Enord is capable of incredible speed in the air, due his Far more bigger Energy source, than he does needs.

Enord has a Hearthstone as Power source, that was belonged to an Unkown Toa, who did offered his Body to science before his Death.

Because this Enord is Overflowing with Energy!

He truly enjoys even the smallest flights, because then he can be over everyone who he wants! :D

The bluethroat (Lucinia Svecica) is a small migratory bird and comes to India in winter in October and leaves in March/April. This bird comes all the way from Alaska and Europe, It is capable of travelling up to 80-100 km per day.

I shot this with my (highly capable) LG G4 Smartphone. The E-M5 with the 17mm 1.8 is perfect for street photography. It's diminutive size and weight is a huge relief! The picture quality is awesome! BUT...if you're spending a full day and possibly night out, and you love to shoot...especially spontaneously....you better carry about 5 extra fully charged batteries...or more if you're like me! Now..with that said..(and I'm only speaking about THIS mirrorless camera), You're carrying the camera in it's ON position..you have the SLEEP function set to your preference...if it's been awhile AFTER sleep, (without any camera interaction), the camera shuts off, and you must turn the switch OFF and back ON again. Don't be surprised to see that the battery is or almost dead,(and you blew that sudden shot!). So...for intentional composed shooting...1 battery can last a long time if you turn the switch OFF after a few shots. But if you turn it on and leave it on....be prepared! For those wondering about speed and battery life, I hope this helps. Cheers!!

Love alone is capable of uniting living beings in such a way as to complete and fulfill them, for it alone takes them and joins them by what is deepest in themselves.

Pierre Teilhard de Chardin

Textures thanks to Kim Klassen for sweettreat, sweettart and light paper :)

Explored March 20th :)

Dragonflies are powerful and agile fliers, capable of migrating across oceans, moving in any direction, and changing direction suddenly. In flight, the adult dragonfly can propel itself in six directions: upward, downward, forward, back, to left and to right.

They have four different styles of flight: A number of flying modes are used that include counter-stroking, with forewings beating 180° out of phase with the hindwings, is used for hovering and slow flight. This style is efficient and generates a large amount of lift; phased-stroking, with the hindwings beating 90° ahead of the forewings, is used for fast flight.

This style creates more thrust, but less lift than counter-stroking; synchronised-stroking, with forewings and hindwings beating together, is used when changing direction rapidly, as it maximises thrust; and gliding, with the wings held out, is used in three situations: free gliding, for a few seconds in between bursts of powered flight; gliding in the updraft at the crest of a hill, effectively hovering by falling at the same speed as the updraft; and in certain dragonflies such as darters, when "in cop" with a male, the female sometimes simply glides while the male pulls the pair along by beating his wings.

This image was taken at La Ferme, near Franschhoek in the Western Cape of South Africa.

It's been very tempting to upgrade to an expensive astronomical CCD camera, this image of M51 just shows you what DSLR is capable of!

Camera: Canon EOS 600D (modified)

Telescope: Officina Stellare 130 APO

Colosseum

Following, a text, in english, from the Wikipedia the Free Encyclopedia:

The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.

Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).

Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.

Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]

The Colosseum is also depicted on the Italian version of the five-cent euro coin.

The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]

The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.

In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.

The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]

The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).

Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]

Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.

The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.

In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.

The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.

Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.

During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.

In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.

The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.

Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).

Exterior

Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.

The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.

The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.

Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]

The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]

Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.

Interior

According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.

The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.

Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.

Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.

The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]

The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]

Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.

The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.

Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.

Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.

Right next to the Colosseum is also the Arch of Constantine.

he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.

During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]

Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.

The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]

The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.

In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.

It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.

Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.

At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.

Coliseu (Colosseo)

A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:

O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.

O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.

Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.

O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.

Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.

Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.

Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.

Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.

O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".

A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.

Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.

O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.

Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.

O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.

Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.

Pajitas

Just playing around with my old and still capable Fujifilm FinePix F30 with a small CCD of only 6 Mp.

Sólo estaba jugando con mi antigua, y todavía capaz, Fuji FinePix F30 con su pequeño captor de sólo 6 Mp.

Thanks for stopping by. Comments are welcome.

500px

All my images can be licensed. If you are interested in any of them, do not hesitate to contact with me.

"The Time-Turner is a device capable of time travel. The Time-Turner resembled an hourglass on a necklace. The number of times one turns the hourglass corresponds to the number of hours one travels back in time. It is extremely important that the user of a Time-Turner not be seen by past or future versions of themselves."

All images copyright © Mandy Porto / ©MandyPortoPhotography or ©MandyStevensPhotography. All rights reserved. Use without permission is illegal.

Visit my blog: mylittleworldofbooks.blogspot.com/

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~Ruthless. You can't thaw this heart of ice.~

----------------------

~Every girl is capable of murder, if you hurt her,

Watch out you don't push me any further, any further,

You're not the only one walking 'round with a loaded gun,

This little girl is capable of murder, 'cause you hurt her.

Don't you know you should never treat a girl like that?

Got a good Alibi, and my bag's all packed,

Don't you know you should never treat a girl like that?

Cause the next one's gonna have the hammer pulled back!

Every girl is capable of murder,

So watch out you don't push me any further,

(But you fucking hurt her)

Every girl is capable (if you hurt her),

Watch out you don't push me any further, any further,

You're not the only one walkin' round with a loaded gun,

This little girl is capable of murder (hey!),

This little girl is capable of murder,

'Cause you hurt her~

-----------------

This Little Girl - Cady Groves

www.youtube.com/watch?v=TWWJ27q0zbs

The Nikon F was the first commercially successful Single Lens Reflex camera and changed the entire landscape of 35mm photography. The camera is entirely mechanical and allowed through the lens viewing and focusing. It is also capable of being used with a waist-level viewfinder if the prism is removed.

Olegas Truchanas chose this camera that we see here to create his most iconic images of the Tasmanian wilderness. Tomorrow we'll take a look at some of these in a short film about his life and work.

en.wikipedia.org/wiki/Nikon_F

gotfilm.org/2021/12/30/nikon-f-a-classic-slr-but-is-it-wo...

An erudite of the arcane arts. Both a capable tactician, and and expert spellcaster, he is a formidable foe. Luckily, he stands aloof from almost all conflicts, as he deems none worthy to warrant his intervention.

Last post from this little 3 part series. Loved making this guy and mixing in a lot of classic parts that just fit perfectly! Let me know if you have a favorite from the bunch!

Any flying insect hoping to get some pollen or nectar out of this dandelion outside my house better watch out as there was this little danger buddy there with arms (legs?) raised in preparation of striking whoever gets close enough.

Ths is a female goldenrod crab spider (Misumena vatia) and since she is capable of changing her white colour into a yellow even more intense than that of the dandelion (which takes a day or two), perhaps her ambush prospects were even further impoved later on.

The Lockheed C-130 Hercules is an American four-engine turboprop military transport aircraft designed and built by Lockheed. Capable of using unprepared runways for takeoffs and landings, the C-130 was originally designed as a troop, medevac, and cargo transport aircraft. Wikipedia

The Badshahi Mosque (Urdu: بادشاھی مسجد), or the 'Emperor's Mosque', was built in 1673 by the Mughal Emperor Aurangzeb in Lahore, Pakistan. It is one of the city's best known landmarks, and a major tourist attraction epitomising the beauty and grandeur of the Mughal era.

Capable of accommodating over 55,000 worshipers, it is the second largest mosque in Pakistan, after the Faisal Mosque in Islamabad. The architecture and design of the Badshahi Masjid is closely related to the Jama Masjid in Delhi, India, which was built in 1648 by Aurangzeb's father and predecessor, emperor Shah Jahan.

Badshahi Masjid is one of the locations where Qari' Abdul Basit recited the Qur'an.[citation needed] The Imam-e-Kaaba (Sheikh Abdur-Rahman Al-Sudais of Saudi Arabia) has also led prayers in this mosque in 2007.

The mosque was built under the patronage of the sixth Mughal Emperor, Aurangzeb Alamgir. It was completed in 1673 under the supervision of Aurangzeb's foster brother Muzaffar Hussain (also known as Fidaie Khan Koka) who was appointed governor of Lahore in May 1671 and held this post until 1675. He was also Master of Ordnance to the emperor. The construction of the mosque took about two years from May 1671 to April 1673. The mosque was built opposite the Lahore Fort, illustrating its stature in the Mughal Empire. In conjunction with the building of the mosque, a new gate was built at the fort, named Alamgiri Gate after the Emperor.

Badshahi Mosque was badly damaged and was misused during Sikh Rule. During the reign of Maharaja Ranjit Singh, the mosque was used as a stable for the army's horses.[1][2] They also would steal the jewels from the mosque, such as marble, rubies, gold, and other valuables. Muslims were not allowed to enter the mosque to worship; they were only given a small place outside the mosque where they could worship.

Even when the British took control of India, they would use the mosque for their military practices by using the mosque for gun practices, cannons, etc. Even when they sensed Muslim hate for the British, they demolished a large portion of the wall of the mosque so the Muslims could not use it as a kind of "fort" for anti-British reasons. After a while, they finally returned it to the Muslims as a good will gesture even though it was in terrible condition. It was then given to Badshahi Mosque Authority to restore it to its original glory.

From 1852 onwards, piecemeal repairs were carried out under the supervision of the Badshahi Mosque Authority. Extensive repairs were carried out from 1939 to 1960 at a cost of about 4.8 million rupees, which brought the mosque to its original shape and condition. The blueprint for the repairs was prepared by the late architect Nawab Zen Yar Jang Bahadur.

In 2000, the repair work of marble inlay in the main vault was repaired under the supervision of Saleem Anjum Qureshi.

On the occasion of the second Islamic Summit held at Lahore on February 22, 1974, thirty-nine heads of Muslim states offered their Friday prayers in the Badshahi Masjid, led by Maulana Abdul Qadir Azad, the 'Khatib' of the mosque.

Recently a small museum has also been added to the mosque complex. It contains relics of Muhammad (peace be upon him), his cousin Hazrat Ali (may Allah be pleased with him), and his daughter, Hazrat Fatima Zahra (may Allah be pleased with her). On August 14, 1947, the Pakistani people celebrated their independence from the British command.

Pakistan(Urdu: "land of the pure"), a country of 160 million people, is now the second most populous country in the Muslim world.

Hailed as the country's cultural capital, Lahore – also known as the "Heart of Pakistan" – is rich with many examples of Moghul architecture.[3]

Like the character of its founder, the mosque is bold, vast and majestic in its expression. It was the largest mosque in the world for a long time.

The interior has rich embellishment in stucco tracery (Manbatkari) and paneling with a fresco touch, all in bold relief, as well as marble inlay.

The exterior is decorated with stone carving as well as marble inlay on red sandstone, specially of loti form motifs in bold relief. The embellishment has Indo-Greek, Central Asian and Indian architectural influence both in technique and motifs.

The skyline is furnished by beautiful ornamental merlons inlaid with marble lining adding grace to the perimeter of the mosque. In its various architectural features like the vast square courtyard, the side aisles (dalans), the four corner minars, the projecting central transept of the prayer chamber and the grand entrance gate, is summed up the history of development of mosque architecture of the Muslim world over the thousand years prior to its construction in 1673.

The north enclosure wall of the mosque was laid close to the Ravi River bank, so a majestic gateway could not be provided on that side and, to keep the symmetry the gate had to be omitted on the south wall as well. Thus a four aiwan plan like the earlier Delhi Jamia Masjid could not be adopted here.

The walls were built with small kiln-burnt bricks laid in kankar, lime mortar (a kind of hydraulic lime) but have a veneer of red sandstone. The steps leading to the prayer chamber and its plinth are in variegated marble.

The prayer chamber is very deep and is divided into seven compartments by rich engraved arches carried on very heavy piers. Out of the seven compartments, three double domes finished in marble have superb curvature, whilst the rest have curvilinear domes with a central rib in their interior and flat roof above. In the eastern front aisle, the ceiling of the compartment is flat (Qalamdani) with a curved border (ghalatan) at the cornice level.

The original floor of the courtyard was laid with small kiln-burnt bricks laid in the Mussalah pattern. The present red sandstone flooring was laid during the last thorough repairs (1939-60). Similarly, the original floor of the prayer chamber was in cut and dressed bricks with marble and Sang-i-Abri lining forming Mussalah and was also replaced by marble Mussalah during the last repairs.

There are only two inscriptions in the mosque:

•one on the gateway

•the other of Kalimah in the prayer chamber under the main high vault.

•Courtyard: 528'-8" x 528'-4" (Area: 278,784 ft2), divided into two levels: the upper and the lower. In the latter, funeral prayers can also be offered.

•Prayer Chamber: 275'-8" x 83'-7" x 50'-6" high, with its main vault 37'-3" x 59'-4" high but with the merlons 74'-6". (Area: 22,825 ft2)

•Corner Minars: 67' in circumference, 176'-4" high are in four stages and have a contained staircase with 204 steps.

•Central Dome: Diameter 65' at bottom (at bulging 70'-6"); height 49'; pinnacle 24 ft and neck 15 ft high.

•Side Domes: Diameter 51'-6" (at bulging 54'-2"); height 32 ft; pinnacle 19 ft; neck 9'-6" high.

•Gateway: 66'-7" x 62'-10" x 65 high including domelets; vault 21'-6" x 32'-6" high. Its three sided approach steps are 22 in number.

•Side aisles (Dalans): 80 in number. Height above floor 23'-9"; plinth 2'-7".

•Central Tank: 50' x 50' x 3' deep (Area: 2,500 ft2)

Budapest, Jewish Quarter

Erzsébetváros

Budapest is a living history, and few streets are capable of taking you back in time like Király utca, which divides District VI and District VII.

Before World War II, Király utca (King Street) was one of Pest’s grand boulevards and central shopping streets. Jewish and gentile shop owners sold haberdashery, cut hair, sold jewelry and foodstuffs. There was actually a trolley that ran up and down the cobblestone street, ferrying shoppers from one end to the other.

Strolling down Király these days, you will come across many unique small shops and unique spaces, including used book stores, pubs, and design stores. At Király 19, if the gate happens to be open, go to the back of the builiding, through the passageway, and you will find the last remaining portion of the ghetto wall that kept many of Budapest’s Jewish population contained during the Nazi occupation.

Despite the Nazis’ retreat, the dangers in the ghetto persisted, and this was a very dangerous street to be found on. Jews were hunted day and night by the blood-thirsty, virulently anti-Semitic Arrow Cross party, a Hungarian militia who took it upon themselves to finish the job the Nazis started. They killed an estimated 25,000 Jews in the brief period from 1944-1945, during and after the Nazi occupation.

Scanning the buildings, you can spot pock marks in the facades. These are bullet holes are from building-to-building urban warfare, most likely during the Siege of Budapest in WWII, when the city was taken from the Germans block by block. Though the street is not named for him, Imre Kertész was one of the Jews from Budapest who was rounded up and deported, sent to Auschwitz first, then eventually imprisoned in Buchenwald. His novel Fatelessness was a fictionalized version of that upheaval, and would contribute to his winning of the Nobel Prize in literature, Hungary’s first.

Much of the history of ‘King Street’ is tragic. But the street itself is still alive with activity and commerce – and is visually captivating as always.

ppmhungary.wordpress.com/2013/03/17/location-spotter-kira...

hu.wikipedia.org/wiki/Kir%C3%A1ly_utca_%28Budapest%29

Budapest, Jewish Quarter

Erzsébetváros

Budapest is a living history, and few streets are capable of taking you back in time like Király utca, which divides District VI and District VII.

Before World War II, Király utca (King Street) was one of Pest’s grand boulevards and central shopping streets. Jewish and gentile shop owners sold haberdashery, cut hair, sold jewelry and foodstuffs. There was actually a trolley that ran up and down the cobblestone street, ferrying shoppers from one end to the other.

Strolling down Király these days, you will come across many unique small shops and unique spaces, including used book stores, pubs, and design stores. At Király 19, if the gate happens to be open, go to the back of the builiding, through the passageway, and you will find the last remaining portion of the ghetto wall that kept many of Budapest’s Jewish population contained during the Nazi occupation.

Despite the Nazis’ retreat, the dangers in the ghetto persisted, and this was a very dangerous street to be found on. Jews were hunted day and night by the blood-thirsty, virulently anti-Semitic Arrow Cross party, a Hungarian militia who took it upon themselves to finish the job the Nazis started. They killed an estimated 25,000 Jews in the brief period from 1944-1945, during and after the Nazi occupation.

Scanning the buildings, you can spot pock marks in the facades. These are bullet holes are from building-to-building urban warfare, most likely during the Siege of Budapest in WWII, when the city was taken from the Germans block by block. Though the street is not named for him, Imre Kertész was one of the Jews from Budapest who was rounded up and deported, sent to Auschwitz first, then eventually imprisoned in Buchenwald. His novel Fatelessness was a fictionalized version of that upheaval, and would contribute to his winning of the Nobel Prize in literature, Hungary’s first.

Much of the history of ‘King Street’ is tragic. But the street itself is still alive with activity and commerce – and is visually captivating as always.

ppmhungary.wordpress.com/2013/03/17/location-spotter-kira...

hu.wikipedia.org/wiki/Kir%C3%A1ly_utca_%28Budapest%29

Officially in the capable control of "Engineer Wyrock" (malapropism courtesy the North Branch Dispatcher while issuing the train's track warrant), Doyle McCormack's SP 4449 chuffs across the Green River (it's somewhere down there amongst the verdant trees, I promise) and up the 2.2% grade of Stampede Pass with the 2011 NRHS Convention's signature excursion in tow.

RMAS CAPABLE (A226)

IMO : 7902348

Class……………………………Adept-class TUTT (twin unit tractor tug)

Builder………………………..Richard Dunston (Hessle) Ltd., Hessle

Yard number……………….924

Laid down..………………….5 Sept 1980

Launched….…………………2 July 1981

Completed.………………….11 Sept 1981

Propulsion.…………………..2 Voith-Schneider vertical cycloidal prpellers : 2 Ruston : 4-stroke single acing 6 -cylinder oil engines manufactured by Ruston Diesels Ltd.

Speed..…………………………12 knots

Range…………………………..

Fate…………………………….2007: Sold out of RMAS service, see below.

•2003: Management taken over from RMAS by Serco Denholm Ltd.

•2007: Sold to SD Marine services Ltd

•2012 Admiralty Towage Services Ltd., Gibraltar

•2015 Rebonave, Portugal, renamed MONTEVIL

•2021: 11 May : Still in service (Equasis)

The future RMAS CAPABLE on the building slip at Richard Dunston at Hessle on 28 June 1981, just 5 days before her launching.

The Matsushima Class Cruisers were heavily armed with a massive 320mm CANET Gun which was capable of firing a powerful 450kg armour-piercing shell; both Hashidate and Itsukushima mounted this single gun turret forward, while Matsushima mounted the gun on the rear. However, this huge gun was too powerful for a ship with less than 4300 t making it roll tremendously when it was fired. To make this worse, it was extremely unreliable and had a awful rate of fire (theoretically: 2 rounds per hour!).

To compensate this, these ships were armed with between eleven to twelve Quick firing 120mm (4.7”) guns which were capable of firing twelve rounds per minute. A larger number of smaller 57mm and 47mm guns were also installed to provide increased defense against enemy torpedo-boats. Also, four 356mm torpedo tubes were mounted, with a total of 20 torpedoes.

The ships maximum speed was 16.5knots (which was hardly achieved in service) and had a maximum protection of 300mm on the main gun turret and 50mm on the main deck.

Click here to continue reading on the next picture:

www.flickr.com/photos/einon/50809295793

Eínon

The great spotted woodpecker (Dendrocopos major) is a medium-sized woodpecker with pied black and white plumage and a red patch on the lower belly. Males and young birds also have red markings on the neck or head. This species is found across the Palearctic including parts of North Africa. Across most of its range it is resident, but in the north some will migrate if the conifer cone crop fails. Some individuals have a tendency to wander, leading to the recent recolonisation of Ireland and to vagrancy to North America. Great spotted woodpeckers chisel into trees to find food or excavate nest holes, and also drum for contact and territorial advertisement; like other woodpeckers, they have anatomical adaptations to manage the physical stresses from the hammering action. This species is similar to the Syrian woodpecker.

This woodpecker occurs in all types of woodlands and eats a variety of foods, being capable of extracting seeds from pine cones, insect larvae from inside trees or eggs and chicks of other birds from their nests. It breeds in holes excavated in living or dead trees, unlined apart from wood chips. The typical clutch is four to six glossy white eggs. Both parents incubate the eggs, feed the chicks, and keep the nest clean. When the young fledge they are fed by the adults for about ten days, each parent taking responsibility for feeding part of the brood.

The species is closely related to some other members of its genus. It has a number of subspecies, some of which are distinctive enough to be potential new species. It has a huge range and large population, with no widespread threats, so it is classed as a species of least concern by the International Union for Conservation of Nature (IUCN).

To view more of my images, of aircraft, please click "here" !

The Supermarine Spitfire is a British single-seat fighter aircraft that was used by the Royal Air Force and many other Allied countries during and after the Second World War. The Spitfire was built in many variants, using several wing configurations, and was produced in greater numbers than any other British aircraft. It was also the only British fighter to be in continuous production throughout the war. The Spitfire continues to be a popular aircraft, with approximately 53 Spitfires being airworthy, while many more are static exhibits in aviation museums all over the world. The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works (which operated as a subsidiary of Vickers-Armstrong from 1928). In accordance with its role as an interceptor, Mitchell designed the Spitfire's distinctive elliptical wing to have the thinnest possible cross-section; this thin wing enabled the Spitfire to have a higher top speed than several contemporary fighters, including the Hawker Hurricane. Mitchell continued to refine the design until his death from cancer in 1937, whereupon his colleague Joseph Smith took over as chief designer, overseeing the development of the Spitfire through its multitude of variants. During the Battle of Britain (July–October 1940), the Spitfire was perceived by the public to be the RAF fighter, though the more numerous Hawker Hurricane shouldered a greater proportion of the burden against the Luftwaffe. However, because of its higher performance, Spitfire units had a lower attrition rate and a higher victory-to-loss ratio than those flying Hurricanes. After the Battle of Britain, the Spitfire superseded the Hurricane to become the backbone of RAF Fighter Command, and saw action in the European, Mediterranean, Pacific and the South-East Asian theatres. Much loved by its pilots, the Spitfire served in several roles, including interceptor, photo-reconnaissance, fighter-bomber and trainer, and it continued to serve in these roles until the 1950s. The Seafire was a carrier-based adaptation of the Spitfire which served in the Fleet Air Arm from 1942 through to the mid-1950s. Although the original airframe was designed to be powered by a Rolls-Royce Merlin engine producing 1,030 hp (768 kW), it was strong enough and adaptable enough to use increasingly powerful Merlin and, in later marks, Rolls-Royce Griffon engines producing up to 2,340 hp (1,745 kW); as a consequence of this the Spitfire's performance and capabilities improved, sometimes dramatically, over the course of its life. R. J. Mitchell's 1931 design to meet Air Ministry specification F7/30 for a new and modern fighter capable of 250 mph (400 km/h), the Supermarine Type 224, was an open-cockpit monoplane with bulky gull-wings and a large fixed, spatted undercarriage powered by the 600 horsepower (450 kW) evaporatively cooled Rolls-Royce Goshawk engine. This made its first flight in February 1934. The Type 224 was a big disappointment to Mitchell and his design team, who immediately embarked on a series of "cleaned-up" designs, using their experience with the Schneider Trophy seaplanes as a starting point. Of the seven designs tendered to F7/30, the Gloster Gladiator biplane was accepted for service. Mitchell had already begun working on a new aircraft, designated Type 300, with a retractable undercarriage and the wingspan reduced by 6 ft (1.8 m). This was submitted to the Air Ministry in July 1934, but was not accepted. The design then went through a series of changes, including the incorporation of a faired, enclosed cockpit, oxygen-breathing apparatus, smaller and thinner wings, and the newly developed, more powerful Rolls-Royce PV-XII V-12 engine, later named the "Merlin". In November 1934 Mitchell, with the backing of Supermarine's owner, Vickers-Armstrong, started detailed design work on this refined version of the Type 300 and, on 1 December 1934, the Air Ministry issued contract AM 361140/34, providing £10,000 for the construction of Mitchell's improved F7/30 design. On 3 January 1935, the Air Ministry formalised the contract and a new specification, F10/35, was written around the aircraft.

I have finally managed to grab some decent shots of an experimental electric-drive battery powered carbon fibre bus that lives local to me.

RX15HSU is a 'Bristol Superlight' built by the Frazer-Nash Research company based in Farnborough, Hants. The bus was first registered on 28/08/2015 and I've been after a decent shot of it ever since!

Their concept bus is kitted out to B27D layout and weighs in at just 3.5 tonnes, its revenue weight listed as 4840kg. It carries a 1.0L engine which is used to recharge the lithium batteries and as such the bus is marketed as ultra low emission / zero emission capable.

I grabbed some shots of the bus when it was out on a demonstration run on 02/03/2017.

A collection of cracking photos of this bus in St.Moritz is here: www.fotoswiss.com/-/galleries/reports-reportagen/ebus-by-...

A 6-minute video of the bus in St.Moritz is here: www.enjoystmoritz.ch/index.php/2016/03/23/frazer-nash-bri...

The Mayahuel Gunship, also nicknamed 'Sky Dominator' is a tactical and weapons-packed helicopter capable of traveling long distances due to it's tiltrotor system. Inspired by the V22 Osprey and the Apache helicopter, this hybrid was developed to support and coordinate the Tequilatron war effort from above. Its name is derived from the Aztec female goddess of booze. Nuff said.

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Fulfilling category 8 in Decisive Action 2 over on Mocpages.

If you like this, please consider 5 smiles on Mocpages. Your support contributes directly to this unit's efficiency on the battlefield!

Tequila. Have you hugged your toilet today?

Il est capable d'être un vrai petit séducteur parfois

He is sometimes able to be a real little seducer

Il est capable comme un rapace de longs vols planés au-dessus des colonies.

Like a bird of prey, it is capable of long gliding flights over colonies.

This fact was NOT made up, I've heard it from drivers. This batch, DEL2147 (LK65EAE) here as an example, are actually capable of 70! I've had them at 67 so there is a chance!

One of the larger alligators on bayou and quite capable of handling ANYTHING that might happen to get in his way. You can tell by those fat deposits bulging out from his neck that he hasn’t missed many meals. But don’t let that mass and bulk fool you. He can move like a lightning bolt if he chooses to get in a hurry. This male is every bit of 13-foot give or take a few inches.

I know that many of you still have fears and reservations about these massive beasts. They are NOT Crocodiles. Dangerous…you bet! Waiting to eat the next person that paddles by in a canoe or kayak, I think not. There has ONLY been one death in Texas attributable to an alligator since they started keeping records. That death was almost self-inflicted and completely senseless. Drunk man goes swimming at night where a large alligator had been spotted. Man never returns. Not smart at all, but you can’t blame the alligator. I am going to refer everyone to a narrative that I posted a number of years ago about alligators and if you are having fears about them, I would ask you to read the narrative. They are not the evil monsters that most make them out to be, but trust me, I’m not going to push my luck. Visit the photo posted below for my thoughts on alligators.

Also want to wish everyone the very best during this challenging period. Stay safe and warm and keep your wits about you while outdoors. That cold can be every bit as dangerous and deadly as an alligator.

BTW, we got down to 20ºF last night and are heading for a high of 36ºF with some fairly stiff winds. No canoeing today.

A7R06584uls

Rural Shanghai

Like their leaves, Byblis liniflora flowers are covered with sticky glands which are capable of catching insects.

Reading and Northern's ratty F7 number 250 was parked along the main awaiting eventual restoration. Built for the Bessemer and Lake Erie, the F-unit migrated to Jersey to work for the Southern Railway of NJ before becoming derelict.

Hopefully the boys at the R&N will pretty up this turd.

Alignment of NASA’s James Webb Space Telescope is now complete. After full review, the observatory has been confirmed to be capable of capturing crisp, well-focused images with each of its four powerful onboard science instruments. Upon completing the seventh and final stage of telescope alignment, the team held a set of key decision meetings and unanimously agreed that Webb is ready to move forward into its next and final series of preparations, known as science instrument commissioning. This process will take about two months before scientific operations begin in the summer.

The alignment of the telescope across all of Webb’s instruments can be seen in a series of images that captures the observatory’s full field of view.

Read more: blogs.nasa.gov/webb/2022/04/28/nasas-webb-in-full-focus-r...

Image caption:

Engineering images of sharply focused stars in the field of view of each instrument demonstrate that the telescope is fully aligned and in focus. For this test, Webb pointed at part of the Large Magellanic Cloud, a small satellite galaxy of the Milky Way, providing a dense field of hundreds of thousands of stars across all the observatory’s sensors. The sizes and positions of the images shown here depict the relative arrangement of each of Webb’s instruments in the telescope’s focal plane, each pointing at a slightly offset part of the sky relative to one another. Webb’s three imaging instruments are NIRCam (images shown here at a wavelength of 2 microns), NIRISS (image shown here at 1.5 microns), and MIRI (shown at 7.7 microns, a longer wavelength revealing emission from interstellar clouds as well as starlight). NIRSpec is a spectrograph rather than imager but can take images, such as the 1.1 micron image shown here, for calibrations and target acquisition. The dark regions visible in parts of the NIRSpec data are due to structures of its microshutter array, which has several hundred thousand controllable shutters that can be opened or shut to select which light is sent into the spectrograph. Lastly, Webb’s Fine Guidance Sensor tracks guide stars to point the observatory accurately and precisely; its two sensors are not generally used for scientific imaging but can take calibration images such as those shown here. This image data is used not just to assess image sharpness but also to precisely measure and calibrate subtle image distortions and alignments between sensors as part of Webb’s overall instrument calibration process.

Credit: NASA/STScI

The Badshahi Mosque (Urdu: بادشاھی مسجد), or the 'Emperor's Mosque', was built in 1673 by the Mughal Emperor Aurangzeb in Lahore, Pakistan. It is one of the city's best known landmarks, and a major tourist attraction epitomising the beauty and grandeur of the Mughal era.

Capable of accommodating over 55,000 worshipers, it is the second largest mosque in Pakistan, after the Faisal Mosque in Islamabad. The architecture and design of the Badshahi Masjid is closely related to the Jama Masjid in Delhi, India, which was built in 1648 by Aurangzeb's father and predecessor, emperor Shah Jahan.

Badshahi Masjid is one of the locations where Qari' Abdul Basit recited the Qur'an.[citation needed] The Imam-e-Kaaba (Sheikh Abdur-Rahman Al-Sudais of Saudi Arabia) has also led prayers in this mosque in 2007.

The mosque was built under the patronage of the sixth Mughal Emperor, Aurangzeb Alamgir. It was completed in 1673 under the supervision of Aurangzeb's foster brother Muzaffar Hussain (also known as Fidaie Khan Koka) who was appointed governor of Lahore in May 1671 and held this post until 1675. He was also Master of Ordnance to the emperor. The construction of the mosque took about two years from May 1671 to April 1673. The mosque was built opposite the Lahore Fort, illustrating its stature in the Mughal Empire. In conjunction with the building of the mosque, a new gate was built at the fort, named Alamgiri Gate after the Emperor.

Badshahi Mosque was badly damaged and was misused during Sikh Rule. During the reign of Maharaja Ranjit Singh, the mosque was used as a stable for the army's horses.[1][2] They also would steal the jewels from the mosque, such as marble, rubies, gold, and other valuables. Muslims were not allowed to enter the mosque to worship; they were only given a small place outside the mosque where they could worship.

Even when the British took control of India, they would use the mosque for their military practices by using the mosque for gun practices, cannons, etc. Even when they sensed Muslim hate for the British, they demolished a large portion of the wall of the mosque so the Muslims could not use it as a kind of "fort" for anti-British reasons. After a while, they finally returned it to the Muslims as a good will gesture even though it was in terrible condition. It was then given to Badshahi Mosque Authority to restore it to its original glory.

From 1852 onwards, piecemeal repairs were carried out under the supervision of the Badshahi Mosque Authority. Extensive repairs were carried out from 1939 to 1960 at a cost of about 4.8 million rupees, which brought the mosque to its original shape and condition. The blueprint for the repairs was prepared by the late architect Nawab Zen Yar Jang Bahadur.

In 2000, the repair work of marble inlay in the main vault was repaired under the supervision of Saleem Anjum Qureshi.

On the occasion of the second Islamic Summit held at Lahore on February 22, 1974, thirty-nine heads of Muslim states offered their Friday prayers in the Badshahi Masjid, led by Maulana Abdul Qadir Azad, the 'Khatib' of the mosque.

Recently a small museum has also been added to the mosque complex. It contains relics of Muhammad (peace be upon him), his cousin Hazrat Ali (may Allah be pleased with him), and his daughter, Hazrat Fatima Zahra (may Allah be pleased with her). On August 14, 1947, the Pakistani people celebrated their independence from the British command.

Pakistan(Urdu: "land of the pure"), a country of 160 million people, is now the second most populous country in the Muslim world.

Hailed as the country's cultural capital, Lahore – also known as the "Heart of Pakistan" – is rich with many examples of Moghul architecture.[3]

Like the character of its founder, the mosque is bold, vast and majestic in its expression. It was the largest mosque in the world for a long time.

The interior has rich embellishment in stucco tracery (Manbatkari) and paneling with a fresco touch, all in bold relief, as well as marble inlay.

The exterior is decorated with stone carving as well as marble inlay on red sandstone, specially of loti form motifs in bold relief. The embellishment has Indo-Greek, Central Asian and Indian architectural influence both in technique and motifs.

The skyline is furnished by beautiful ornamental merlons inlaid with marble lining adding grace to the perimeter of the mosque. In its various architectural features like the vast square courtyard, the side aisles (dalans), the four corner minars, the projecting central transept of the prayer chamber and the grand entrance gate, is summed up the history of development of mosque architecture of the Muslim world over the thousand years prior to its construction in 1673.

The north enclosure wall of the mosque was laid close to the Ravi River bank, so a majestic gateway could not be provided on that side and, to keep the symmetry the gate had to be omitted on the south wall as well. Thus a four aiwan plan like the earlier Delhi Jamia Masjid could not be adopted here.

The walls were built with small kiln-burnt bricks laid in kankar, lime mortar (a kind of hydraulic lime) but have a veneer of red sandstone. The steps leading to the prayer chamber and its plinth are in variegated marble.

The prayer chamber is very deep and is divided into seven compartments by rich engraved arches carried on very heavy piers. Out of the seven compartments, three double domes finished in marble have superb curvature, whilst the rest have curvilinear domes with a central rib in their interior and flat roof above. In the eastern front aisle, the ceiling of the compartment is flat (Qalamdani) with a curved border (ghalatan) at the cornice level.

The original floor of the courtyard was laid with small kiln-burnt bricks laid in the Mussalah pattern. The present red sandstone flooring was laid during the last thorough repairs (1939-60). Similarly, the original floor of the prayer chamber was in cut and dressed bricks with marble and Sang-i-Abri lining forming Mussalah and was also replaced by marble Mussalah during the last repairs.

There are only two inscriptions in the mosque:

•one on the gateway

•the other of Kalimah in the prayer chamber under the main high vault.

•Courtyard: 528'-8" x 528'-4" (Area: 278,784 ft2), divided into two levels: the upper and the lower. In the latter, funeral prayers can also be offered.

•Prayer Chamber: 275'-8" x 83'-7" x 50'-6" high, with its main vault 37'-3" x 59'-4" high but with the merlons 74'-6". (Area: 22,825 ft2)

•Corner Minars: 67' in circumference, 176'-4" high are in four stages and have a contained staircase with 204 steps.

•Central Dome: Diameter 65' at bottom (at bulging 70'-6"); height 49'; pinnacle 24 ft and neck 15 ft high.

•Side Domes: Diameter 51'-6" (at bulging 54'-2"); height 32 ft; pinnacle 19 ft; neck 9'-6" high.

•Gateway: 66'-7" x 62'-10" x 65 high including domelets; vault 21'-6" x 32'-6" high. Its three sided approach steps are 22 in number.

•Side aisles (Dalans): 80 in number. Height above floor 23'-9"; plinth 2'-7".

•Central Tank: 50' x 50' x 3' deep (Area: 2,500 ft2)

Young Heroes Vol 2 - Issue #1 "Nightmare"

*After Mayor Alpha's “non-proven" child smuggling operation was uncovered by the heroes. They'd discovered he was using Metahuman kids as lab rats for perfecting the M-Pill. The M-Pill is a drug capable of nullifying a metas powers for 24 hours but has a side effect. It takes away your free will, making you a mindless drone but also activates your inert powers if told to. What was worse was the fact they could not prove it, hence why Vega took it upon herself to kill Mayor Alpha, by inducing a fatal heart attack. The M-Pill production was then halted by A.N.G.E.L. and destroyed.

Nik and Emoji sure didn't expect a team of this calibre, apparently “Drug Smugglers” is another term for ”5 Scary Deadly Metas“ but nevertheless, they had to stop them. Although, it was easier said than done.*

Nik: "You guys are a little above drug smuggling, don't youse think?"

Emoji: "What’s your team name?!"

Gravestrike: "We are Nightmare and you both will die here!"

Nik: "I'd rather not, thanks."

Emoji: "Seconded!"

*Gravestrike's fist ignites and he swings it at Nik's leg who lifts it up in a swift kick sending Gravetstrike across the room. The rest of the villains look at their fallen leader and back at Nik with Emoji clinging onto him. Drosophila Drone zips through the air carrying a crate but Nik blocks his escape grabbing his leg.*

Drosophila Drone: "Oh fu-"

*Nik grins slamming Drosophila down off the ground and tears his flight harness from his back with a big smile on his face. Nik looks back at Emoji as she swirls wisps of silverish smoke around her hands fuelling him with bravery enhancing his perception and strength.*

Nik: "Who's next?"

Gravestrike: *grunts* "Black Gold, do you're thing."

Black Gold: "Heh. You got it."

*Nik & Emoji watch Black Gold as he runs at them, meanwhile the others begin to load the truck full of crates. Black Gold holds out his hands at Nik letting two jets of molten gold erupt out from palms at him. Emoji holds tightly onto Nik as he tries his best to avoid the liquid which splashes his legs solidifying on contact, cementing his feet to the ground. He grunts yanking on his legs and Emoji dismounts from his back landing on her feet, she shakes her hands and blue smoke forms beginning to slowly creep towards the villains. Gravetstrike climbs inside the truck starting the engine and Roadrunner's blur slows as he stops loading the crates into the back. Unfortunately for Black Gold and Drosophila Drone they are too slow and become surrounded in the blue mist which begins to make them cry. Emoji runs after the truck through the smoke and grabs Black Magic catching him by surprise. She draws back a fist but he takes off his hat and pulls out a crowbar from it striking her across the face.

Nik: "Emoji!"

*Nik breaks free from the solid and swipes away the two weeping villains, Black Gold and Drosophila Drone. He sprints towards Emoji who winces getting up but she waves him off to pursue the truck instead. Nik grits his teeth running after the truck which begins to drive off, only for it to be grabbed by the giant who lifts it up from the back grunting. The front tires skid and screech as Gravetstrike pushes down on the pedal desperately trying to escape. Nik struggles to hold up the truck and his legs shake with the effort, just about to give in. However, the passenger window breaks and a muffled explosion is heard followed by a faint hiss of gas which billows out from the vehicle.*

Luna: "Need a hand?"

*Nik drops the truck and the villains slump in their seats knocked out. Luna walks over to the truck pushing Roadrunner to the side and opens up one of the crates. Meanwhile, Nik crouches down examining Emoji's swollen cheek with concern. *

Nik: "Thanks for the assist, Luna."

Luna: "No problem. Just glad I remembered my knockout grenades this time. Is Emoji alright?"

Emoji: "I'm fine. Luna, what were they trying to smuggle?"

Luna: "Definitely not the usual. Guys... these people were smuggling in M-Pills."

Nik: "That can't be. They were destroyed!"

Luna: "Looks like someone has got their hands on some."

Colosseum

Following, a text, in english, from the Wikipedia the Free Encyclopedia:

The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.

Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).

Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.

Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]

The Colosseum is also depicted on the Italian version of the five-cent euro coin.

The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]

The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.

In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.

The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]

The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).

Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]

Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.

The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.

In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.

The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.

Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.

During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.

In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.

The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.

Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).

Exterior

Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.

The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.

The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.

Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]

The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]

Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.

Interior

According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.

The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.

Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.

Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.

The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]

The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]

Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.

The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.

Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.

Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.

Right next to the Colosseum is also the Arch of Constantine.

he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.

During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]

Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.

The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]

The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.

In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.

It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.

Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.

At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.

Coliseu (Colosseo)

A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:

O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.

O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.

Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.

O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.

Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.

Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.

Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.

Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.

O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".

A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.

Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.

O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.

Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.

O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.

Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.

Although capable of flight, the Ground Hornbill spends a lot of time walking on ground. I finally got a shot of one of them with both its feet showing. I am surprised there is a gap in their beaks even when closed.

Maasai Mara, Kenya

Digitally blended from a 6 exposure "manual" bracket on the Nikon D7000.

The D7000 is not capable to process brackets of 5, 7, or 9 exposures, so I adjusted this manually.

here's the camera shoot process:

At the scene I set up the camera to shoot at continuous high..then set the 3-shot bracket with an exposure differential of 1 stop each. I shoot the first three at an exposure level of -3. (-4,-3,-2)

I then raise the exposure setting using the camera's turn wheel to level 0. shoot 3 more shots. (-1,0,+1). Repeat the same step turning up the exposure level to +3 and shoot 3 more shots (+2,+3,+4).

I have now capture 9 exposures for a max 9-exp HDR. I ended up taking only the -2,-1,0,+1,+2,+3 exposures because the shots beyond were either too dark or too bright and will be useless in post processing later.

Here's the processing flow:

I opened the six selected shots in ACR via bridge. Here I look for any issues like dust spots, particles, etc and clean them via synchronizing my settings to all six shots then I save them individually as 16-bit TIFF's.

Even though I shot this on a tripod, the moving of the wheel to change the exposure levels creates a slight shift between the 3 grouped brackets..so I set this right using Photoshop's stack script. Under File>Scripts you will find 'Load Files into Stack'...this opens up an import window and I select the six TIFF I just made in ACR and check the box that says "Attempt to automatically align source images". This makes Adobe scan each shot and align it pixel association. This aligning process is also available in Photomatix, but I've felt Photoshop does a much better job aligning.

After Photoshop is done aligning you'll notice the shifts between the images (particularly in the end corners of each shot revealing my transparent background). I then go to Image>Canvas Size. In the window under new size I select from the drop down "Percent" and take it to 99 percent or less (if handheld) on both width and height. This crops the overall image evenly to the point my transparent edges are now gone and any misaligned edges have too disappeared.

Now its time to export each of these newly cropped files into separate TIFFs using another Photoshop script..under File>Scripts look for "export layers into files" I then save them into 16-bit TIFFs again in a new folder.

After you're done with this process in Photoshop its time to go to Photomatix. I load the bracket photos by selecting the 6 newly cropped files that came from Photoshop and assign them the proper exposure level separation by 1 full stop. I also check the box "Show 32-bit intermediary HDR image". This time there is no need to Align anything so I deselect that..but ghosting was left selected under automatic as Photomatix is better at that than I am..After this is processed there are two avenues I can go...take it to tone mapping or go about it by blending manually...

I went blending it manually...the file Photomatix creates (before you select tone mapping) usually is a flat and dull image..but it has 32-bit information. Without selecting any button I instead save the image as a 32-bit TIFF. I then open up the 32-bit TIFF in ACR and make adjustments from there. I feel I have a lot more control in the image through ACR than I do via Photomatix. Clarity is similar to strength here, the black, white, highlight, and shadow level adjustments are also a heck of a lot more precise than they are in photomatix.

You also can see an instant change in the image..where as photomatix has to process first before it shows the image.

After making these adjustments in ACR I then save the file as a 16-bit TIFF (ACR cant save 32-bit, it doesn't "parse" too well anyways) and then reopen that 16-bit TIFF for further fine tuning adjustments...then I open it in Photoshop for a final digital blend. Usually combing multiple adjustment layers of hue/saturation, curves, brightness and contrast. Each adjustment was painted in areas that needed the love via masking. I then used plug-ins like Nik Viveza (to enhance colors and structure in certain locations) and Noiseware (for overall noise reduction)

After that's done I sharpen it by duplicating the layer and adding a high pass filter..I then desaturate that layer, give it a soft light blend and control the overall strength of the sharpness by adjusting the fill/opacity amount.

I feel this came out as a more natural look than it would've via Photomatix's tone mapping. As much as I like Photomatix, it is still difficult to control the amount of detail, structure, and the images white/black levels primarily because it doesn't update instantly like it would in ACR. Tone Mapping also saturated the HELL out of that purple in the castle..so by processing it this way and getting a real natural result of the castle with that purple is what took the cake for me.

I used to hate HDR, then I fiddled with it and made overly-saturated stuck-in-customs look-a-likes for a while..but I've now fine tuned it to a form that I think blends reality with that slight touch of surrealism that creates a perfect blend of impressive photography. I now use this process for my HDR.

If any of you want any more information or tutorials on producing your own HDR workflow, visit these places.:

Blame the Monkey

EverydayHDR

Its one way to make your images look like Trey Ratcliff's...its another to make them look better.

Be sure to press "L" to really see all the nice details!!

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This pair of converse symbolizes more than the aesthetic. This is a project "Bordando Pasos" for a specific group of artisans in Peru. The sneaker's brand had partner with a group of artisans in the city of Ayacucho who was very damaged in the terrorism years,they want to help them giving them a chance to show what they are capable of doing, and they do it very well. Each work on each sneaker is one of a kind, no two of them are the alike, and that's even more unique.As far as I know projects like this is also happening in Colombia and Mexico(Pintando Pasos). Good for all of them!!!. I wanted to show my support and bought two pairs and they are beautiful!!!

8A, in the capable hands of fireman Blair, leads G42 through the ferns of Selby onwards to Menzies Creek.

Upon arrival at Menzies Creek 8A peeled off the front of the train and looped around to the back, leaving G42 free to carry on to Lakeside with the forward 10 carriages and 8A to return to Belgrave with the remainder, which would then form the 12:30 luncheon train.

A willing and capable model.

A Royal Air Force Typhoon of 1(F) Squadron during Exercise Capable Eagle.

The exercise was the latest in a series designed to further improve the interoperability and effectiveness of Anglo-French military co-operation.

As well as Typhoons of 1(F) Sqn the exercise included Mirage 2000N aircraft of the Escadron de Chasse 2/4 "La Fayette".

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© Crown Copyright 2013

Photographer: Sgt Ralph Merry ABIPP RAF

Image 45156242.jpg from www.defenceimages.mod.uk

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Males are capable of changing (colour) from "normal" to black

and back again in the space of a few tens of seconds depending on the presence of competing males or potentially receptive females. (from "Inshore Fishes of Britain and Ireland")

P5070687

In the capable hands of 8044-8030-RL309, Qube's 1CM4 grain from Yerong Creek powers past the site of Mathiesons Siding. 13/12/15

Arriving at camp.

A perilous desert expedition calls for a capable vehicle.

Of all the incredible vehicles that the Adventurers theme gave us, I feel that one of the most overlooked is the truck from 5988. The box art suggests that it might belong to Baron von Barron, but I like to think of it as the larger companion to the Scorpion Tracker, providing some much-needed cargo space.

This is a revamp I’ve wanted to do for quite some time, and I’m very proud of how this came out. My version keeps a few iconic parts, such as the two-seater cab, the classic front grille, and the same rugged wheels, perfect for navigating the harsh desert landscape. There is still plenty of cargo space in the back for hauling crates, artefacts, or your fellow Adventurers if they don’t mind a slightly cramped ride.

Design-wise I wanted to make the truck a little more accurate to the 1920s, but I still wanted to maintain a certain level of late 90s Lego charm, so I tried to limit my usage of ultra-modern parts. Ultimately I’m really happy with how it turned out.

“The human mind is only capable of absorbing a few things at a time. We see what is taking place in front of us in the here and now, and cannot envisage simultaneously a succession of processes, no matter how integrated and complementary. Our faculties of perception are consequently limited even as regards fairly simple phenomena. The fate of a single man can be rich with significance, that of a few hundred less so, but the history of thousands and millions of men does not mean anything at all, in any adequate sense of the word. The symmetriad is a million—a billion, rather—raised to the power of N: it is incomprehensible. We pass through vast halls, each with a capacity of ten Kronecker units, and creep like so many ants clinging to the folds of breathing vaults and craning to watch the flight of soaring girders, opalescent in the glare of searchlights, and elastic domes which criss-cross and balance each other unerringly, the perfection of a moment, since everything here passes and fades. The essence of this architecture is movement synchronized towards a precise objective. We observe a fraction of the process, like hearing the vibration of a single string in an orchestra of supergiants. We know, but cannot grasp, that above and below, beyond the limits of perception or imagination, thousands and millions of simultaneous transformations are at work, interlinked like a musical score by mathematical counterpoint. It has been described as a symphony in geometry, but we lack the ears to hear it.”

--- Stanisław Lem, Solaris

Very capable road units perfect for Union Railroad's needs, the MP15 makes up its locomotive roster, and here's give of them backing a heavy coke train out of USS Clairton Works bound for interchange to CSX at Demmler yard with J Edgar Thomson works in the background. Note a second URR crew working in the lower yard.

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Abused & Abandoned Jungle Dogs.

This is the thing I've learned: Even while

staring down the barrel of a loaded gun.

I am capable of being convulsed with

laughter. I am not sure what this extreme

capacity for mirth says about me. You'll

have to decide for yourself. Starting back

before I could walk when babies wore this

tube like baby apparel causing you to crawl

around, kinda like and inch worm, I escaped !

Yes, a small white wooden picket was loose

and one young Jon zeroed in on it, wiggled it

free and hit the road. Actually it was the alley

behind our house. Putting my new found motor

skills to use I made good time. By now my Mom

had discovered I was nowhere to be found and

Panicked ! An APB was sent out in our neighbor-

hood. Flashing police lights and road blocks were

erected at every intersection. The small town we

lived in was put in lock-down until the escapee was

found and brought in for questioning. Now for some

unknown reason a neighbor was driving home and

spotted me crossing a long narrow bridge that crosses

an extremely dangerous river about 2 & 1/2 blocks from

our place. I was scooped up and returned to the scene of

the crime where my Mom was in tears but grateful 2 see me

once again. For the next 70 years this story has been repeated

from coast to coast. My parents and the neighbor all said that the

whole time one young son would not stop laughing until he fell asleep with his faithful dog wrapped up in his arms. Now here's

an important part of this story. When I escaped, of course my

dog stayed right by my side. That's what caught the neighbors

attention when I was spotted on the bridge. Apparently this was

the beginning of my life as a dog person and it seems to have

never ended as you have witnessed here on flickr ;-)---

This story has been relayed to all of you so you too

can have a big laugh, easing the tension we are

all feeling right now. So why do I laugh when

under stress ? I don't know but so far it has

worked pretty good. Some say I have a

guarding angel watching over me ?

I say I have loyal dogs doing that.

This is just one of a million dog

stories that still keeps me

laughing everyday ;-)

Thank you for your comments and donations.

Thank You.

Jon&Crew.

Please help with your temple dog donations here.

www.gofundme.com/saving-thai-temple-dogs.

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St. Paul the Apostle is a very revered saint in the Sicilian town of Palazzolo Acreide, the feast in his honor is celebrated on two occasions (very important periods if referring to peasant civilization), on 29 June (the day I took this photo story this year 2022) date of his martyrdom, and January 25, the date of his conversion to Christianity. The "summer party" of June 29, begins with a particular collection of donut-shaped bread (in Sicilian called "cuddura"), donated by the villagers and collected on a cart, this is the "round of bread", these loaves (called "di San Paolo") have decorations that recall snakes: the reference is always to San Paolo, considered the protector from the poisonous bites of vipers, this is the ancestral legacy of an ancient peasant civilization, the wheat harvest period that coincides with the feast, it makes working in sunburnt fields particularly dangerous; once there were characters to whom supernatural gifts were attributed, they were called "ciarauli", capable of protecting from the venomous bites of the viper (this year they were present in the party, to evoke these ancient figures, two very nice Palazzolesi people, they had two very docile pythons with them). The procession takes the name of "sciuta", with reference to the "exit" from the basilica of San Paolo of two floats, first the float comes out with the relic of the saint, carried on the shoulders by the devotees, immediately after, at 13.00 o'clock the exit of the float takes place with the ancient statue of Saint Paul holding a sword in his hand (the iconography represents him with the sword for two reasons, he was beheaded with a sword stroke, and because he, referring to the word of God, defined it more effective and sharper than a double-bladed sword), at this point they begin among the most spectacular and evocative pyrotechnic games that I have ever seen, we witness a phantasmagoric and kaleidoscopic explosion of colors made with enormous colored confetti and with colored ribbons about two meters long called 'nzareddi, which recall the shape and movement of snakes. During the procession we witness the rite of children who, completely naked, are taken by their parents by the expert hands of two devotees present on the float, they are thus placed in front of St. Paul to ask for his intercession and protection, sometimes these children are adorned with paper money, in fact, the donation of money is part of the rites that accompany the procession. Among these rites is the vow of the "bare shoulder" made by devout bearers, and that of women who walk barefoot by vow. The procession with the two vare then arrives, as a sign of devotion, in the church of the Annunziata.

San Paolo Apostolo è un santo molto venerato nel paese siciliano di Palazzolo Acreide, la festa in suo onore viene celebrata in due occasioni (periodi molto importanti se riferiti alla civiltà contadina), il 29 giugno (giorno in cui ho realizzato quest’anno 2022 questo foto-racconto) data del suo martirio, ed il 25 gennaio, data della sua conversione al cristianesimo. La “festa estiva” del 29 giugno, inizia con una particolare raccolta di pane a forma di ciambella (in siciliano detta “cuddura”), donato dai paesani e raccolto su di un carretto, questo è il “giro del pane”, questi pani (detti “di San Paolo”) presentano delle decorazioni che richiamano i serpenti: il riferimento è sempre a San Paolo, ritenuto il protettore dai morsi velenosi delle vipere, questo è il retaggio ancestrale di un’antica civiltà contadina, il periodo della mietitura che coincide con la festa, rende particolarmente pericoloso il lavoro nei campi arsi dal sole; una volta esistevano dei personaggi a cui si attribuivano doti sovrannaturali, erano chiamati “ciarauli”, capaci di proteggere dai morsi velenosi della vipera (quest’anno erano presenti nella festa, a rievocare queste antiche figure, due simpaticissimi Palazzolesi, che al posto delle bisce, come si usava una volta, avevano con se due docilissimi pitoni). La processione prende il nome di “sciuta”, con riferimento alla “uscita” dalla basilica di San Paolo di due vare, dapprima esce la vara con la reliquia del santo, portata in spalla dai devoti, subito dopo, alle 13,00 in punto avviene l’uscita della vara con l’antica statua di San Paolo che stringe una spada in pugno (l’iconografia lo rappresenta con la spada per due motivi, egli fu decapitato con un colpo di spada, e perché egli, riferendosi alla parola di Dio, la definiva più efficace e più tagliente di una spada a doppia lama), a questo punto iniziano tra i più spettacolari e suggestivi giochi pirotecnici che io che io abbia mai visto, si assiste ad una fantasmagorica e caleidoscopica esplosione di colori realizzati con enormi coriandoli colorati e con dei nastri colorati lunghi circa due metri chiamati ‘nzareddi, che richiamano la forma ed il movimento dei serpenti. Durante la processione si assiste al rito dei bambini che, completamente nudi, vengono presi dai genitori dalle esperte mani di due devoti presenti sulla vara, vengono così messi al cospetto di San Paolo a chiederne la sua intercessione e protezione, a volte questi bimbi sono adornati con della carta moneta, infatti la donazione di denaro fa parte dei riti che accompagnano la processione. Tra questi riti c’è il voto della “spalla nuda” fatto dai devoti portatori, e quello delle donne che per voto camminano scalze. La processione con le due vare giunge poi, in segno di devozione, nella chiesa dell’Annunziata.

~”Perhaps only those people who are capable of real togetherness have that look of being alone in the world” ~

D.H.Lawrence

This is for Make It Interesting ~ Challenge #2

With thanks to…

Original image ~ Nancee_art

Textures ~ Skeletal Mess, Ghostbones via Telzey & me

~ #9 / 365 ~

365 Manipulations Project

*Playing around in Dynamic Photo HDR*

(Please do not use my images on Facebook, Blogs, Web Sites, etc without my explicit permission, thank you)