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Founded in 1906, Mesa Verde National Park was created to conserve and protect the Ancestral Puebloan archaeological sites and cliff dwellings within the present-day park on the sides and top of a large tree-covered cuesta, known as Mesa Verde, that rises approximately 1,500 feet (785 meters) above the surrounding canyons and valleys, with rugged canyons cutting through the cuesta, lined with sandstone cliffs and ledges.
The area was inhabited by indigenous people for thousands of years prior to the rise of the Ancestral Puebloan culture, whom developed villages and farmsteads within what is today Mesa Verde National Park beginning around the year 750, with the structures built by the Ancestral Puebloans growing in complexity and durability, especially due to contact with the nearby culture centered around Chaco Canyon. The famous cliff dwellings for which the area is famous, however, were built between approximately 1020 and 1260, especially after a major drought in the region between 1130 and 1180, which led to a major migration of people from Chaco Canyon to Mesa Verde. The people of Chaco Canyon brought their culture, construction techniques, and goods with them, which is evident at archaeological sites on the cuesta.
The area began to depopulate between 1260 and 1285 due to environmental conditions becoming less favorable, with the people of Mesa Verde moving to the lowlands of what is today New Mexico and Arizona, with many founding or joining Pueblo settlements in these regions that still exist today. The stone houses were left to the elements, and were left uninhabited, only remembered by the descendants of the Ancestral Puebloans and the other indigenous groups who called the area home, most notably the Utes.
The ancient ruins were discovered by European-Americans in 1873, and were documented between 1875 and 1888, with various cliff dwellings and archaeological sites being relatively well-preserved and recognizable to explorers, archaeologists, and scientists whom visited the modern-day park. However, the removal of artifacts from the cuesta became a major concern, and efforts began in 1889 to protect the area as a National Park.
The park covers an area of 82 square miles (212 square kilometers), and features multiple Ancestral Puebloan and other indigenous archaeological sites, and was taken from the Ute people, with land being taken from the Utes after the establishment of the park to expand its borders. The park long struggled with proper interpretation and inclusion of the voices of the Puebloan people, whose ancestors built the ancient dwellings and lived at what are today archaeological sites, with work presently ongoing to redress these issues.
The ruins at the park underwent reconstitution and stabilization between 1908 and 1922, with extensive work being done on Spruce Tree House, Cliff Palace, and Sun Temple. Further work was carried out by the New Deal-era Civilian Conservation Corps starting in 1932 and extending through World War II, which included the construction of various park facilities for visitors and staff, and constructing roads atop the cuesta. The Wetherill Mesa ruins, meanwhile, were stabilized with work being carried out between 1958 and 1965, coinciding with the construction of the Far View accommodations atop the cuesta to the east.
The park today features a modern entrance road from US Highway 160, which climbs up the rugged slopes at the north end of the park to the top of the cuesta, stretching across the top of the cuesta to the south, where it connects to various roads that allow visitors to access the overlooks and trails for various cliff dwellings and archaeological sites on Chapin Mesa and Wetherill Mesa. Two areas of tourist accommodation also exist at Far View in the northern section of the park, and the administrative district at Spruce Tree Point at the southern end of the park.
The park was listed on the National Register of Historic Places in 1966, and was designated a UNESCO World Heritage Site in 1978. Today, the park sees over half a million visitors annually, and continues to preserve and maintain the ancient structures built by the Ancestral Puebloans.
Coquerel's Sifaka lemurs are tree-dwellers with incredible leaping capabilities of over 30 feet. They're named for their unique alarm call, "si-fak, si-fak, si-fak," and live in Madagascar's dry, deciduous forests in the northwest of the island. They tend to live in smaller groups of three to six, unlike the ring-tailed lemurs. Photo: Alana Range
Podcast @ www.nyas.org/snc/podcasts.asp
One of the biggest benefits in BIM is realized in 3D Construction Coordination. Conserve brings in their competence in finding interference between building systems and eliminating them before construction begins. For more details visit @ www.conservesolution.com/what-we-do/bim-modeling/
コムメリナ・エレクタ
Commelina erecta L., 1753
This species is accepted.
Confirmation Date: 08/09, 2023.
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Family: Commelinaceae (APG IV)
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Author:
Carl von Linnaeus (1707-1778)
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Publication:
Species Plantarum
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Collation:
1: 41
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Date of Publication:
1 May 1753
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Annotation:
nom. & typ. cons. prop.
Type-Protolog
Locality:Habitat in Virginia
Type Specimens:
CTP: Herb. Dillenius 63 (OXF-Dill. HE_77-88)
Type discussion:Hassemer, G., D. Iamonico & L. A. Funez. 2018. (2631) Proposal to conserve the name Commelina erecta (Commelinaceae) with a conserved type. Taxon 67(4): 810.
LT: Dillenius, Hort. Eltham. t. 77, f. 88 (1732); ; LT designated by Clarke, Monogr. Phan. 3: ? (1881)
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The native range of this species is America, Tropical & S. Africa, Arabian Peninsula. It is a perennial or tuberous geophyte and grows primarily in the seasonally dry tropical biome. It is has environmental uses and social uses, as animal food and a medicine and for food.
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Distribution:America, Trop. & S. Africa, Arabian Pen.
(12) spa 21 CVI 22 BEN BKN GAM GHA GNB GUI IVO LBR MLI NGA NGR SEN SIE TOG 23 BUR CAF CMN CON GGI RWA ZAI 24 CHA ETH SOM SUD 25 KEN TAN UGA 26 ANG MLW MOZ ZIM 27 BOT CPP NAM NAT OFS SWZ TVL (34) pal 35 SAU YEM (38) jap (40) ban 73 COL WYO 74 ILL IOW KAN MIN MSO NEB OKL SDA WIS 75 INI MIC NWJ NWY PEN RHO WVA 76 ARI 77 NWM TEX 78 ALA ARK DEL FLA GEO KTY LOU MRY MSI NCA SCA TEN VRG WDC 79 MXC MXE MXG MXN MXS MXT 80 BLZ COS ELS GUA HON NIC PAN 81 ARU BAH BER CAY CUB DOM HAI JAM LEE NLA PUE SWC TCI TRT VNA WIN 82 FRG GUY SUR VEN 83 BOL CLM ECU PER 84 BZC BZE BZL BZN BZS 85 AGE AGW clc PAR URU
Lifeform:Hemicr. or tuber geophyte
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Distribution Native to:
Alabama, Angola, Argentina Northeast, Argentina Northwest, Arizona, Arkansas, Aruba, Bahamas, Belize, Benin, Bermuda, Bolivia, Botswana, Brazil North, Brazil Northeast, Brazil South, Brazil Southeast, Brazil West-Central, Burkina, Burundi, Cameroon, Cape Provinces, Cape Verde, Cayman Is., Central African Repu, Chad, Colombia, Colorado, Congo, Costa Rica, Cuba, Delaware, District of Columbia, Dominican Republic, Ecuador, El Salvador, Ethiopia, Florida, Free State, French Guiana, Gambia, Georgia, Ghana, Guatemala, Guinea, Guinea-Bissau, Gulf of Guinea Is., Guyana, Haiti, Honduras, Illinois, Indiana, Iowa, Ivory Coast, Jamaica, Kansas, Kentucky, Kenya, KwaZulu-Natal, Leeward Is., Liberia, Louisiana, Malawi, Mali, Maryland, Mexico Central, Mexico Gulf, Mexico Northeast, Mexico Northwest, Mexico Southeast, Mexico Southwest, Michigan, Minnesota, Mississippi, Missouri, Mozambique, Namibia, Nebraska, Netherlands Antilles, New Jersey, New Mexico, New York, Nicaragua, Niger, Nigeria, North Carolina, Northern Provinces, Oklahoma, Panamá, Paraguay, Pennsylvania, Peru, Puerto Rico, Rhode I., Rwanda, Saudi Arabia, Senegal, Sierra Leone, Somalia, South Carolina, South Dakota, Southwest Caribbean, Sudan, Suriname, Swaziland, Tanzania, Tennessee, Texas, Togo, Trinidad-Tobago, Turks-Caicos Is., Uganda, Uruguay, Venezuela, Venezuelan Antilles, Virginia, West Virginia, Windward Is., Wisconsin, Wyoming, Yemen, Zaïre, Zimbabwe
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Introduced into:
Bangladesh, Chile Central, Japan, Palestine, Spain
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Homotypic Names:
Commelina erecta L. var. typica Fernald, Rhodora 42: 438 (1940), not validly publ.
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Publications:
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POWO follows these authorities in accepting this name:
Acevedo-Rodríguez, P. & Strong, M.T. (2005). Monocotyledons and Gymnosperms of Puerto Rico and the Virgin Islands. Contributions from the United States National Herbarium 52: 1-415.
Akoègninou, A., van der Burg, W.J. & van der Maesen, L.J.G. (eds.) (2006). Flore Analytique du Bénin: 1-1034. Backhuys Publishers.
Brunel, J.F., Hiepo, P. & Scholz, H. (eds.) (1984). Flore Analytique du Togo Phanérogames: 1-751. GTZ, Eschborn.
Faden, R. (2012). Commelinaceae. Flora of Tropical East Africa: 1-244.
Figueiredo, E. & Smith, G.F. (2008). Plants of Angola. Strelitzia 22: 1-279. National Botanical Institute, Pretoria.
Gosline, G., Bidault, E., van der Burgt, X., Cahen, D., Challen, G., Condé, N., Couch, C., Couvreur, T.L.P., Dagallier, L.M.J., Darbyshire, I., Dawson, S., Doré, T.S., Goyder, D., Grall, A., Haba, P., Haba, P., Harris, D., Hind, D.J.N., Jongkind, C. & a (2023). A Taxonomically-verified and Vouchered Checklist of the Vascular Plants of the Republic of Guinea. Nature, scientific data 10, Article number: 327: [1]-[12].
Govaerts, R. (1999). World Checklist of Seed Plants 3(1, 2a & 2b): 1-1532. MIM, Deurne.
Hassemer, G. (2018). Taxonomic and geographic notes on the neotropical Commelina (Commelinaceae). Webbia; Raccolta de Scritti Botanici 73: 23-53.
Hokche, O., Berry, P.E. & Huber, O. (eds.) (2008). Nuevo Catálogo de la Flora Vascular de Venezuela: 1-859. Fundación Instituto Botánico de Venezuela.
Idárraga-Piedrahita, A., Ortiz, R.D.C., Callejas Posada, R. & Merello, M. (eds.) (2011). Flora de Antioquia: Catálogo de las Plantas Vasculares 2: 1-939. Universidad de Antioquia, Medellín.
Jones, M. (1991). A checklist of Gambian plants: 1-33. Michael Jones, The Gambia College.
Knapp, W.M. & Naczi, R.F.C. (2021). Vascular plants of Maryland, USA. A comprehensive account of the state's botanical diversity. Smithsonian Contributions to Botany 113: 1-151.
López-Ferrari, A.R., Espejo-Serna, A. & Ceja-Romero, J. (2014). Flora de Veracruz 161: 1-127. Instituto Nacional de Investigaciones sobre Recursos Bióticos, Xalapa, Veracruz.
Nelson Sutherland, C.H. (2008). Catálogo de las plantes vasculares de Honduras. Espermatofitas: 1-1576. SERNA/Guaymuras, Tegucigalpa, Honduras.
Powell, A.M. & Worthington, R.D. (2018). Flowering plants of Trans-Pecos Texas and adjacent areas: 1-1444. BRIT Press.
Sarder, N.U. & Hassan, M.A. (eds.) (2018). Vascular flora of Chittagong and the Chittagong Hill Tracts 1: 1-897. Bangladesh National Herbarium, Dhaka.
Sita, P. & Moutsambote, J.-M. (2005). Catalogue des plantes vasculaires du Congo, ed. sept. 2005: 1-158. ORSTOM, Centre de Brazzaville.
Velayos, M., Aedo, C., Cabezas, F., de la Estrella, M., Barberá, P. & Fero, M. (eds.) (2014). Flora de Guinea Ecuatorial 11: 1-416. Consejo superior de investigaciones científicas, Real jardín botánico, Madrid.
Walderley, M.G.L., Shepherd, G.J., Melhem, T.S. & Giulietti, A.M. (eds.) (2005). Flora Fanerogâmica do Estado de São Paulo 4: 1-392. Instituto de Botânica, São Paulo.
de Moura Júnior, E.G. & al. (2015). Updated checklist of aquatic macrophytes from Northern Brazil. Acta Amazonica 45: 111-132.
von Raab-Straube, E. & Raus, T. (eds.) (2015). Euro+Med-Checklist notulae, 4. Willdenowia 45: 119-129.
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Catálogo de Plantas y Líquenes de Colombia:
Bernal, R., Gradstein, S.R. & Celis, M. (eds.). 2015. Catálogo de plantas y líquenes de Colombia. Instituto de Ciencias Naturales, Universidad Nacional de Colombia, Bogotá. catalogoplantasdecolombia.unal.edu.co
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Flora of West Tropical Africa:
Fernald in Rnodora 42: 436-441 (1940)
J. K. Morton in J. Linn. Soc. 60: 183 (1967).
Sp. Pl. 41 (1753)
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Kew Backbone Distributions:
Acevedo-Rodríguez, P. & Strong, M.T. (2012). Catalogue of seed plants of the West Indies. Smithsonian Contributions to Botany 98: 1-1192.
Boudet, G., Lebrun, J.P. & Demange, R. (1986). Catalogue des plantes vasculaires du Mali: 1-465. Etudes d'Elevage et de Médecine Vétérinaire des Pays Tropicaux.
Brunel, J.F., Hiepo, P. & Scholz, H. (eds.) (1984). Flore Analytique du Togo Phanérogames: 1-751. GTZ, Eschborn.
Faden, R. (2012). Commelinaceae. Flora of Tropical East Africa: 1-244.
Gonzalez, F., Nelson Diaz, J. & Lowry, P. (1995). Flora Illustrada de San Andrés y Providencia: 1-281. Universidad Nacional de Colombia, Instituto de Ciencias Naturales, Colombia.
Hokche, O., Berry, P.E. & Huber, O. (eds.) (2008). Nuevo Catálogo de la Flora Vascular de Venezuela: 1-859. Fundación Instituto Botánico de Venezuela.
Jones, M. (1991). A checklist of Gambian plants: 1-33. Michael Jones, The Gambia College.
Sarder, N.U. & Hassan, M.A. (eds.) (2018). Vascular flora of Chittagong and the Chittagong Hill Tracts 1: 1-897. Bangladesh National Herbarium, Dhaka.
Sita, P. & Moutsambote, J.-M. (2005). Catalogue des plantes vasculaires du Congo, ed. sept. 2005: 1-158. ORSTOM, Centre de Brazzaville.
de Moura Júnior, E.G. & al. (2015). Updated checklist of aquatic macrophytes from Northern Brazil. Acta Amazonica 45: 111-132.
von Raab-Straube, E. & Raus, T. (eds.) (2015). Euro+Med-Checklist notulae, 4. Willdenowia 45: 119-129.
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Flora of Somalia:
Flora Somalia, Vol 4, (1995) Author: by R. B. Faden [updated by M. Thulin 2008]
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Useful Plants and Fungi of Colombia:
Bernal, R., Gradstein, S.R., & Celis, M. (eds.). (2020). Catálogo de Plantas y Líquenes de Colombia. v1.1. Universidad Nacional de Colombia. Dataset/Checklist. doi.org/10.15472/7avdhn
Burkill HM. (1995). The useful plants of west tropical Africa, Vols. 1-3. The useful plants of west tropical Africa, Vols 1-3.
Diazgranados et al. (2021). Catalogue of plants of Colombia. Useful Plants and Fungi of Colombia project. In prep.
Diazgranados, M., Allkin, B., Black N., Cámara-Leret, R., Canteiro C., Carretero J., Eastwood R., Hargreaves S., Hudson A., Milliken W., Nesbitt, M., Ondo, I., Patmore, K., Pironon, S., Turner, R., Ulian, T. (2020). World Checklist of Useful Plant Species. Produced by the Royal Botanic Gardens, Kew. Knowledge Network for Biocomplexity.
FPI (2021). Food Plants International. fms.cmsvr.com/fmi/webd/Food_Plants_World?homeurl=https://...
GBIF.org (2021). GBIF species matching tool. www.gbif.org/tools/species-lookup
GRIN (2021). Germplasm Resources Information Network from the United States Department of Agriculture. www.ars-grin.gov
IUCN (2021). The IUCN Red List of Threatened Species. Version 2021-2. www.iucnredlist.org.
Instituto de Investigación de Recursos Biológicos Alexander von Humbodlt (2014). Plantas alimenticias y medicinales nativas de Colombia. 2567 registros, aportados por: Castellanos, C. (Contacto del recurso), Valderrama, N. (Creador del recurso, Autor), Bernal, Y. (Autor), García, N. (Autor). i2d.humboldt.org.co/ceiba/resource.do?r=ls_colombia_magno...
Instituto de Investigación de Recursos Biológicos Alexander von Humboldt (2015). Listado de especies de Productos No Maderables del caribe colombiano. 366 registros, aportados por: Garcia, H. (Contacto del Recurso), López Camacho, R. (Creador del recurso), Espitia Palencia, L. (Proveedor del metadatos). Versión 2.0. i2d.humboldt.org.co/ceiba/resource.do?r=le_bst-caribe_pla...
Instituto de Investigación de Recursos Biológicos Alexander von Humboldt (2019). Lista de especies vedadas por la resolución 213 de 1977. 8256 especies. i2d.humboldt.org.co/ceiba/resource.do?r=le_plantasprioriz...
Instituto de Investigación de Recursos Biológicos Alexander von Humboldt. (2014). Plantas alimenticias y medicinales nativas de Colombia. 2567 registros, aportados por: Castellanos, C. (Contacto del recurso), Valderrama, N. (Creador del recurso, Autor), Bernal, Y. (Autor), García, N. (Autor). i2d.humboldt.org.co/ceiba/resource.do?r=ls_colombia_magno...
Medicinal Plant Names Services (MPNS) v.10 (2021); mpns.kew.org
PROTA (2021). Plants Resources of Tropical Africa. prota4u.org/database
Plants for malaria, plants for fever: Medicinal species in Latin America, a bibliographic survey: Royal Botanic Gardens, Kew.
Ulian, T., Sacandé, M., Hudson, A., & Mattana, E. (2017). Conservation of indigenous plants to support community livelihoods: the MGU–Useful Plants Project. Journal of Environmental Planning and Management 60:668-683.
Willis, K.J. (ed.) (2017). State of the World’s Plants 2017. Report. Royal Botanic Gardens, Kew.
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This name is Accepted by:
Brunel, J.F., Hiepo, P. & Scholz, H. (eds.) (1984). Flore Analytique du Togo Phanérogames: 1-751. GTZ, Eschborn.
Jones, M. (1991). A checklist of Gambian plants: 1-33. Michael Jones, The Gambia College.
Govaerts, R. (1999). World Checklist of Seed Plants 3(1, 2a & 2b): 1-1532. MIM, Deurne.
Sita, P. & Moutsambote, J.-M. (2005). Catalogue des plantes vasculaires du Congo , ed. sept. 2005: 1-158. ORSTOM, Centre de Brazzaville.
Walderley, M.G.L., Shepherd, G.J., Melhem, T.S. & Giulietti, A.M. (eds.) (2005). Flora Fanerogâmica do Estado de São Paulo 4: 1-392. Instituto de Botânica, São Paulo.
Acevedo-Rodríguez, P. & Strong, M.T. (2005). Monocotyledons and Gymnosperms of Puerto Rico and the Virgin Islands. Contributions from the United States National Herbarium 52: 1-415.
Akoègninou, A., van der Burg, W.J. & van der Maesen, L.J.G. (eds.) (2006). Flore Analytique du Bénin: 1-1034. Backhuys Publishers.
Nelson Sutherland, C.H. (2008). Catálogo de las plantes vasculares de Honduras. Espermatofitas: 1-1576. SERNA/Guaymuras, Tegucigalpa, Honduras.
Hokche, O., Berry, P.E. & Huber, O. (eds.) (2008). Nuevo Catálogo de la Flora Vascular de Venezuela: 1-859. Fundación Instituto Botánico de Venezuela.
Figueiredo, E. & Smith, G.F. (2008). Plants of Angola. Strelitzia 22: 1-279. National Botanical Institute, Pretoria.
Idárraga-Piedrahita, A., Ortiz, R.D.C., Callejas Posada, R. & Merello, M. (eds.) (2011). Flora de Antioquia: Catálogo de las Plantas Vasculares 2: 1-939. Universidad de Antioquia, Medellín.
Faden, R. (2012). Commelinaceae. Flora of Tropical East Africa: 1-244.
López-Ferrari, A.R., Espejo-Serna, A. & Ceja-Romero, J. (2014). Flora de Veracruz 161: 1-127. Instituto Nacional de Investigaciones sobre Recursos Bióticos, Xalapa, Veracruz.
Velayos, M., Aedo, C., Cabezas, F., de la Estrella, M., Barberá, P. & Fero, M. (eds.) (2014). Flora de Guinea Ecuatorial 11: 1-416. Consejo superior de investigaciones científicas, Real jardín botánico, Madrid.
von Raab-Straube, E. & Raus, T. (eds.) (2015). Euro+Med-Checklist notulae, 4. Willdenowia 45: 119-129.
de Moura Júnior, E.G. & al. (2015). Updated checklist of aquatic macrophytes from Northern Brazil. Acta Amazonica 45: 111-132.
Sarder, N.U. & Hassan, M.A. (eds.) (2018). Vascular flora of Chittagong and the Chittagong Hill Tracts 1: 1-897. Bangladesh National Herbarium, Dhaka.
Hassemer, G. (2018). Taxonomic and geographic notes on the neotropical Commelina (Commelinaceae). Webbia; Raccolta de Scritti Botanici 73: 23-53.
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SONY α7R (ILCE-7R)
Carl Zeiss S-Planar T＊100mm F4 Bellows Makro Lens
S-Planar is Sonder-Planar. in English is Special-Planar
(Bellows Macro Lens)
Tilt-Shift Photography
CONTAX Delux Tilt-Shift Photography Bellows used.
Title taken from photograph. Caption on image: A forest Glade--Nature's Opportunity for Storing up Snow against the Summer. Fig. 16. 21-Effect of timber in conserving snow. It has been found that openings in the timber protected by young gowth of medium height give optimum results. From the James E. Church Collection; photographic print 5 x 7 inches
UNRS-P2004-18-98
More information available at: contentdm.library.unr.edu/cdm4/item_viewer.php?CISOROOT=/...
Natural Card CD Case for Beat Based Conserve, run of 50, all handmade.
For more information check out www.acdsleeve.com
Lucignano represents a remarkably conserved medieval walled hill-top village, elliptical in shape. It was strategically located between Siena and Arezzo, and between 1200 and 1500 was disputed between these cities and Florenceand Perugia. The name Lucignano probably derives from the Roman family of the consul Licinio. Once the town came under the rule of Florence, construction began of the fortress, attributed to Bernardo Puccini. en.wikipedia.org/wiki/Lucignano
Natural Card CD Case for Beat Based Conserve, run of 50, all handmade.
For more information check out www.acdsleeve.com
Laquelle conserver, couleur ou N&B ???
Which conserve, color or B & W?
All pictures in my photostream are
Copyright © 2008 Errol Doucet. All
rights reserved.
They may not be used or reproduced in any way without my permission. If you'd
like to use one for any reason, please contact me.
Toutes les photos dans mon
photostream sont Copyright © 2008 Errol Doucet.
Tous droits réservés.
Elles ne peuvent pas être utilisé ou reproduites de quelque manière que ce soit
sans ma permission. Si vous souhaitez en utiliser une pour une raison
quelconque, s’il vous plaît contactez-moi.
(Texte emprunté à Anik Messier.
www.flickr.com/photos/missus_magik/
Merci.)
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Cool Globe - "Conserve Water" by Mirjana Ugrinov.
www.coolglobes.org/globe.htm?page=ajaxfiles/globe_34.htm
"What warms the globe as it runs down the drain? The 350 gallons of water that an average American family uses every day. Power plants emitting greenhouse gases go to work every time someone turns on the tap, using electricity to extract, transport, purify, and distribute water. Heating water creates even more globe-warming pollution, with up to 25 percent of a home's energy used to fuel its hot water heater.
To illustrate the importance of water conservation, Mirjana Ugrinov installed a variety of nickel-plated, brass water-saving faucets and handles around her globe. While the fixtures function as decorative elements, their real purpose is to make the viewer think of their own simple ways to conserve, like choosing narrow nozzles. Ugrinov clustered handles over regions that use the most hot and purified water to convey that every drop counts."
The Linderöd pig is the only conserved native pig breed existing in Sweden. Until the 18th century this old pig breed was predominant in Sweden. During that century the breed became almost completely extinct and was replaced by imported pig breeds.
La Cité interdite (Chinois : 故宫; pinyin : gùgōng) est le palais impérial au sein de la Cité impériale de Pékin dont la construction fut ordonnée par Yongle, troisième empereur Ming, et réalisée entre 1407 et 1420. Ce palais, d'une envergure inégalée — il s'étend sur une superficie de 72 ha — fait partie des palais les plus anciens et les mieux conservés de Chine. De nos jours, il est devenu un musée qui conserve les trésors impériaux de la civilisation chinoise ancienne.
Ce site monumental a plusieurs dénominations :
Son nom complet est la « Cité pourpre interdite » (traduction du chinois Zǐjìn Chéng, 紫禁城), en référence à l'étoile nommée Zǐwēi Xīng (紫微星, la petite étoile violette) dans l'astronomie chinoise, c'est-à-dire l'étoile polaire de l'astronomie occidentale. En effet, comme le palais impérial se trouve au centre de Pékin et représentait le centre administratif de l'État, on lui donna un nom évoquant l'étoile qui est au centre de la rotation du firmament céleste.
Le nom le plus courant est « Cité interdite », qui vient du fait qu'en tant que résidence des empereurs chinois, de leurs familles et de ceux qui étaient à leur service, son accès était interdit au peuple.
En Chine actuellement, ce site est le plus souvent appelé Gùgōng (故宫), ce qui signifie « l'ancien palais ».
Le musée qui est actuellement abrité dans ces murs est appelé « Musée du Palais ».
Description
Depuis le début du quinzième siècle, le cœur de Pékin se trouve autour de la Cité interdite, aussi appelée Palais impérial des Ming et des Qing. Il s'agit du plus vaste complexe architectural de Chine : une véritable ville dans la Cité impériale, dans laquelle l'Empereur de Chine et son entourage étaient quasiment assignés à résidence, ne sortant de l'enceinte que dans de très rares occasions.
Elle couvre 72 ha dont 50 ha de jardins, qui s'étendent sur 960 m de long du nord au sud, et de 750 m de large d'est en l'ouest, entourée d'une muraille de 10 m de haut, elle-même cernée d'une douve large de 52 mètres.
La cité compte selon la légende, 9 999 pièces (en réalité, 8704, d'après une enquête menée en 1973). Le chiffre de 9 999, s'explique par le fait que selon la traditon, seules leurs divinités avaient le droit de construire un palais comprenant 10 000 pièces. Les hommes, de ce fait, essayaient ainsi de se rapprocher aussi près que possible de leur idéal de perfection. Le nombre 10 000 représente symboliquement « une infinité dénombrable » en Chine.
La construction de la Cité interdite a duré 14 ans et plus d'un million d'ouvriers réduits à l'esclavage y auraient travaillé. Entre 1420 et 1911, un total de 24 empereurs y ont résidé. Avant 1924, année où elle a été ouverte au public, personne d'autre que l'empereur et sa cour n'avait le droit de s'en approcher ni même de la regarder. Aujourd'hui, la Cité interdite est l'un des sites les plus visités en Chine.
L’architecture a divisé la Cité Interdite en deux parties :
La Cour extérieure (partie sud), constituait la partie officielle de la cité, où le souverain recevait ses ministres et présidait les grandes cérémonies officielles. Elle abrite notamment : la salle de l’Harmonie Suprême (Taihe), la salle de l’Harmonie Parfaite (Zhonghe) et la Salle de l’Harmonie Préservée (Baohe), ainsi que les bâtiments latéraux principaux, dont la salle de la Gloire Littéraire (Wenhua) et la Salle des Prouesses Militaires (Wuying).
Elle est parcourue d'ouest en est par une rivière artificielle dénommée Jinshui He (c'est-à-dire : la « Rivière aux Eaux d'Or ») provennant d'une dérivation des douves et servant aussi bien de décoration que de réservoir d'eau en cas d'incendie. Son rôle à également pour but de servir de dernier rempart symbolique protégeant la Salle de l'Harmonie Suprême.
La cour intérieure (partie nord), formait la partie privée, et servait donc aussi bien de cabinet de travail pour l’empereur, que d’appartements à la famille impériale et aux concubines. Elle comprend surtout le palais de la Pureté Céleste (Qianqing), la salle de l’Union (Jiaotai) et le palais de la Tranquillité Terrestre (Kunning), qui sont entourés respectivement par les « six Palais de l’Est » et les « Six Palais de l’Ouest ».
Construction (1406-1420) :
Le lieu où se trouve la cité interdite faisait partie de la cité impériale mongole Khanbalik depuis la dynastie Yuan. Quand la dynastie Ming lui succéda, Hongwu le premier empereur transféra la capitale à Nankin, en 1369, et ordonna que le palais mongol soit rasé. Son fils Zhu Di fut nommé Prince de Yan, et s’établit à Pékin. Un palais princier fut construit dans cette ville. En 1402, Zhu Di renversa son neveu Jianwen et devint empereur sous le nom de Yongle. La capitale retourna à Pékin.
La construction de la Cité Interdite commença en 1406, sur les plans d'architectes en chef comme : Cai Xin et d'un eunuque annamite Ruan An, assistés des ingénieurs en chef que furent Kuai Xiang et Lu Xiang. Les travaux durèrent 14 années en mobilisant environ 200 000 ouvriers. L’axe principal du nouveau palais est tracé à l’est de l’ancien palais des Yuan, dans l’intention de « tuer » l’ancien emplacement à l’ouest, selon les principes feng shui. De même, la terre issue de l’excavation des douves a été amassée au nord du palais pour créer une colline artificielle, la colline du parc Jingshan (surnommée la Colline de Charbon), protégeant le palais de la mauvaise influence du nord.
The Thompson family sold easements on more than 4,400 acres of their centennial ranch in 2009. The Cross Lazy Two has played a vital role in Sublette County agriculture for more than 100 years. The conserved property anchors the Thompson’s cattle operation and provides: crucial habitat and migration routes for pronghorn, mule deer, moose and elk; important habitat for waterfowl, sage grouse and neotropical migrating songbirds; 10 miles of riparian habitat and aquatic systems along South Piney Creek, Middle Piney Creek and Beaver Creek; and ideal habitat for 61 of Wyoming’s Species of Greatest Conservation Need identified under the Wyoming Game and Fish Department’s Comprehensive Wildlife Conservation Strategy. The property also includes a portion of the Lander Cutoff to the Oregon Trail, used by as many as 500,000 pioneers to migrate west.
"Our family has run this ranch for more than 100 years,” said Tim Thompson. “Working with the Green River Valley Land Trust made sense financially and allows us to leave a legacy we can be proud of."
A variety of partners contributed to the project, including the Jonah Interagency Mitigation and Reclamation Office, Wyoming Wildlife and Natural Resource Trust, Doris Duke Charitable Foundation, The Nature Conservancy, Tom Thorne Sage Grouse Conservation Fund, Wyoming Community Foundation, Wyoming Game and Fish Commission, Upper Green River Sage Grouse Working Group, and Rocky Mountain Elk Foundation.
For the first black-and-white film with my new camera Pentax 17 (see below for the details about the camera), I loaded a special film given to me as a gift by « Ateliers de Marinette », Lyon, France. The film was spooled for 30-exposures (60 expected for the Pentax 17 that a half-frame camera) and is a bulk Ilford PanF Plus expire in 2005. The film is however well conserved and it could shot for the original 50 ISO sensitivity.
The Pentax 17 was equipped with an Anti-UV 40.5mm Hoya HMC filter. For the camera transportation, I used a small camera bag ThinkTank « Mirrorless Mover 5 » that was well protecting the camera from possibly damaging vibrations when using my bicycles.
The expositions were automatically metered by the camera system using the « P » program modes with, or without, flash. For very bright scenes the exposition was corrected by +0.3 to +1EV to compensate the biais induced (and reversely -0.3 to 0.7 EV for very dark scenes to objects).
Jardin Botanique de Lyon, April 17, 2025
Parc de la Tête d'Or
69006 Lyon
France.
After completion the film was processed according the Marinette advice in Adox Adonal developer at 1+25 dilution for 7min at 20°C.
Single-frame digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm at approximate reproduction ratio of 1:2. The diffuse light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.2) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.
About the camera :
Since last Christmas, it was on display in the middle of « reusable » cheap camera’s in the window of my local photography store. But this camera is not cheap and sold at 10-times the price of those « reusable » film camera’s. The Pentax 17 is a novel film camera released by Pentax (a brand belonging to Ricoh Imaging, Japan) in June 2024.
The history of « Pentax » name is still something worth to mention. After the WWII, in Dresden (that was heavily destroyed by the bombing of Feb. 13-15, 1945), Germany, The Zeiss Ikon company could not produce anymore the legendary original Contax (a high-reputation professional range-finder 35mm released in 30’s) camera that was taken by Russia and transferred to Kiev, Ukraine, in the USSR. However the brand name Contax survived and the German engineers designed something completely new within several years : the Contax S (S for « Spiegel mirror reflex ») that integrated a pentaprism for a full redressed reflex viewer observation. Zeiss Ikon Dresden registered to new trademarks derived from the words « Pentaprism » and « Contax » that were « Pentax » and « Pentacon ». If Pentacon became the new name of the company in Dresden, the trademark Pentax was bought by Asahi Optical Company in Japan, and became a formidable industrial and commercial success. Asahi Pentax, then Pentax alone, produced amazing quality camera’s including the legendary « Spotmatic » (a 35mm SLR) and stunning medium-format camera’s heavily used by professional photographers. Many of these camera’s of the past century are still operative and appreciated by film photography enthusiast’s.
Production of film camera’s vanished progressively in the mid 2000’s, as digital camera’s became of better quality and finally of generalized appliances in photography. The Pentax 17 was introduced to the market in June 2024, it was a big surprise for all the film photography lovers. Seeing a newly engineered brand-new film camera was a sort of renaissance of the film photography today of a growing interest worldwide.
The camera is a « half-frame » format on the traditional double-perforated 35mm film giving 17x24mm photograms. This format was not as popular as to classical 24x36mm (full-frame) format of most of the 35mm camera’s. However famous and quality half-frame camera’s were produced in the past including, the long series of Olympus Pen for example. Then, the Pentax 17 immediately attracted the attention of experimented film photographers and camera collectors, probably more than the officially targeted customers of the younger generations. Less than a year after, the future of the Pentax 17 and the film photography project of Pentax is questioned today. The chef-engineer who conducted the project in Ricoh company recently left and the marketing of Pentax 17 is now a question.
This finally decided me to buy an exemplary from my local shop and to discover this strange machine. The camera is of course guaranteed, even with a there-year extension after the camera registration on the Pentax website. The whole ergonomic is clearly derived from classical past 35mm camera’s with a fully mechanical film advance and rewind, a collimated Albada viewer, no digital display at all, only levers, barrels, crank and wheels… However inside is a automatic electronic exposure system with flash, the focusing is manual but the electronic mechanism moves the whole optical group with a micro motor.
The lens is a Cooke triplet 1:3.5 f=25mm equivalent to a 37mm of a 24x36mm format. The Cooke triplet is a photographic lens designed and patented in 1893 by Dennis Taylor who was employed as chief engineer by T. Cooke & Sons of York. It was the first lens system that allowed the elimination of most of the optical distortion or aberration at the outer edge of the image. It likely for this reason that the lens is unscripted curiously « Traditional » on the front lens ring… It is known that a Cooke triplet lens could give surprisingly good results with only three separated optical elements. The Cooke Triplet is still widely used in inexpensive cameras, including variations using aspheric elements, particularly in cell-phone cameras. The Cooke triplet consists of three separated lenses positioned at the finite distance. It is often considered that the triplet is one of the most important discoveries in the field of photographic objectives
The lens receives 40.5mm diameter thread filters that I use for my Zorki / Leningrad lenses Jupiter-8 2/50mm, Jupiter-11 4/135mm and Jupiter-12 2.8/35mm. The metal shade hood Minolta D42KA could mounted on the filter but I have to check is there is vignette induced.
The camera size is close to the original dimensions of a thread-mount Leica (called also the original Barnack Leica) which are, in a way, a sort of « Gold » size in the 35mm camera’s. I compared with my Zorki 1D year 1954 that is a straight reproduction of the Leica Iic. The upper deck of Pentax 17 is designed very clearly as a classical 35mm and we even find the original logo of Asahi Optical Company. The rewind crank is also a revival of past design seen on old Pentax SLR as my year-1971 Spotmatic SP in this seres of pictures.
The Pentax 17 is very light (about 300g) compared to those old ancestors that weight easily the double or the triple. It is then an effortless camera to carry. The Pentax 17 fits in the small ThinkTank bag (called « Mirorless Mover 5 ») that I recently bought to safely carry a film back of my Hasselblad or my Bronica 6X6 camera’s. In this tiny bag, the camera is protected for the element and vibrations due to cycling for instance.
Reference
analoguewonderland.co.uk/blogs/film-photography-blog/pent...
Key features and specifications
* Half-frame image capture (17 x 24mm)
* 37mm (equiv.) FOV F3.5 lens
* Zone focusing system with 6 zones
* Circular leaf shutter (F3.5-16)
* Built-in flash (6m/20ft at ISO100)
* Optical tunnel viewfinder with frame lines
* Exposure from 1/350 sec to 4 sec (+ Bulb)
* Supports films from ISO 50 to ISO 3200
Specifically the lens has:
1. HD coating, which maintains high performance of the lens, by using this PENTAX multi-coating. This also enables high contrast and high definition right to the edges.
2. SP coating (Super Protect) which helps to repel water and oil from the lens.
The fact that the focusing on the Pentax 17 is electronic i.e. the lens only moves when you half-press the shutter gives me faith that autofocus was already considered in the R&D stage.
My name is Mixie Wandera and I am 21 years old. I live with my parents and my siblings in Kisumu, Kenya. Everyday we encounter something that we wish we could do something about but we do not have the ability to do it.We live in an area called Kanyakwar B next to Mamboleo estate in Kisumu. Everyday when it rains, we encounter this;
This is water that flows from the hill after a night of heavy downpour. It not only flows in the residential area but also along the roadside.
All this water eventually flows into a specific point which is the Lake Basin quarry around the Kanyakwar area where people do mine for rocks and sand used for building.
You can see that there are people living inside the quarry who are actually using the water that recollects at specific points but this water eventually gets polluted and is rendered useless. This leads to wastage.
Instead of putting this water into waste, we can build drainage tunnels that leads to a particular point, in my case I suggest building a reservoir inside the quarry, where this water can help the inhabitants of the surrounding area.
TOGETHER, LETS HELP TO CONSERVE OUR NATURAL RESOURCE WHICH IS WATER!!!
(This photo was taken in KANYAKWAR B IN KISUMU, KENYA, by Mixie Wandera for the category Water; uploaded by the Connect4Climate team via c4cphotovideo@worldbank.org)
Focus sur les œuvres Musée Nationaux Récupération (MNR) conservées par le musée des Beaux-Arts de Bordeaux
Historique de ces œuvres spoliées :
Durant la Seconde Guerre mondiale, près de 100 000 biens appartenant principalement à des familles juives, des francs-maçons et des opposants au régime du IIIe Reich furent volés par l’Allemagne nazie. Adolf Hitler confia personnellement la mission de spoliation d’œuvres d’art ou Raubkunst à Otto Kümmel, conservateur des musées nationaux d’Allemagne. L’objectif premier fut de rapatrier toutes les œuvres d’art d’origine allemande créées depuis le XVIe siècle mais l’appétit du gain entraîna la confiscation de collections privées et publiques dans tous les pays annexés par le régime. Ce pillage systématique fut confié à l’ERR ou Einsatzstab Reichsleiter Rosenberg für die besetzten Gebiete ou l’état-major d’intervention du commandant du Reich Rosenberg pour les territoires occupés.
Le dictateur du régime national-socialiste souhaitait exposer les pièces maîtresses de l’art européen sur le sol allemand dans une perspective de réécriture de l’histoire de l’art conforme à l’idéologie nazie. Pour ce faire, un colossal musée fut prévu à Linz en Autriche, ville où Hitler passa une partie de son enfance. Les plans de ce vaste complexe architectural qui devait se nommer le Führermuseum prévoyaient d’accueillir plus de 4000 tableaux ! Les œuvres pillées non retenues pour le projet de Linz furent transférées dans d’autres collections de musées du régime promouvant déjà l’idéologie fasciste.
En France, en réponse à la profanation culturelle subie pendant l’Occupation, certaines pièces des collections nationales furent évacuées de Paris et cachées dans des domaines du Sud-Ouest du pays. Celles qui furent déjà saisies dans la capitale étaient entreposées par les S.S. dans les salles du Louvre mais l’espace devint rapidement trop étroit et le musée du Jeu de Paume, situé place de la Concorde, fut réquisitionné à son tour par le régime. C’était au sein de cette institution que travaillait alors l’attachée de conservation et résistante, Rose Valland qui fit secrètement un inventaire des collections, suivant la trace de ces œuvres volées et déportées en Allemagne. Son travail inestimable d’identification et de localisation permit de récupérer de nombreux objets d’art après la défaite du IIIe Reich.
Au lendemain de l’Armistice, les œuvres spoliées ainsi que celles acquises sur le marché de l’art entre 1939 et 1945, connues de l’Office des biens et intérêts privés et de la Commission de récupération artistique, furent en grande partie retrouvées. En 1949, sur les 61 233 objets renvoyés en France, plus de 45 441 furent restitués à leurs légitimes propriétaires ou héritiers directs. Toutefois, en dépit de cet important de travail de restitution, plus de 13000 biens ne furent jamais réclamés et furent vendus par l’État français. L’administration ne conserva que 2143 objets spoliés. Ceux-ci furent confiés aux Musées Nationaux, gestionnaires de ces collections et enregistrés dans les inventaires provisoires dits de récupération d’où le sigle MNR ou « Musées nationaux récupération » qui leur est attribué. Exposées dans différents musées de France, les œuvres répertoriées MNR peuvent être, à tout moment, demandées par les ayants-droits, descendants ou héritiers. Sur le plan juridique, défini par le décret du 30 septembre 1949, ces œuvres n’appartiennent pas à l’État qui n’en est que le détenteur provisoire.
Restoration of paintings, sculptures and art objects. Fine Art Conservation since 2002. In Wervik, hidden between the greenery, lies the studio where FrederikCnockaert restores artworks. It is a large building with plenty of light and space to freshen up, restore or conserve the various types of artworks he receives. Cnockaert learnt the trade at specialised schools and gained an impressive amount of work experience at importantmuseums in Flemish cities famous for their art. The most beautiful piece he has ever been allowed to restore was a painting by Theodoor van Loon, a contemporary of Rubens.Restoring artworks requires knowledge of all types of painting techniques and materials, and the experience to be able to repair the damage flawlessly. Frederik Cnockaert has both. At the Higher Institute for Fine Arts Saint-Luke's in Ghent, he got his degree in Monumental Fine Arts. He went on to receive a postgraduate in conservation and restoration of artefacts at the Royal Academy of Fine Arts, also in Ghent. At the Royal Academy of Fine Arts in Antwerp, he perfected his gold leaf techniques and mastered restoring polychromy on statues. With his studies, Cnockaert could have also become a fine arts painter. But it doesn't appeal to him, it isn't his calling. Restoring is. After his studies, he restored paintings for the Museum of Fine Arts and the Museum of Industrial Archaeology and Textiles (MIAT) in Ghent. He went on to work in museums in Antwerp and in Bruges, he was the conservator-restorer for several historical city museums, such as the Groenige Museum, the Gruuthuse Museum and many others, for eight years. The time was right In 2002, he established himself in Wervik as an independent restorer, with his company Kunst En Restauratie ATelier (Art and Restoration Studio), shortened to Kerat. “ All artwork deserves the same professional approach, no matter how famous.” ART experts You can see more on www.kerat.be www.art-restaurateur.fr When questions, contact us..
My name is Mixie Wandera and I am 21 years old. I live with my parents and my siblings in Kisumu, Kenya. Everyday we encounter something that we wish we could do something about but we do not have the ability to do it.We live in an area called Kanyakwar B next to Mamboleo estate in Kisumu. Everyday when it rains, we encounter this;
This is water that flows from the hill after a night of heavy downpour. It not only flows in the residential area but also along the roadside.
All this water eventually flows into a specific point which is the Lake Basin quarry around the Kanyakwar area where people do mine for rocks and sand used for building.
You can see that there are people living inside the quarry who are actually using the water that recollects at specific points but this water eventually gets polluted and is rendered useless. This leads to wastage.
Instead of putting this water into waste, we can build drainage tunnels that leads to a particular point, in my case I suggest building a reservoir inside the quarry, where this water can help the inhabitants of the surrounding area.
TOGETHER, LETS HELP TO CONSERVE OUR NATURAL RESOURCE WHICH IS WATER!!!
(This photo was taken in KANYAKWAR B IN KISUMU, KENYA, by Mixie Wandera for the category Water; uploaded by the Connect4Climate team via c4cphotovideo@worldbank.org)