Culture of Torture. They are just places that generate a great shame, not only for this dear Spain but for all humanity. But I did not come to tell you that.
Olla de San Vicente is a bend in the river Dobra, which is reached by a path that leaves the road "El Desfiladero de los Bellos", the road that connects Asturias with Leon, Cangas de Onis Oseja de Sajambre. The Dobra River meets the River Sella at the same point where the path begins. During the tour, the Dobra is quiet at times and very noisy in others. It comes in dark pools or in noisy waterfalls that have little height. In a backwater area is Fray checking how far can he keep walking into the dark without really has something he call attention beyond the shore. I used to wonder how far away from the shore when simply snoops, when he has no real interest in getting far beyond looking for something. He did not go beyond where it is; He looked upstream and downstream and turned. If you come near the image and analizáis Fray with a little "detail" you will see that it has a sensor that, when it detects water, I think that says something like: "If there is nothing something really important so go ahead, better return . ". After watching many occasions to get a photo, I think that's the sensor.
Taking up: Taking advantage of a backwater area of easy access to the shore, Fray is separated from the path and enters by dry stones into the water, which changes color due to the depth that there is a few meters from the shore. I'm still look to verify what has been said before about the sensor and strikes me that gradient of lights and colors, from dry and white stones, through the green and yellow near the shore, to turquoise and, suddenly, the blue-green, dark and intense. It is one of the quietest areas of the Dobra. Fray remains a quiet time, I think it is the time when the sensor says, "Thus far we have come." We, those who think we are much more intelligent than the other animals, we thought at that moment and in that place on things like: "God forbid that still waters run deep." The animals do not lack Gods, have sensors that, so I observe, work better than the Gods. I am seeking the scene and shot.
Treatment: With Lightroom. Original in RAW. Apart from the new frame, work lights to make a difference and solve the problem of light burning stones to which gets the sun flat. Increase a little detail and apply a minimum vignette.
That's all folks !!
(Fr). Histoire: Olla de San Vicente. Asturias.. L'Espagne. Asturias est aussi infinie, est non seulement infinie Cantabrie. Chaque place de l'Espagne est infini ... Eh bien, pas tous les sites. Ils ne sont pas des lieux infinis comme Tordesillas, Algemesí, Medinaceli et d'autres endroits lugubres et sinistres où une grande partie de ses habitants profiter de la culture de la torture. Ils sont juste des endroits qui génèrent une grande honte, non seulement pour cette chère Espagne, mais pour toute l'humanité. Mais je ne suis pas venu dire ces choses.
Olla de San Vicente est un coude de la rivière Dobra, qui est accessible par un chemin qui part de la route "El Desfiladero de los Bellos", la route qui relie Asturias avec Leon, Cangas de Onis Oseja de Sajambre. La rivière Dobra rencontre la rivière Sella au même point où le chemin commence. Au cours de la tournée, le Dobra est calme parfois et très bruyant dans d'autres. Il est livré dans les piscines sombres ou dans des cascades bruyantes qui ont peu de hauteur. Dans une zone de remous est Fray vérifier dans quelle mesure peut-il continuer à marcher dans l'obscurité a sans vraiment quelque chose qu'il appelle l'attention au-delà de la rive. Je me demandais à quelle distance de la rive quand fureteurs simplement, quand il n'a pas d'intérêt réel à obtenir bien au-delà à la recherche de quelque chose. Il ne va pas au-delà où il est; Il avait l'air en amont et en aval et se retourna. Si vous venez près de l'image et analizáis Fray avec un peu de "détail", vous verrez qu'il a un capteur qui, lorsqu'il détecte l'eau, je pense que cela dit quelque chose comme: «S'il n'y a rien quelque chose de vraiment important pour aller de l'avant, un meilleur retour . ". Après avoir vu de nombreuses reprises pour obtenir une photo, je pense que ce capteur.
Prendre: Profitant d'une zone de remous d'un accès facile à la rive, Fray est séparé du chemin et pénètre par des pierres sèches dans l'eau, qui change de couleur en raison de la profondeur qu'il ya à quelques mètres de la rive. Je suis toujours regarder pour vérifier ce qui a été dit auparavant sur le capteur et me frappe que gradient de lumières et de couleurs, de pierres sèches et blanches, à travers le vert et le jaune près de la rive, au turquoise et, tout à coup, le bleu-vert, sombre et intense. Il est l'un des quartiers les plus calmes de la Dobra. Fray reste un moment de calme, je pense qu'il est le moment où le capteur dit: «Jusqu'à présent, nous sommes venus." Nous, ceux qui pensent que nous sommes beaucoup plus intelligents que les autres animaux, nous avons pensé à ce moment et en ce lieu sur des choses comme: «Dieu ne plaise que les eaux sont profondes encore." Les animaux ne manque pas de dieux, ont des capteurs qui, donc j'observe, fonctionnent mieux que les dieux. Je cherche la scène et a tiré.
Traitement: Avec Lightroom. Original RAW. Mis à part le nouveau cadre, les lumières de travail pour faire une différence et de résoudre le problème des pierres brûlantes de lumière pour qui obtient l'appartement de soleil. Augmenter un peu de détails et d'appliquer une vignette minimum.
Voilà, c'est tout!
Add this powerfull Augmented legs to your cyberpunk avatar!
This item will literally make you fly!
Available at NEO JAPAN!
maps.secondlife.com/secondlife/GABRIEL3/138/129/507
Working on :
- Legacy male and female versions
- Maitreya Lara
- Ebody Reborn
Features:
·Augmented movements
ROCKETLEGS will boost your
movements
by pressing WASD + C
·Supersonic FLying
ROCKETLEGS’s Flying mode is
activated your flying acceleration
will be significantly augmented.
FATPACK ONLY AREA!
·Backflip kick
By pressing this button, you will
make a backflip kick, augmented by your
ROCKETLEGS, moving the wind around you
·Exploding kick
Final Attack for ROCKETLEGS,
Hitting this button your rockets
will activate and make you take
some height just to fly down
extremly strong and exploding the area
For more:
maps.secondlife.com/secondlife/Alyssum%20Island/215/208/2002
TREVOR's Dimension:
Photo: Trams aux Fils.
(Interdiction de reproduire cette photo à des fins commerciales, sans mon accord )
Prise le 7 juin 2018
Ligne 24, direction CAMOES
Place Camoes angle Rua da Misericordia
Tram 576 ancien tram 267 de la série 203-282
Tram 572 ancien tram 255 de la série 203-282
Petit rappel historique: la ligne 24 à été fermée le 28 août 1995, ceci afin de construire un parking sous la place Camoes, elle devait être remise en circulation en 2001, pour cette remise en circulation, la ligne avait été partiellement rénovée, mais aucune remise en circulation n'est intervenue pendant 23 ans, sa réouverture à eu lieu le 24 avril 2018.
A terme, elle devrait avoir son terminus à la place Cais do Sodre après des adaptations de la voie et de la ligne aérienne.
J'ai fait plusieurs parcours sur la ligne, après une réouverture il y a seulement deux mois, la fréquentation est encore peu élevée, mais à la mesure de la fréquentation de la ligne 18 sur le parcours qui va à Ajuda.
Espérons que la fréquentation augmente, afin que sa réouverture ne soit pas remise en question.
La ligne est exploitée toute la semaine de 7h à 20h avec trois ou quatre trams, son horaire est entre 10 et 20 minutes selon les heures de la journée, mais comme les autres lignes de trams, il y a souvent des perturbations à cause de la circulation ou des voitures garées sur les voies, parfois quelques minutes et parfois c'est la dépanneuse, dans ce cas plus de trams pendant une heure.
7342-470
This gentleman gave us the permission to publish that photo.
From the plaque:
AUGMENTED GROUNDS 2020
Soomeen Hahm, Jaeheon Jung, Yumi Lee
Seoul, South Korea
Soomeen Hahn obtained her Bachelor of Architecture degree at the Beijing Tsinghua University and her Master of Architecture degree from the Architecture Association where she studied in the Design Research Lab (DRL). Jaeheon Jung was educated at the Southern California Institute of Architecture and obtained an MS in Urban Design and Planning program from the University of Seoul (South Korea). Yumi Lee received a Master degree in Landscape Architecture from the University of Pennsylvania.
The team consists of architects and landscape architects, expert in design research and practice interested in exploring harmonious ecology of human computer and machine. They are currently focusing on ways of constructing complex forms by augmented human builders to develop unique construction processes that cannot be done entirely by automation nor by human labour. Pursuing various expertise in both academia and practice the team collaborates on various projects such as design workshops, research papers and competitions to pursue their research agenda.
The proposed design will be floated virtually over a real site using Microsoft Hololens and the leader of the team will utilize the holographic model as an augmented instruction for the on-site construction. The Augmented Group garden takes visitors through a playful and colourful rope display of topography that reflects the pride of Métis culture and identity. In the garden, visitors can walk along the colorful contours of ropes, sit and lie down on the coiled seating or run up and down on the mounds and pools.
LES JARDINS DE MÉTIS | REFORD GARDENS
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
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Visit : www.refordgardens.com/
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LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
REFORD GARDENS | LES JARDINS DE MÉTIS
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com/
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
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Augmented reality (AR) is a term for a live direct or indirect view of a physical real-world environment whose elements are augmented by virtual computer-generated imagery. It is related to a more general concept called mediated reality in which a view of reality is modified (possibly even diminished rather than augmented) by a computer. As a result, the technology functions by enhancing one’s current perception of reality.
In the case of Augmented Reality, the augmentation is conventionally in real-time and in semantic context with environmental elements, such as sports scores on TV during a match. With the help of advanced AR technology (e.g. adding computer vision and object recognition) the information about the surrounding real world of the user becomes interactive and digitally usable. Artificial information about the environment and the objects in it can be stored and retrieved as an information layer on top of the real world view. The term augmented reality is believed to have been coined in 1990 by Thomas Caudell, an employee of Boeing at the time
Augmented reality research explores the application of computer-generated imagery in live-video streams as a way to expand the real-world. Advanced research includes use of head-mounted displays and virtual retinal displays for visualization purposes, and construction of controlled environments containing any number of sensors and actuators.
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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Armored wheeled vehicles were developed early in Germany, since they were not subject to the restrictions of the Versailles Treaty. The Sd.Kfz. 234 (Sonder-Kraftfahrzeug, or Special Purpose Vehicle) belonged to the so-called ARK series vehicles (the type designation of the chassis) and was the successor to the earlier, eight-wheeled Sd.Kfz. 231/232/233 heavy scout car family. The Sd.Kfz. 234 was a considerable step forward and incorporated several innovative features, including a monocoque chassis with eight wheels and an air-cooled Tatra 103 diesel engine that was originally chosen for use in North Africa. The latter gave the vehicle an extraordinary range of more than 600 miles (1.000 km) and a very good performance. The vehicle had eight-wheel steering and drive and was able to quickly change direction thanks to a second, rear-facing driver's seat, what made quick retreats and unexpected position changes easier.
Chassis were built by Büssing-NAG in Leipzig-Wahren, while armoured bodies were provided by Deutsche Edelstahlwerke of Krefeld and turrets by Daimler Benz in Berlin-Marienfelde and Schichau of Elbing, with engines from Ringhoffer-Tatra-Werke AG of Nesseldorf. The first and possibly best known version to reach frontline service was the Sd.Kfz. 234/2 ‘Puma’. It had a horseshoe-shaped turret armed with a 5cm L/60 gun, which had originally been developed for the VK 16.02 Leopard light tank which never made into production. Even though it was a dedicated reconnaissance vehicle, the armament made it possible to defend the vehicle effectively and even take on light armored vehicles. The Sd.Kfz. 234/2 was produced from late 1943 to mid-1944 and replaced in production by the second version, the Sd.Kfz. 234/1, which was less complex and easier to build. It had a simpler open turret and was armed only with a light 2 cm KwK 38 gun (in the so-called Hängelafette 38). It was manufactured from mid-1944 to early 1945 and became the standard reconnaissance vehicle in this period.
Other versions were derived from the Sd.Kfz. 234, too. The Sd.Kfz. 234/3, produced simultaneously with the 234/1, served as a support for the lightly armed reconnaissance vehicles with more firepower. It had an open-topped superstructure, too, but carried a short-barreled 7.5cm K51 L/24 gun. This gun was intended primarily for use against soft targets, but when using a hollow charge shell, the penetration power exceeded that of the 5cm L/60 gun. This variant was produced until late 1944, before switching production to the 234/4. This version replaced the L/24 gun with the 7.5cm L/46 PaK 40 and was primarily another attempt to increase the mobility of this anti-tank gun and not a reconnaissance vehicle. It was not very successful, though: the heavy weapon stretched the light 234 chassis to its limits and only a very limited ammunition load of just twelve rounds could be carried on board due to lack of storage space. This variant was manufactured from the end of 1944 on only in limited numbers.
In mid-1945 another reconnaissance variant appeared, the Sd.Kfz. 234/5. It was a kind of hybrid between the earlier 234/1 and 234/2 variants, combining the light armament with a fully closed turret that offered the crew better protection from enemy fire and climatic conditions. The origins of the Sd.Kfz. 234/5 remain a little unclear – in fact, this variant started as a field conversion of a handful of Sd.Kfz. 234/2s in Hungary in mid-1944, which were retrofitted in field workshops with turrets from damaged Panzer-Spähwagen (neue Art) II ‘Luchs’ (also known as ‘Panzer II Ausf. L’, ‘Sd.Kfz. 123 mit 2-cm-KwK 38’ and VK 13.03 during the vehicle’s development phase). This simple combination of existing components turned out to be so effective and popular among the crews that it was quickly ordered into production.
Both chassis and turret remained unchanged, with a maximum armor of 30 mm (1.18 in), but the small turret with its light weapon (which had been adapted from a 20 mm anti-aircraft gun with a higher rate of fire than earlier guns of this type) reduced the overall weight to a little under 11 tons. This, and a slightly more powerful variant of the Tatra 103 V12 diesel engine, raised the vehicle’s top speed by 10 km/h (6 mph). In service the Sd.Kfz. 234/5 was generally known as ‘Puma II’ and the frontline units frequently modified their vehicles.
Among these field updates were commander cupolas, transplanted from damaged Panzer III and IV and sometimes outfitted with a mount for a light Fla-MG (anti-aircraft machine gun), as well as more effective exhaust mufflers for a reduced noise signature. Additional thin, spaced armor plates were sometimes bolted to the hull and/or to the turret front to better protect the vehicle from armor-piercing weapons, esp. against rounds from Russian 14.5 mm tank rifles. Makeshift wire mesh shields against hollow charges, similar to heavier Thoma shields on battle tanks, were occasionally added, too, as well as smoke dischargers, mounted to the turret sides or to the vehicle’s front. Night vision devices (Infrarot-Nachtsichtgerät F.G. 1250 or F.G. 1252) were fitted when available, and some late-production Sd.Kfz. 234/5s had a 140 cm (55 in) Telemeter KDO 44 stereoscopic rangefinder/telescope integrated into the turret, protruding from it on both sides. Vehicles that were almost exclusively operated on roads frequently had the wheels of the 2nd axle removed in order to reduce overall weight, rolling resistance and save precious rubber/tires.
Since production could not meet the operational units’ demand the Sd.Kfz. 234/5s were issued very selectively to Panzerspähwagen companies of the Panzer Aufklärung battalions. They were operated alongside other Sd.Kfz. 234 versions and Panzer II, III and 38(t) Spähpanzer versions to provide artillery, AA and AT support. The Puma IIs were mostly given to veteran crews and equipped primarily Panzerdivision units operating in Russia, even though a few were sent to the Western front, too.
Exact production numbers remain uncertain because the original production of 81 new vehicles by Büssing-NAG was complemented by an uncertain number of field conversions that allowed older/damaged Sd.Kfz. 234/1 and 2s to be repaired and/or updated with the light ‘Luchs’ turret. The total number of operational Sd.Kfz. 234/5s remained less than 100, though.
Specifications:
Crew: Four (commander, gunner, driver, radio operator/2nd driver)
Weight: 10,600 kg (25,330 lb)
Length: 6.02 m (19 ft 9 in)
Width: 2.36 m (7 ft 9 in)
Height: 2.32 meters (7 ft 7¼ in)
2.53 meters (8 ft 3½ in) when outfitted with a commander cupola
Suspension: Wheeled (Tires: 270–20, bulletproof), with leaf springs
Track width: 1.95 m (6 ft 4 1/2 in)
Wading depth: 1.2 m (3 ft 11 in)
Trench crossing capability: 2m (6 ft 6 1/2 in)
Ground clearance: 350 mm (13 3/4 in)
Climbing capability: 30°
Fuel capacity: 360 l
Fuel consumption: 40 l/100 km on roads, 60 l/100 km off-road
Armor:
9 — 30 mm (0.35-1.18 in), sometimes augmented with
additional 5 — 10 mm (0.2-0.4 in) armor plates on the front of hull and/or turret
Performance:
Maximum road speed: 90 km/h (56 mph)
Operational range: 1,000 km (625 mi) on-road
600 km (373 mi) off-road
Power/weight: 20,75 PS/t
Engine:
Air-cooled 14,825 cc (905³ in) Tatra 103 V12 diesel engine,
with 157 kW (220 hp) output at 2.200 RPM
Transmission:
Büssing-NAG "GS" with 3 forward and reverse gears, eight-wheel drive
Armament:
1× 20mm KwK 38 L/55 machine cannon with 330 rounds
1× co-axial 7.92 mm Maschinengewehr 42 with 2.550 rounds
The kit and its assembly:
A straightforward conversion, and at its core this is not a what-if model because the Sd.Kfz. 234 was actually outfitted with the light ‘Luchs’ turret – even though this was probably only a field-modified, single vehicle that was eventually captured by Allied troops in Czechoslovakia in 1945. It was not an official variant (yet). However, as exotic as this combo seems, there is a complete 1:72 kit of this exotic vehicle from Attack Kits, but it’s pricey, and ModelTrans/Silesian Models from Germany does a resin conversion kit with the ‘Luchs’ turret. The latter set was used for this model and mated it with a Hasegawa Sd.Kfz. 234/2 hull, IMHO the best model of this vehicle, and even as a combo cheaper than the Attack kit.
Building the fictional Sd.Kfz. 234/5 from these ingredients was a very simple affair, everything was basically taken over OOB. For a more sophisticated in-service vehicle, I took over the smoke dischargers from the Hasegawa kit, added a leftover Panzer IV cupola as well as scratched fairings for a stereoscopic rangefinder, and replaced the original twin exhaust mufflers on the rear fenders with a different/bigger piece from an early Panzer IV, placed above the spare tire. This made enough room to add stowage boxes and no less than six jerry cans (all from the Hasegawa kit).
The antennae were made from heated sprue material and the gun barrels are brass pieces, left over from a First To Fight Sd.Kfz. 232, which looked better than the (already fine and good, though) parts from the ModelTrans conversion set. The commander figure came from the Hasegawa kit.
Painting and markings:
A conservative approach, and I stuck to German late-war practice to apply a uniform Dunkelgelb (RAL 7028) livery over a red primer base upon delivery. Individual camouflage in medium green and dark brown was later applied in the field on top of that – a classic ‘Hinterhalt’ scheme.
Initially, the hull’s underside was sprayed with Oxidrot (RAL 3009) from the rattle can, while the upper surfaces received a primer coat with a sandy brown. On top of the sand brown came a thin layer of RAL 7028 (thinned Tamiya XF-60, which is a rather desert-yellowish and pale interpretation of the tone, it should AFAIK have a slight greenish hue) to all directly visible surfaces, wheel hubs and the turret, for a cloudy and uneven basic camouflage. The individual, disruptive ‘tiger stripe’ camouflage was inspired by a late-war Panther battle tank from literature.
The stripes were applied to the Dunkelgelb basis with a small brush and thinned Tamiya XF-58 (Olive Green) and XF-64 (Red Brown), for a makeshift camouflage with scarce paint that still meets official regulations. Following these, the wheel hubs remained in just a single color (making them less obvious when on the move), and the light Dunkelgelb was chosen to lighten the lower vehicle areas up, esp. with the rel. dark interior of the wheelhouses. The interior of the turret and the hatch were painted in a yellowish ivory tone (Revell 314), the tires were painted with Revell 09 (Anthracite) and later dry-brushed with light grey and beige.
A thin black-brown ink wash and some dry-brushing along the many edges with grey and beige were used to weather the model and emphasize details. After decals had been applied (taken from the Hasegawa kit), the kit was sealed with matt acrylic varnish and grey-brown mineral pigments were very lightly dusted onto the model with a soft brush around the wheels and the lower hull to simulate some dust.
Well, this can be considered a semi-whif since such a vehicle actually existed – but there never was a serial production, and I tried to enhance the fictional aspect with some added details like the commander cupola or the rangefinder. It’s a subtle conversion, though. I was initially skeptical about the “tiger stripe” livery, but when it was applied, I was surprised how effective it is! It really blurs the vehicle’s outlines and details – making the turret conversion even less apparent.
Author : @Kiri Karma
museumPASSmusees 2023 - Happiness Expo
Art, a positive boost for your brain.
It's official! Art makes us happy. Discover the positive boost of art on your brain in the new digital art exhibition HAPPINESS. Step inside a world of color, sound, music and interaction. Explore 360° art installations and discover how art gives your life more color.
Now open at Plein Publiek BXL
An immersive experience where art and science meet
Interactive rooms full of good boosts for your brain
Multimedia art installations for young and old
Learn more about the impact of art on your happiness hormones
Immersive experience by Studio Irma
Contemporary Dutch artist Studio Irma (Irma de Vries) creates digital experiential art and installations that attract hundreds of thousands of visitors all over the world. For more than 20 years, De Vries, whose work is currently on display at the Moco Museum in Amsterdam and Barcelona, has been experimenting with digital technology, computer animation, video mapping, augmented reality and smart light projection.
Studio Irma is a revolutionary dreamer who engages digital technologies to connect humanity. Through space, color, sound, movement and you - the active participant, Studio Irma invites you to take a step into a world of connectivism.
( 1 pass, plus de 220 musees
Le pass musees est l'abonnement le plus genereux aux musees belges. Il vous donne acces a l'ensemble des musees participants de notre pays, pendant toute une annee. Quand vous voulez et aussi souvent que vous le souhaitez. Au programme :
Decouverte des collections permanentes.
Avec votre pass musees, vous pouvez visiter librement les collections permanentes de plus de 220 musees.
Acces aux expositions temporaires.
Vous pouvez egalement visiter les expositions temporaires gratuitement ou avec une jolie reduction.
Vous beneficiez de billets de train a moitie prix, de reductions dans les boutiques des musees et de nombreux autres cadeaux reserves exclusivement aux abonnes du pass musees.
Les meilleurs conseils en matiere de musees.
Tous les quinze jours, vous recevez dans votre boite mail des informations sur les expositions a ne pas manquer et les plus belles decouvertes a faire dans les musees.
During its sojourn at Bressingham, July 15th 1978
"The engine was completed at Crewe in May 1951 at a cost of £20,115 and entered service at Norwich Thorpe depot.
Whilst based at Norwich 70013 was a regular performer on the Broadsman, Norfolkman and East Anglian, the latter being a business train augmented in 1937 which was given a new timetable for the summer of 1951, although the journey times were only trimmed by five minutes. 70013 Oliver Cromwell was not without its problems in running, but this was no more than the average Britannia which were worked hard and gave good service and availability on the Great Eastern express passenger services.
During 1957, it was found that the drive wheels of 70013 had moved in relation to each other; this was caused by the square locking keys, which held the drive wheels in the correct position, being moved and pushed out (ie forced out) resulting in major work being undertaken at Doncaster Works. Towards the latter part of 1960, a substantial crack was noted within the mainframe and this, of course, required immediate remedial treatment, again by Doncaster Works. Only a relative short time later a problem occurred within one of the cylinders; on close inspection it was found that the inner lining had shifted and blocked off the oil supply causing a compression ring failure and consequent lack of power, however this defect occurred four times before actual replacement of the offending cylinder was actioned by Doncaster Works, a delay doubtless caused by austerity measures.
From 1958, diesel-electric locomotives began to replace steam locomotives and by 1961, the influx of new diesel locomotives had taken over many express duties in East Anglia which led to the Britannia class engines working many different trains away from their normal trips to Norwich. Consequently the class was reallocated away from Norwich Thorpe depot to March shed.
This locomotive hauled the last BR steam passenger train over Shap on 26th December 1967. The train carried returning Carlisle football supporters back from a match at Blackpool.
70013 was selected by British Railways to haul a number of special trains throughout 1968. In fact, it was in charge of 16 such trains before it was finally withdrawn from service.
Because of this it had been the last main line engine to receive a repair at Crewe, emerging from the Works on the 2nd February 1967 after a prolonged an expensive overhaul (The overhaul which started in November 1966 was deliberately slowed down to ensure that it was the last locomotive to leave Crewe Works). WD Austerity 2-8-0 90281 did return to Crewe Works on 23rd February to have a faulty regulator valve repaired but 70013 has returned twice to Crewe since being overhauled there. It is interesting to note that of the last fifteen locomotives outshopped from Crewe Works seven were 2-8-0 Austerities, four 4-6-0 Black Fives, two 4-6-2 Britanias (the other was 70014 Iron Duke) and two 2-10-0 standard locomotives. Of the fifteen only two have been preserved – 70013 and Standard 2-10-0 92203.
70013 returned to the works in June 1968 for a paint touch up. The second time it returned was in July 1968 to have its front buffer beam straightened after a rough shunt.
Following 70013’s overhaul at Crewe the locomotive was based at Crewe South depot for a week whilst it was run in on parcel train duties between Crewe and its home base of Carlisle. It then returned to its Carlisle Kingsmoor shed from where, following the withdrawal of the last of its class stablemates, it moved to Carnforth in January 1968.
Following this a grand total of 16 Railtours were organised including the infamous ’15 Guinea Special’ on the 11th August 1968, which involved Britannia 70013 ‘Oliver Cromwell’ hauling the train from Manchester to Carlisle, with other legs of the special’s itinerary shared by three ‘Black Fives’, 45110, 44871 and 44781.
It was withdrawn from service in August 1968 after hauling the Manchester to Carlisle leg of the Fifteen Guinea Special on 11th August. On the 12th August the engine moved under its own power from Carnforth to Norwich and then on to Diss the following day. After this it moved by road to the Bressingham Steam Museum.
Oliver Cromwell had been selected for preservation by the National Railway Museum as part of the National Collection but because of limited storage space an offer from Alan Bloom to house the locomotive at his Bressingham Steam Museum was accepted.
At Bressingham Steam Museum at Diss it provided footplate rides until the 1980s when it became a static exhibit. Following a very long dispute (about ten years) between Bressingham and the National Railway Museum the long term agreement to loan the engine to Bressingham was terminated and the locomotive left on 21st May 2004, travelling by road to York. It had spent nearly 36 years at Bressingham, compared with a main line working life of 17 years.
70013 was a star turn as a static exhibit at the very successful Railfest held at York before it was moved by road to Loughborough later that summer in line with the agreement concluded with the National Railway Museum that the locomotive should be restored to main line running standard by 2008 for the 40th anniversary of the end of steam.
The locomotive was overhauled at the Great Central Railway (GCR) to mainline standards which included the fitting of the train protection warning system, overhaul of 70013’s automatic warning system and the fitment of OTMR.
In early May 2008 it hauled its first revenue-earning passenger services since being restored on the GCR’s eight-mile route. The locomotive made an appearance at the National Railway Museum’s 1968 and All That event celebrating 40 years since the end of steam.
Its first mainline passenger charter since 1968 was on 10 August 2008 when the locomotive took part in a re-run of the Fifteen Guinea Special. It then went on to operate on the Scarborough Spa Express later in the month.
On 14 March 2009 Oliver Cromwell hauled a special on what was said to be the very last train (of any sort) to use the branch line down to Folkestone Harbour, where main line trains used to meet with cross channel ferries.
In March 2010 returned to Crewe for the first time since 1968 to work on the main line over Shap.
A month later, two years after its previous overhaul, Oliver Cromwell suffered from cracks in the firebox and was moved to the GCR for an inspection which lead to the locomotive being withdrawn from service.
During 2010, 70013 Oliver Cromwell underwent firebox repairs at Crewe Heritage Centre. The cab was removed before the rest of the locomotive was sent for repairs to the boiler. Following these repairs, in December 2010 the locomotive had a successful steam test at Crewe.
On 27 May 2012 the locomotive was involved in a blowback incident near Wood Green in North London on a Railway Touring Company railtour called ‘The Peak Forester’. Two of the three crew on board the locomotive had to attend hospital as a result. See Accidents and Incidents for full details.
In August 2013 70013 worked another Fifteen Guinea Special to celebrate the 45th Anniversary of the ending of steam on British Railways. 70013 was in charge of the Longsight to Carlisle leg of the special with the other legs being worked by LMS Black 5s numbers 45305, 45231 and 44932.
In early 2015 it was taken out of service as it needed repairs which were completed to allow 70013 to return to steam in August 2016.
Early in 2017 was out of service whilst its superheater elements were replaced at Loughborough. This is fifty years after its last overhaul under BR ownership at Crewe.
After returning to service on the Great Central Railway 70013 was back on the main line at the start of September 2017. It will be operational until March 2018 when the boiler certificate expires but was hoped that this would be extended.
In early 2018 agreement was reached between the National Railway Museum and the 5305 Locomotive Association which left the locomotive custodianship of 70013 with the Loughborough based group. The 5305 Locomotive Association will carry out another overhaul of the locomotive which will enable it to run on the main line again.
In March 2018, whilst hauling its last main line train before the boiler certificate expires, the locomotive suffered a hot big end. Having melted the whitemetal in the big end and adjoining coupling rod bearings took the train into Norwich at a reduced speed with the power being provided by a diesel on the rear.
The overhaul is scheduled to be undertaken during 2019 and will largely concentrate on the boiler as the bottom end has received considerable attention during the previous operating period.
In March 2018 the boiler inspector gave the boiler a clean bill of health during a cold examination. It was anticipated that this would be followed by a fully functional steam test later that month which would enable the boiler certificate to be extended by nine months. This would enable the locomotive to operate until the end of 2018 but only on heritage lines as it requires a full re-tubing before being allowed onto the national network.
The boiler certificate expired at the end of December 2018.
When the locomotive was taken out of service at the end of 2018 plans for its overhaul had not been agreed by the National Railway Museum although they did state that they planned that it continued to operate on the main line.
In January 2019 the National Railway Museum disclosed that the forty year agreement with the 5305 Locomotive Association would not be extended although the locomotive is likely to remain based on the Great Central Railway at Loughborough.
In March 2019 it was reported that the continued operation of the locomotive was in an agreement that was close to being completed by the National Railway Museum with the Great Central Railway. The National Railway Museum also emphasised that they wanted the locomotive to run on the main line.
Also in March 2019 work began at Loughborough to strip the locomotive down although at this stage the National Railway Museum were said to be unaware that work had started on the overhaul.
The overhaul will include a boiler overhaul which will involve a re-tubing in order to recertify the locomotive for preservation and main line running.
In July 2019 it was announced that an agreement had been concluded between the National Railway Museum and the Great Central Railway (GCR). The agreement provided for the locomotive to be based at the GCR until the end of 2021. Under the terms of the agreement the GCR will submit plans to overhaul the locomotive. Once the overhaul has been completed a second loan agreement will be confirmed to cover the operation of the locomotive.
By December 2019 the frames were placed back onto its wheels – just five months after being lifted off.
In November 2021 it was reported that the boiler had been sent to Tyseley for Overhaul in the previous month."
source: preservedbritishsteamlocomotives.com/70013-oliver-cromwell/
I'm testing with new pictures, and I think I'll create a triptych.
All of this will be inspired by Nirvana's music.
7343-210
From the plaque:
AUGMENTED GROUNDS 2020
Soomeen Hahm, Jaeheon Jung, Yumi Lee
Seoul, South Korea
Soomeen Hahn obtained her Bachelor of Architecture degree at the Beijing Tsinghua University and her Master of Architecture degree from the Architecture Association where she studied in the Design Research Lab (DRL). Jaeheon Jung was educated at the Southern California Institute of Architecture and obtained an MS in Urban Design and Planning program from the University of Seoul (South Korea). Yumi Lee received a Master degree in Landscape Architecture from the University of Pennsylvania.
The team consists of architects and landscape architects, expert in design research and practice interested in exploring harmonious ecology of human computer and machine. They are currently focusing on ways of constructing complex forms by augmented human builders to develop unique construction processes that cannot be done entirely by automation nor by human labour. Pursuing various expertise in both academia and practice the team collaborates on various projects such as design workshops, research papers and competitions to pursue their research agenda.
The proposed design will be floated virtually over a real site using Microsoft Hololens and the leader of the team will utilize the holographic model as an augmented instruction for the on-site construction. The Augmented Group garden takes visitors through a playful and colourful rope display of topography that reflects the pride of Métis culture and identity. In the garden, visitors can walk along the colorful contours of ropes, sit and lie down on the coiled seating or run up and down on the mounds and pools.
LES JARDINS DE MÉTIS | REFORD GARDENS
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
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Visit : www.refordgardens.com/
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LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
REFORD GARDENS | LES JARDINS DE MÉTIS
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com/
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
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L'ours blanc fait partie de la liste rouge des espèces menacées de l'UICN (Union Internationale pour la Conservation de la Nature). Auparavant classé dans la catégorie « risque faible, dépendant des efforts de conservation » selon la liste rouge établie en 1996, l'ours blanc est désormais classé dans la catégorie « vulnérable »
De plus, les matières toxiques répandues dans la mer sont consommées par le phytoplancton puis le zooplancton qui sont à leur tour consommés par les poissons, qui sont eux-mêmes mangés par les phoques, ces derniers étant la proie des ours. C’est ainsi que les ours emmagasineraient les poisons qui se sont accumulés dans l’organisme des animaux qui constituent la chaine alimentaire des ours blancs.
Par exemple, 200 à 300 tonnes de mercure transitent vers les pôles via les courants marins et les vents. Les populations locales ainsi que l'ours blanc ont des concentrations de ce métal, toxique pour le système nerveux et pouvant causer des anomalies congénitales, plus élevées que la moyenne.
On peut citer également l'exploitation du pétrole et du gaz comme menaces pour les populations.
Les ours blancs sont des animaux solitaires. Excellents nageurs grâce à leur couche de graisse, ils peuvent être vus en pleine mer à des centaines de mètres de toute terre. Ils nagent en utilisant leurs pattes avant pour se propulser et leurs pattes arrières comme gouvernail. Le pelage se gonfle d'air pour augmenter la flottaison. Sous l'eau, les yeux restent ouverts mais les narines se ferment, ils peuvent ainsi retenir leur respiration jusqu'à deux minutes. Malgré leurs corpulences, il sont tres à l'aise dans l'eau et nagent à 5 km/h. Leurs sens de l'odorat extrêmement développé, leur permet de sentir leurs proies à de très grandes distances sur plus de 50 km.
L'ours blanc est si bien isolé qu'il lui arrive de souffrir de la chaleur. Ainsi, il se prélasse parfois sur la glace pour se refroidir ; sur terre, il peut creuser à la recherche de la couche de permafrost plus froide sous le sol.
To the Memory of the Household It Describes
This Poem is Dedicated by the Author:
"As the Spirits of Darkness be stronger in the dark, so Good Spirits,which be Angels of Light, are augmented not only by the Divine lightof the Sun, but also by our common Wood Fire: and as the CelestialFire drives away dark spirits, so also this our Fire of Wood doth thesame." -- Cor. Agrippa, Occult Philosophy,
Book I.ch. v.
"Announced by all the trumpets of the sky,
Arrives the snow, and, driving o'er the fields,
Seems nowhere to alight: the whited air
Hides hills and woods, the river and the heaven,
And veils the farm-house at the garden's end.
The sled and traveller stopped, the courier's feet
Delayed, all friends shut out, the housemates sit
Around the radiant fireplace, enclosed
In a tumultuous privacy of Storm." EMERSON, The Snow Storm.
The sun that brief December day
Rose cheerless over hills of gray,
And, darkly circled, gave at noon
A sadder light than waning moon.
Slow tracing down the thickening sky
Its mute and ominous prophecy,
A portent seeming less than threat,
It sank from sight before it set.
A chill no coat, however stout,
Of homespun stuff could quite shut out,
A hard, dull bitterness of cold,
That checked, mid-vein, the circling race
Of life-blood in the sharpened face,
The coming of the snow-storm told.
The wind blew east; we heard the roar
Of Ocean on his wintry shore,
And felt the strong pulse throbbing there
Beat with low rhythm our inland air.
Meanwhile we did our nightly chores, --
Brought in the wood from out of doors,
Littered the stalls, and from the mows
Raked down the herd's-grass for the cows;
Heard the horse whinnying for his corn;
And, sharply clashing horn on horn,
Impatient down the stanchion rows
The cattle shake their walnut bows;
While, peering from his early perch
Upon the scaffold's pole of birch,
The cock his crested helmet bent
And down his querulous challenge sent.
Unwarmed by any sunset light
The gray day darkened into night,
A night made hoary with the swarm
And whirl-dance of the blinding storm,
As zigzag, wavering to and fro,
Crossed and recrossed the wingëd snow:
And ere the early bedtime came
The white drift piled the window-frame,
And through the glass the clothes-line posts
Looked in like tall and sheeted ghosts.
So all night long the storm roared on:
The morning broke without a sun;
In tiny spherule traced with lines
Of Nature's geometric signs,
In starry flake, and pellicle,
All day the hoary meteor fell;
And, when the second morning shone,
We looked upon a world unknown,
On nothing we could call our own.
Around the glistening wonder bent
The blue walls of the firmament,
No cloud above, no earth below, --
A universe of sky and snow!
The old familiar sights of ours
Took marvellous shapes; strange domes and towers
Rose up where sty or corn-crib stood,
Or garden-wall, or belt of wood;
A smooth white mound the brush-pile showed,
A fenceless drift what once was road;
The bridle-post an old man sat
With loose-flung coat and high cocked hat;
The well-curb had a Chinese roof;
And even the long sweep, high aloof,
In its slant spendor, seemed to tell
Of Pisa's leaning miracle.
A prompt, decisive man, no breath
Our father wasted: "Boys, a path!"
Well pleased, (for when did farmer boy
Count such a summons less than joy?)
Our buskins on our feet we drew;
With mittened hands, and caps drawn low,
To guard our necks and ears from snow,
We cut the solid whiteness through.
And, where the drift was deepest, made
A tunnel walled and overlaid
With dazzling crystal: we had read
Of rare Aladdin's wondrous cave,
And to our own his name we gave,
With many a wish the luck were ours
To test his lamp's supernal powers.
We reached the barn with merry din,
And roused the prisoned brutes within.
The old horse thrust his long head out,
And grave with wonder gazed about;
The cock his lusty greeting said,
And forth his speckled harem led;
The oxen lashed their tails, and hooked,
And mild reproach of hunger looked;
The hornëd patriarch of the sheep,
Like Egypt's Amun roused from sleep,
Shook his sage head with gesture mute,
And emphasized with stamp of foot.
All day the gusty north-wind bore
The loosening drift its breath before;
Low circling round its southern zone,
The sun through dazzling snow-mist shone.
No church-bell lent its Christian tone
To the savage air, no social smoke
Curled over woods of snow-hung oak.
A solitude made more intense
By dreary-voicëd elements,
The shrieking of the mindless wind,
The moaning tree-boughs swaying blind,
And on the glass the unmeaning beat
Of ghostly finger-tips of sleet.
Beyond the circle of our hearth
No welcome sound of toil or mirth
Unbound the spell, and testified
Of human life and thought outside.
We minded that the sharpest ear
The buried brooklet could not hear,
The music of whose liquid lip
Had been to us companionship,
And, in our lonely life, had grown
To have an almost human tone.
As night drew on, and, from the crest
Of wooded knolls that ridged the west,
The sun, a snow-blown traveller, sank
From sight beneath the smothering bank,
We piled, with care, our nightly stack
Of wood against the chimney-back, --
The oaken log, green, huge, and thick,
And on its top the stout back-stick;
The knotty forestick laid apart,
And filled between with curious art
The ragged brush; then, hovering near,
We watched the first red blaze appear,
Heard the sharp crackle, caught the gleam
On whitewashed wall and sagging beam,
Until the old, rude-furnished room
Burst, flower-like, into rosy bloom;
While radiant with a mimic flame
Outside the sparkling drift became,
And through the bare-boughed lilac-tree
Our own warm hearth seemed blazing free.
The crane and pendent trammels showed,
The Turks' heads on the andirons glowed;
While childish fancy, prompt to tell
The meaning of the miracle,
Whispered the old rhyme: "Under the tree,
When fire outdoors burns merrily,
There the witches are making tea."
The moon above the eastern wood
Shone at its full; the hill-range stood
Transfigured in the silver flood,
Its blown snows flashing cold and keen,
Dead white, save where some sharp ravine
Took shadow, or the sombre green
Of hemlocks turned to pitchy black
Against the whiteness at their back.
For such a world and such a night
Most fitting that unwarming light,
Which only seemed where'er it fell
To make the coldness visible.
Shut in from all the world without,
We sat the clean-winged hearth about,
Content to let the north-wind roar
In baffled rage at pane and door,
While the red logs before us beat
The frost-line back with tropic heat;
And ever, when a louder blast
Shook beam and rafter as it passed,
The merrier up its roaring draught
The great throat of the chimney laughed;
The house-dog on his paws outspread
Laid to the fire his drowsy head,
The cat's dark silhouette on the wall
A couchant tiger's seemed to fall;
And, for the winter fireside meet,
Between the andirons' straddling feet,
The mug of cider simmered slow,
The apples sputtered in a row,
And, close at hand, the basket stood
With nuts from brown October's wood.
What matter how the night behaved?
What matter how the north-wind raved?
Blow high, blow low, not all its snow
Could quench our hearth-fire's ruddy glow.
O Time and Change! -- with hair as gray
As was my sire's that winter day,
How strange it seems, with so much gone
Of life and love, to still live on!
Ah, brother! only I and thou
Are left of all that circle now, --
The dear home faces whereupon
That fitful firelight paled and shone.
Henceforward, listen as we will,
The voices of that hearth are still;
Look where we may, the wide earth o'er,
Those lighted faces smile no more.
We tread the paths their feet have worn,
We sit beneath their orchard trees,
We hear, like them, the hum of bees
And rustle of the bladed corn;
We turn the pages that they read,
Their written words we linger o'er,
But in the sun they cast no shade,
No voice is heard, no sign is made,
No step is on the conscious floor!
Yet Love will dream, and Faith will trust,
(Since He who knows our need is just,)
That somehow, somewhere, meet we must.
Alas for him who never sees
The stars shine through his cypress-trees!
Who, hopeless, lays his dead away,
Nor looks to see the breaking day
Across the mournful marbles play!
Who hath not learned, in hours of faith,
The truth to flesh and sense unknown,
That Life is ever lord of Death,
And Love can never lose its own!
We sped the time with stories old,
Wrought puzzles out, and riddles told,
Or stammered from our school-book lore
"The Chief of Gambia's golden shore."
How often since, when all the land
Was clay in Slavery's shaping hand,
As if a far-blown trumpet stirred
The languorous sin-sick air, I heard:
"Does not the voice of reason cry,
Claim the first right which Nature gave,
From the red scourge of bondage to fly,
Nor deign to live a burdened slave!"
Our father rode again his ride
On Memphremagog's wooded side;
Sat down again to moose and samp
In trapper's hut and Indian camp;
Lived o'er the old idyllic ease
Beneath St. François' hemlock-trees;
Again for him the moonlight shone
On Norman cap and bodiced zone;
Again he heard the violin play
Which led the village dance away.
And mingled in its merry whirl
The grandam and the laughing girl.
Or, nearer home, our steps he led
Where Salisbury's level marshes spread
Mile-wide as flies the laden bee;
Where merry mowers, hale and strong,
Swept, scythe on scythe, their swaths along
The low green prairies of the sea.
We shared the fishing off Boar's Head,
And round the rocky Isles of Shoals
The hake-broil on the drift-wood coals;
The chowder on the sand-beach made,
Dipped by the hungry, steaming hot,
With spoons of clam-shell from the pot.
We heard the tales of witchcraft old,
And dream and sign and marvel told
To sleepy listeners as they lay
Stretched idly on the salted hay,
Adrift along the winding shores,
When favoring breezes deigned to blow
The square sail of the gundelow
And idle lay the useless oars.
Our mother, while she turned her wheel
Or run the new-knit stocking-heel,
Told how the Indian hordes came down
At midnight on Concheco town,
And how her own great-uncle bore
His cruel scalp-mark to fourscore.
Recalling, in her fitting phrase,
So rich and picturesque and free
(The common unrhymed poetry
Of simple life and country ways,)
The story of her early days, --
She made us welcome to her home;
Old hearths grew wide to give us room;
We stole with her a frightened look
At the gray wizard's conjuring-book,
The fame whereof went far and wide
Through all the simple country side;
We heard the hawks at twilight play,
The boat-horn on Piscataqua,
The loon's weird laughter far away;
We fished her little trout-brook, knew
What flowers in wood and meadow grew,
What sunny hillsides autumn-brown
She climbed to shake the ripe nuts down,
Saw where in sheltered cove and bay,
The ducks' black squadron anchored lay,
And heard the wild-geese calling loud
Beneath the gray November cloud.
Then, haply, with a look more grave,
And soberer tone, some tale she gave
From painful Sewel's ancient tome,
Beloved in every Quaker home,
Of faith fire-winged by martyrdom,
Or Chalkley's Journal, old and quaint, --
Gentlest of skippers, rare sea-saint! --
Who, when the dreary calms prevailed,
And water-butt and bread-cask failed,
And cruel, hungry eyes pursued
His portly presence mad for food,
With dark hints muttered under breath
Of casting lots for life or death,
Offered, if Heaven withheld supplies,
To be himself the sacrifice.
Then, suddenly, as if to save
The good man from his living grave,
A ripple on the water grew,
A school of porpoise flashed in view.
"Take, eat," he said, "and be content;
These fishes in my stead are sent
By Him who gave the tangled ram
To spare the child of Abraham."
Our uncle, innocent of books,
Was rich in lore of fields and brooks,
The ancient teachers never dumb
Of Nature's unhoused lyceum.
In moons and tides and weather wise,
He read the clouds as prophecies,
And foul or fair could well divine,
By many an occult hint and sign,
Holding the cunning-warded keys
To all the woodcraft mysteries;
Himself to Nature's heart so near
That all her voices in his ear
Of beast or bird had meanings clear,
Like Apollonius of old,
Who knew the tales the sparrows told,
Or Hermes, who interpreted
What the sage cranes of Nilus said;
A simple, guileless, childlike man,
Content to live where life began;
Strong only on his native grounds,
The little world of sights and sounds
Whose girdle was the parish bounds,
Whereof his fondly partial pride
The common features magnified,
As Surrey hills to mountains grew
In White of Selborne's loving view, --
He told how teal and loon he shot,
And how the eagle's eggs he got,
The feats on pond and river done,
The prodigies of rod and gun;
Till, warming with the tales he told,
Forgotten was the outside cold,
The bitter wind unheeded blew,
From ripening corn the pigeons flew,
The partridge drummed i' the wood, the mink
Went fishing down the river-brink.
In fields with bean or clover gray,
The woodchuck, like a hermit gray,
Peered from the doorway of his cell;
The muskrat plied the mason's trade,
And tier by tier his mud-walls laid;
And from the shagbark overhead
The grizzled squirrel dropped his shell.
Next, the dear aunt, whose smile of cheer
And voice in dreams I see and hear, --
The sweetest woman ever Fate
Perverse denied a household mate,
Who, lonely, homeless, not the less
Found peace in love's unselfishness,
And welcome wheresoe'er she went,
A calm and gracious element,
Whose presence seemed the sweet income
And womanly atmosphere of home, --
Called up her girlhood memories,
The huskings and the apple-bees,
The sleigh-rides and the summer sails,
Weaving through all the poor details
And homespun warp of circumstance
A golden woof-thread of romance.
For well she kept her genial mood
And simple faith of maidenhood;
Before her still a cloud-land lay,
The mirage loomed across her way;
The morning dew, that dries so soon
With others, glistened at her noon;
Through years of toil and soil and care,
From glossy tress to thin gray hair,
All unprofaned she held apart
The virgin fancies of the heart.
Be shame to him of woman born
Who hath for such but thought of scorn.
There, too, our elder sister plied
Her evening task the stand beside;
A full, rich nature, free to trust,
Truthful and almost sternly just,
Impulsive, earnest, prompt to act,
And make her generous thought a fact,
Keeping with many a light disguise
The secret of self-sacrifice.
O heart sore-tried! thou hast the best
That Heaven itself could give thee, -- rest,
Rest from all bitter thoughts and things!
How many a poor one's blessing went
With thee beneath the low green tent
Whose curtain never outward swings!
As one who held herself a part
Of all she saw, and let her heart
Against the household bosom lean,
Upon the motley-braided mat
Our youngest and our dearest sat,
Lifting her large, sweet, asking eyes,
Now bathed in the unfading green
And holy peace of Paradise.
Oh, looking from some heavenly hill,
Or from the shade of saintly palms,
Or silver reach of river calms,
Do those large eyes behold me still?
With me one little year ago: --
The chill weight of the winter snow
For months upon her grave has lain;
And now, when summer south-winds blow
And brier and harebell bloom again,
I tread the pleasant paths we trod,
I see the violet-sprinkled sod
Whereon she leaned, too frail and weak
The hillside flowers she loved to seek,
Yet following me where'er I went
With dark eyes full of love's content.
The birds are glad; the brier-rose fills
The air with sweetness; all the hills
Stretch green to June's unclouded sky;
But still I wait with ear and eye
For something gone which should be nigh,
A loss in all familiar things,
In flower that blooms, and bird that sings.
And yet, dear heart! remembering thee,
Am I not richer than of old?
Safe in thy immortality,
What change can reach the wealth I hold?
What chance can mar the pearl and gold
Thy love hath left in trust with me?
And while in life's late afternoon,
Where cool and long the shadows grow,
I walk to meet the night that soon
Shall shape and shadow overflow,
I cannot feel that thou art far,
Since near at need the angels are;
And when the sunset gates unbar,
Shall I not see thee waiting stand,
And, white against the evening star,
The welcome of thy beckoning hand?
Brisk wielder of the birch and rule,
The master of the district school
Held at the fire his favored place,
Its warm glow lit a laughing face
Fresh-hued and fair, where scarce appeared
The uncertain prophecy of beard.
He teased the mitten-blinded cat,
Played cross-pins on my uncle's hat,
Sang songs, and told us what befalls
In classic Dartmouth's college halls.
Born the wild Northern hills among,
From whence his yeoman father wrung
By patient toil subsistence scant,
Not competence and yet not want,
He early gained the power to pay
His cheerful, self-reliant way;
Could doff at ease his scholar's gown
To peddle wares from town to town;
Or through the long vacation's reach
In lonely lowland districts teach,
Where all the droll experience found
At stranger hearths in boarding round,
The moonlit skater's keen delight,
The sleigh-drive through the frosty night,
The rustic party, with its rough
Accompaniment of blind-man's-buff,
And whirling-plate, and forfeits paid,
His winter task a pastime made.
Happy the snow-locked homes wherein
He tuned his merry violin,
Or played the athlete in the barn,
Or held the good dame's winding-yarn,
Or mirth-provoking versions told
Of classic legends rare and old,
Wherein the scenes of Greece and Rome
Had all the commonplace of home,
And little seemed at best the odds
'Twixt Yankee pedlers and old gods;
Where Pindus-born Arachthus took
The guise of any grist-mill brook,
And dread Olympus at his will
Became a huckleberry hill.
A careless boy that night he seemed;
But at his desk he had the look
And air of one who wisely schemed,
And hostage from the future took
In trainëd thought and lore of book.
Large-brained, clear-eyed, of such as he
Shall Freedom's young apostles be,
Who, following in War's bloody trail,
Shall every lingering wrong assail;
All chains from limb and spirit strike,
Uplift the black and white alike;
Scatter before their swift advance
The darkness and the ignorance,
The pride, the lust, the squalid sloth,
Which nurtured Treason's monstrous growth,
Made murder pastime, and the hell
Of prison-torture possible;
The cruel lie of caste refute,
Old forms remould, and substitute
For Slavery's lash the freeman's will,
For blind routine, wise-handed skill;
A school-house plant on every hill,
Stretching in radiate nerve-lines thence
The quick wires of intelligence;
Till North and South together brought
Shall own the same electric thought,
In peace a common flag salute,
And, side by side in labor's free
And unresentful rivalry,
Harvest the fields wherein they fought.
Another guest that winter night
Flashed back from lustrous eyes the light.
Unmarked by time, and yet not young,
The honeyed music of her tongue
And words of meekness scarcely told
A nature passionate and bold,
Strong, self-concentred, spurning guide,
Its milder features dwarfed beside
Her unbent will's majestic pride.
She sat among us, at the best,
A not unfeared, half-welcome guest,
Rebuking with her cultured phrase
Our homeliness of words and ways.
A certain pard-like, treacherous grace
Swayed the lithe limbs and drooped the lash,
Lent the white teeth their dazzling flash;
And under low brows, black with night,
Rayed out at times a dangerous light;
The sharp heat-lightnings of her face
Presaging ill to him whom Fate
Condemned to share her love or hate.
A woman tropical, intense
In thought and act, in soul and sense,
She blended in a like degree
The vixen and the devotee,
Revealing with each freak or feint
The temper of Petruchio's Kate,
The raptures of Siena's saint.
Her tapering hand and rounded wrist
Had facile power to form a fist;
The warm, dark languish of her eyes
Was never safe from wrath's surprise.
Brows saintly calm and lips devout
Knew every change of scowl and pout;
And the sweet voice had notes more high
And shrill for social battle-cry.
Since then what old cathedral town
Has missed her pilgrim staff and gown,
What convent-gate has held its lock
Against the challenge of her knock!
Through Smyrna's plague-hushed thoroughfares,
Up sea-set Malta's rocky stairs,
Gray olive slopes of hills that hem
Thy tombs and shrines, Jerusalem,
Or startling on her desert throne
The crazy Queen of Lebanon
With claims fantastic as her own,
Her tireless feet have held their way;
And still, unrestful, bowed, and gray,
She watches under Eastern skies,
With hope each day renewed and fresh,
The Lord's quick coming in the flesh,
Whereof she dreams and prophesies!
Where'er her troubled path may be,
The Lord's sweet pity with her go!
The outward wayward life we see,
The hidden springs we may not know.
Nor is it given us to discern
What threads the fatal sisters spun,
Through what ancestral years has run
The sorrow with the woman born,
What forged her cruel chain of moods,
What set her feet in solitudes,
And held the love within her mute,
What mingled madness in the blood,
A life-long discord and annoy,
Water of tears with oil of joy,
And hid within the folded bud
Perversities of flower and fruit.
It is not ours to separate
The tangled skein of will and fate,
To show what metes and bounds should stand
Upon the soul's debatable land,
And between choice and Providence
Divide the circle of events;
But He who knows our frame is just,
Merciful and compassionate,
And full of sweet assurances
And hope for all the language is,
That He remembereth we are dust!
At last the great logs, crumbling low,
Sent out a dull and duller glow,
The bull's-eye watch that hung in view,
Ticking its weary circuit through,
Pointed with mutely warning sign
Its black hand to the hour of nine.
That sign the pleasant circle broke:
My uncle ceased his pipe to smoke,
Knocked from its bowl the refuse gray,
And laid it tenderly away;
Then roused himself to safely cover
The dull red brands with ashes over.
And while, with care, our mother laid
The work aside, her steps she stayed
One moment, seeking to express
Her grateful sense of happiness
For food and shelter, warmth and health,
And love's contentment more than wealth,
With simple wishes (not the weak,
Vain prayers which no fulfilment seek,
But such as warm the generous heart,
O'er-prompt to do with Heaven its part)
That none might lack, that bitter night,
For bread and clothing, warmth and light.
Within our beds awhile we heard
The wind that round the gables roared,
With now and then a ruder shock,
Which made our very bedsteads rock.
We heard the loosened clapboards tost,
The board-nails snapping in the frost;
And on us, through the unplastered wall,
Felt the light sifted snow-flakes fall.
But sleep stole on, as sleep will do
When hearts are light and life is new;
Faint and more faint the murmurs grew,
Till in the summer-land of dreams
They softened to the sound of streams,
Low stir of leaves, and dip of oars,
And lapsing waves on quiet shores.
Next morn we wakened with the shout
Of merry voices high and clear;
And saw the teamsters drawing near
To break the drifted highways out.
Down the long hillside treading slow
We saw the half-buried oxen go,
Shaking the snow from heads uptost,
Their straining nostrils white with frost.
Before our door the straggling train
Drew up, an added team to gain.
The elders threshed their hands a-cold,
Passed, with the cider-mug, their jokes
From lip to lip; the younger folks
Down the loose snow-banks, wrestling, rolled,
Then toiled again the cavalcade
O'er windy hill, through clogged ravine,
And woodland paths that wound between
Low drooping pine-boughs winter-weighed.
From every barn a team afoot,
At every house a new recruit,
Where, drawn by Nature's subtlest law,
Haply the watchful young men saw
Sweet doorway pictures of the curls
And curious eyes of merry girls,
Lifting their hands in mock defence
Against the snow-ball's compliments,
And reading in each missive tost
The charm with Eden never lost.
We heard once more the sleigh-bells' sound;
And, following where the teamsters led,
The wise old Doctor went his round,
Just pausing at our door to say,
In the brief autocratic way
Of one who, prompt at Duty's call,
Was free to urge her claim on all,
That some poor neighbor sick abed
At night our mother's aid would need.
For, one in generous thought and deed,
What mattered in the sufferer's sight
The Quaker matron's inward light,
The Doctor's mail of Calvin's creed?
All hearts confess the saints elect
Who, twain in faith, in love agree,
And melt not in an acid sect
The Christian pearl of charity!
So days went on: a week had passed
Since the great world was heard from last.
The Almanac we studied o'er,
Read and reread our little store
Of books and pamphlets, scarce a score;
One harmless novel, mostly hid
From younger eyes, a book forbid,
And poetry, (or good or bad,
A single book was all we had,)
Where Ellwood's meek, drab-skirted Muse,
A stranger to the heathen Nine,
Sang, with a somewhat nasal whine,
The wars of David and the Jews.
At last the floundering carrier bore
The village paper to our door.
Lo! broadening outward as we read,
To warmer zones the horizon spread
In panoramic length unrolled
We saw the marvels that it told.
Before us passed the painted Creeks,
And daft McGregor on his raids
In Costa Rica's everglades.
And up Taygetos winding slow
Rode Ypsilanti's Mainote Greeks,
A Turk's head at each saddle-bow!
Welcome to us its week-old news,
Its corner for the rustic Muse,
Its monthly gauge of snow and rain,
Its record, mingling in a breath
The wedding bell and dirge of death:
Jest, anecdote, and love-lorn tale,
The latest culprit sent to jail;
Its hue and cry of stolen and lost,
Its vendue sales and goods at cost,
And traffic calling loud for gain.
We felt the stir of hall and street,
The pulse of life that round us beat;
The chill embargo of the snow
Was melted in the genial glow;
Wide swung again our ice-locked door,
And all the world was ours once more!
Clasp, Angel of the backword look
And folded wings of ashen gray
And voice of echoes far away,
The brazen covers of thy book;
The weird palimpsest old and vast,
Wherein thou hid'st the spectral past;
Where, closely mingling, pale and glow
The characters of joy and woe;
The monographs of outlived years,
Or smile-illumed or dim with tears,
Green hills of life that slope to death,
And haunts of home, whose vistaed trees
Shade off to mournful cypresses
With the white amaranths underneath.
Even while I look, I can but heed
The restless sands' incessant fall,
Importunate hours that hours succeed,
Each clamorous with its own sharp need,
And duty keeping pace with all.
Shut down and clasp with heavy lids;
I hear again the voice that bids
The dreamer leave his dream midway
For larger hopes and graver fears:
Life greatens in these later years,
The century's aloe flowers to-day!
Yet, haply, in some lull of life,
Some Truce of God which breaks its strife,
The worldling's eyes shall gather dew,
Dreaming in throngful city ways
Of winter joys his boyhood knew;
And dear and early friends -- the few
Who yet remain -- shall pause to view
These Flemish pictures of old days;
Sit with me by the homestead hearth,
And stretch the hands of memory forth
To warm them at the wood-fire's blaze!
And thanks untraced to lips unknown
Shall greet me like the odors blown
From unseen meadows newly mown,
Or lilies floating in some pond,
Wood-fringed, the wayside gaze beyond;
The traveller owns the grateful sense
Of sweetness near, he knows not whence,
And, pausing, takes with forehead bare
The benediction of the air.
(Snow-Bound: A Winter Idyl
John Greenleaf Whittier)
The Augmented Target Docking Adapter (ATDA) as seen from the Gemini 9 spacecraft during one of their three rendezvous in space. The ATDA and Gemini 9 spacecraft are 66.5 ft. apart. Failure of the docking adapter protective cover to fully separate on the ATDA prevented the docking of the two spacecraft. The ATDA was described by the Gemini 9 crew as an "angry alligator."
Credit: NASA
Image Number: S66-37923
Date: June 3, 1966