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Before you say it, no I did not copy off of TheMoosefigs, I took this photo around 8 hours ago and planned to do a thoughts picture after I saw the movie a second time, and that was 3 hours ago.
Honesty I don't know why I should be talking about that
Guardians Vol 2, wow is was really good. So I might to think it over, but this may be my favorite MCU film (not favorite Marvel film, Spiderman 2 is like a masterpiece). This movie had everything, a nice plot, great humor, great soundtrack, and great characterization. This is more of "character" film than the big budget sequel that most sequels aim for. We get to learn a lot about these characters and their relationship with one another. Quill has some problems with his dad, and Gamora, Gamora and Nebula have some complications, Drax talks a little more about his past, and Yondu talks a lot more about his past and his past eight the ravagers, Rocket and Groot....we're there really for comedic purposes. Speaking of which, I laughed like crazy in this film, even seeing it a second time I was laughing a ton.
So I want to talk about the villain which (Imo) the best mcu villain ever.
also SPOILERS
Ego was really well developed, he had a great Interaction with quill that really stands out against pad much villains. The twist with ego killing quill's mom made for a great purpose for quill to stop him. Also I love Kurt Russell
The films pacing, I do admit, does have a little struggle near the end with them about to destroy ego, and the gold people were really just...there. Saying that, the humor really carried the film and made it really enjoyable. And Yondu's death felt really sad and I actually cried. (I wasn't bawling like I was in Toy Story 3, but a couple tears were shed) And the ravagers coming to his funeral really completed Yondu's arc.
This movie was a complete blast and I highly recommend it.
The erupting spring pictured is part of a group of steam vents (fumaroles), mud pools (mud pots) and springs that are collectively called Gunnuhver. These springs lie in a larger Reykjanes geothermal area that is often also called Gunnuhver. This highly active geothermal area located on southwest side of the Reykjanes Peninsula, west of Grindavík, Iceland gets the name Gunnuhver from the angry and vengeful female ghost, Guðrún. In Icelandic folklore, a priest trapped Guðrún’s spirit in these hot springs over 400 years ago. This dynamic, high temperature geothermal area changes often with hydrothermal features coming and going over its recorded history. Reykjanes is unstable due to earthquakes, which occur in swarms. Most are rather small with the largest measured just over magnitude 5. Some have caused a minor slip on a fissure that passes through Gunnuhver and Kísilhóll, the sinter mound that lies just to the southwest. The last earthquake occurred about 40 years ago. Such ground movements revive the steam field intermittently and allow the deep reservoir water to escape to the surface creating short-lived geysers and thermal springs. Historically, several intermittent geysers have observed here.
Seawater makes up the deep reservoir fluid that enters the hot springs. This is a unique situation in Iceland and a rare occurrence in the world. The water rich in dissolved chlorides, sulfur and silica other minerals deposits sinter, native sulfur and other sulphate minerals including tamarugite (a sodium sulfate) on the surface. Cyanobacteria which live at high temperature also account for some of the vibrant hues seen in the springs. In the foreground of this photo yellow native sulfur and sulphates can be seen around small solfataras (fumaroles). The temperature of the reservoir fluid measures over 300°C (570°F) at 1 km below the surface, This ranks Gunnuhver as one of the highest temperature hydrothermal areas in the world. The hydrothermal features like fumaroles, mud pots and erupting springs form where steam generated by boiling in a geothermal reservoir emanates and condenses and mixes with surface water. Accompanying gases such as carbon dioxide and hydrogen sulphide make the water acidic, which causes alteration of the fresh basalt (lava rock) to clay.
The development of the Geothermal power plant in 2006 effected the hydrothermal features. Steaming of the ground at Reykjanes increased markedly as a consequence of pressure drawdown in the geothermal reservoir after exploitation. Some boreholes drilled during development became steam vents or mud pools.
Gunnuhver (the mud spring), shown erupting in the photo, measures 20 m (66 ft) across and can erupt to 10 m in height. The feature was born in 2007 while the power plant was in its first year of operation. In 2014 powerful eruptions destroyed a viewing platform in the front of where the current observation platform sits. Ruins of the previous platform are visible in the photo through the steam. This spring has been described as a fumarole, erupting mudpot (pool) and erupting spring.The spring usually erupts mud and muddy water. On this day the water did not appear muddy and had periodic short quiet periods, behavior one would expect from a geyser. The plume of steam was visible through out the thermal basin. On the left side of the photo through the steam a large cone shaped crater can be seen. This crater was formed by a now inactive, large mud volcano. ( I would have loved to see that feature erupt.)
References:
en.isor.is/9-gunnuhver-hot-springs
www.visitreykjanes.is/en/inspiration/towns/town/index/pla...
guidetoiceland.is/travel-iceland/drive/gunnuhver
www.academia.edu/37214908/Lithogeochemical_approaches_in_...
www.hou.usra.edu/meetings/lpsc2017/pdf/2834.pdf
www.researchgate.net/profile/Andri_Stefansson/publication...
Excerpt from tourismhamilton.com:
Hamilton Enchanted: Health (17) by Charlit Floriano: This artwork is a series of tableaus depicting a fictional downtown Hamilton that captures the particular atmosphere of the city. As an illustrator and animator I had fun creating characterizations and situations based on the area where each box resides; adding playful and fantastical elements inspired by nearby businesses, amenities and monuments. The designs merge the people and environments of the past with the present and imaginary, proving them a vibrant space to coexist. I hope theyc reat experiences that can be shared with friends and family while also providing a space for strangers to laugh together.
"Would you be quiet? This is a secret mission. Do you understand that?"
Revamp of the no-nonsense Order of Mata-Nui member who was a combiner model in 2008. Adjusted the color scheme and gave him some more personality and character while also leaning into the demon aesthetic from his original horns.
Back in 2020 I challenged myself to get back into the hobby and build a MOC a month. This was the eleventh build I finished.
Had the idea for this guy for a while and really felt like using a Miru Nuva for him for some reason. Happened to be finishing him around the time of the Karda-Nui collabs so I took a lot of inspiration from those with the characterization. Also want to mention Brick_Diamonds' Nuparu Inika revamp as a huge inspiration for the posing!
Why does no one talk about this perfect show?!
Man, this show was great! It was the first really serious “long form” GL story I found myself committing time to! Prior to that, personally, I was just way too overwhelmed with the amount of continuity that DC held with The GL Corps. At the time of the show's airing, Green Lantern Rebirth had just concluded and I couldn't have been more confused about these green space police. So when GL:TAS came on the screen, I was sold by the first episode!
Hal and Kilowog get into a pickle with a new Red Lantern, and are forced to work together to stay alive in Frontier Space! Simple premise!
In fact, that's what held the show together for me was the simplicity that came from this show. You weren't thrown right into all the colors of the Lanterns or all the other Corps Members. Over the entire series, you were gradually introduced to these ideas and elements of The GL mythos that (looking back on it) were incredibly well done and respectful of the source material! :)
Throughout it's run, it covers a bunch of different major GL events, like Mogo's origins (one of my favorite episodes), the origins of The Manhunters (another great episode), plus a whole bunch of stuff with The Anti-Monitor! Hell, there was even a Steam-Punk Episode!
And yet at the same time, the show wasn't an origin story for Hal himself! Things are hinted at throughout, but really the series wasn't just about him. That in mind, I find that that structure really benefited the freedom in which writers could tell stories. Not every episode had to be about Jordan! You could have episodes that focused on side characters like Razer or Saint Walker!
Another thing that was so well done on this show was the characterization! Hal is easy enough to write for, but when you get into characters like Kilowog or Guy Gardner or Saint Walker or even The Anti Monitor himself, things can get muddled, but not with this series! When ever I read GL books these days, this is where I compare the characters. ...Ya know, like whenever you read anything Batman and you hear Kevin Conroy's voice? Same thing with me and Kilowog! All I hear is Kevin Michael Richardson grunting “Pooser!” :P
The show was developed by none other than Bruce Timm himself back in 2011! Prior to any official releases, the show was was nicknamed The “Bruce-Timm-Does-CG” Project :P
Fun Fact!: This was the very first (and only) DC Comics 3D animated series to come from Warner Brothers animation studios! But this of course, may just have been it's downfall! Apparently (and I can't seem to find a reliable source to quote this) there were plans for a second season, to heavily feature Guy Gardner and introduce Jon Stewart into the show!
But unfortunately there was this big dumb movie that Ryan Renolds was in and that kinda put a bad taste in peoples mouths for Green Lanterns. Mix that with poor toy sales and the high expenses to animate the project, the show was canceled (along with Young Justice at the same time, subsequently ending the “DC Nation” hour block on Cartoon Network)
What a bummer :/
But that's where the tale ends! I have this strong feeling it won't be revived like Young Justice, but I can always hope, right? :P
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If you guys want to know how I made this image, Patreon has all the deets!
It's also got a bunch of other rad stuff too so go check it out! :)
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I have this hunch that most of us Lego builders would be Orange Lanterns... Guys what I'm saying is that I have a problem and I need you to send me all of you Lego SAT! ...Or you could just support my art on Patreon! It has early photography, behind the scenes images, and WIPs of upcoming projects!
We spent the last September weekend at Balls 29, a big experimental rocket launch event in the Black Rock Desert in Nevada - the same place where Burning Man takes place. A big rocket is launched every few minutes.
The majority of the rockets are experimental, people often mix their own solid propellant. With this, about 1/3 of the launches fail, sometimes spectacularly. For safety, the bigger the motor, the farther away the launch. Big rockets ascend up to 200,000 feet and more, which is 6 times higher than the cruising altitude of commercial aircraft.
Steve Heller and Manny Ballestero just finished prepping their rocket at a launch tower located 1500 feet from the camp. This rocket is relatively small, but is very powerful and reached Mach 5 (5 times the speed of sound, 3800 MPH, 6100 km/h), and pulled 80 g.
For the technically inclined, here is the description by Steve: "The rocket was built in a week as a flight characterization test of my new “Nose Candy” propellant developed for the Evolution Space vehicle. The rocket used the proprietary laminate-free fin bonding process I developed years ago, and have used with success since my hobby days - never had a failure, and this was the fastest test yet. Nozzle was carbon/phenolic composite, fully expanded. Propellant is an 87% solids pourable. The rocket has 3.5” outer diameter, is 6 feet long, weighed 31 pounds on the pad. Motor was roughly a 98% N7000 running a max chamber pressure of about 1600psi."
I processed a balanced and a paintery HDR photo from a RAW exposure, blended them selectively, and carefully adjusted the color balance and curves. I welcome and appreciate constructive comments.
Thank you for visiting - ♡ with gratitude! Fave if you like it, add comments below, like the Facebook page, order beautiful HDR prints at qualityHDR.com.
-- ƒ/6.3, 61 mm, 1/4000 sec, ISO 250, Sony A6000, SEL-55210, HDR, 1 RAW exposure, _DSC7163_hdr1bal1pai5g.jpg
-- CC BY-NC-SA 4.0, © Peter Thoeny, Quality HDR Photography
Italien / Südtirol - Karersee
In the background you can see the Latemar.
Im Hintergrund sieht man den Latemar
Lake Carezza (Italian: Lago di Carezza; German: Karersee) is a small alpine lake in the Dolomites in South Tyrol, Italy. It is known for its wonderful colors and its view of the Latemar mountain range.
Characterization
The name of the lake derives from "Caricaceae", a family of plants with broad lobed leaves.
The lake is located in the western Dolomites on the edge of the Latemarwald, just 20 kilometers southeast of Bolzano at 1520 m altitude in the municipality Welschnofen. The nearest settlement is Carezza. The roughly 300 m long and 140 m wide stretch of water is fed by underground springs from the Latemar mountain range.
Today the lake is one of the classic tourist destinations of the Trentino-Alto Adige. In the winter, it is visited by divers who record documentaries of the colors of the underground waters. The small mountain lake is famous for its calm waters, of dark green color, and the beautiful panorama of mountains in the background.
(Wikipadia)
Der Karersee (italienisch Lago di Carezza, ladinisch Lech de Ciareja) befindet sich unterhalb des Karerpasses am Fuße des Latemar-Massivs in Südtirol (Italien). Er ist ein geschütztes Naturdenkmal.
Lage
Der See liegt in den westlichen Dolomiten im Latemarwald im oberen Eggental, knapp 20 Kilometer südöstlich von Bozen auf 1520 m Höhe im Gemeindegebiet Welschnofen. Die nächstgelegene Siedlung ist Karersee. Das rund 300 m lange und 140 m breite Gewässer wird von unterirdischen Quellen aus dem Latemargebirgszug gespeist. Tiefe und Größe des Sees sind merklich saison- und witterungsabhängig, die größte Tiefe wird mit etwa 22 m angegeben. Im Winter wird der See manchmal von Tauchern aufgesucht, die ihre Tauchgänge unter einer dicken Eisschicht durchführen und in Dokumentarfilmen das Unterwasser-Farbenspiel festhalten. Berühmt ist der kleine Bergsee vor allem für sein tiefgrünes Wasser und die sich über dem umgebenden Wald erhebende Bergkulisse mit der Latemargruppe im Süden und dem Rosengarten im Nordosten als Hintergrund. Um den See ranken sich viele Südtiroler Sagen, und zahlreiche Maler und Schriftsteller wählten das Motiv für ihre Gemälde oder Erzählungen.
Erreichbarkeit
Erreichbar ist der See über die SS 241. Die vor allem im Sommer vielbefahrene Straße zum Karerpass führt in unmittelbarer Nähe am See vorbei. Der See ist umzäunt und seine Ufer dürfen nicht betreten werden.
(Wikipedia)
Der Latemar ist ein Gebirgsstock der italienischen Dolomiten zwischen Südtirol und dem Trentino. Es handelt sich um eines der kleinsten und touristisch am wenigsten erschlossenen Massive dieser Gebirgsgruppe. Die höchste Erhebung des Latemar ist der 2842 m s.l.m. hohe Diamantiditurm.
Der Latemarstock erhebt sich in den westlichen Dolomiten, wo die Gruppe die Grenze zwischen Südtirol im Nordwesten und dem Trentino im Südosten bildet. Im Westen des Latemar liegt Obereggen, eine Fraktion der Gemeinde Deutschnofen (Nova Ponente), von der aus die westlichen Hänge des Gebirges durch das Ski Center Latemar für den Skisport erschlossen werden. Nördlich des Gebirges ist der Ort Karersee (Carezza), der zur Gemeinde Welschnofen gehört, die nächstgelegene Siedlung. Sie liegt am Karersee (Lago di Carezza), einer der wichtigsten Sehenswürdigkeiten des Eggentals. Im Nordosten trennt der Karerpass den Latemar vom Rosengarten. Vom Karerpass aus erstrecken sich Teile des Skigebiets Karersee auf die nordöstlichen Ausläufer des Latemar. Auf der Trentiner Seite des Latemar liegen das Fassatal (Val di Fassa) und seine Fortsetzung, das Fleimstal (Val di Fiemme). Im Südwesten liegt der Gebirgspass Reiterjoch (Passo di Pampeago, 1983 m), der das Eggen- mit dem Fleimstal verbindet und den Latemar vom 2492 m hohen Zanggen (Pala di Santa) trennt, der den Fleimstaler Alpen zugerechnet wird.
Der Latemarstock umgrenzt hufeisenförmig das Valsorda, ein Seitental des Fleimstals, das den Gebirgsstock nach Südosten hin entwässert. Die höchsten Berge liegen im nördlichen Kamm, der nach Norden hin mit steilen Felswänden zum Latemarwald und zum Karersee abfällt. Nach Süden zum Valsorda hin sind diese Berge deutlich flacher und hauptsächlich von schuttbedeckten Flanken geprägt. Übergänge über diesen Kamm sind die Große Latemarscharte (Forcella Latemar Grande, 2650 m) und die Rotlahnscharte (Forcella dei Campanili, 2685 m). Südlich der Kirchtagweidspitze (2616 m) zieht der Kamm nach Süden, mit den Laste di Valsorda di sopra liegt hier eine ausgedehnte Hochfläche. Sie ist von Westen über die Übergänge Erzlahnscharte (Forcella Forcellone) und Gamsstallscharte (Forcella dei Camosci) erreichbar. Südlicher Abschluss des Latemar ist das touristisch unbedeutendere Massiv um die Cima Feudo.
Geologie
Das den Latemar umgebende Plateau von Welschnofen besteht großteils aus Porphyr und zeichnet sich durch sanfte Formen aus, die mit Wäldern und Almen einen starken Kontrast zu den felsigen Gipfeln bilden.
Die Gipfel des Latemar bestehen aus Schlerndolomit, einem Gestein des Ladinium (Mittlere Trias) vor etwa 230 Millionen Jahren. Der Fels weist eine deutliche Bankung auf, die auf die Ablagerung der Sedimente in einer flachen, von einem Riff umschlossenen Lagune hinweist. Aufgrund dieses marinen Ursprungs der Sedimente sind hier an Fossilien hauptsächlich Ammoniten und Muscheln zu finden. Das mit dem des Marmoladamassivs verwandte Gestein des Latemar ist im Vergleich etwa zum benachbarten Rosengartenmassiv wenig dolomitisiert, also arm an Magnesium. Dies äußert sich in einer großen Brüchigkeit, sodass das Massiv zum Klettern wenig geeignet ist. Unter den Wänden des Latemar sind daher ausgedehnte Schutthalden zu finden.
Besonders bekannt ist das Felssturzgebiet Geplänk oberhalb des Karersees, dessen große Mengen an durcheinander und übereinander liegenden Felsbrocken durch den Labyrinthsteig, einen der bekanntesten Wanderwege der Umgebung, erschlossen werden. Einer Sage zufolge lag hier einst ein fruchtbares Almgebiet, das als Strafe für die dort lebenden sündhaften Hirten verwüstet wurde. In den Felstürmen oberhalb des Geplänks soll seither der „Geplänkmaurer“ leben, der hier an seiner Mauer baut, die aber ständig wieder einstürzt und so Steinschlag in Richtung Karersee schickt. Wer sich zu nahe an die Felswände wagt, um dem Maurer bei seiner Arbeit zuzusehen, wird von ihm mit Steinschlag vertrieben.
Eine Besonderheit des Latemar sind die zahlreichen magmatischen Gänge, die den Kalk durchziehen. Hierbei handelt es sich hauptsächlich um Basalte, die sich durch ihre dunkle Färbung deutlich vom umgebenden Sedimentgestein abheben. Sie stammen aus der mittleren Trias, als die gesamten Dolomiten erhöhter vulkanischer Aktivität unterworfen waren. Die Lava durchdrang das Gebirge und bedeckte es schließlich völlig. Das weiche Magmagestein erodierte rasch und leistete dadurch der starken Zerklüftung des Massivs Vorschub. Insbesondere am Grund von Schluchten, Rinnen und Scharten ist daher dieses Gestein zu finden.
Geschichte
Der Name Latemar kann bereits um 1100 in einer Grenzbeschreibung der Bistümer Brixen und Trient nachgewiesen werden. Er wird von Lactemara abgeleitet, einer Kurzform des altladinischen cresta de Lac-te-mara, was mit „Bergkamm über dem See im Kar“ übersetzt werden kann und bereits auf die noch heute populäre Ansicht des Massivs vom Karersee aus hinweist. Vereinzelt wurde eine Ableitung vom deutschen Namen „Leitmayr“ erwogen. Eine andere Theorie sieht den Ursprung des Namens im ladinischen Lat-mar (Moa, mar oder mar „Mure“, lat „Milch“), also „Milchmure“ oder „Milchlahn“, was sich auf die hellen Schuttkegel an der Nordseite des Gebirges beziehen soll. Lat könnte sich auch vom lateinischen latus „breit“ ableiten, in diesem Fall wäre Latemar mit „Breitlahn“ übersetzbar. Die Geröllströme des Latemar waren schon früh von bergbaulicher Bedeutung. Um den Bergbau am Latemar ranken sich zahlreiche Legenden, er schlug sich auch in Ortsbezeichnungen wie Erzlahn oder Knappenstube nieder. Das Ausmaß des Bergbaus ist unklar, aber viele Höhlen etwa an der Kirchtagweidspitze werden häufig als alte Stollen bezeichnet. Neben Funden von Handwerkszeug gibt es Belege für die Verarbeitung mehrerer Metalle wie Silber, Blei und Kupfer bis ins 15. Jahrhundert in der Umgebung, auch eisenhaltige Erze wurden hier gefunden. In einer Variante der Sage von König Laurins Rosengarten spielt der Latemar eine Rolle, er tritt hier als weiser alter Zwerg auf, der König Laurin vor der Eroberung seines Reiches warnt.
Im 19. Jahrhundert waren Ferdinand von Richthofen und Edmund Mojsisovics die ersten Wissenschaftler, die sich mit dem Latemar beschäftigten. Alpinistisch blieb die Gruppe lange Zeit unerschlossen, da sie im Schatten des schon zu dieser Zeit beliebten Rosengartenmassivs stand. Mit der Erstbesteigung der Latemarspitze (1884) und des Diamantiditurms (1885) durch Gustav Euringer, einen Bergsteiger aus Augsburg, und weiteren Unternehmungen etwa durch Demeter Diamantidi und Ernst Platz begann die touristische Erschließung, die schließlich mit dem Bau der Fahrstraße zum Karerpass und der darauffolgenden Errichtung des dortigen Hoteldorfs 1896 einen großen Aufschwung erfuhr.[15] Neben dem Fremdenverkehrspionier Theodor Christomannos waren Josef Pichler und Hanssepp Pinggera aus Sulden weitere bedeutende Erschließer. Auch der Maler Edward Theodore Compton bereiste zu dieser Zeit das Gebiet.
1980 wurde mit dem Rifugio Torre di Pisa (auch Latemarhütte, 2671 m) die bis heute einzige bewirtschaftete Schutzhütte des Latemar eröffnet. 2009 wurde der Latemar von der UNESCO zum Teil des Welterbe Dolomiten erklärt.
Stützpunkte und Wege
Die Ansicht des Latemarmassivs vom Karersee aus zählt zu den bekanntesten Landschaftsbildern der Dolomiten. Dennoch ist das Gebirge selbst nur wenig für den Tourismus erschlossen und zählt zu den einsamsten Gebirgsgruppen der Dolomiten. Ein Grund dafür ist das im Gegensatz zur benachbarten Rosengartengruppe sehr brüchige Gestein, aufgrund dessen der Latemar für den Klettersport kaum von Bedeutung ist. Von den höheren Latemargipfeln ist nur die Latemarspitze durch einen markierten Steig erschlossen und wird häufig bestiegen. Eine der bekanntesten Touren des Latemar ist die Überschreitung des Massivs vom Reiterjoch über die Latemarspitze bis zum Karersee, die entweder auf einem markierten Wanderweg oder seit 1981 auch auf einem Klettersteig durchgeführt werden kann. Auch der Diamantiditurm kann im Zuge dieser Tour bestiegen werden.
Die einzigen bewirtschafteten Schutzhütten des Latemar sind das Rifugio Torre di Pisa (auch Latemarhütte, 2671 m) an der Cima Valbona und das Rifugio Passo Feudo (2175 m) in den südlichen Ausläufern des Latemar. Darüber hinaus stehen mit dem Bivacco Rigatti (2620 m) auf der Großen Latemarscharte und dem Bivacco Latemar A. Sieff (2365 m) im Zentrum der Lastei di Valsorda zwei Biwakschachteln zur Verfügung.
(Wikipedia)
A Tea for the Tillerman
Wickedly Delicious and Delightful
Years ago while doing research for a boring university project I stumbled across old archives for the Glamorgan Gazette from the pre-Great War 1900s.
A story entitled ‘Tea Party Misadventure’ caught my eye.
It was of interest mostly because my mum likes to put on elaborate dress-up tea parties of her own doing in our almost one-hectare backyard garden at home.
There was not much to this old story really, only reporting that at a certain fancy Tea held at the manor house recently the hostess and several guests reported jewels had turned up missing. I was suspiciously under the impression that they were wearing said jewels at the time, for no mention of them being nicked from rooms was made.
This piqued my curiosity because, due I’m sure to some quirk in my DNA, I get perilous shivers thinking some uncommon thief could be that skilled, he/she could undetected, nick the very jewels I’m wearing. Would love to know if I’m unique in that feeling.
That said ….
No mention of an investigation, the cause, or any outcome was given. Nor could I find a follow-up story.
I hate it when I cannot find answers to stories. And this one certainly piqued my rather offbeat interest over how something like that could occur.
^^^^^^^^^^^
Then, much more recently, I had been out with Ginny to see the movie “Cruella.” She had “commandeered” her older Brother’s twin 8-year-old daughters for the occasion.
The movie basically sets up how Cruella became a thief, starting out with these tendencies as a young child.
I will admit that as we sat drinking at the pub afterward later that same evening (after seeing the giggling twin girls off back to thief mum) my mind pictured some of my own Mum’s past fancy tea parties.
I soon combined third memories with that long ago newspaper story of ‘misadventure at a similar function.
Certain scenes of that movie clicked in my alcohol-induced mind as to how the ladies at the fancy tea may have lost their jewellery.
Soon I came up with the seeds of the fictional story below using bits of those tea parties and my ideas on how dropping in a resourceful thief amongst the dressed-up guests' midst them could play out the unanswered questions in the Glamorgan Gazette’s missing jewellery storyline. Sort of filling in the gaps.
The descriptions of that tea described below are taken from years of tea parties Mum has hosted. The details are accurate including the settings, clothing, and jewels worn by the hostess(Mum) and her guests, including Ginny and I at various times.
The character studies of Estella, the wooden bead lady, and the Shannons are also loosely based on past tea party guests.
I guess any posh affair of that sort if carried on for enough years will have its odd occurrences and occasional uninvited guests. Which we have…
And of course, the story as told is a work of fiction.
No actual robbery-related misadventures have ever occurred at one of my Mum’s teas. They were always known to be sensible affairs.
I need to say that because mum still popularly puts them on, and I don't wish to scare anyone off. They are such fun.
The story below may seem far-fetched, but is it really? For something indeed quite odd had happened at that tea in Glamorgan to warrant a reporter’s story?
Next up :
Acte 1
My Tale
A Brief Characterization
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A Tea for the Tillerman
Acte 1
A Brief Characterization
Like her Mum before her(my Gamma), mine liked to hold these once a fortnight dress up “High” tea affairs with her friends. Held either inside the sunroom, or larger parties carried out in the backyard gardens during warmer months.
The invited were pretty much just ladies our mum knew, which was extensive. But during the summer months, these friends were more than welcome to also invite along daughters, relatives, and such.
They all would certainly get in the mood and have fun with the ongoing theme of a posh tea, trying to outdo one another in the dress-up department.
Elegant evening attire mixed in with cocktail dresses, silk and satin blouses with formal long skirts, and even the occasional repurposed wedding or bridesmaid gowns were the unwritten attire required to attend.
Copious displays of pearls and rhinestones were displayed with added panache. And many a real gemstone was snuck in to show its glitter and gleam off.
It was like they were expecting a member of the royal family to attend, Mum’s affair had grown to be simply that posh.
Tea (and stronger drink) was served and by the time the soirée died down by twilight, our yard(or house) contained a very happily cheerful lot. A laughing and huggy group of well-dressed, inebriated ladies.
A pickpockets dream, I always fancifully told myself as I watched it all play out many times.
This time it was no different, with soon giggling ladies, whom it became very apparent on the day of this tale, would have presented easy marks for the tomfoolery of someone without convictions (As the Culture Club song goes)!
Next up the Acte 2
Tea Party Misadventure
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Featured in the Sky At Night October Edition
This is M16 captured from ICAstronomy in Oria, Spain.
The image was captured using narrowband filters (Ha, OII, SII).
Also in the image is the famous Pillars of Creation.
Ha 10x1800 Secs
OIII 7x1800 Secs
SII 9x1800 Secs
13 Hours in total.
The Eagle Nebula is part of a diffuse emission nebula, or H II region, which is cataloged as IC 4703. This region of active current star formation is about 7000 light-years distant. A spire of gas that can be seen coming off the nebula in the northeastern part is approximately 9.5 light-years or about 90 trillion kilometers long.
The cluster associated with the nebula has approximately 8100 stars, which are mostly concentrated in a gap in the molecular cloud to the north-west of the Pillars. The brightest star (HD 168076) has an apparent magnitude of +8.24, easily visible with good binoculars. It is actually a binary star formed of an O3.5V star plus an O7.5V companion. This star has a mass of roughly 80 solar masses and a luminosity up to 1 million times that of the Sun. The cluster's age has been estimated to be 1–2 million years.
The descriptive names reflect impressions of the shape of the central pillar rising from the southeast into the central luminous area. The name "Star Queen Nebula" was introduced by Robert Burnham, Jr., reflecting his characterization of the central pillar as the Star Queen shown in silhouette.
Equipment used:
Telescope: Tec 140 F7
Camera: Xpress Trius SX-694 Mono Cooled to -15C
Image Scale: 0.95
Guiding: OAG
Filters: Astronomik Ha 6nm, OIII 6nm, SII 6nm
Mount: iOptron CEM60 "Standard" GOTO Centre Balanced Equatorial Mount
Image Acquisition: Sequence Generator Pro
Stacking and Calibrating: Pixinsight
Processing: Pixinsight 1.8, Photoshop CC
Actually, the world has neither properties nor qualities, and only our sensory perception gives it certain characterizations.
The fresco decoration of the Hall of Justice of the fortress of Angera constitutes one of the main figurative testimonies of the development phase of the Gothic pictorial language in the Lombard territory; it also proposes a rare and early example of painting with profane themes, of historical-political and celebratory significance.
The room, on the second floor of the Visconti wing of the building, has a rectangular plan, divided into two parts by a pointed arch. The ceiling, formed by cross vaults, is covered by a lively decoration with geometric motifs, with squares and rounds interwoven to form a sort of sumptuous painted fabric. The six bays of the walls, illuminated by large windows with two lights, host the pictorial decoration, which is divided into three superimposed registers within large arches defined by ornamental borders with stylized stars and flowers: the narrative scenes, in the center, are surmounted by a high band with astrological-astronomical subjects, while the lowest register is formed by a lozenge decoration that supported an elegant painted veil, now almost completely disappeared.
The cycle narrates the deeds of Ottone Visconti, archbishop and lord of Milan from 1277 after the victory obtained in Desio over the opposing Torriani family. Since a long time, studies have linked the frescoes to a precise literary source, the Liber de gestis in civitate Mediolani, a work in praise of the Visconti family written by the monk Stefanardo da Vimercate probably in the last decade of the thirteenth century; the tituli that accompany the scenes are inspired by it, while other Latin inscriptions report, to complete the upper decorative band, some verses of the astrological treatise De Sphaera.
From a stylistic point of view, the author of the paintings shows a marked taste for the complex layout of the scenes, while neglecting the coherence of the figure-architecture relationship; the forms are simplified and the faces, lacking in individual characterization, derive strong consistency from the resentful linear definition and the thick dark outlines; these elements constitute an evident link with the thirteenth-century pictorial tradition of Byzantine matrix, probably filtered through the knowledge of works from the Veneto area. Moreover, the attention that will be typically Lombardy for the realistic definition of details or for the description of costumes is already present and alive.
The brilliant overall effect of the room is enhanced by the whirlwind of colors of the vault, a real explosion of chromatic happiness that finds immediate comparisons in the vault of S. Bassiano in Lodi Vecchio, also decorated with joyful secular subjects.
The representations of the planets and the signs of the zodiac are still linked to those astrological-astronomical themes that had an enormous development since the beginning of the Christian Middle Ages and in particular in the Romanesque period; connected to the scansion of time and of the different working activities - in particular agricultural and pastoral -, they had multiple ethical, civil and religious implications. Situated in the courtroom of the Rocca, the cycle must have had the value of an exemplum for those who were called to judge, through the underlining of motifs such as the clemency of the winner on the vanquished enemy or the subjection of earthly power to the stars and to Fortune, and with precise indications on the virtues that should accompany the exercise of power.
As for the dating of the paintings, critics have expressed themselves in various ways, with wide oscillations between 1277 of the battle of Desio and 1314, the year in which Matteo Visconti definitively acquired possession of the fortress after a period of domination by the Torriani and other families.
A singular bird of the Southwest, the Phainopepla is a brilliant sight in flight. Males are silky black and slender, with an elegant crest and bold white wing patches that appear when the bird takes wing. Females are similar but a subdued gray. These glossy birds occur in desert washes, where they eat mainly mistletoe berries, and in oak and sycamore woodlands of California and Arizona. They often perch high in shrubs and catch insects on the wing. The name "Phainopepla" comes from the Greek for "shining robe," a fitting characterization of the shiny, jet-black plumage of the adult male.
The more appropriate leg bones, the more processing the whole characterization. Compared to a long time ago, I prefer this one.
Copied from Allaboutbirds.org: The name "Phainopepla" comes from the Greek for "shining robe," a fitting characterization of the shiny, jet-black plumage of the adult male.
Phainopeplas are the only U.S. representative of the family Ptilogonatidae, known as “silky-flycatchers.” They are not related to North American flycatchers; their nearest common ancestors are the waxwings, which also have a glossy, silky look to their plumage. Phainopeplas are also related to Palmchats, which occur only on the island of Hispaniola.
Phainopeplas have digestive tracts specialized for eating mistletoe fruit. These berries are low in nutrients, so the birds have to consume lots of them. The berries spend only about 12 minutes in a Phainopepla’s intestine, and the birds may eat 1,100 berries in a day.
Phainopeplas mimic the calls of other birds, including Red-tailed Hawks, Northern Mockingbirds, Northern Flickers, Gambel’s Quail, Mourning Doves, Verdins, Acorn Woodpeckers, scrub-jays, and American Kestrels.
The jumping ant (Gigantiops sp.) can be a nightmare to photograph. They are extremely active and rarely sit still. 'Okay settle down people, I can practically see you salivating, fangs out, stoking your inner sadist, ready to chew over some new story of pain, trial and tribulation'. Oh ho, not this time! Forced from it's nest by a nearby colony of roaming army ants, and slow from heavy rains that lowered the ambient temperature, it fell prey to a different kind of predator, the macrophotographer! I would never say easy with this species, but I left the shoot with no need to construct fanciful excuses to explain the tears. Every once in a while you need an easy win.
If you're sitting at home, annoyed with this unfair characterization and wish that something would happen, just to wipe that smugness off my face, well...thank you, you just proved my point!
But yes, I did sit on a spiny caterpillar on the canoe ride back and was scratching my welted behind for most of the rest of the evening. Sigh...
Leiden Observatory is the astronomical institute of the Faculty of Science of Leiden University. Established in 1633, it is the oldest university observatory in operation today, with a very rich tradition. Leiden Observatory carries out world class research in the formation of structures in the universe and the origin and evolution of galaxies, the detection and characterization of exoplanets, and the formation of stars and planetary systems. (Source: www.universiteitleiden.nl/en/science/astronomy)
il Perugino (workshop) Pietro di Cristoforo Vannucci, known as Il divin pittore or as Pietro Perugino (Città della Pieve, about 1448 - Fontignano, February 1523) - madonna col Bambino e due angeli (1495-1500) - tempera on panel 29.1 x 23.1 cm. - Poldi Pezzoli Museum, Milan
In questa piccola tavola, datata tra il 1495 e il 1500 e nata per la devozione privata, la Vergine regge su un ginocchio Gesù Bambino. Egli con una mano indica il petto, mentre con l’altra gioca distrattamente con un pollice della madre. Due angeli chiudono la scena in secondo piano. I personaggi occupano quasi interamente la superficie dell’opera, limitando gli elementi di contorno allo sfondo di cielo e al sedile della Madonna. La raffinatezza degli accordi cromatici, impreziositi nelle capigliature e negli abiti da lumeggiature d’oro, è uno dei tratti distintivi del dipinto, che ne determina la notevole qualità. La grazia dei volti e delle teste inclinate delle figure, lo stile e il tipo di composizione rimandano chiaramente ai modi di Perugino, il maggiore pittore umbro della seconda metà del Quattrocento. In passato la tavola era infatti considerata un capolavoro autografo, tanto che da essa prendeva nome la sala del museo, ancora oggi chiamata “Sala del Perugino”. Insolite per il Perugino, e più prossime ai modi di Raffaello, sono invece una certa vivacità e la studiata contrapposizione nella postura degli angeli che ne accentuano la caratterizzazione individuale
In this small panel, dated between 1495 and 1500 and created for private devotion, the Virgin holds the Child Jesus on one knee. He is pointing to her chest with one hand, while with the other he is absent-mindedly playing with one of his mother's thumbs. Two angels close the scene in the background. The characters occupy almost the entire surface of the work, limiting the surrounding elements to the background of sky and the seat of the Madonna. The refinement of the chromatic accords, embellished in the hair and in the dresses by gold highlights, is one of the distinctive features of the painting, which determines its remarkable quality. The grace of the faces and the inclined heads of the figures, the style and the type of composition clearly refer to the ways of Perugino, the greatest Umbrian painter of the second half of the fifteenth century. In past the table was in fact considered a masterpiece autograph, so much that from it took name the room of the museum, still today called "Room of the Perugino". Unusual for the Perugino, and closer to the ways of Raffaello, they are instead a certain vivacity and the studied contrast in the posture of the angels that they accentuate the characterization individual.
The French call the Painted Bunting 'nonpareil' means “without equal.” Pretty hard to argue with that characterization of this bird's stunning plumage. And if one painted bunting is not enough for you, in this photo you get two!:-)
I photographed this painting bunting at Santa Clara Ranch in southern Texas.
Phillip Mould:
This image, and those generated around it, represent one of the most successful sovereign statements of English history. It was painted under the aegis of the Queen’s own official Serjeant painter, George Gower, in the late 1580s, the decade in which she finally defeated the Spanish threat, and assured her place as one of England’s most successful and popular monarchs. The portrait was owned by Edward Drewe MP, one of Elizabeth’s ablest lawyers, and has remained in his family ever since. A family legend suggests that the portrait was the gift of Elizabeth herself. It is in part through such portraits that the mystique and power of Elizabeth I was conveyed in her day. As such it is not merely a portrait of a monarch, but a symbolic statement of national supremacy.
George Gower was Elizabeth’s Serjeant Painter from 1581 until his death in 1596. He was also a ‘gentleman’, being the grandson of Sir John Gower of Stettenham, Yorkshire. This was not only unusual for the time (hitherto, artists were effectively ranked as servants), but reveals the increasing status – and importance – of portraiture in sixteenth century England. There is little documentary evidence on Gower’s career, but there is no doubt that he was one of the leading English artists of his generation. His documented portraits, such as those of Sir Thomas and Lady Kytson (1573 Tate Gallery, London) show that he commanded the patronage of the important and wealthy from an early age, while his self-portrait (1579, the first known example by an English artist on such a scale) gives a clear indication of the bold characterization with which he depicted his subjects.
Gower’s technique and style is distinct, and perfectly suited to the display of power, and conspicuous monarchical grandeur seen here. His use of strong light on the head enables his subject’s face to stand out from the rest of the painting, and was perfectly suited to Elizabeth’s personal wish to avoid any shadows across her face. His reluctance to rely too heavily on drawing is made up by strong flesh tones and subtle shadows, so that the face is rendered with precision and power, aided by bold features such as the well-delineated eyes. The unmistakably warm and dry palette has the happy effect of seeming to depict the Queen in the heavy make-up on which she increasingly came to rely. In this example, the overall effect is one of power rather than beauty – but such is Gower’s skill that our focus is held unmistakably by Elizabeth’s face and strong gaze, despite the rich and bright details of her luxurious costume.
There are elsewhere in the portrait signs of a master’s touch. The subtle but noticeable pink tones in the ruff under Elizabeth’s chin skillfully illustrates the reflection of her face in the white lace, giving the ruff a three-dimensional effect so often lacking in sixteenth century portraiture. The deft modeling (with even the hint of veins) in the long and elegant hands of which Elizabeth was so proud is superb, while the folds and lace on the golden silk of her sleeves is redolent of Holbein’s supreme skill in depicting the rich quality of Royal costumes.
As with all portraits of the Queen, there comes the question of the level of her personal involvement. Of course, she did not sit for the many contemporary portraits of her that survive. Instead, artists would have followed patterns of her face, and then either have imagined her costume, or in some cases have painted the actual garment itself. The patterns would have been widely-circulated, and the Queen’s likeness then either traced onto a panel or drawn freehand. Surviving examples of patterns are rare, but those of Bishop John Fisher and Sir Henry Sidney can be found in the National Portrait Gallery, as can one previously believed to show Elizabeth herself.
Which ‘pattern’, therefore, is the Drewe portrait based on? Sir Roy Strong’s catalogue of 1963, Portraits of Queen Elizabeth I, and subsequent Gloriana, The Portraits of Elizabeth I were vital works in dating and attributing the many (invariably unsigned) portraits. According to Strong’s categorization, the Drewe portrait is based on the ‘Darnley’ face pattern, after a painting dated c. 1575 once owned by the Earls of Darnley, and now in the National Portrait Gallery attributed to Federico Zuccaro, an Italian landscape and religious painter to whom the Queen sat for a drawing in May 1575.[1] The Darnley pattern, Strong points out, does not change until the ‘Armada pattern’ is developed, apparently by Gower, c.1588.
And yet, such categorization carries with it the disappointing notion that all portraits of the Queen between c.1575 and 1588 are derivatives, completed at a distance from Elizabeth herself. This clearly cannot be the case with the Drewe portrait. Though Elizabeth is shown in a similar (if reversed) profile, she is unquestionably a different woman to that in the Darnley portrait: noticeably hierarchical, sepulchral in characterization, perhaps reflecting the progression of her historical achievements. It seems implausible that Gower, the Queen’s Serjeant Painter, would have been content to follow a pattern. Rather, he may instead have felt constrained by the dictates of Royal iconography to follow an approved pose – just as Henry VIII was invariably portrayed full-face.
It is to the Queen herself that we should seek an explanation for the repetitive nature of her portraits. From the note of her conversation with Nicholas Hilliard in c.1572 it seems she resolved that her portraits should have no “shadowe at all”[2]. After all, Royal portraits were primarily symbols of power combined with obsequious flattery, not simple likenesses. Considerations of deference (and by the 1580s her fading beauty) further forbade any attempt at realism. And artist’s had to operate within an accepted Royal iconography that began in the fifteenth century. It is certain, however, that Gower’s official position, and the fact that he was a gentleman by birth, would have guaranteed him access to the Queen. The Drewe portrait, with its delicately observed facial contours and expressive, piercing eyes, is a world away from the pallid and formulaic pattern portraits of Elizabeth, reflecting an authority derived from one who had access to the royal presence.
The provenance of this portrait is of interest, and helps confirm the attribution to George Gower. It has traditionally hung in the Grange, the Devon seat of the Drewe family, since its construction by Edward Drewe in the 1590s. Drewe was one of the ablest lawyers of the 16th Century. After a spell at Oxford (while apparently a teenager) he began to practice law at the Inner Temple in 1560. He was called to the Bar in 1574. From then he rose rapidly through the legal ranks; a Justice of the Peace in 1579, and a Member of Parliament (for Lyme Regis) in 1584. He must then have been well-known to the Queen and Privy Council, for in 1588 he was amongst those sharp legal minds, along with Francis Bacon, called to draft Government legislation. The letter makes flattering reading;
“Her Majestie… hath made especiall choice of you, upon knowledge of your sinceritie and sufficiencie in that behalfe, to proceede to the consideracion what statutes in your opinion were requisite to be either established or perfected for the better…
We bid you very hertely farewll.”[3]
In 1589 he was appointed a Serjeant-at-law, and became more familiar to the key members of Elizabeth’s Government. Perhaps his most powerful ally was Francis Russell, the second Earl of Bedford. He corresponded regularly with William Cecil, Lord Burghley. And in 1593 he is recorded as making a speech before the Queen when introducing the Lord Mayor of London to Court. Drewe’s correspondence with the Privy Council typically revolved around interrogations of suspects such as Jesuit spies, often in the Tower of London, and he became an important part of the security apparatus first set-up by Francis Walsingham. One case involved the hapless Yorke and Williams, who, “when confronted together, Yorke swore that they took the sacrament to kill the Queen, and that Williams had wished his sword in her belly.”[4] By 1593 Drewe held the prestigious parliamentary seat of the City of London, and in 1596 he was made a Queen’s Serjeant, and a judge on the Northern circuit. He died suddenly, of ‘gaol fever’, in 1598.
Drewe’s central role in the legal apparatus of the Government helps confirm an attribution to George Gower as the artist of this portrait. Gower had been appointed, in 1581, as the Queen’s Serjeant Painter. In 1584 an attempt was made to make Gower solely responsible for portraits of the Queen, a move that reinforced the government’s wish to maintain control of the Queen’s image. Some twenty years earlier, the Privy Council, at the Queen’s behest, had also attempted a similar measure in reaction to the increasing number of debased images of Elizabeth in circulation. And in 1596, the Privy Council ordered that public officers should aid Gower in seeking out and destroying those unofficial images which caused the Queen “great offence”[5].
The Council’s failure, and that of Gower in the 1580s, is belied by the profusion of awkward and unsatisfactory images of the Queen which survive to this day. Nevertheless, a man of Drewe’s public position would have been the most unlikely person to either commission or own in the 1580s and 90s a portrait of the Queen that did not come from the Serjeant Painter’s ‘official’ workshop. Furthermore, in 1593 Drewe made a speech in Parliament against foreign workers in London, advocating support for “our countrymen” over charity to “strangers”, which sentiments would appear to rule out his patronage of any Flemish or Italian artist.[6] Finally, it may also be worth noting the connection between Drewe and the Bedford family, who commissioned the Armada portrait from Gower in 1588.
The Queen’s jewelry is worth noting here, and may assist in the precise dating of this portrait. Here, the jewelry worn by the Queen (aside from that embroidered into her costume) is surprisingly simple – only a double row of pearls. This is identical to the jewelry worn in the Darnley portrait dated c.1575, as is the chain of pearls and jewels around her waist. And such a combination can again be found in other portraits by Gower of the 1580s, Cornelius Ketel’s ‘Sieve’ portrait c.1580-3, and Marcus Gheerearts the Elder’s c.1585 full length. Furthermore, the lack of certain jewelry again suggests a date in the 1580s, for when Leicester died in 1588 he bequeathed to his 2most dear and gracious Sovereign whose creature under God I have been”[7] an extraordinarily large and elaborate jewel of emeralds, with a rope of 600 pearls. Elizabeth, who locked herself in her room on hearing Leicester’s demise, is shown wearing his gift in the Armada portraits of post c.1588, and other later variants – but not here.
Notes;
[1] Zuccaro had traveled to England apparently at the behest of Lord Leicester. Though some have assumed his purpose was to paint the Queen, it is possible that he had been summoned by Leicester to decorate the interior of Kenilworth Castle (now ruined), before the Queen was due to stay there in July 1575. The exquisite chalk and pencil drawing of the Queen by Zuccaro survives (British Museum), along with a pendant of Leicester. However, there seems little connection between the drawing, either in likeness or style, to the ‘Darnley’ portrait in the NPG.
[2] Strong, loc.cit., p16
[3] Letter from Privy Council to Drewe 27th December 1588, in Acts of the Privy Council of England 1588. Official Publications 1897 Vol XVI
[4] Calendar of State Papers (Domestic) Elizabeth I, 1591-94, August 28th 1594
[5] Strong, loc.cit., p14
[6] Oxford Dictionary of National Biography, citing House of Commons Journal
[7] In Public and Private, Elizabeth I and her world, Susan Watkins, London 1998
Oscar Munoz
Exhibition « Narcisii in progress »
« Narcissi in process » is a set of self-portraits printed in charcoal pigment on water in shallow vitrines lined with paper; the water slowly evaporates during the course of the exhibition, eventually allowing the pigment to settle onto the paper in a slightly altered version of the original portrait image—the variability inherent to the process makes the resulting image in each vitrine unique.
Biographies is a video installation of portrait images taken from newspaper obituaries. Muñoz created these video portraits by printing pigment onto water in a sink and filming the disintegration of the image as the water drains; the video also shows the process in reverse so that the portrait continually dissipates and reconstitutes.
Description of Óscar Muñoz' practice
Over the past three decades, Óscar Muñoz has developed a remarkable body of work that explores the relationship between image and memory. His work defies characterization by medium, blurring the boundaries between photography, printmaking, drawing, installation, video and sculpture. Although he has abandoned traditional formats, he cleverly utilizes specific technical and conceptual aspects of printmaking-occasionally incorporating self-destructive elements to purposely challenge the consistency of reproduction that is synonymous with printing. The expressive power of his work is as grounded in the intrinsic qualities of the materials he employs as in the poetic associations they embody.
Through his innovative processes, such as printing charcoal pigment on water, or using human breath to reveal discretely printed portraits onto seemingly blank mirrors, Muñoz creates unstable images that oscillate between presence and absence. He uses images from newspaper obituaries that include victims of the drug trafficking and political conflicts in Colombia where he lives and works. He is fascinated by photographic images as the primary documentation of a person’s physical existence in a culture overwhelmed by the vulnerability of life: the person’s image, imprinted on film (or captured in digital code), leaves an indexical trace of their being. Muñoz manipulates the photographic images in order to question the meaning of identity and to reflect the process of recollection and fading memory, alluding to the transitory nature of human existence, memory and history. The viewer witnesses the dissolution of an image as a manifestation of the person’s disappearance or death. Highly regarded as one of the most important visual artists working in Colombia today, Muñoz has captivated audiences around the world with the universal subject that underlies all of his work-the commonality of loss and remembrance.
Caracterización de un mendigo durante las fiestas medievales de artesanos en Chinchón. Chinchón es uno de los pueblos más bonitos de la Comunidad de Madrid.
Characterization of a beggar during the medieval festivities of artisans in Chinchón. Chinchón is one of the most beautiful towns in the Community of Madrid,
A Tea for the Tillerman
Wickedly Delicious and Delightful
Years ago while doing research for a boring university project I stumbled across old archives for the Glamorgan Gazette from the pre-Great War 1900s.
A story entitled ‘Tea Party Misadventure’ caught my eye.
It was of interest mostly because my mum likes to put on elaborate dress-up tea parties of her own doing in our almost one-hectare backyard garden at home.
There was not much to this old story really, only reporting that at a certain fancy Tea held at the manor house recently the hostess and several guests reported jewels had turned up missing. I was suspiciously under the impression that they were wearing said jewels at the time, for no mention of them being nicked from rooms was made.
This piqued my curiosity because, due I’m sure to some quirk in my DNA, I get perilous shivers thinking some uncommon thief could be that skilled, he/she could undetected, nick the very jewels I’m wearing. Would love to know if I’m unique in that feeling.
That said ….
No mention of an investigation, the cause, or any outcome was given. Nor could I find a follow-up story.
I hate it when I cannot find answers to stories. And this one certainly piqued my rather offbeat interest over how something like that could occur.
^^^^^^^^^^^
Then, much more recently, I had been out with Ginny to see the movie “Cruella.” She had “commandeered” her older Brother’s twin 8-year-old daughters for the occasion.
The movie basically sets up how Cruella became a thief, starting out with these tendencies as a young child.
I will admit that as we sat drinking at the pub afterward later that same evening (after seeing the giggling twin girls off back to thief mum) my mind pictured some of my own Mum’s past fancy tea parties.
I soon combined third memories with that long ago newspaper story of ‘misadventure at a similar function.
Certain scenes of that movie clicked in my alcohol-induced mind as to how the ladies at the fancy tea may have lost their jewellery.
Soon I came up with the seeds of the fictional story below using bits of those tea parties and my ideas on how dropping in a resourceful thief amongst the dressed-up guests' midst them could play out the unanswered questions in the Glamorgan Gazette’s missing jewellery storyline. Sort of filling in the gaps.
The descriptions of that tea described below are taken from years of tea parties Mum has hosted. The details are accurate including the settings, clothing, and jewels worn by the hostess(Mum) and her guests, including Ginny and I at various times.
The character studies of Estella, the wooden bead lady, and the Shannons are also loosely based on past tea party guests.
I guess any posh affair of that sort if carried on for enough years will have its odd occurrences and occasional uninvited guests. Which we have…
And of course, the story as told is a work of fiction.
No actual robbery-related misadventures have ever occurred at one of my Mum’s teas. They were always known to be sensible affairs.
I need to say that because mum still popularly puts them on, and I don't wish to scare anyone off. They are such fun.
The story below may seem far-fetched, but is it really? For something indeed quite odd had happened at that tea in Glamorgan to warrant a reporter’s story?
Next up :
Acte 1
My Tale
A Brief Characterization
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A Tea for the Tillerman
Acte 1
A Brief Characterization
Like her Mum before her(my Gamma), mine liked to hold these once a fortnight dress up “High” tea affairs with her friends. Held either inside the sunroom, or larger parties carried out in the backyard gardens during warmer months.
The invited were pretty much just ladies our mum knew, which was extensive. But during the summer months, these friends were more than welcome to also invite along daughters, relatives, and such.
They all would certainly get in the mood and have fun with the ongoing theme of a posh tea, trying to outdo one another in the dress-up department.
Elegant evening attire mixed in with cocktail dresses, silk and satin blouses with formal long skirts, and even the occasional repurposed wedding or bridesmaid gowns were the unwritten attire required to attend.
Copious displays of pearls and rhinestones were displayed with added panache. And many a real gemstone was snuck in to show its glitter and gleam off.
It was like they were expecting a member of the royal family to attend, Mum’s affair had grown to be simply that posh.
Tea (and stronger drink) was served and by the time the soirée died down by twilight, our yard(or house) contained a very happily cheerful lot. A laughing and huggy group of well-dressed, inebriated ladies.
A pickpockets dream, I always fancifully told myself as I watched it all play out many times.
This time it was no different, with soon giggling ladies, whom it became very apparent on the day of this tale, would have presented easy marks for the tomfoolery of someone without convictions (As the Culture Club song goes)!
Next up the Acte 2
Tea Party Misadventure
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Excerpt from historicplaces.ca:
Description of Historic Place
The building at 51 Stuart Street, known as Hamilton Custom House, is situated adjacent to the Canadian National Railway track and yards, overlooking Burlington Bay, in the City of Hamilton. The two-storey, sandstone clad building was designed in the Renaissance Revival style, by architects Frederick J. Rastrick and Frederick P. Rubridge, between 1858-60.
The exterior of the building and scenic character of the property are protected by an Ontario Heritage Trust conservation easement (1982). The property is also designated by the City of Hamilton under Part IV of the Ontario Heritage Act (Bylaw No. 79-218) in 1979. The property was designated a National Historic Site of Canada in 1990 and now functions as the Ontario Workers Arts and Heritage Centre.
Heritage Value
The Custom House overlooks Burlington Bay and is located immediately across from the tracks of the Canadian National Railway, formerly the Great Western Railway. At the time construction, Hamilton Custom House, was located immediately south-east of the Great Western's station, offices and yard, making inspection of the rail-transported goods especially convenient. Placement halfway between the business district and the bay shore, but adjacent to the railway, indicates the importance of the railway to the activities of Hamilton's Custom House. Elements of the stone gateposts flank both sides of building.
The Hamilton Custom House was the last in a series of customs houses constructed by the colonial government, prior to confederation. Of substantial character and construction, the Hamilton Custom House, built 1858-60, recalls the growing responsibilities and presence of the government, during this time. Prior to this, government offices had typically been located in rented or private quarters, with construction campaigns focused upon transportation projects such as roads and canals rather than buildings. With collected duties representing the largest single source of revenue for the colonial government, and with Hamilton being the largest source of collection revenue in Ontario, after Toronto, the construction of a suitably prominent Custom House was justified. In the years leading up to the construction of the Custom House, Hamilton enjoyed the status as a leading Canadian port, commercial centre and transportation hub, with lines from the recently completed Great Western Railway converging in the city. The Great Western's lines connected Ontario to the United States at Niagara Falls and Windsor, contributing to Hamilton's large amount of international trade, and supporting the need for a large customs facility. Additionally, in the early 1850s, Hamilton was represented in Parliament by Sir Allan McNab, Premier of the Province of Canada, from 1854-56, who influenced the decision to locate a substantial Custom House in Hamilton, to benefit the city. The Custom House functioned in its original capacity until 1888 when overcrowding forced the relocation of this function to the Post Office building at John and King Streets.
The Hamilton Custom House is the oldest, major, Canadian government building in Hamilton and among the oldest in Ontario. Expensive to build and maintain, few government structures of this calibre were built, prior to Confederation, making the building a rarity from the beginning. Designed in the Renaissance Revival style, the Custom House is inspired by the Palladian and Renaissance palazzo architecture of Italy. Contributing to this characterization is a façade with a heavily rusticated first storey, containing large round headed windows, with voussoirs, while the ashlar finished second storey displays quoining, Corinthian pilasters and pedimented window crowns. While the Royal Coat of Arms survives in the roofline parapet, the rooftop balustrade with urns, and elaborated chimneys have been lost. Attesting to the sophistication of the composition, the structure is clad entirely in Hamilton and Ohio sandstones, and is detailed on all elevations. The interior was notable for its modern conveniences such as central heating, running water and gas lighting. The functional design contained a first floor examining warehouse and a second storey 'long room' where most public business was conducted over a long counter. Though Frederick Rubridge, architect for the Board of Works, finalized the plans, Frederick Rastrick is known to have produced the plans on which the design was largely based, with credit thereby extended to both architects; Frederick Kortum served as the supervising architect and was succeeded by Albert Hills.
Character-Defining Elements
Character defining elements that contribute to the heritage value of the Hamilton Custom House include its:
- Royal Coat of Arms in the roofline pediment as well as the carved stone lettering 'CUSTOM HOUSE' in the frontispiece below the cornice and the carved stone lettering 'VICTORIA REGINA' in the portico all reflecting the building's original use
- symmetrical, regular, rectangular, two-storey plan, seven bays in width
- masonry construction clad with Hamilton freestone (sandstone) on the first-storey and Berea (Ohio) sandstone on the second storey
- rusticated first storey, rock faced on the side elevations with a façade displaying a drove work finish and vermiculated window bases
- second storey frontispiece transom light ornamented by cusp-like tracery
- stone portico with square-sided columns, and plastered ceiling with plaster cornice and medallion
- round headed entrance with voussoirs, transom light and wooden, panelled double doors
-ashlar second storey of Berea (Ohio) sandstone with quoining, Corinthian pilasters, and pedimented and bracketed window crowns
- rectangular windows in single and triple assembly with stone mullions
- round headed windows with voussoirs, transom lights and 2 over 2 wooden sashes
- bracketed, stone cornice
- blind, rectangular windows atop the second storey
- location adjacent to the railway (formerly the Great Western), and immediately south-east of the rail yard
- location between the bay and the historic business district
- sandstone gate post elements flanking both the east and west side of the façade comprised of engaged posts and free-standing posts
In A Brief History of Seven Killings, Marlon James combines brilliant storytelling with his unrivaled skills of characterization and meticulous eye for detail to forge an enthralling novel of dazzling ambition and scope.
On December 3, 1976, just before the Jamaican general election and two days before Bob Marley was to play the Smile Jamaica Concert to ease political tensions in Kingston, seven gunmen stormed the singer’s house, machine guns blazing. The attack wounded Marley, his wife, and his manager, and injured several others. Little was officially released about the gunmen, but much has been whispered, gossiped and sung about in the streets of West Kingston. Rumors abound regarding the assassins’ fates, and there are suspicions? that the attack was politically motivated.
As you may have noticed by my posts and favorites, I'm a pretty big Squad fan. More so of the 80's version but most will do.
Anyways, I saw the movie today, and yeah, the critics are mostly just full of BS. It was actually really entertaining, and aside from a few issues (Which I'll list below) really really solid. I'll list some major pros and cons, and try to keep my mouth spoiler-free.
Pros: -Will Smith. Just. Will Smith. I'm not much of a Smith fan, and I'm a huge Deadshot fan, so he had a lot to live up to in my mind, and he delivered.
-The Squads' interactions and banter with each other
-El Diablo is a surprisingly great character. Especially cause I feel like they've barely done anything with him in the comics.
-Boomerang and Croc don't do much but they're really fun to watch.
-Margot Robbie in the second half, but not the first.
-Viola Davis. Period.
-Lots of great action pieces, and a few mild twists that they left out of the trailers that were pretty great.
-Cameos!
-Slipknot does exactly what you think he's going to, and it's all he needs to do.
Cons: Some the editing is a little whack, but it's a little easier to get past
- I kinda thought Katana's soul sword would come more into play, but it doesn't
-June Moon (Enchantress's human host) gets no characterization.
-Pretty standard plot, but that's fine.
-Margot Robbie in the first half, but not the second
-Who is Enchantress's brother supposed to be? Was that Incubus? cause he has little to do with Enchantress originally.
Overall though It was awesome. I plan on seeing it a few more times.
Last thoughts: Leto's only in it for eight. . . *very* weird minutes, they totally waste Common, some of the trailer lines didn't make it in but such is editing, and the minifigures you see before you are nothing new, I just haven't been able to cobble together any new movie-accurate ones. :
taken at Estrella Warbird Museum, Paso Robles, CA
Photo by Alton Chiu Editing by Me
strobist: AB800 camera right and behind subject at full power
AB800 camera right as fill for shadows at 1/2 power
Leonidas Frank "Lon" Chaney (1883-1930) was an American actor and makeup artist. He is regarded as one of the most versatile and powerful actors of cinema, renowned for his characterizations of tortured, often grotesque and afflicted, characters and for his groundbreaking artistry with makeup. Wikipedia
Egrets are herons, generally long-legged wading birds, that have white or buff plumage, developing fine plumes during the breeding season. Egrets are not a biologically distinct group from herons and have the same build.
Characterization: Large species measuring about 88cm in length. It is white and its feathers measure 50cm or more. Its beak is yellow and legs dark.
Distribution: North America to the Straits of Magellan, throughout Brazil, and also in the Old World.
Habitat: Lake and river banks and marshes.
Habits: Daytime and aquatic species.
Diet: Carnivorous, this bird feeds on fish, aquatic insects (imagos and larvae), crabs, mollusks, amphibians, and reptiles. Sometimes it feeds on snakes and guinea pigs.
Breeding: This bird lays 1-2 eggs in a nest built on trees or shrubs in the swamps. It usually associates in mixed colonies, and procreation usually comes at the beginning or end of the dry season, when food for waterfowl is usually more plentiful.
Expérience de mort imminente (EMI) est une expression désignant un ensemble de « visions » et de « sensations » consécutives à une mort clinique ou à un coma avancé. Ces expériences correspondent à une caractérisation récurrente et spécifique contenant notamment : la décorporation, la vision complète de sa propre existence, la vision d’un tunnel, la rencontre avec des entités spirituelles, la vision d’une lumière, un sentiment de paix et de tranquillité, l'impression d'une expérience ineffable et d’union avec des principes divins ou supranormaux. Experience(Experiment) of imminent death ( EMI) is an expression indicating(appointing) a set of "visions" and of "sensations" consecutive to a brain death or to an advanced coma. These experiences(experiments) correspond to a recurring and specific characterization containing in particular: the décorporation, the vision completes of its own existence, the vision of a tunnel, meets her(it) with spiritual entities, the vision of a light, a feeling of peace and tranquillity, the impression(printing) of an unspeakable experience(experiment) and an union with divine or paranormal principles
This is a Rainting of two Lightlings. I was putting a description of what Raintings and Lightlings are on almost every one. Now I don't; but if you aren't yet familiar with their definition, just ask and I'll post it. There is no charge and no obligation.
For Dave C. and other Flickr friends, the *soul* of this is being able to take two streets lights and develop them into a one-of-a-kind image, completely with characterizations just for the fun of it. Well, not totally just for the fun. I confess it was also for "Thursday is Green Day" on some Flickr groups.
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"My thin white border is not so much a frame as a defense against Flickr's all dark background"
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"DSCN5618GreenLfeltUglyWhiteLMusic2HisEarBordInitFlickr081320"
My mom getting yet another tattoo. This ones for my uncle who committed suicide September 8th, 2008. He used to always play Wild World on the guitar :)
A new composition based on frames of the 2.2m telescope @ La Silla (ESO - WFI) and of the Hubble Space Telescope:
WFI ESO: R, V and B
HST: 658nm narrow
Data: NASA/ESO/ESA
Assembling and processing: R. Colombari
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The Eagle Nebula (catalogued as Messier 16 or M16, and as NGC 6611, and also known as the Star Queen Nebula and The Spire) is a young open cluster of stars in the constellation Serpens, discovered by Jean-Philippe de Cheseaux in 1745-46. Both the "Eagle" and the "Star Queen" refer to visual impressions of the dark silhoutte near the center of the nebula,[2][3] an area made famous as the "Pillars of Creation" photographed by the Hubble Space Telescope. The nebula contains several active star-forming gas and dust regions, including the Pillars of Creation.
The Eagle Nebula is part of a diffuse emission nebula, or H II region, which is catalogued as IC 4703. This region of active current star formation is about 7000 light-years distant. A spire of gas that can be seen coming off the nebula in the northeastern part is approximately 9.5 light-years or about 90 trillion kilometers long.[4]
The cluster associated with the nebula has approximately 8100 stars, which are mostly concentrated in a gap in the molecular cloud to the north-west of the Pillars.[5] The brightest star (HD 168076) has an apparent magnitude of +8.24, easily visible with good binoculars. It is actually a binary star formed of an O3.5V star plus an O7.5V companion.[6] This star has a mass of roughly 80 solar masses, and a luminosity up to 1 million times that of the Sun. The cluster's age has been estimated to be 1–2 million years.[7]
The descriptive names reflect impressions of the shape of the central pillar rising from the southeast into the central luminous area. The name "Star Queen Nebula" was introduced by Robert Burnham, Jr., reflecting his characterization of the central pillar as the Star Queen shown in silhouette.[8]
Source: Wikipedia
according to dwdw1122: "溯源樓" translation: The House of Tracing (or remembering) Your Origin
international district
seattle, washington
Captain America: The Winter Solder (2014) - The MCU Infinity Saga No. 9 from Marvel - MCU
Pretty sure this is universally agreed upon to be one of the strongest MCU films. There's nothing I can really say about it that hasn't already been said. I love Steve's arc a lot, and all the characterization moments with Sam, Natasha, and Fury too. 10/10. What are your thoughts on the film?
This is also my entry into #FIGBARF21 - Check out @figbarf here!
L-R:
Top Row
- Georges Batroc (the Leaper)
- Alexander Pierce
- The Winter Soldier / Bucky Barnes
- Falcon / Sam Wilson
- Maria Hill
Bottom Row
- Agent Jasper Sitwell
- Jack Rollins
- Brock Rumlow
- Black Widow / Natasha Romanoff
- Captain America / Steve Rogers
- Director Nick Fury
- Agent Sharon Carter
- Cameron Klein
Buy Me a Coffee on Ko-Fi? Or Commission Me?
Click Here for all my other Socials and More!
Camera: Panasonic Lumix DMC-FZ28 Editing: www.watermark.ws
Please credit and comment! Feedback always appreciated! :D
Martha, how did we end up here? ... We helped a group of companies perform a waste characterization study of what is called "small format packaging", which by definition is not recyclable. We didn't do the sort, we just sponsored it; I cropped one of the images the sorters sent us.
New York City streets, parks and plazas year round serve as showcases for art, celebrations and commemorations of subject matter that varies as much as the diverse population of the city itself. A commemorative and artistic display that stirred quite a bit of controversy was the 13-foot bronze statue of the Marvel superhero Captain America which was dedicated at Prospect Park in Brooklyn by the carousel at Children’s Corner on August 10, 2016. The Green activist in Brooklyn protested saying that the area of the park where the statue was on display for 2 weeks was a designated ‘commercial free’ zone and the celebratory nature of the statue was in fact a commercial promotion. I didn’t agree, we’re talking 2 weeks here, but probably have a bias as you will see.
So 2016 amongst other things, mark the 75th anniversary of the Captain America which is why the 13-foot bronze statue was commissioned. Right on 42nd Street, on 330 West 42nd Street to be specific, in 1939 Martin Goodman founded Timely Publication as he jumped head first in the emerging and increasingly popular medium of comic book, publishing it first comic book, Marvel Comics with the human torch in October of that same year. Goodman hired what would be the creative team behind the star spangled hero, the creative team of Joe Simon and comic book notable Jack Kirby and in March 1941 published Captain America #1 which almost sold a million copies (funny how in today’s society any moron can get more views than that on social media in a day). Timely Comics would take the name Marvel Comics by 1944, continuing to operate out of New York City, though after the war, superhero publications lost the public interest. In 1961 after years of the superhero genre really being almost non-existent, Stan Lee, who actually was Goodman’s wife’s cousin Stan Lieber had been hired by Martin Goodman back in 1939, a Marvel Comics writer and editor came up with a concept of a comic book geared for an adult audience instead of juvenile audience with the Fantastic Four. Different from other comic book publishers, Marvel established publications that looked at ongoing issues, adult relationships and characterizations, the precursor of the modern graphic novel that appealed to wider audience. Stan Lee (his pen name if you haven’t figured that out yet) revived Captain America in Avengers #4 in 1964 with the storyline that he had been in suspended animation after WWII which he had been literally and figuratively. Cap was popular once again, and when I was lad in the mid 1970’s, I got my first copy of a Captain America comic book at a small store on Bergenline Avenue, I’ve always been an avid reader, but this was different, left with a cliff hanger for Cap and the Falcon, I couldn’t wait to get the next issue, I was hooked. Every month I was saving my quarters (actually the first issue was $.20 believe it or not), get Captain America, the Avengers, Ironman, Thor, the X-Men. I did so until my freshman year in college when money really got tight and priorities shifted so my days of being a comic book geek were over. Most of my comics are still at my folks, some probably worth some money, if the mice haven’t turned them into bedding. Captain America always was my favorite though so you can image when Marvel Entertainment started the Captain America-Avengers movies, wow I was delighted. Life is funny, my youngest daughter has become a Captain America fan and was surprised to find out her daddy was a comic book geek who also loved Cap. The modern Captain America is just as principled and stubborn as the character I loved in the 1970’s and 1980’s, though there have been changes to keep up with the times. During my comic book days, Captain America, Steve Rogers lived in the lower eastside of Manhattan as did Sam Wilson the Falcon. In the cinematic version of movie, the Steve Rogers character played by actor Chris Evans is quoted many times and is actually inscribed on the base of this statue, ‘I’m just a kid from Brooklyn’. Thus why when Marvel Entertainment, which is part of the Disney family since 2009, decided to have a bronze statue created for the 75 anniversary celebration, they chose a local Brooklyn artist to create it. Red Hook native David Cortes designed the 13 foot one ton Captain America statue in his 13st Studio in Gowanus. David currently continues to live in Brooklyn and was commissioned by Marvel Entertainment and Comicave Studios to make this celebratory commemorative statue. I went to the dedication at Prospect Park, and it was fun and interesting. The audience, a real mix, youngsters with Captain America masks and shields but many, many adults my age and older also donning the fictional hero’s garb. I actually met and spoke to older gentleman who had read the Captain America comic back in the 1940’s, really amazed at how popular the character still was.
Image captured with an Olympus E-5 using Olympus Zuiko Digital ED 12-60mm F2.8-4.0 SWD lens, HDR of 5 raw images processed using Photomatix Pro, cleaned up in Adobe Photoshop Lightroom.
台南市神農街 - 鐵花窗 / 華麗的造形 - 身份的表徵
Tainan Shen Nong street - Iron flower window / Gorgeous shape - Characterization of identity
Calle de Tainan Shen Nong - Flor de hierro ventana / Hermosa forma - Caracterización de la identidad.
台南市の神農の街 - 鉄の派手な窓 / 華麗なのは形をつくります - 身分の外面に現れたしるし
Straße Tainan-Shen Nong - Eisenblumenfenster / Wunderschöne Form - Charakterisierung der Identität
Rue de Tainan Shen Nong - Fenêtre fleur en fer / Forme magnifique - Caractérisation de l'identité
Tainan Taiwan / Tainan Taiwán / 台灣台南
管樂小集 2017/08/06 安平古堡 Fort Zeelandia performances 1080P
{ 明天是否依然愛我 Will still love me tomorrow 明日依然として私が好きかどうか }
{View large size on fluidr/觀看大圖}
{My Blog / 管樂小集精彩演出-觸動你的心}
{My Blog / Great Music The splendid performance touches your heart}
{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}
{Mi blog / La gran música el funcionamiento espléndido toca su corazón}
{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}
{Mon blog / La grande musique l'exécution splendide touche votre coeur}
Melody 曲:JAPAN / Words 詞:Sheesen / Singing : Sheesen
{ 夢旅人 1990 Dream Traveler 1990 }
家住安南鹽溪邊
The family lives in nearby the Annan salt river
隔壁就是聽雨軒
The next door listens to the rain porch
一旦落日照大員
The sunset Shineing to the Taiwan at once
左岸青龍飛九天
The left bank white dragon flying in the sky
Brooding teens; an interplanetary annoyance
One of the little guys I've made over the summer, an experiment with characterization and shaping
As always, criticism is welcome
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Photographed at Algonquin Provincial Park, Ontario, Canada
between 01.24 and 01.45 EDT
(285 km by road north of Toronto)
* Altitude of M16 at time of exposures: ~30°
* Temperature 5° C.
* Total exposure time: 10 minutes
* 660 mm focal length telescope
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Description:
This is another favourite target of amateur astronomers with modest telescopes. The human eye can detect only black, white and various shades of grey when observing most celestial objects in the sky, but the digital camera sensor records the colours that are actually present.
From Wikipedia:
"The Eagle Nebula (catalogued as Messier 16 or M16, and as NGC 6611, and also known as the Star Queen Nebula and The Spire) is a young open cluster of stars in the constellation Serpens, discovered by Jean-Philippe de Chéseaux in 1745–46. Both the "Eagle" and the "Star Queen" refer to visual impressions of the dark silhouette near the center of the nebula, an area made famous as the "Pillars of Creation" photographed by the Hubble Space Telescope. The nebula contains several active star-forming gas and dust regions, including the Pillars of Creation.
The Eagle Nebula is part of a diffuse emission nebula, or H II region, which is catalogued as IC 4703. This region of active current star formation is about 7000 light-years distant. A spire of gas that can be seen coming off the nebula in the northeastern part is approximately 9.5 light-years or about 90 trillion kilometers long.
The cluster associated with the nebula has approximately 8100 stars, which are mostly concentrated in a gap in the molecular cloud to the north-west of the Pillars. The brightest star (HD 168076) has an apparent magnitude of +8.24, easily visible with good binoculars. It is actually a binary star formed of an O3.5V star plus an O7.5V companion.[6] This star has a mass of roughly 80 solar masses, and a luminosity up to 1 million times that of the Sun. The cluster's age has been estimated to be 1–2 million years.
The descriptive names reflect impressions of the shape of the central pillar rising from the southeast into the central luminous area. The name "Star Queen Nebula" was introduced by Robert Burnham, Jr., reflecting his characterization of the central pillar as the Star Queen shown in silhouette."
For a version of this photo WITH LABELS, click on the RIGHT side of your screen, or click here:
www.flickr.com/photos/97587627@N06/50013932911
To see a wider angle view this star cluster and nebula and other adjacent ones, photographed in Australia in Sept. 2019, click here:
www.flickr.com/photos/97587627@N06/49183970671
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Nikon D810a camera body on Tele Vue 127is (127 mm - 5" - diameter) apochromatic astrograph, mounted on Astrophysics 1100GTO equatorial mount
Ten stacked frames; each frame:
660 mm focal length
ISO 3200; 1 minute exposure at f/5.2; unguided
Subframes stacked in RegiStar;
Processed in Photoshop CS6 (levels, colour balance, sharpening)
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Leonidas Frank "Lon" Chaney (1883-1930) was an American actor and makeup artist. He is regarded as one of the most versatile and powerful actors of cinema, renowned for his characterizations of tortured, often grotesque and afflicted, characters and for his groundbreaking artistry with makeup. Wikipedia