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The Frank Sinatra Starkey Hearing Technologies Celebrity Invitational is dedicated to the memory and music of Frank Sinatra and benefits the Barbara Sinatra Center for Abused Children. The Frank Sinatra Starkey Hearing Technologies Celebrity Invitational enjoys a rich history as one of the marquee golf and fundraising events in the Palm Springs, California desert. Each year, celebrities, amateur contestants, loyal sponsors and enthusiastic spectators from all over the country look forward to returning to this unique "celebrity friendly" event.
Known as "Frank's little party in the desert," Barbara and Frank Sinatra founded the Frank Sinatra Celebrity Invitational in 1988 to raise funds for the Barbara Sinatra Center for Abused Children at Eisenhower Medical Center, which opened in 1986. Through their efforts, and those of supporters throughout the world, the Frank Sinatra Starkey Hearing Technologies Celebrity Invitational is now one of the most successful events of it's kind.
The mission of the Barbara Sinatra Center for Abused Children is to provide counseling for victims of physical, sexual and emotional abuse and to focus on prevention, community education and breaking the generational cycle of abuse. Barbara Sinatra is quick to thank supporters of the "Frank Sinatra Starkey Hearing Technologies Celebrity Invitational, and she is proud to say "The children who come to us for help continue to receive the therapy they need and deserve; no child is turned away due to a family's inability to pay."
The Frank Sinatra Starkey Hearing Technologies Celebrity Invitational is a five (5) player team gross and net scramble golf tournament held at Eagle Falls Golf Course in Indio, California. The Fantasy Springs Resort Casino, also in Indio, is the tournament's hotel and venue for three nights of parties and a spectacular luncheon and fashion show.
One (1) celebrity and four (4) contestants are a team. The team of four (4) amateur players remains together for two (2) consecutive days. The celebrity contestant changes teams for the second day. Current USGA handicaps are verified and applied to all contestants.
Dedicated in April 2007, the names of 684 known alumni who perished are listed in the memorial’s bronze Book of Names with pull-out panels
2019 - Dedicated to those who fell and to those who carry on - 911 Twin Tower Memorial Wall Relief World Trade Center - WTC Bronze Plaque South of Ground Zero near Liberty Street Next to Fire House 10 - 343 firefighters from Engine 10 Station 10 who lost their lives in the September 11 Terrorist Attack on the World Trade Centre - Lower Manhattan sculpture relief 9/11 - NYC - New York City FDNY - Artists Joseph A Oddi created the illustration design followed by the detailed sculpting of Joseph Petrovics - public art unveiled on June 10 2006
Hoysaleswara temple (also spelt "Hoysaleshwara" or Hoysaleshvara") is a temple dedicated to Hindu god Shiva. It was built in Halebidu (in modern Karnataka state, India) during the rule of King Vishnuvardhana of the Hoysala Empire in the 12th century. The construction was started around 1120 CE and completed in 1150 CE. During the early 14th century, Halebidu was sacked and looted by Muslim invaders from northern India and the temple fell into a state of ruin and neglect. Previously known as Dorasamudra or Dwarasamudra, Halebidu is 16 km from Belur, 31 km from Hassan and 149 km from Mysore, in the state of Karnataka, India.
HISTORY
According to art critic and historian S. Settar, from contemporary inscriptions it is known that the temple derives its name from the Hoysala ruler at that time, King Vishnuvardhana Hoysaleswara, though interestingly, the construction of the temple was initiated and financed by wealthy Shaiva (a Hindu sect) citizens of the city, prominent among who were Ketamalla and Kesarasetti. The temple building activity was taken up in competition to the construction of the Chennakesava Temple at Belur, a Vaishnava (a Hindu sect) temple. Surrounded by numerous tanks, ponds and mantapas, the temple is built in the vicinity of the large Dorasamudhra lake. The tank preceded the temple by nearly 75 years. It is one of the largest temples dedicated to the god Shiva in South India.
TEMPLE PLAN
The temple is a simple dvikuta vimana (plan with two shrines and two superstructures), one for "Hoysaleswara" (the king) and the other for "Shantaleswara" (named after Shantala Devi, queen of King Vishnuvardhana) and is built with chloritic chist (more commonly known as Soapstone or potstone). The temple complex as a whole is elevated on a jagati (platform), which according to historian Kamath, is a feature that became popular in contemporary Hoysala constructions. According to art historian Foekema, the two shrines which are adjoining, face east and each have a mantapa (hall) in front. The two mantapas are connected giving a large and imposing view of the hall. Individually, each shrine is smaller than the one at the Chennakesava Temple at Belur and contains a simple linga, the universal symbol of the god Shiva. The plan of the inside of the temple is simple but the exterior looks different because of the introduction of many projections and recesses in the walls. The towers of the shrines that are missing must have followed the star shape of the shrine, just as in many existing well-preserved towers in other Hoysala temples. The superstructure over the vestibule which connects the shrine to the mantapa, called sukanasi (a low tower that looks like an extension of the main tower), and the row of decorated miniature roofs above the eaves of the hall are all missing. The temple was built at a height that provided the architects sufficient horizontal and vertical space to depict large and small sculptures. According to the art critic James Fergusson, the overall effect of the vertical and horizontal lines, the play of the outline, the effect of light and shade and the plan of the projections and recesses all amounts to a "marvellous exhibition of human labor to be found even in the patient east and surpasses anything in Gothic art". The outer walls of these temples contain an intricate array of stone sculptures. The temple of Halebidu, has been described by art critics James Fergusson and Percy Brown as an "outstanding example of Hindu architecture" and as the "supreme climax of Indian architecture".
The temple has four porches for entry and the one normally used by visitors as main entry is actually a lateral entrance (north). There is one entry on the south side and two on the east side, facing two large detached open pavilions whose ceiling is supported by lathe turned pillars. All entry porches have miniature shrines as flanking. In addition there is a sanctuary for the Sun god Surya, whose image stands 2.1 m tall. The pavilions enshrine large images of Nandi, the bull, an attendant of Shiva. The pavilions share the same jagati as the main temple. As in the Chennakesava temple, this temple originally had an open mantapa to which outer walls with pierced window screens made with the same material were erected, making the mantapa a closed one. The window screens are devoid of any art work. The interior of the temple is quite plain except for the lathe turned pillars that run in rows between the north and south entrances. According to Settar, the four pillars in front of each shrine are the most ornate and the only ones that have the madanika (chaste maidens) sculptures in their pillar brackets. There are no other madanikas in the temple.
SCULPTURES
The Hoysaleswara temple is most well known for its sculptures that run all along the outer wall, starting with an dancing image of the god Ganesha on the left side of the south entrance and ending with another image of Ganesha on the right hand side of the north entrance. In all there are two hundred and forty such images. According to the art critic Gerard Foekema, perhaps no other Hoysala temple is as articulate in sculpture as this is and these sculptures are "second to none in all of India". The most intricate of all sculptures are found in the lintels over two of the doorways, one on the south side doorway and the other on one of the eastern doorways.
HORIZONTRAL TREATMENT
In this temple the Hoysala architects have broken from the tradition of using five moldings with friezes (which is the "old stlye") at the base of the temple, below the large wall sculptures and the window screens. The outer walls have two eaves that run around the temple. The top eaves is at the roof of the temple where the superstructure meets the wall, and the second eaves is about a meter below. In between there are decorated miniature towers (aedicule). Below the lower eaves are the wall sculptures and below them, the eight moldings. Historian Kamath calls this type of relief work "horizontal treatment". Each of the eight friezes carries an array of decoration. Going from the bottom where the temple wall meets the platform, the lowest frieze depicts charging elephants which symbolize strength and stability, above which, in order, are friezes with lions which symbolize courage, floral scrolls as decoration, horses symbolizing speed, another band of floral scrolls, depictions from the Hindu epics, mythical beasts called makara and finally a frieze with hansas (swans). According to Foekema, no two animals are alike in a total frieze span of over 200 m. In the epic frieze, the epics are not continuous as they are mixed with other depictions. After the construction of this temple, Hoysala architects used this new kind of horizontal treatment only fifty years later, making it a standard style, though they reduced it to six molding friezes.
GARUDA PILLAR
Another interesting object in the temple complex is the rare Garuda Sthamba (Garuda pillar). According to Settar, these are different from virgals (Hero stone). Garudas were elite bodyguards of the kings and queens. They moved and lived with the royal family and their only purpose was to protect their master. Upon the death of their master, they committed suicide. The rare pillar on the south side depicts heroes brandishing knives and cutting their own heads. The inscription honors Kuruva Lakshma, a bodyguard of Veera Ballala II. A devoted officer, he took his life and that of his wife and other bodyguards after the death of his master. This event is narrated in an old Kannada inscription on the pillar. A 2.4 m tall sculpture of Ganesha including the platform rests at the South entrance.
Construction of the present building began in the 12th century, when the city was being extended towards the left bank of the Po River; the new cathedral was consecrated in 1135. The former cathedral, also dedicated to Saint George, still stands on the right bank of the river outside the city walls and is now known as St George's Basilica Outside the Walls (San Giorgio fuori le mura).
Exterior
The original Romanesque design is manifest in the façade, which resembles those of Modena and Parma Cathedrals: it is in white marble, with three cusps and a series of loggias, small arcades and rose windows, statues and numerous bas-reliefs. On the right side is a statue of Alberto d'Este, while on the side is a bronze bust of Pope Clement VIII, over an inscription in memory of his capture of the city.
In the centre of the façade is a porch, supported by two columns with Atlases seated on lions at the bases. It is decorated with a Last Judgement by an unknown master and a loggia with a Madonna and Child (a late Gothic addition). The portal is the work of the sculptor Nicholaus, a pupil of Wiligelmus. The lunette shows Saint George, patron saint of Ferrara, slaying the dragon; scenes from the Life of Christ appear on the lintel. The jambs framing the entrance are embellished with figures depicting the Annunciation and the four prophets who foretold the coming of Christ.[1] According to a now-destroyed inscription, Nicholaus was responsible for the design of the original building. The two side portals on the west front are also his work, as is the lower loggia here and on the south side of the building. A second portal by Nicholaus with additions by Benedetto Antelami was present on the south side, but it was demolished during the 18th-century restorations. Some of the sculptures which decorated it are now on the piazza in front of the building (the supporting griffins), in the narthex and in the Cathedral Museum. The portal was used by pilgrims on their way to Rome. Also on the southern side is the unfinished Renaissance bell tower, in white and pink marble, attributed to Leon Battista Alberti and built in 1451-1493. The apse, in brickwork, has arches and marble capitals, and was designed by the Ferrarese architect Biagio Rossetti.
Dedicated to my mate Charlie as the title comes from the lyrics of one of S Club 7's songs (his favourite band of all time).
This is a shot of this same girl
You picked this picture as one of your favorite and I can't see a better omage for you. Dec 31st I was climbing this volcano again. I'll always remember your happiness once we arrived on the top of Stromboli in 2007. Ciao Frodo.
The Arthurton Roman Catholic Church dedicated to St Agatha, Virgin and Martyr: foundation stone laid by the Reverend P A Enright AD May 1892.
On Sunday February 5 a most impressive and interesting ecclesiastical ceremony was witnessed at Arthurton.
The dedication of the church was performed by Archbishop Reynolds.
There was a large attended of people of all denominations from the surrounding districts and ceremonies were witnessed by a congregation that completely filled the church.
The edifice is most graceful in its proportions and is solidly built of limestone secured in the district.
The church when completed will consist of nave, sanctuary, sacristy and porch: it is the intention of the congregation to add the sanctuary when funds are available.
The nave is 40 feet x 25 wide. The ceiling is lined with match-board, stained and varnished which give the building a spacious appearance. The windows are of cathedral-tinted glass, in which the various hues are blended and add much to the interior effect.
The windows are the gifts of members of the congregation and the pastor of the church.
In the beautiful altar are seen good examples of tastefully executed workmanship which the painter's brush has painted artistically in pink, white, and gold. The front panels bear monograms in gold bordered with red very neatly executed. On the altar are to be seen a set of six large bronze candlesticks, which give the whole structure a most finished appearance. The entire ground floor of the church is seated very comfortably. The seats are of kauri wood stained and varnished. The confessional is also very neatly finished.
Indeed everything in connection with the building bears evidence that great care and attention combined with decorative and artistic skill were bestowed in the erection of the handsome structure.
The music of the mass was rendered principally by the Maitland choir, while Miss Moloney presided at the organ. Great credit is due to Miss Moloney for the manner in which under the circumstances she conducted the choir, having had only one day's notice to prepare the music.
A collection realized over £110. [Ref: Kadina and Wallaroo Times 8-2-1993]
Dedicated in perpetual memory to the men of Simpson County who gave their lives in the Following Wars:
World War I
World War II
Korean War
Vietnam War
This is locate don the grounds of the Simpson County Courthouse in the town square of Franklin, KY.
This photo was uploaded in honor of Memorial Day 2017.
Dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. From the community, for the community.
I bought this Lenten Rose on Thursday for the garden in Holland and I'm dedicating this plant to my lovely OU friend Liz Ayers , who sadly died on Thursday, as she was as beautiful, delicate, yet strong and light as the flowers.
(8952zionlutherancemeterycorvallissign) My first visit there was today. I didn't try to photograph indivual headstones, but rather to get a sense of the place. Small, quaint, hillside cemetery, about an acres I would think from the sign saying "DEDICATED 1909 - GOD'S ACRE"
For the ABCs and 123s (pool) *Z* is for Zion
Hibiscus rosa-sinensis Linn. (family Malvaceae), known colloquially as the Chinese hibiscus, is an evergreen flowering shrub native to East Asia. It is also known as China rose and shoe flower. It is widely grown as an ornamental plant throughout the tropics and subtropics. The flowers are large, generally red in the original varieties, and firm, but generally lack any scent. Numerous varieties, cultivars, and hybrids are available, with flower colors ranging from white through yellow and orange to scarlet and shades of pink, with both single and double sets of petals.
Hibiscus rosa-sinensis viene coltivato in piena terra solo nelle zone a clima invernale mite.Ha foglie ovali persistenti, di colore verde scuro lucido, fiori ad imbuto che fioriscono dalla primavera all'estate.
Hibiscus rosa-sinensis (famiglia Malvaceae), noto anche come ibisco cinese, è un arbusto sempreverde nativo dell'Asia orientale. E 'ampiamente coltivato come pianta ornamentale. I fiori sono grandi e senza profumo. Numerose le varietà, cultivar e ibridi con fiori dai colori che vanno dal bianco,al giallo e all'arancione,al rosso scarlatto e a tutte le sfumature del rosa, con doppie e singole serie di petali.
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I dedicated these pictures to MC who just lets me be me........
Ava Jhamin For
WOW SKINS
"Aurora Skin"
Selene Creations
"Deauville in Rouge"
A perfect pairing made at Swank with the beautiful WOW skin called Aurora and Selene Creations Daueville Tankini. Both exclusive at swan for the summer at the beach for the month of July.
sTyLeOn..........
This weekend was dedicated to all things Scottish so there was a lot of plaid and kilts everywhere - and it was a very cold morning too. I spent most of the day just wandering around aimlessly. There are so many great photo ops that I'm very content with that.
I took these photos in mid-November 2016 at the Texas Renaissance Festival in Todd Mission, Texas, about 50 miles NW of Houston. I think this is the largest Renaissance Festival in the USA.
Left to right:
Red Jumpsuit, c. 1987–90, by L'homme bis
Patterned Suit, 1970, by Bill Blass
Leisure Suit and Shirt, 1970s, by Levi Strauss & Co. and J. C. Penney
Argyle Suit with Clear Cape and Skirt, fall 2008, by Thom Browne
Red Plaid Suit, spring/summer 1984, by Kenzo
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Finally continuing a little series I started 5 years ago (see the set). I admire Maria Sibylla Merian's art and biography. Read more about her here: en.wikipedia.org/wiki/Maria_Sibylla_Merian
(I know, it's not really the same kind of iris as illustrated, but we just have this one in our garden ;-) )
Memorial dedicated to members of the Armed Forces of all nations who served in the Alness area - After 50 years of peace in Europe
May 8th 1995
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Mitchell Lane, Alness,
NH 65647 69543
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The Royal Air Force Museum London, commonly known as the RAF Museum, is a museum located on the former Hendon Aerodrome, dedicated to the history of aviation and the British Royal Air Force. The museum is a non-departmental public body sponsored by the Ministry of Defence and a registered charity.
The Royal Air Force Museum London comprises five exhibition halls:
Milestones of Flight
The Bomber Hall
Historic Hangars
The Battle of Britain Hall
The Grahame-White Factory
As of 2010, it had over 100 aircraft. These aircraft include one of only two surviving Vickers Wellingtons left in the world and the Avro Lancaster S-Sugar, which flew 137 sorties. It also includes the only complete Hawker Typhoon and the only Boulton Paul Defiant in the world.
Recently added to the museum is a B-24 Liberator, which was moved to Hendon from Cosford. The aircraft was originally presented to the Museum by the Indian Air Force. In exchange, a Vickers Valiant was sent to Cosford to take part in the new Cold War exhibition. Most recently in July 2009, the Royal Air Force Museum took delivery of a FE2b World War I bomber, which had been in production for the museum for over 18 years. It was unveiled to the public on 1 July 2009 and became one of the few examples of this aircraft in the world.
In April 2009, work began on The Battle of Britain Hall to improve lighting conditions and provide full re-cladding to the exterior of the building. This new form of energy-saving lighting can change colour and light intensity whilst still being cheaper to run and as it is kinder to the exhibits, because it does not give out any UV light, light intensity can be increased between each "Our Finest Hour" showing. The hall is also set to benefit from a new glass fascia overlooking the Sunderland aircraft making it viewable from outside and also providing natural daylight throughout the Sunderland Hall, a section within the Battle of Britain building.
American linden or bassword (Tilia americana). Dedicated to the memory of Jean Hillery and Thomas Quadros, Food Safety and Inspection Service Compliance Officers, who lost their lives in the line of duty June 21, 2000.
Plaque identifying a tree outside the U.S. Department of Agriculture headquarters (Jamie L. Whitten Federal Building), Washington, DC
- - - - -
Used by Federal Register to accompany story ("National Organic Program:
A Rule by the Agricultural Marketing Service" - December 13, 2010) at www.federalregister.gov/business-and-industry
Used by Federal Register to accompany story ("Designation of Biobased Items for Federal Procurement: A Rule by the Agriculture Department" - February 4, 2011) at www.federalregister.gov/science-and-technology
Used by Federal Register to accompany story ("BioPreferred Program: A Rule by the Agriculture Department" - August 29, 2011) at www.federalregister.gov/
This is a family dedicated channel to our beloved big lad Benji
We got Benji in 2007 when he was 4 years old as the owner was suffering from an illness and was no longer capable of looking after him
We got him on the 21st may 2007 so we used that date to celebrate his birthday
When Benji came to live with us he was a very independant lad and was always the boss especially over my two young sons and he stamped his authority quite quickly
He did test us at the beginning but soon knew that living here with us he was going to get nothing more than love and attention and he got that in abundance
He loved his home comforts as he would often take over the settee and would declare that space as his own
I myself have had health issues and Benji would always pop his head up to see if everything was alright with me and i would do the same with him everynight
We nearly lost Benji in 2013/2014 when we discovered a small lump on his groin and the vet at the time told us it was just a fatty lump and just ignore it
We knew something was not right and advised the vet that we wanted it removed and we would pay for the operation
We booked him in 2 weeks after that appointment and when we got him to the PDSA they told us that it was a good job that we ignored her colleagues advice and decided to go for the operation as it saved his life as this so called fatty lump was actually a growth that was cutting off his blood vessel, The operation was a success and it extended our time with Benji
There was times that we questioned some of the vets advice as for when we kept asking about all the lumps that was appearing on his body and again we were told that they were just fatty lumps
Over the past couple of years we were concerned of a few lumps under his chest and a few that would appear around his ribs etc and again we were told to ignore them as they were fatty lumps
Well those lumps turned out to be cancer and cost our baby boy his life as his liver had also became very enlarged and we had to make a decssion if we wanted to die in agony as we were informed or for the vet to give him that terrible injection
We took him home for a day so that he could say his goodbyes to my sons and we stayed awake with him all night
The following morning we gave him his favourite a tin of tuna and he had a good drink of water and at 10:15am on September 1st 2017 Benji was put to sleep
My wife held him in her arms as i cuddled his head and kept him from seeing the needles and he dropped into his deep sleep forever
The vet that dealt with Benji on his final moment was a wonderful and caring vet and we thank her from the bottom of our hearts for all she done
We love you Benji and we will walk together again one day soon
Forever your
Mammy, Daddy and Brothers
The last chapel currently in use at the Virginia National Guard Maneuver Training Center at Fort Pickett was dedicated May 24, 2011 to Chaplain (1st Lt.) Thomas McNeill Bulla who died from combat wounds in World War I. Maj. Gen. Frank E. Batts, Sr., commander of the 29th Infantry Division, and Col. Tom Wilkinson, commander of Fort Pickett, unveiled the new sign outside the chapel as part of the dedication. Several of Bulla's relatives also attended the event.
Bulla was born near Fayetteville, North Carolina, on January 4, 1881. Soon after he graduated from Union Theological Seminary he moved to Emporia where became the pastor of the First Presbyterian Church in 1911. Bulla volunteered to become a chaplain after a request by the colonel of the 4th Virginia Infantry, an element of the Virginia National Guard, and was appointed in the rank of first lieutenant. He was assigned to 3rd Battalion newly organized 29th “Blue and Gray” Division. The entire 29th Division sailed to France in June 1918 and first entered combat in the Alsace Sector in August but suffered relatively light casualties. That changed when, starting on October 8, the division took part in the massive Allied operation known as the Meuse-Argonne Offensive.
It was apparently during the opening days of this attack that Chaplain Bulla repeatedly exposed himself to enemy fire by moving across “no man’s land” helping wounded soldiers to safety. This was duty neither required nor expected of an Army chaplain. On the morning of October 15, the 3rd Battalion, 116th Infantry was the lead element for yet another attack in the area known as the Molleville Farm. It was during this assault that Bulla, again helping wounded soldiers, was struck by enemy fire and mortally wounded. He was evacuated to an Army hospital at Petite Mejoy where he died of his wounds on October 17. (Photo by Cotton Puryear, Virginia Department of Military Affairs)
Dedicated in 1935, Valley of Fire is Nevada's oldest state park. It is located only 50 miles northeast of Las Vegas. The rough floor and jagged walls of the park contain brilliant formations of eroded sandstone and sand dunes more than 150 million years old. These features, which are the centerpiece of the park's attractions, often appear to be on fire when reflecting the sun's rays