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Another five photos from my archives. I am adding the description that I wrote on a previously posted photo taken on the same outing. My daughter and I had planned to have a great day out today. However, unfortunately, the Air Quality was High Risk thanks to all the wildfire smoke, and it was rather windy. Also, my daughter wasn't feeling too well. So, it was a day to stay home.
"I saw a number of these beautiful Pronghorns during a week's holiday to Yellowstone National Park and Grand Teton National Park with dear friends from England, Linda and Tony, back in 2012. Photographed in Yellowstone National Park on 14 September 2012. We do get these way east and south of Calgary, but I've only ever seen them once or twice. I still can't believe that people can get a licence to kill these animals - for 'sport.'"
"Though not an antelope, it is often known colloquially in North America as the prong buck, pronghorn antelope, or simply antelope."
en.wikipedia.org/wiki/Pronghorn
animals.nationalgeographic.com/animals/mammals/antelope/
"The Pronghorn belongs in a Family (Antilocapridae) all by itself and has no other close, living relatives; it is not related at all to the "antelopes" of Africa. Pronghorns in Alberta are at the extreme northern limit of their range in North America, found in wide, flat, open areas where they can see their enemies from a long way off."
"Pronghorns are found in the prairie life zone of southeastern Alberta, where they are at the northern limit of their North American range. Pronghorn are classified as Sensitive in the General Status of Alberta Wild Species report. Sensitive populations are highly susceptible to extreme climatic conditions. Found mainly in the southeastern portion of the province. Cultivation of native prairie threatens habitat.
Though it sometimes bears the name, the pronghorn is not a true antelope. True antelope have permanent, unbranched horns. The horns of the pronghorn are unique in that they are branched, or pronged, and they are not permanent. The outer sheath or "horn," composed mainly of hair, is shed every fall." From Alberta Fish & Wildlife.
srd.alberta.ca/FishWildlife/WildSpecies/Mammals/WildCattleRelated/Pronghorn.aspx
Description: Studio portrait of four students with deafblindness who attended Perkins Institution and Kindergarten, now known as Perkins School for the Blind. Helen Keller, a white girl, and Edith Thomas a light-skinned young girl stand, behind Elizabeth Robin and Thomas "Tommy" Stringer. Robin and Stringer, both light-skinned students of the Kindergarten are sitting on a bench. Stringer is facing sideways, away from the camera. The female students are wearing dark dresses. Stringer is wearing a kilt-like sailor suit. Note on verso, "Helen Keller, Edith Thomas, Elizabeth Robin, Thomas Stringer. Mr. Reardon, Perkins Ins. Please return this photograph to M. Anagnos."
Creator: George H. Hasting, 1841-1931, 146 Tremont Street, Boston, photographer
Date: circa 1889
Format: Photographs
Genre: Cabinet photographs
Language/Script: Materials entirely in English.
Subjects:
Children who are deafblind
Keller, Helen, 1880-1968
Robin, Elizabeth
Stringer, Thomas, 1886-1945
Thomas, Edith, 1882-
Place of Origin: Boston, Suffolk, Massachusetts
Historical Note: Since 1836, when Laura Bridgman began her education at Perkins, the school has taught students with deafblindness. Laura Bridgman (1829-1889) is considered to be the first person with deafblindness to be formally educated. She was world-renowned in her time but became less known after another student, Helen Keller (1880-1968), gained international recognition for educational accomplishments and life’s work.
Source:
McGinnity, B.L., Seymour-Ford, J. and Andries, K.J. (2004) Deafblind Education. Perkins History Museum, Perkins School for the Blind, Watertown, MA.
Collection:Helen Keller Collection
Series: Childhood and Early Adulthood
Extent: 1 photographic print on cabinet card mount.
Physical Collection: AG62 Helen Keller Photograph Collection.
Location: Perkins Archives, Perkins School for the Blind, Watertown, MA
Related Materials:
Thomas Stringer Digital Collection
Willie Elizabeth Robin Digital Collection
Edith Thomas Digital Collection
Notes: Formerly AG62-1-008. Date and title supplied by cataloger. Metadata was added and updated as part of a reparative work initiative performed in 2022.
Terms of Access and Use: The Perkins Archives does not provide physical access to materials available in a digital format. No known copyright restrictions. The item may be subject to rights of privacy, rights of publicity, and other restrictions. This image is the property of Perkins School for the Blind and use of this image requires written permission. For more information, please visit Perkins.org/image-licensing.
Digital Identifier: AG62-02-011
Posted for nearly seven years with no description, and only a few basic keywords (fire, flame, flames, burn, burning, wood, serene, silhouette) this photo amassed a measly 103 views, with zero comments or faves.
The following list (added March 31, 2019) is an experiment to determine the effectiveness of keywords in directing traffic to photos.
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Description/Notes: The photo was part of the Oregon Industries slides.
Original Collection: Visual Instruction Department Lantern Slides
Item Number: P217:set053:018
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Description: Famagusta. Mosque - St. Sophia, formerly Church of St. Nicholas
Location: Famagusta, Cyprus
Date: 1900-1910
Our Catalogue Reference: Part of CO 1069/694
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Description of six new species of the genus Unio, embracing the anatomy of the oviduct of one of them :
Philadelphia :American Philosophical Society,1830
Description: Tuskegee Railroad 101; 2-6-2; Baldwin 1924; Steam Locomotive; Illinois State Railway Museum; Union, Illinois;
Copyright: Tom Nixon, Illinois Railway Museum
Object ID: BMBSlides_01417
Repository: San Diego Model Railroad Museum Library
Description: Verona.
Location: Verona, Italy
Date: 1930-1939
Description: Verona. Roman Bridge, River Adige
Location: Verona, Italy
Date: 1930-1939
Description: Padova.
Location: Padova., Italy
Date: 1930-1939
Description: Maria del Salute. Venice. Bedroom View.
Location: Venice, Italy
Date: 1930-1939
Description: Venice. Grand Canal from Hotel.
Location: Venice, Italy
Date: 1930-1939
Our Catalogue Reference: Part of CO 1069/795
This image is part of the Colonial Office photographic collection held at The National Archives. Feel free to share it within the spirit of the Commons
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Historický stolový komunikačný prijímač.
* Typ: 470A-14
* Rok:1938
* Výrobca: Philips
* Elektrónky: EK2, EF9, EBL1, AZ1
* sedemobvodovýAM superhet s jednoobvodovým NF stupňom
* MF: 128kHz
* Rozsahy:
* DV:708 – 2000 m
* SV: 198 – 585 m
* KV: 16,7 – 51 m
* sklenenáokrúhla stupnica (žiarovky 6,3V)
* tónová clona
* konektor pre vonkajšíreproduktor
* dobová servisná dokumentácia (nemecky)
Description: Typed transcript of letter from Florence Nightingale to Julia Ward Howe. Page 3 of 4. Written from Sapton near Sheffield, United Kingdom.
Full Text: ... remembered again even to have it solved. God forbid, as Herder says, that we should carry with us the history of our sojourn here.
One sometimes wishes all to be forgotten even by God. Je n'y comprends rien du tout, only this, that there are strange punishments for those who have made life consist of one idea, and that one not God, "and God dethroned has doleful plagues for such" -how much truth there is in the old myths of bewitchments, (incomprehensible effects arising from apparently small sins) falling on those who have denied the power of a God, how true the religion of all ages has been -how deep the feeling in it, in all times, of the connexion [sic] between the infinite Spirit and the finite one, being religious. Whether in the fable of a God's taking from Niobe all her children merely for her reusing to acknowledge this, that we are only emanations from the Infinite in individual shapes, or when the equally strange punishment comes of his leaving us all earthly blessings, and yet taking away our pleasure in them, our capability of using them, by a palsy incomprehensible even to ourselves, -in all ages and religions (tho' men have cried Murder, Unjust retribution} there have always been the same strange stories of pride being struck with blindness, madness, judgments in their Geliebten, or (in our middle ages days, no longer parabolic ones) moral death, while the poor in spirit have seen the kingdom of heaven. The same truth that the visitations upon casting off one's dependence on God for every thought are dreadful, always re-appears in different forms- oh the curse upon those who set up ~or Understanding apart from the infinite understanding, who have an ideal which is not God -it is eternal punishment beginning in this world.
I and my three books, which I brought with me , are settled down here so very like a very old spinster with her three cats, that you will not wonder if I can give you nothing but the heavy and the humdrum. A very turbulent dog completes the picture, who has always his hand on my arm -my only grievance, that he is not a dark dog, which does not shew the dirt -white dogs ought to wear a black surtout, like our "Teazer", who always grew a long black greatcoat over his white flannel petticoat. On Sundays I entertain very old ladies to dinner- for as one is deaf and the other has no teeth to speak distinctly, they need an interpreter- we talk about robberies and the negligence of the police, -ah, says one, where I lived about York, the police were very attentive, very indeed, in taking up everybody that was round, very attentive indeed, and they would take anybody: to the Station and examine him -" and he re they have not taken even me ," say I. Grandmama is very anxious they (the old ladies, I mean, not the police) should like me -so I hope they do. I open the front door for them on my knees , and walk round the garden with them on my face, Oh why did Providence invent old age? if we are to go up the hill again, why do we go down hill at all, in order to climb up the other side? I could have engineered it better -it is a curious thing that the soul, just before attaining a more complete state of freedom, should become more tied down than ever, and that in the struggle between the spirit and the material part of the universe, the material should get the better at the last, but one might as well ask, why if we are meant for another world, do we live in this one at all? Poor intellect sinks very low in the balance with...
Date: 1845
Creator: Florence Nightingale
Format: letter
Digital Identifier: AG28-1-4
Biographical note: Julia Ward Howe (1819-1910) was an author, lecturer, poet, activist, abolitionist and leader in the Women's suffrage movement. Born in New York City to affluent parents, Ward Howe was well educated but expected to be a wife. In 1843 Ward Howe married Samuel Gridley Howe the founding director of Perkins after meeting him at a tour of the school. Despite conventional expectations that she not live a public life she initially published work anonymously before becoming a social activist that wrote, spoke, and worked for many social causes. She is commonly known for writing the words to “Battle Hymn of the Republic” and in 1908, she became the first woman elected to the American Academy of Arts. In 1988 she was inducted into the National Women’s Hall of Fame.
Source: Hale, Jen. (2022) ”Julia Ward Howe”. Hale, Jen. “Julia Ward Howe” Perkins Archives Blog, Perkins School for the Blind, Watertown MA, October 26, 2022
Rights: Samuel P. Hayes Research Library, Perkins School for the Blind, Watertown, MA
Description: As the Smithsonian's first photographer and curator of photography, Thomas Smillie used images to catalog the much of the institution's physical object collection, ranging from stuffed animals to plant fossils, decorative boxes, and beyond. The photographs themselves are now part of the Smithsonian's collection.
Creator/Photographer: Thomas Smillie
Birth Date: 1843
Death Date: 1917
Born in Edinburgh, Scotland, in 1843, Thomas William Smillie immigrated to the United States with his family when he five years old. After studying chemistry and medicine at Georgetown University, he took a job as a photographer at the Smithsonian Institution, where he stayed for nearly fifty years until his death in 1917. Smillie's duties and accomplishments at the Smithsonian were vast: he documented important events and research trips, photographed the museum's installations and specimens, created reproductions for use as printing illustrations, performed chemical experiments for Smithsonian scientific researchers, and later acted as the head and curator of the photography lab. Smillie's documentation of each Smithsonian exhibition and installation resulted in an informal record of all of the institution's art and artifacts. In 1913 Smillie mounted an exhibition on the history of photography to showcase the remarkable advancements that had been made in the field but which he feared had already been forgotten.
Medium: Cyanotype
Culture: American
Date: 1890
Collection: Thomas Smillie Collection (Record Unit 95) - Thomas Smillie served as the first official photographer for the Smithsonian Institution from 1870 until his death in 1917. As head of the photography lab as well as its curator, he was responsible for photographing all of the exhibits, objects, and expeditions, leaving an informal record of early Smithsonian collections.
Repository: Smithsonian Institution Archives
Accession number: RU95_Box77_0041
Description: The Old Boys' Association Party taking part in the Alor Star procession.
Location: Alor Star, Malaya
Date: 1937
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Description: The Alor Star Indian Arch.
Location: Alor Star, Malaya
Date: 1937
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Our Catalogue Reference: Part of CO 1069/502.
This image is part of the Colonial Office photographic collection held at The National Archives. Feel free to share it within the spirit of the Commons.
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Description: The bus station at Bridgetown is in Trafalgar Square.
Location: Bridgetown, Barbados
Date: 1950-1959
Our Catalogue Reference: Part of CO 1069/250
This image is part of the Colonial Office photographic collection held at The National Archives, uploaded as part of the Caribbean Through a Lens project.
We have attempted to provide place information for the images automatically but our software may not have found the correct location.
We need your help to fill in the gaps, to unearth the missing stories, the social and cultural memories from this selection of colonial recordings.
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The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.
GODDESS KALI
Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.
ETYMOLOGY
Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli".
Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.
Kāli's association with darkness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.
ORIGINS
Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.
According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.
WORSHIP AND MANTRA
Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is
Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥
ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तुते ॥
(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.
Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stutē.)
YANTRA
Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:At the dissolution of things, it is Kāla [Time]. Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art. The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.
BENGALI TRADITION
Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.
The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:
Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]
Were she not merciless, would she kick the breast of her lord?
Men call you merciful, but there is no trace of mercy in you, Mother.
You have cut off the heads of the children of others, and these you wear as a garland around your neck.
It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.
To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.
A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.
In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.
In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).
LEGENDS
SLAYER AND RAKTABIJA
In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:
Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.
Kali consumes Raktabija and his duplicates, and dances on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.
DAKSHINA KALI
In her most famous pose as Daksinakali, popular legends say that Kali, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.
The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist, and Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot
on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.
If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.
One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes pacified.
SMASHAN KALI
If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.
MATERNAL KALI
At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.
MAHAKALI
Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.
Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.
ICONOGRAPHY
Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.
In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.
The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.
In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj", when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"
According to Ramakrishna, darkness is the Ultimate Mother, or Kali:
My Mother is the principle of consciousness. She is Akhanda Satchidananda;
indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black.
The waters of the ocean depths are the same; The infinite is always mysteriously dark.
This inebriating darkness is my beloved Kali.
—Sri Ramakrishna
This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.
POPULAR FORM
Classic depictions of Kali share several features, as follows:
Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head, and a bowl or skull-cup (kapala) catching the blood of the severed head.
Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.
She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore, she is generally seen as the mother of language, and all mantras.
She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.
Kali as the Symbol of Creation , Freedom , Preservation and Destruction
The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.
Kali as the Symbol of Mother Nature
The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.
SHIVA IN KALI ICONOGRAPHY
In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:
Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.
The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:
Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.
This idea has been explored in the Devi-Bhagavata Purana [28] and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.
The Tantric interpretation of Kali standing on top of her husband is as follows:
The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.
While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.
To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.
From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.
Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.
Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.
DEVELOPMENT
In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.
The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.
Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.
Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.
Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.
A TIME magazine article of October 27, 1947, used Kali as a symbol and metaphor for the human suffering in British India during its partition that year. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.
Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.
KALI IN NEOPAGAN AND NEW AGE PRACTICE
An academic study of Western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment."[60] The adoption of Kali by the West has raised accusations of cultural appropriation:
A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably feminists and participants in New Age spirituality who are attracted to goddess worship. [For them], Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials written by scholars of the Hindu religious tradition. The majority instead rely chiefly on other popular feminist sources, almost none of which base their interpretations on a close reading of Kali's Indian background. The most important issue arising from this discussion - even more important than the question of 'correct' interpretation - concerns the adoption of other people's religious symbols. It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.
INCARNATIONS OF KALI
Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.
WIKIPEDIA
Villa Yiali Glossa
Property description
Villa Yiali has one air-conditioned bedroom (with extra fold-down bed or cot), and is fully self-contained with kitchen, one bathroom, sitting area, large balcony and private outside space. Enjoying stunning views over the adjacent islands of Skiathos and Evia, the gardens and pool area are a haven of relaxation. In addition, the location at the edge of the village of Glossa means that shops, bakery, cafes and tavernas are within a few minutes walk. Otherwise the beautiful area to the north of Skopelos island is also within easy reach with many walks and trails accessible. The west facing aspect delivers the most breathtaking sunsets from the garden, whilst the sun traverses from the south giving all-day sunshine – the terrace and trees giving shade and cool when required.Glossa is situated on the northwest coast of Skopelos, 10 minutes from the port of Loutraki where the ferry docks from the neighboring island of Skiathos and the nearest airport. The ferry journey is about 25 minutes.
Accommodation description:
Bedrooms:
Bedroom. King sized bed and open traditional beamed ceiling and wooden floors. Air conditioned with dressing area and double access to large balcony. Ample storage, hairdryer, full length mirror, sofa-bed or cot if required. Quality bed linen from M&S
Bathrooms:
Located on the ground floor, with shower cabinet, washbasin and wc. Quality towels and locally made olive oil soap, complimentary gels from L'Occitane and Body Shop provided.
Kitchen:
Whirlpool appliances. Oven and ceramic hob, microwave, fridge freezer. Ample kitchen storage with quality pans, crockery and cutlery. Fully equipped. Laundry machine (detergent provided). Complimentary welcome pack. Tea, coffee, bread, cheese, wine etc.
Living Rooms:
Wooden floor, fold down dining table, open fire place. TV, DVD, iPod dock, WiFi, satellite TV, comfortable furniture. Most living is outdoors and there is a patio table and 6 chairs under a shady verandah, as well as a morning coffee set on the balcony.
Cleaning/Towels/Linen/Maid service:
All towels/beach towels/pool towels and linen provided. The house is cleaned and
changed twice each week. Outside BBQ, pool shower, sunbeds. Don't use valuable luggage space with towels as they are all provided.
Amenities/Facilities:
Barbecue, Private Pool, Garden.
Fridge/Freezer, Hob/Stove, Iron, Microwave, Oven, Washing Machine.
Air Conditioning, Cot, High Chair, Internet Access, Room Fans, Satellite, TV.
Location Type:
Beach, Village.
Important notes on accommodation
This former ‘kalivi’ was painstakingly restored in the traditional village style and is finished to a high standard of craftsmanship. The private garden, pool area and planted terraces provide a ‘home from home’ feel.
We make sure that we provide most kitchen essentials that many rental house lack such as condiments, some spices , sugar, coffee and tea together with our own olive oil for the kitchen. Soap powder, washing up liquid, in fact most kitchen comforts that we feel you shouldn't have to worry about on your holidays.
We also provide all towels including beach towels and pool towels. There are even beach mats and an umbrella available for that inevitable visit to one of Skopelos’s enviable beaches.
If you visit in June / July / August, as a highlight to your stay your holiday price will include dinner for two on one night at the acclaimed Agnanti restaurant (5 minutes walk away). Please ask us for details.
About the area
Accessibility
Glossa is unfortunately not wheelchair friendly due to the steps. However, it is possible to walk (within 10 minutes) from the main road to Villa Yiali with only 1 or 2 inclines and no steps. Parking can be arranged close by. Pets accepted by prior arrangement.
Outside
There is a private garden area approx 400 sq. mtrs. with a swimming pool of 7m by 4m, gently sloping to a depth of 1.6m. Along two sides of the pool are underwater seating areas allowing relaxation and refreshment at the same time. The private gardens are not overlooked and offer stunning views over the Aegean to Skiathos, Pilion, towards Mount Olympus in the north and even towards Athens.
Coast/Beach
The closest beach is at Loutraki, with a few tavernas / cafe’s. This is 10 minutes drive or a pleasant 25 minute downhill walk. Within 20 minutes drive are the beaches on Armenopetra, Elios, Milia, Kastani and Panormos. Glossa enjoys a unique position between both sides of the island, and the famous Mamma Mia church at Aghios Ioanni is only 15 minutes drive, as is the beach at Perivoliou. Buses run about every 2 hours in the high season. Skopelos town and the south of the island are 35 mins away
Special Interest Holidays
We have friends on the island who are running sea kayaking tours for all levels of experience and there are mountain bikes to hire to explore the beautiful deserted tracks that lead through the mountains. With a license and an off-road motorbike you can take a guided trail ride up the mountains, jeep, 4x4 or quad bike, or you can rent a motor boat or yacht or go on a sea fishing trip. Walking, birdwatching, painting and local crafts are all available. Also at the villa we have a telescope for stargazing, which on a balmy summer evening opens up the whole universe.
How to get there
Nearest airport is Skiathos which is 25 minutes by boat from the local port of Loutraki (Glossa). Volos airport is on the mainland then its 2hrs 20 by boat to Glossa. Athens and Thessaloniki both connect through. Out of season there is an air connection from Athens to Skiathos which takes only 25 minutes with Olympic Air. We can advise you on flights and also book you a car at discount rates from a small family company on the island (the car will be waiting for you next to the boat as it docks)
Distances
Glossa town is a traditional hill village with shops, cafe’s, bakeries and tavernas. Villa Yiali is on the edge of the village and all amenities are within 10 minutes walk.
Skopelos Town, the main center of the island is about 35 minutes drive away, from where day trips to Alonissos and the World Marine Park are available. Loutraki (10 mins) has much of archaeological interest, including remains of Roman baths and a hill fort. Ancient ruins remain on Mount Delphi and surrounding areas.
Further Details
Glossa has a selection of tavernas,cafe’s and restaurants including one regarded as the best in the Aegean, a number of local supermarkets, bakeries and butchers. Fish is sold from vans or straight from the port of Glossa (known as Loutraki).
Loutraki also has a number of tavernas on the waterfront, and cafes. We will be happy to help you with recommendations and advise on travel arrangements. We will collect you from the port and lead you to the house, introducing you to the wonderful wood fired bakery and friendly little supermarket on the way and demonstrate all the features of the house before leaving you to relax in this beautiful environment. As the English owners, we live next door! Unlike some villa owners, we do not charge commissions or receive payments from restaurants, car hire companies and the like. Our advice is impartial and geared to the needs of the holidaymaker. During June, July and August we offer an included meal for two at the renowned Agnanti restaurant for one night of your stay. Otherwise we have arrangements to have quality restaurant food delivered to your holiday villa so that you can enjoy the local cuisine without the trouble of leaving your comfortable surroundings.
Booking notes
Please contact us for booking details. A deposit of 20% is required to confirm booking. Deposits received will confirm booking and remainder to be payed 6 weeks in advance of arrival. If you wish to pay in € that isn't a problem we use the National Bank of Greece rates on the day of
booking confirmation and set that as your personal rate so there are no surprises with rate fluctuations. Cancellation will forfeit 10% of the booking cost if it is more than 6 weeks, otherwise the full is payable.
Description: ATSF 17203; Class BX-69, 50' Centered Single Slide Door Box Car; American Car & Foundry 1955; Freight Car; August 1980
Copyright: Brenda M. Bailey
Object ID: BMBSlides_01116
Repository: San Diego Model Railroad Museum Library
Description on front of card: Looking West on Broad Street from Memorial Hall, Columbus, Ohio
No. in Series: A24
Estimated Date: 1930s - a copy in this collection is postmarked 1933.
Condition: Unused.
Published by: W.E. Ayres, Columbus, Ohio | "C.T. Art-Colortone" by Curt Teich Co., Chicago, Illinois
Publisher Note:
W.E. Ayres had a variety store at 1047-1049 Livingston Avenue in Columbus, Ohio.
Curt Teich emigrated to Chicago in 1895. He had worked as a lithographer in Lobenstein, Germany.
He founded the Curt Teich Company in 1898, concentrating on newspaper and magazine printing. He was an early publisher of postcards, but he didn't begin printing them himself until 1908.
According to MetroPostcard.com, "As his competition dwindled, his sales expanded and his American factories would eventually turn out more postcards than any other in the United States. "
The company was best known for its wide range of advertising and postcards of North America. By the 1920s, it was producing so many postcards with borders that they became recognized as a type dubbed "White Border Cards," creating an "era."
Curt Teich started using offset presses in 1907, but it took a number of years before he had offset presses made to his satisfaction and many more years for him to perfect the method.
His innovations in this printing technique directly led to the production of what we now call "linens" by the early 1930s.
The company aided the war effort during the second world war by also printing many military maps.
Curt Teich eventually turned management of the company over to his son, but he remained active in company operations throughout its history.
Curt Teich died in 1974 and the family business was sold to Regensteiner Publishers who continued to print postcards at the Chicago plant until 1978 when the rights to the company name and processes were sold to the Irish company, John Hinde Ltd. Their California subsidiary now prints postcards under the name John Hinde Curteich, Inc.
Source:
Description: Raven (?) by an unknown Japanese artist, from the collection of Sir Charles Jenkinson.
Date: Unknown
Our Catalogue Reference: PRO 30/75/168
This image is from the collections of The National Archives. Feel free to share it within the spirit of the Commons.
For high quality reproductions of any item from our collection please contact our image library.
Description: Powwows are large social gatherings of Native Americans who follow traditional dances started centuries ago by their ancestors, and which continually evolve to include contemporary aspects. These events of drum music, dancing, singing, artistry and food, are attended by Natives and non-Natives, all of whom join in the dancing and take advantage of the opportunity to see old friends and teach the traditional ways to a younger generation. During the National Powwow, the audience see dancers in full regalia compete in several dance categories, including Men and Women's Golden Age (ages 50 and older); Men's Fancy Dance, Grass and Traditional (Northern and Southern); Women's Jingle Dress, Fancy Shawl, and Traditional (Northern and Southern); Teens (13-17); Juniors (6-12) and Tiny Tots (ages 5 and younger). The drum groups are the heart of all powwows and provide the pulsating and thunderous beats that accompany a dancer's every movement. The powwow is led by three "host drums" that showcase three distinct styles of singing (Northern, Southern and contemporary) and represent the best examples of each style. The drum contest highlights groups of 10 to 12 members each, and they sing traditional family songs that are passed down orally from one generation to the next. The National Museum of the American Indian sponsored the National Powwow in 2002, 2005, and 2007 as a way of presenting to the public the diversity and social traditions of contemporary Native cultures.
Creator/Photographer: Katherine Fogden
Medium: Digital photograph
Culture: American Indian
Geography: USA
Date: 2005
Repository: National Museum of the American Indian
Accession number: 081305KFPWe130
Description: Ride!
Place : Lonavala, Maharashtra
Saswata Guha Photography© | 2012 | All Rights Reserved.
Unauthorized use or reproduction for any reason is prohibited.
* Názov: Poslední mise
* Alternatívne názvy: Posledná pevnosť / TheLast Castle / Poslední pevnost
* Produkcia: USA,2001
* Rok: 2001
* Dobatrvania: 83 min
* Žáner: Drama,Akční,Thri-ller
* Zvuk: CZ, EN
*Titulky: CZ
* ČSFD hodnotenie: 68%
* Iné:
* Zaujímavé externélinky: – ( Česko-Slovenskáfilmová databáza ) – ( eShop Martinus ) – ( eShop Gorila ) -
* Režie: RodLurie
Scénář: Graham Yost
Kamera: Shelly Johnson
Hudba: JerryGoldsmith, Tom Waits
Hrají: Robert Redford, James Gandolfini, Mark Ruffalo,Steve Burton, Delroy Lindo, Paul Calderon, Clifton Collins Jr., Kathryn Morris,Robin Wright, Brian Goodman, Jeremy Childs, Michael Irby, Johnny Dowers, FrankMilitary
Producenti: Robert Lawrence
Střih: Michael Jablow, Kevin Stitt
Scénografie: Kirk M. Petruccelli
Kostýmy: Ha Nguyen
(další profese)
* Obsah: Do vězení přivezou nového trestance, bývaléhotříhvězdičkového generála Eugena Irwina (Robert Redford), který jeuznávanou osobností. Má si tu odkroutit deset let za vědoméneusposlechnutí rozkazu při bojové misi. Postupně ale při svém pobytuzjišťuje, že velitel věznice plukovník Winter (James Gandolfini) vládneželeznou rukou a nevadí mu ani tvrdší zacházení s odsouzenými. Irwin sesnaží spoluvězňům pomoci ve znovunalezení své hrdosti a lidskédůstojnosti. Vyžaduje to hodně sil i odvahy a cena za to nenízanedbatelná.(o-ficiální text distributora)
Content description: Crowd of people looking up at 8 Cambridge Center foundation completion ceremony.
Local identifier: 020_01_03_033
Type of resource: still image
Genre/form: black-and-white prints (photographs)
Date: 1998-04
Physical description: 1 photograph : print, black and white ; 25.4 x 20.3 cm
Digital origin: reformatted digital
General notes: Title and content description from related item.
Date notes: Date from related item.
Acquisition notes: Donated by the Cambridge Redevelopment Authority in July 2014.
Description standard: dcrmg
Subject headings:
Cambridge Redevelopment Authority
Boston Properties, Inc.
Kendall Square (Cambridge, Mass.)
Construction industry
Urban renewal--Massachusetts--Cambridge
Host collection: Cambridge Redevelopment Authority Records, 1952-2000
Physical location: Cambridge Public Library
Conditions Governing Use: The material in this collection is subject to copyright and intellectual property restrictions. It is the responsibility of the researcher to understand and observe copyright law and to identify and satisfy the holders of all copyright. Researchers must obtain written permission from the copyright holder(s) if they wish to publish materials from this collection. Questions concerning copyright and permission to publish should be directed to the Cambridge Room, Cambridge Public Library Archives and Special Collections.
Please use the following format when citing materials from this collection: [Identification of item], Cambridge Redevelopment Authority Records, 1952-2000, 020, [Box#, Folder title], Cambridge Room, Cambridge Public Library Archives and Special Collections.
For more from this collection: cambridgeroomcollections.wordpress.com/2016/03/30/cambrid...
Petersen's Description:
Scene X (pp. 55-56)
In umgekehrter Richtung stehen hier Germanen links, Römer rechts von einem zwischen felsigen Ufern strömenden Fluss, etwas unterhalb der Vereinigungzweier Arme, eher als oberhalb der Teilung, da die Wirbel Strömung von oben nach unten anzeigen. In der Gabelung eine Buche, diesseits grösser eine Eiche, wal dige Gegend bedeutend, darin vier trotzig blickende Germanen, trotz der Ahnlichkeit mit dem Quadenkönig auf einer Münze des Antoninus Pius bei Cohen méd. imp. Il', S. 339, 687, geringe Leute, die im Bausche ihrer langen befranzten Mäntel Steinetragen, und mit Schleudern den römischen Kaiser bedrohen, der am andern Ufer zu ihnen redend steht. Er hat im Rücken ein Kastell mit römischer Besatzung, welche, ausgenommen die drei vorderen, mit Aufmerksamkeit auf den Kaiser und die Schleuderer blicken. Aus dem Kastell scheint auch Mare Aurel mit Garden und Legionaren und einem Begleiter gekommen, der hier gewappnet auftritt, während der Kaiser selbst, mit der Lanze in der Linken, unbedecktes Hauptes und ohne Panzer dasteht, aber von Garden mit ihren Schilden beschirmt wird.
Here, in reversed position, with the Germanics to the left, the Romans to the right of a river flowing between rocky banks, more likely below where two branches merge than above its fork, since the eddies indicate a current flowing from top to bottom. Where the river forks stands a beech tree, larger than an oak on this side, suggesting a forested area. In it stand four defiant looking Germanics, low-born men, despite their resemblance to the king of the Quadi on a coin of Antoninus Pius by Cohen méd. imp. II2, p. 339, 687. They carry rocks in their gathered up, long, fringed tunics and with their slingshots are menacing the Emperor who is standing on the other bank who is speaking to them. At his back, stands a castellum manned by Romans, who, except for the three in front, are closely watching the Emperor and the slingers. It looks like Marcus Aurelius has also emerged from the fort with Guards and legionaries and a single attendant, who appears armed here, while the Emperor himself, javelin in the left hand, stands there bareheaded and without armor, but protected by the Guards with their shields.
Scene XI (pp. 56-57)
Um mit demselben Kastell noch diese zweite Scene in Beziehung zu setzen, scheint in der vorigen Scene die Richtung umgekehrt zu sein. Denn hier, an der anderen Seite des Kastells, wo zwischen Halbsäulen dessen geschlossenes Thor sich zeigt, ist ein aus Balken aufgebautes Gerüst, in freilich sehr ungeschickter Weise, aber unverkennbar, als zusammenbrechend über niedergestürzten und stürzenden Barbaren dargestellt. Alle drei sind geringe Leute, 1 todt auf dem Rücken liegend mit nacktem Oberkörper, 2 mit über dem Kopf gehaltenem Schilde vornüberstürzend, desgleichen 3 mit einem Mantel soeben niedersinkend, den Buckelschild am linken Arm, die Rechte gesenkt, als halte sie eine Waffe. Die Ursache ihres Sturzes und des zusammen brechenden Belagerungsturmes zeigt sich oben, wo das Holzwerk in nach oben schlagenden Flammen steht, von fliessendem Wasser, wofür man sie angesehen hatte, bestimmt unterschieden, und in dieser Flamme ein grosser Blitz liegt, wie von rechts aus der Höhe hineingefahren. Kenntlich ist die mittlere Einschnürung zur Handhabung des himmlischen Wurfgeschosses, und besser als der untere erhalten der obere gedrehte Keil, von welchem, wie aus den Bruchstellen zu erkennen, die üblichen Zacken spitzen ausliefen. Zum Überfluss zeigt eine Flamme an dem Gestürzten 2 , dass auch er und seine Genossen vom Blitz getroffen wurden. Gleich neben diesen aber sehen wir Marc Aurel unbewaffnet, von einigen Garden und Legionssoldaten umgeben, von denen namentlich nach links ein Gebückter unten 9 und ein mehr Aufrechter nach rechts oben 5 mit Messtangen beschäftigt scheinen. An der Stange von 5 ist nicht allein das charakteristische dicke Ende sichtbar, sondern sogar die kleinen Löcher zur Bezeichnung der Massabteilungen: die metatores (Vegetius 2, 7) scheinen ganz dem Geschäft des Lagerahsteckens hingegeben, Marc Aurel selbst aber auf die nieder stürzenden Barbaren hinzuweisen, fulmen de caelo precibus suis contra hostium machinamentum extorsit, wie es in der Vita Marci 2 heisst.
Abgewandt von dieser Gruppe steht aber noch ein Römer 10, der, nach rechts gewandt, sich an einem seltsamen Gebilde zu thun macht : trotz des abgesplitterten Reliefs erkennt man vor allem oben einen Helm in Kopfhöhe des dahinter Stehenden, aber nicht auf menschlichem Körper, sondern einem nach rechts vorgekrümmten Stamme aufgesetzt, gegen den ein Schaft, natürlich eine Lanze, gelehnt war, und vor dem oben ein scutum, tiefer ein ebenfalls schildähnlicher Körper befestigt war. Eher als ein tropäum, das ja in damaliger Zeit, wie die Säule, Taf. 64 f., selbst lehrt, andere Dimensionen und andere Formen hatte, und zu dessen Errichtung kein Anlass vorlag, scheint eine fingierte Schildwache gemeint zu sein, woneben dann auch das Vermessen nur Schein sein möchte, bestimmt die Barbaren, welche, wie dort die Schleuderer, so hier in langer Doppelreihe hinter ihren Schilden lauernd, am Flusse Wache halten, irrezuführen oder vielmehr an diesem festzuhalten, um unterdes an anderem unbewachtem Orte den Fluss zu passieren. Ob dieser Fluss, derselbe wie der vorige, nur an andrer Stelle, oder ein ganz anderer, ist natürlich nicht zu sehen. Jedenfalls ist auch dieser von felsigen Ufern eingefasst und scheint diesseits von einem hügeligen Strich (vgl. Taf. 20 die Zone am Gebirg) begleitet. Jenseits sieht man Schild an Schild, darüber die spähenden Köpfe, nur im Umriss noch kennbar, darüber eine zweite Reihe von Köpfen bis 19, über dem vielmehr ein Herbeieilender erscheint, der mit ausgestrecktem Arme offenbar aufregende Kunde bringt, etwa, dass der Feind that sächlich anderswo eingedrungen sei: darum denn auch über 23 einer schon den Posten zu verlassen eilt.
In order to relate this second scene to the same castellum, the direction appears to be reversed in the prior scene. For here, on the fort’s other side, where its closed gate shows between two half columns, is a scaffold constructed of beams but obviously built in a very clumsy manner that is depicted unmistakably as collapsing on top of fallen and falling barbarians. All three are commoners: 1 with nude torso lying dead on his back; 2 with shield held overhead and falling forward; similarly, 3, in a tunic, also sinking down, a buckler on his left arm, the right lowered as if holding a weapon. What caused their fall and that of the collapsing siege tower is shown at the top, where the wooden structure is engulfed in upward shooting flames, clearly not the flowing water that they had previously been mistaken for, and, within these flames, appears a large lightning bolt as if it had struck from the upper right. The necking for handling it can be seen in the middle of the divine missile and, better preserved than the lower branch, is its twisted upper branch from which shoot the usual spikes. On top of that, a flame on the corpse 2 shows that he and his comrades, too, were hit by the lightning. But right next to them, we see an unarmed Marcus Aurelius, surrounded by a few Guards and legionaries, of whom one 9 is bent toward the left below and another, more erect 5, toward the upper right; both seem to be busy with measuring rods: these metatores (quartermasters) (Vegetius 2, 7) seem to be totally absorbed in the business of laying out a camp, while Marcus Aurelius himself seems to be pointing at the falling barbarians, fulmen de caelo precibus suis contra hostium machinamentum extorsit (his prayers have caused a thunderbolt to be hurled against the enemy’s machine), as it states in the Vita Marci 24.
Facing away from this group, however, stands another Roman 10 who, turned toward the right, occupies himself with a strange object: Despite the spalled relief, it is possible to discern, especially up top, a helmet at head height of the one standing behind it, but it rests not on a human body, being placed instead on a tree trunk that is bent forward to the right, against which leans a shaft, obviously a javelin, and in front of which on top are fastened a scutum (rectangular, semi- cylindrical legionary’s shield) and, farther down, another, also shield-like, object. Rather than representing a tropaeum (victory monument), that, as the column itself instructs us in Plate 64f, had different dimensions and other shapes at that time, and there was no reason to erect one yet in any case , this seems to have been a fake sentry to fool the barbarians that, like the slingers over there, here also lurked in a long double row behind their shields, keeping watch on the river, intended to keep them there while crossing the river elsewhere in the meantime at an unguarded place. If this river is the same as the previous one
only a different section or it is a completely different one, cannot be said. In any event, this one, too, is contained between rocky banks and on the nearest side seems to be paralleled by a hilly stretch (cf. Plate 20, the zone by the mountains). On the other side, we see shield next to shield, the heads peering out over them, only discernable in outline now, above it, a second row of heads until 19, above which someone comes running up with arms raised, who apparently is bringing stirring news, perhaps, that the enemy has, in fact, penetrated elsewhere, so that one. abover 23, of them is already hurriedly abandonding his position.
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Author: Petersen, Eugen (Eugen Adolf Hermann), 1836-1919.
Title: Die Marcus-säule auf Piazza Colonna in Rom, herausgegeben von Eugen Petersen, Alfred von Domaszewski, Guglielmo Calderini; mit CXXVIII Tafeln folio.
Format: Book
Published: München, F. Bruckmann a.g., 1896.
Description: 125 p. illus. (incl. ports., map) 39 cm. and atlas of 128 mounted pl. 50 cm.
Other contributors: Domaszewski, Alfred von, 1856-1927. Calderini, Guglielmo, 1837-1916. Mommsen, Theodor, 1817-1903.
Contents: Einleitung, von E. Petersen.--Der Marcomanen-krieg unter Kaiser Marcus, von T. Mommsen.--L'architettura della colonna, da G. Calderini.--Beschreibung der Bildwerke, von E. Petersen.--Erläuterung der Bildwerke, von A. von Domaszewski.
Subject headings: Column of Marcus Aurelius (Rome, Italy)
Creator: Smith, George Washington
Date: ca. 1909-1910
Place: Vincent, Howard County, Texas
Description: Image of ranchers on horseback with children and dogs.
Physical Description: 1 photographic print (postcard): gelatin silver; 9 x 14 cm
File: ag2019_1490_09_21_02_howard_42_ranch_r.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University as the source of this file. A high-resolution version of this file may be obtained for a fee. For details see the www.smu.edu/libraries/degolyer/research/permissions web page. For other information, contact degolyer@smu.edu.
Digital Collection: John Miller Morris Real Photographic Postcards and Photographs of Texas
For more information, see: digitalcollections.smu.edu/digital/collection/jmm/id/2165