View allAll Photos Tagged diameter
Diameter: approx 1.5cm
Price: $8
contact: shoo7sg@yahoo.com.sg for any enquires or special requests. :)
McBain Wind Farm, just east of Cadillac, Michigan. RePower MM92, 2MW units, rotor diameter 92 meters, Hub height 80 meters, swept rotor area of 6,720 square meters.
•Diameter 11.75” x 2”H.
•Hand-crafted lacquerware with crushed eggshells applied on wood.
•Holds six tealights.
diameter atas 26,5 cm
tinggi 13,5 cm
lebar kaca 15x9 cm
isi 1 liter
merk Dazeychurn & Mfg.co
St Louis USA
tahun kepemilikan 1818
price USD 900,-
Northrop Grumman Rocket Garden
TX-31 T-2006 Loki
Motor - Loki-Dart
Length 4 ft 8 in - 8 ft 7 in
Diameter: 3 in. - 3 in. (Loki), 1.38 in. (Dart)
Weight: 17.95 lb
Burn Time: 1.7 sec
Maximum Thrust: 3,420 Ib
Originally designed in the 1950s as a high-velocity, antiaircraft rocket, Loki was also used for sounding rocket applications. It was built for the U.S. Army
T-40
Length: 48 in
Diameter: 8 in.
Weight: 130 lb
Burn Time: 5.8 sec
Thrust: 3,160 lb
The T-40 was manufactured in the 1950s and used primarily as a booster of various flight models for the National Advisory Committee for Aeronautics
2.75-Inch Rocket
Length: 70 in. (Warhead/Fuse/Motor)
Weight: 30 Ib (Warhead/Fuse/Motor)
The 2.75-inch rocket is primarily an air-to-ground, helicopter-launched rocket. It can also be configured for launch from fixed-wing aircraft or ground locations. Warheads, typically loaded with high explosives, can also deliver smoke screens, visible and infrared illumination flares, or kinetic energy devices.
TX-55 Falcon
Motor
Length: 37 in
Diameter: 6 in
Weight: 46 lb
Burn Time: 1.4 sec
Maximum Thrust: 4,650 lb
The TX-55 was developed in the mid-1950s for the U.S. Air Force?s AIM-4 Falcon air-to-air missile. This type of motor was also used for the Quill round by the Massachusetts Institute of Technology and for the propulsion of sleds in warhead tests by Aberdeen Proving Grounds
TX-58-4 M58A2 Falcon
Motor - AIM-4D
Length: 37 in - 6 ft 6 in
Diameter: 6 in - 6 in
Weight: 46 lb - 132 lb
Burn Time: 1.4 sec
Maximum Thrust: 5,000 lb
The TX-58-4 was used in the U.S. Air Force's GAH 1 (AIM-4A) and GAR 2 (AIM-4C/D) air-to-air missiles in the 1950s. It was an upgraded Falcon motor that incorporated a permanently installed headend-mounted igniter. This motor had a 100-percent flight reliability record.
TX-18-4 XM-46 Falcon
Motor - AIM-4G
Length: 29 in - 6 ft 9 in
Diameter: 6 in - 6 in
Weight: 43 lb - 145 lb
Burn Time: 4.9 sec
Maximum Thrust: 5,300 lb
The TX-18-4 was manufactured in the late 1950s for use in the U.S.Air Force's Falcon GAR 3 (AIM-4E/F) and GAR 4 (AIM-4G) air-to-air missiles. Production Falcons were delivered to the U.S. Air Force in 1954 and remained in service with U.S. Air National Guard units until 1988.
T-47E2 Falcon
Motor
Length: 37 in
Diameter: 6 in
Weight: 49 lb
Burn Time: 1.2 sec
Maximum Thrust: 5,500 lb
The T-47E2 was manufactured in the 1950s for the early flight tests of the U.S. Air Force's AIM-4 Falcon air-to-air missile
15 feet in diameter and 124 feet long. General Grant Grove, Kings Canyon National Park, California (June 26, 2009)
This tree fell centuries ago. Photos taken of the Fallen Monarch in the late 1800s show the log has decayed very little in more than 100 years. The tree was probably hollowed by fire long before it fell and died.
The Fallen Monarch has served many uses. The Gamlin brothers stayed inside while they built their cabin. For 2 summers before, it served them as a hotel and saloon. The U.S. Cavalry used it to temporarily stable their 32 horses. The hole in the roof was made so a long chimney could vent cooking smoke.
* Internal Diameter: 1.5mm ultra slim
* External Diameter: 5.5mm
* Input: AC 100-240V (worldwide use)
* Output: DC 19V 3.42A
* Power: 65W ( Compatible with 30W )
* Item Includes: AC Adapter and Power Cord.
*Url: www.hootoo.com/acer-aspire-one-laptop-ac-power-adapter-ch...
According to Qauntum FFF Theory, Hyperion is a former Comet, left alone by its giant but single central Static Electric Energy Point source (called electric Dark Matter Black Hole : DMBH). Comet 67P C-G however is assumed to harbour TWO main energy point sourcres (DMBHs) surrounded by several smaller energy point sources. As a result, the all over measurements and the dust exchaust Funnel diameters, show large differences. (DMBHs are supposed to violate the 2e law of thermodynamics)
The Saint-Joseph of Mount Royal Oratory is a church in Montreal, in the Canadian province of Quebec, built on the northwest slope of Mount Royal.
This Catholic establishment is located at 3800, chemin Queen-Mary (Côte-des-Neiges district of the Côte-des-Neiges–Notre-Dame-de-Grâce borough)2. The secondary element of the site is the Catholic basilica. A unique structure, the dimensions of the basilica and its dome are impressive. The dome has an internal height of 60 m and 39 m in diameter and its cross, the highest point in Montreal, reaches 300 m above sea level3. In the oratory gardens, you can follow a life-size Stations of the Cross, inaugurated in 19514, populated with sculptures representing the Passion of Christ.
Inaugurated in 1904 on the initiative of Brother André5, work on the entire place was completed in 19673. In 2004, the Oratory celebrated the 100th anniversary of Brother André's initial chapel.
The whole thing dominates the city with its imposing silhouette. The dome can be seen from several places in the city and even from off the island of Montreal. It is the third largest oratory in the world after those of the Notre-Dame-de-la-Paix basilica in Yamoussoukro and Saint Peter's basilica in Rome.
It is the most important place of pilgrimage dedicated to Saint Joseph throughout the world. It attracts around two million visitors every year, from all parts of the world. It is also the largest church in Canada.
The oratory was recognized as a national historic site of Canada on May 3, 20041. It was designated a national shrine by the Canadian Conference of Catholic Bishops, like only a handful of other sites.
Historical
The chapel of Brother André[
Detailed article: Brother André (religious).
As early as 1900, Brother André entertained the project of erecting a chapel (an oratory) and thus creating a small sanctuary dedicated to Saint Joseph on Mount Royal, opposite the Notre-Dame college where he worked6.
The popularity of Brother André and the growing influx of sick people encouraged the Congregation of the Holy Cross to authorize the construction of the chapel. The management of the college and the Archbishop of Montreal, Paul Bruchési, specify, however, that the costs incurred will be the responsibility of the applicants.
Brother André places a small bowl to collect donations from visitors. Soon, the land on Mount Royal was acquired for $10,000. Thanks to donations offered spontaneously, in money or in kind (for example statues, vases, liturgical vestments, a bell, etc.), construction begins.
Between July and October 1904, Brother André had a chapel built with the help of another brother and a handful of friends. This chapel will be used to pray to Saint Joseph (father of Jesus). Modestly made of wood and comprising a very limited space of 4.5 m (15 feet) by 5.50 m (18 feet), the chapel could not contain all the faithful. This was in fact an oratory which opened its two large walnut doors allowing the faithful to pray outside and this only during the summer period. The inauguration and blessing took place on October 19, 1904.
Because of the fame of Brother André, the multiplication of healings and the increase in the number of faithful, the expansion became a necessity. It was decided to enlarge and heat the building in 1908.
The chapel located on the side of the mountain is gaining popularity. It was enlarged a second time in 1910, the nave was added as well as the bell tower and Brother André's room located above the chapel (in the rood screen). The latter is a modest room also including a second bed used by Brother André to accommodate pilgrims or sick people. Following this second expansion, the building obtained the appearance it has today.
The crypt]
The Oratory was too small for the huge crowds it welcomed to meet Brother André and pray to Saint Joseph. It was then decided in 1915 to build a church. The plans called for the construction of a crypt covered by a basilica. Work began in 1916 according to plans by the two architects Dalbé Viau and Alphonse Venne.
The inauguration as well as the blessing took place in 1917. The name crypt comes from the fact that its vault rests on lowered arches and its position at the foot of the basilica. The crypt can accommodate 1,000 people9. Even today, she receives visits from the faithful to participate in daily services.
Basilica
Construction of the basilica began in 1924. Architects Dalbé Viau and Alphonse Venne were then called upon. The French monk Dom Paul Bellot designed the dome following the Italian Renaissance style accompanied by some modern touches.
The death of Brother André precedes the exterior finishing work, undertaken by Montreal architects Lucien Parent and Ernest Cormier in collaboration with Dom Bellot, which began in 1937.
A dome with an external height of 97 m from the ground, 39 m in diameter at its base, topped by a hexagonal skylight, itself topped by a cross 6.1 m high, will be built according to plans of Dom Bellot and Lucien Parent (1937). The votive chapel (1946-1949) according to plans by Dom Bellot, Lucien Parent and Ernest Cormier. The basilica's glass roofs (1958-1961) were created by Marius Plamondon. Installation of a Rudolf von Beckerath organ, 78 stops, five manuals and pedal board, (1960). The exterior Stations of the Cross are designed in plaster by Lucien Parent. Forty-two characters spread over sixteen stations sculpted in stone and marble by the sculptor Ercolo Barbieri). The crypt-church remodeled by Montreal artist Jean-Charles Charuest (1966). The primitive chapel (1904) will be decorated on the outside with a bronze monument made by Émile Brunet; Oratory Museum (reserve of more than 900 nativity scenes acquired throughout the world, part of which is exhibited each year during Christmas.
The concrete of the walls was covered with silver granite from Saint-Samuel (now in the municipality of Lac-Drolet, MRC du Granit), in Quebec (Canada). Four 18 m (60 foot) columns, in the Corinthian style, stand on the facade of the basilica. The dome was covered with copper.
Its main altar was consecrated in 1955 by Cardinal Paul-Émile Léger. That same year, the Saint-Joseph oratory of Mount Royal was established by Pope Pius XII.
The interior finishing work was completed in 1966 by Montreal architect Gérard Notebaert. It was in 1967 that construction was completed, thirty years after the death of Brother André.
Some characteristics of the Basilica
Christmas crib, 2018.
• The basilica stands 155 m (509 feet) above Queen Mary Road and 283 m (928 feet) from sea level, making it the highest point in Montreal. The dome, which rests at the crossing of the transept, is in fact a double structure comprising an exterior dome (the second largest in size for a Catholic basilica after that of Saint Peter in Rome), covering an interior dome. Many stained glass windows, sculptures and paintings are exhibited in this basilica.
• You can climb up to 283 steps at Saint-Joseph's Oratory from Queen Mary Road to the basilica portico. 99 wooden steps are reserved for prayer and are used by pilgrims who wish to climb on their knees.
Tomb of Brother André
Brother André died on January 6, 1937 at the age of 91. His body was kept in another location while awaiting the completion of the construction of his last lodge.
The final tomb being completed, his body was placed inside. This is located in a small funeral chapel outside the church. The brick arch was designed by Dom Paul Bellot. The Prime Minister of Quebec at the time, Maurice Duplessis, who was a friend of Brother André, offered the black marble for the tomb.
On September 11, 1963, the tomb was opened by the Ecclesiastical Tribunal responsible for the beatification to ensure the integrity of the body which was then in a state of mummification and intact. The beatification was finally carried out on May 23, 1982 by Pope John Paul II from St. Peter's Basilica in Rome.
Hundreds of thousands of people visit it every year. The fresco (by Henri Charlier), on the wall behind the tomb, illustrates Brother André's devotion to the Passion of Christ. We can read the inscription: “Poor, obedient, humble servant of God”. A bust of Brother André is displayed on the opposite wall. Under this bust are registers containing millions of signatures in favor of the canonization of Brother André10.
The heart of Brother André
In the Middle Ages, in France and Italy, it was customary for the hearts of famous people to be kept as a sign of admiration and recognition. This is how those of the kings of France were preserved. Georges Gauthier, Archbishop of Montreal, asked that Brother André's heart be preserved in this way after his death.
Brother André's heart was exposed to the general public, attracting crowds for moments of contemplation. It was stolen on the night of March 15 to 16, 1973. Thanks to information disclosed to the police department, the heart was found almost two years later. On December 21, 1974, the police entered a house south of Montreal and found the intact heart of Brother André in the basement, carefully wrapped.
The heart of Brother André is once again on display to the general public, in the exhibition room dedicated to his life and work. The religious authorities ensured that the heart was well protected behind a wrought iron gate.
The Way of the Cross
In the Oratory gardens, you can follow a life-size Stations of the Cross populated with sculptures representing the Passion of Christ. It is the original work of the artist Louis Parent. The Quebec sculptor devoted 10 years of his life to it (1943-1953). They were sculpted from natural stone from Indiana (United States) and the sculptor Ercolo Barbieri sculpted marble from Carrara (Italy) between 1952 and 1958. The landscape architect Frederick Gage Todd designed the gardens of the Oratory.
Cardinal Paul-Émile Léger inaugurated the Way of the Cross on July 29, 19514. Brother André's dream became a reality: to offer pilgrims a privileged place for prayer and meditation.
For the interior of the basilica, another life-size Stations of the Cross was created by Roger de Villiers and his successors from 1955 to 1960, and installed around the nave in 196011.
The votive chapel
Many patients left their crutches, canes, corsets and prostheses at the crypt following their supposed healing and favor. As these ex-votos could not be hung on the walls of the crypt, a devotional chapel was built as an annex to store them there. The votive chapel was created according to plans by architect Lucien Parent. Today, the ex-votos rest on the walls of the chapel and bear witness to the gratitude of the faithful to the prayers of Brother André to Saint Joseph. All the ex-votos in the chapel date from the time when Brother André lived, none of them have been hung since his death.
The chapel measures 31.69 × 15.2 × 27.43 m and contains approximately 10,000 candles. The central candlestick in front of the statue of Saint Joseph contains around 3,500 votive candles. The chapel is also called “the chapel of ex-votos” because of nearly a thousand ex-votos. which are suspended there. It also contains eight bas-reliefs, designed by the sculptor Joseph Guardo in 1948, which illustrate eight of the attributes granted to Saint Joseph.
Organ
The large organs of the Oratory were installed in 1960 by a German organbuilder, Rudolf von Beckerath, at the instigation of the incumbent Raymond Daveluy. Built in Hamburg (Germany) in 1958-1959, it is composed of 78 stops distributed over five manual keyboards, 118 ranks, 5,811 pipes distributed over 5 mechanical keyboards and pedal boards, making it one of the most important of its kind in the world. world. At the time, he encouraged the revival of Quebec organ building, notably at Casavant Frères, which revived the mechanical traction construction of its beginnings in the 19th century. Many concert artists have played on this instrument, such as Marie-Claire Alain, Jean Guillou, Lionel Rogg and Pierre Pincemaille12.
Chime.
The carillon of the Saint-Joseph oratory has 56 bronze bells and ranks among the largest carillons in North America. Originally intended for the Eiffel Tower in Paris, it was cast by the famous French house Paccard and offered to the Oratory by generous donors in 195513.
The instrument has four and a half octaves. It extends from D #3 to A #7 in an entirely chromatic fashion. The largest bell weighs 1,500 kg and the smallest approximately 5 kg. The entire chime gives a total weight of 10,900 kg.
The carillon was dismantled in September 2018, due to major work planned as part of the development project announced on June 6, 2016. In June 2023, the carillon bells returned after being restored14,15.
Pope's visit
On September 11, 1984, Pope John Paul II visited the Oratory during his visit to Montreal.
Canonization of Brother André
Since 1941, efforts have been made to ensure that Brother André, strongly associated with Saint Joseph's Oratory, is recognized as a holy man. From the beginning of the 1960s, a beatification process was opened. The Ecclesiastical Tribunal in charge of the procedure had the tomb opened on September 11, 1963, in order to ensure the integrity of the body. It was then found in a state of mummification and intact. In 1978, Pope Paul VI declared him venerable. Brother André was then beatified on May 23, 1982 by Pope John Paul II, under the name Blessed “Brother André Bessette”16. Over the years, 10 million people have signed petitions for his canonization. But the Roman Catholic Church had to be able to recognize a second miracle.
In October 2009, this second miracle was officially recognized and attributed to Brother André by the Congregation for the Causes of Saints, so that the blessed now only has to wait for the decision of the Pope, on the advice of this congregation, in order to be canonized. On December 19, 2009, Pope Benedict XVI authorized the Congregation to promulgate the decree concerning this miracle attributed to Brother André17 On February 19, 2010, Pope Benedict XVI announced during a consistory that Brother André would be canonized on October 17, 201018.
.
Major works[
start of a series of major works as part of a major project to develop and restore the sanctuary. These renovations aim to improve safety and accessibility for visitors while preserving sacred, urban and territorial heritage. The work carried out to date includes the creation of a horizontal pedestrian surface accessible to people with disabilities located at the crypt level as well as the installation of mobile staircases and elevators. The landscaping of the premises and the Sacred Axis has also been significantly revised as well as car access and parking.
An observation center will be installed at the top of the dome of the Oratory basilica. It promises to be the highest observation point in Montreal, the equivalent of a 45-story building if viewed from Queen Mary Road or some 150 stories from the St. Lawrence River. . However, the project is delayed due to funding delays; nothing has started in January 201320. The construction of this observation center will be done as part of the development project currently estimated at more than $50 million21 over 10 years, including $15 million for the dome .
.
From Wikipedia
Description: Kelly Proctoscopes, Diameter 2.2 cm , Long 5.1 cm , Small
Category: Surgical Instruments – Rectal and Genito-Urinary – Proctoscope
Product Code: 161-001
www.jfuind.com/kelly-proctoscopes-diameter-2-2-cm-long-5-...
From ‘Hengistbury Head’ by Barry Cunliffe, pub. Elek, 1978:
Barrow 1. A low mound 40 m in diameter, 1 m high, apparently undisturbed. Two small vessels of Bronze Age date were found near by in 1935. [This one now seems to form a green on the golf course ffs].
Barrow 2. A low mound, possibly a barrow. Unexcavated and now obscured by bracken.
Barrow 3 (Bushe-Fox, barrow 1). A large mound composed of gravel and sand measuring some 30 m in diameter and 2 m high. It appears that the barrow had been dug into in the eighteenth century, at which time an urn and some bones were found (Grose 1779). Bushe-Fox found another burial which the earlier excavators had missed, presumably because it lay off-centre. The deposit consisted of an inverted collared urn, which contained the cremated remains of an individual about twenty years old, an incense cup, two gold cones which would once have covered buttons of an organic material, a halberd pendant of amber and copper alloy and three small amber beads.
Barrow 4 (St George Gray, mound B). An oval mound, probably a mutilated round barrow. It was extensively excavated by St George Gray in 1919, but no trace of a burial was discovered. In 1958, however, part of a collared urn was found in a telephone cable trench dug along the fringe of the mound (Calkin 1964). In all probability this vessel represents a secondary burial, unless it was a fragment of the primary burial which had been discarded by earlier barrow diggers, or even displaced by the rabbits which St George Gray records had infested the mound.
Barrow 5 (St George Gray, mound A). A small barrow c. 18 m in diameter. The mound was excavated by St George Gray in 1919, but no burials were discovered.
Barrow 6 (Bushe-Fox, barrow III). A mound of gravel and sand 12.8 m in diameter and 1.2 m high. Nothing appears to have been found in the centre, possibly because of earlier robbing, but towards the periphery five separate deposits were encountered: four were represented by groups of potsherds, two of these being mixed with black charcoaly soil, the fifth consisted of an extensive patch of burnt oak without pottery. It seems probable that we are dealing with a number of secondary burials which had been extensively disturbed, probably by rabbits. The potsherds which can be reconstructed represent two collared urns, of which one now survives.
Barrow 7 (Bushe-Fox, barrow II). A mound composed largely of sand, measuring 30 m in diameter and 2 m in height. No central burial was found but a number of, presumably, secondary burials were recorded. One consisted of a cremation contained in a biconical urn of Cornish type, two others were cremations associated with collared urns. In addition two simple examples of southern food vessels were discovered, apparently without cremations. Bushe-Fox records two other vessels which disintegrated and eight separate pockets containing 'burnt matter'.
Barrow 8 (St George Gray, mound C). An apparent barrow examined by St George Gray in 1922. Gray found nothing and concluded that the mound was a natural formation.
Barrow 9 (St George Gray, mound E). A mound now 12 m in diameter but originally considerably larger. The barrow was examined by Gray in 1919, who records the discovery of a number of fragments of a pot of Bronze Age type, decorated with cord impressions inside and outside of the angular rim? The vessel cannot now be traced.
Barrow 10 (St George Gray, mound F). Barrow some 14 m in diameter excavated by St George Gray in 1919. The barrow had been extensively disturbed in previous excavations and no burial remains were found. However, near by, in 1953, a few metres to the west of the barrow, a bronze axe was found 60 cm below the surface. Though corroded, it is clearly of Early Bronze Age type and may well once have accompanied a burial either in a flat grave or beneath a barrow which has since been removed.
Barrow 11 (St George Gray, mound G). Barrow, 12m in diameter. The mound was excavated by St George Gray in 1919, who considered that it had already been extensively disturbed by previous excavation. No burial remains.
Barrow 12 (St George Gray, mound H). A mound 10 m in diameter and 0.7 m high, which was extensively excavated by St George Gray in 1919. He records the discovery of three vessels, a collared urn standing upright on its base, a small urn of unctious clay' of which only the base remained, and part of another vessel with an 'encircling ridge which proved to be very fragile. Of these only the collared urn is extant. All three seem to have been associated with patches of wood ash.
Barrow 13 (St George Gray, mound J). A mound 14 m in diameter and 0.5 m high, which was excavated by St George Gray in 1919. Gray records the discovery of a complete urn which had been inverted over a cremation. In all some 3 lb of bone were recovered, which were examined by Sir Arthur Keith who identified them as the remains of a woman more than forty years old. Fragments of at least five other pots, apparently without diagnostic characteristics, were noted. The finds cannot now be traced. In addition to the burials three 'burnt areas’ were recorded within the mound.
- - -
The orange lines indicate the extent of the ‘double dykes’ that have been lost to the sea. Barry Cunliffe cites Archaeologica Vol. 5 published in 1779 that contains a letter from the antiquary Francis Grose to Gustav Brander:
“A Description of an ancient Fortification near Christ-Church, Hampshire. In a Letter to Guftavus Brander, Esq: from Francis Grose, Esq; F. A. S.”
“The Western side of the harbour of Christ-Church is formed by a point of land, rising towards the sea to a bold head-land or cliff, called Hengist-bury head, i. e. Hengists, or the Stone Horse Hill; whether from some now forgotten story of the Saxon leader of that name, or from some fancied resemblance of a Horse; a conceit not uncommon in the neighbouring counties, of which the Giant in Dorsetshire, and the White Horse in Wiltshire, are well-known instances. The North side of this point is bounded by the harbour or conflux of the rivers Stour and Avon; both which empty themselves into the sea at the Haven's mouth.
About a mile West from the point is a strong entrenchment running cross the peninsula from the harbour to the sea, terminating at both ends with a kind of epaulement or circular re-turn. This work fronts the West, and was constructed to defend the possession of the point against the attacks from the interior country; and therefore evidently seems to have been thrown up by some invaders, who thereby secured the command of the harbour. Near the Northern extremity is a large barrow or tumulus, which was opened some few years ago, when an urn and some human bones were found in it.
This entrenchment consists of a double rampart, the inner or easternmost much the highest; between them is a ditch, the bottom whereof is below the level of the natural ground; the extent of this work measures nearly five hundred yards, including the returns. The inner rampart is about twenty-five feet high, and twenty yards thick at the base; the outer one, fifteen feet high, and about ten yards in thickness; the breadth of the ditch, taken from the tops of these ramparts, near twenty-five yards; the slope or talus of the ramparts, forms an angle of about forty-five degrees, with the plane of the horizon: there are three entrances as shown in the plan. West of this line are several sand hills appearing somewhat like tumuli.”
- - -
The blue lines indicate depressions / valleys that I thought might have been errors in the LiDAR scans but they do exist for real and are quite intriguing. I assume that they’re natural landscape features.
- - -
If you’ve read this far then you must be keen! In which case, I recommend that you visit historicengland.org.uk/images-books/photos/ and search on the word Hengistbury. You should stumble upon hi-res photographs of the J. Bushe-Fox excavations of 1911/12.
Chris Beebe measures the diameter of a sample tree. Photo captured during data collection efforts for the Interior West Forest Inventory and Analysis (IWFIA) Program in Montana. (Forest Service photo by IWFIA staff)
- diameter of the base ring 23 cm. (9")
- diameter of the sphere 12 сm (4.7")
- height 25 сm. (9.8")
- width 24 cm. (9.5")
60W/220V/E14 lightbulb.
You can find me on www.facebook.com/evlightart or contact me by evlightart@gmail.com
Diameter 12.5" x 21.5"H.
Hand-crafted from Mother of Pearl applied on Bamboo.
Includes Linen drum shade in dark Mocha color.
Brudeskørt
da.thdress.com/110cm-diameter-seks-stål-bryllup-underkjo...
Produktnavn: 110cm diameter seks stål bryllup underkjole
Bryllup tandbøjle nederdel stilarter: single fælge køje Sand
Konto: QC015
Materiale: interlining, ståltråd
Farve: Hvid
Specifikationer: længde 105cm, diameter 110cm
BPD: biparietal diameter - length from left side to right side of head
CRL: crown-rump length, or length from head to butt :)
FL: femur length
AL: abdominal circumference
HC: head circumference
--thanks Toni!
Where was this picture taken? At the new Shieh Clinic at Tamuning. Since the picture is geotagged, you can use a bookmarklet to see where the picture was taken from. Maps are from Google Maps.
New World - AM PM
2003
bronze
33" diameter
Carole A. Feuerman (b. 1945 in Hartford, Connecticut; based in New York City)
A world view incorporating past and present, evident in Feuerman's hyperrealist figurative sculpture, has also taken form in abstracted bronzes suggestive of shattered globes. Using a technique she calls "painting with fire," Feuerman produces two hemispheres by loosely casting sand molds with molten metals. Here the intensely experienced body extends to that of the world. Though the series was begun before the devastation of 9-11, many of Feuerman's spheres are in direct response to the event. These works evoke an attempt to put the world back together, while acknowledging qualities of age, wear, and brokenness.
Hagabi (Ifugao Prestige Bench)
19th century
narra wood
Length: 142” (360 cm)
Width / Diameter: 23 1/4” (59 cm)
Height: 20 1/4” (52 cm)
Opening bid: PHP 1,400,000
Provenance: Thierry David
Osmundo "Omeng" Esguerra
Hiroshi Ogawa of Tokyo, Japan
ABOUT THE WORK
The Ifugao “hagabi” or zoomorphic lounging bench has become one of the most desirable indigenous art in the Philippine collecting scene not only for its modern appeal, but for its rarity and sociocultural importance in the Ifugao society. Roy Franklin Barton described the hagabi in his book Ifugao Law (1919) as “a lounge cut out of a large tree trunk [which] is the insignia of the upper class Ifugao . . .” Unlike the regular lounges, the seat of a hagabi should be pointy in the middle referencing the high-peaked thatched roof of the traditional Ifugao four-stilted house (“bale”). On both ends of the hagabi (“ngiwit”) are abstracted animal heads with long snout and big ears. While early literature describes the heads as “goat-like” or “guinulgulding”, they could also be pig heads which are the main offertory animals in agricultural rituals with which the status and wealth of the landowning kadangyans are intimately tied with. The hagabi must also be hewn from a single trunk of the narra wood to represent wholeness and family solidarity. In other words, the hagabi is really a bicephalous lounging bench shaped like a bale that symbolically signifies the family’s state of bounty. This hagabi tradition is exclusive and unique to the village of Kiangan in Ifugao, the oldest among the Ifugao settlements. In the Kiangan traditional society, only a “kadangyan” or those from the highest and wealthiest class in the Ifugao society can commission and own a hagabi. Raymundo Baguilat’s paper entitled “The Ifugao Hagabi” (1940) explains the process of the making of the hagabi in detail. He contextualized the hagabi by first laying down that the greatest ambition of every Ifugao is to attain the rank of “kadangyan” by giving a great public feast called “uya-uy” that begins with twenty (20) consecutive days of dancing and culminates in three (3) full days of eating and drinking. This requires tremendous resources that one must be very wealthy to afford the holding of such festivities. Once one has become a “kadangyan”, his ascension to the rank is culminated by giving another feast called the “hagabi”, where the long hardwood lounging bench of the same name, is commissioned. Baguilat noted that even if one can afford to hold the “hagabi” feast, custom requires that one must also wait for the time of the year known as “tialgo”, when rice is scarce and many people are hungry. The first step to the ritual is the holding of the ceremony called the “mamaldang” where the mumbaki (“village priests”) are summoned to find out whether the gods favor the step by killing some chickens and study the gall- bladder and the bile. If the gall-bladder is small and pale, this is interpreted as an unfavorable and the hagabi feast is postponed. But once the go-signal has been given by the gods, then the next phase begins with the woodcutters and carpenters (“munhabat”) going deep to the forest to carefully select a big narra or ipil tree to be cut down and fashioned into a hagabi. When the hagabi is finished, many people would join the munhabat in the forest to bring it out by taking turn to carry it across mountains and rivers. It is a much-anticipated moment of fun, merriment and even an opportunity for men to showcase their physical strength. Carabao meat, pork and plenty of rice wine are served at every stop. As wine takes effect and everyone gets intoxicated, the task gets harder and harder as the carriers struggle with the weight of the hagabi. When the hagabi arrives at the house of the one who gives the feast, the people throw each other balls of boiled glutinous rice (“dayacot”) in celebration. Once the hagabi is installed, three days of eating, drinking, and dancing follows at the account of the commissioning kadangyan. Being too big to be taken in, the hagabi is placed under eaves of the bale where it is always visible to the entire community. The hagabi is not the just an emblem of wealth and prestige of the kadangyan, but symbolic of the responsibility he assumed to provide when the resources are scarce. Very few families can afford the resources, manpower and preparation to bring a hagabi to life that it has become the distinguishing mark of those who were able to. Unfortunately, the tremendous expense in commissioning the hagabi also caused the eventual demise of the tradition. The entry of the Americans in Ifugao in the early 20th century did not only bring Christianity to the unconquered Ifugao lands, but weakened traditional socio-cultural structures and values that the new generation of rich Ifugaos find little use to the wooden coach given the expense it requires. Some rather opted to build a modern concrete house or acquire a car which are really the modern hallmarks of what it is to be wealthy. As early as 1940, Raymundo Baguilat already remarked in his paper entitled “The Ifugao Hagabi” that “much of the color of the hagabi has been lost.” It is estimated that in the last 150 years, less than 50 families in Kiangan have either performed the hagabi ritual or descended from ancestors who have once performed the ritual (“himmagabi”). A very lean figure compared to the sheer abundance of hagabis in museums all over the world, private collections, and those in the peddled market that should put a potential buyer on his toes. The hagabi also rarely survives. While it may be protected by the eaves of the bale yet it is still exposed to the elements, exposing it to cycles of solar radiation, rain, and changes in the humidity which affect its integrity and stability. Termites and vermins can likewise irreversibly damage the hagabi since they are placed outdoors and in contact with the ground. Likewise, as recounted by old time runners and dealers, procuring a hagabi in situ is likewise a complicated affair as selling kadangyans would often seek full reimbursement or the return of the full cost to commission one which often result to an unconscionable price tag, thus, rarely afforded by outsiders. The present piece being presented by Leon Gallery was recently discovered in Tokyo, Japan. It measures almost 12 feet in length and 2 feet in width. Its owner, Hiroshi Ogawa, is a noted Japanese primitive art dealer in Tokyo who has been dealing with African Primitive Art for more than 45 years ago. He purchased the hagabi while he was living in the Philippines 47 years ago from the noted Filipino collectordealer Osmundo “Omeng” Esguerra, who in turn bought it from French dealer Thierry David who is another known figure in Philippine indigenous art dealing and collecting. Based on his recollection, Thierry David is said to have found and acquired the hagabi in Baguio City. While there is no further information as regards the ownership prior to him, we can see the name “Kid Dave” etched on the hagabi which could refer to the previous owner. This opens the possibility that like many Ifugao objects, it may have been collected during the American Colonial period, brought to Baguio City, and kept in one of the American colonial houses in the city until it was discovered and bought by Mr. David. This archaic specimen undeniably carries the hallmarks expected from an authentic hagabi of great age. Stylistically speaking, the piece has the delicateness, fluidity and muted elegance of old and authentic Ifugao objects which can no longer be replicated. This aesthetic has appealed to many noted Japanese collectors like Hiro Kobayshi, Hiroshi Ogawa and many others that many Ifugao materials have ended in Japan. Newer hagabi reproductions are often stylistically flat and too thick, revealing the modern carvers’ instinct to maximize the wood that has become extremely hard to procure at the size that the hagabi requires. A real hagabi should also not have the same surface as an indoor furniture since it is kept partly outdoor. This incorrect patina is often observed in reproductions that are often stored indoor and used for years to achieve the sheen and worn surface. While worn surface patina is expected in a real hagabi in parts sat on or frequently touched, the presence of surface cracking, roughness, and time-induced weathering that exposes the grain separate the authentic old ones from hasty reproductions. The current specimen has all the expected weathering given its great age, but likewise in a good, stable and well-preserved condition. The desired balance that is extremely rare to find and, often, much desired.
Lot 94 of the Leon Gallery live and online auction on 14 September 2024. Please see leon-gallery.com and leonexchange.com for more information and to place an online bid.
Diameter: approx 1.5cm
Price: $8
contact: shoo7sg@yahoo.com.sg for any enquires or special requests. :)
via
Go to description and find discount link there amzn.to/2TU6ksL - Play Platoon Spider Web Tree Swing - 24 Inch Diameter, 400 lb Weight Capacity, Fully Assembled, Easy to Install COMES FULLY ASSEMBLED for instant fun, saving you time and hassle. Plus, factory assembly ensures your tree swing is put together safely. WORKS GREAT INDOORS & OUTDOORS - This 24 inch diameter swing fits perfectly on a regular swingset or indoors as a therapy swing. 400 lb. weight limit. DURABLE, EXTRA THICK ROPE ensures this tree swing will last you and your family for years. REPLACEMENT WARRANTY - Play Platoon stands behind all of its products 100%. The Spider Web Tree Swing comes with an automatic 1 year warranty. Register online for a FREE TWO YEAR WARRANTY. QUICK & EASY TO INSTALL - Comes fully assembled and includes simple instructions so you can attach this spider web swing to your tree or swing set in minutes! Includes 2 carabiners for hanging on swing set. Tree installation requires strap hanging kit, not included. Get link in descrition bit.ly/2YMPn7q
You can't find like a this Kimono cord not so often.
There is a lovely pattern of many-colored flowers in black based kimono fabric.
This core is wool and wrapped with polyester kimono.
8mm(3.15inch) diameter x L 217cm(85.4inch)
100% Polyester
Low temperature iron
Gentle hand wash
Next, Bang San measures the diameter of the trees within seven meters of the center of the subplot at either chest height or 30cm above the roots.
Photo Credit : Robbie Carrasco
(The diameter of the picture being 5 feet), embracing the whole of the extensive view from the base of the Tower to the horizon. The Camera Obscura, to those unacquainted with it, has a magic effect. The entire of the varied scenery within the range of the summit of the observatory, including figures, and animals in motion, carriages, the waving of foliage, ships and packets arriving and departing, being brought in succession into the picture, with the distinctness and vivid colouring of nature, and affording a high gratification to the observer from the continual changes and varied effects of light and shade upon the landscape.
Yosemite National Park, September 2004
Grizzly Giant is one of the largest trees in the Mariposa Grove, and is one of the oldest Sequoias with an estimated age of 2700 years. The lowest limb is almost seven feet in diameter. Most trees in East Tennesse aren't that big. These trees are huge!
Es Kristal merupakan es batu yang berbentuk tabung kecil dengan panjang 5cm dan terdapat lubang di tengahnya dengan diameter yang beragam. Disebut Es Kristal karena bentuknya yang jernih berkilauan layaknya Kristal, oleh karena itu di sebut es Kristal.
Es merupakan bagian penting dalam semua bidang usaha, mulai dari usaha kuliner hingga pabrik ataupun distributor daging dan ikan. Karena pentingnya adanya es, banyak masyarakat membuka usaha jualan es batu kristal rumahan di Surabaya namun masih menggunakan es batu balok yang besar ukurannya serta kurang kebersihannya. Seiring berjalannya waktu, banyak masyarakat sadar akan makanan yang sehat dan hygienist. Sedikitnya produsen yang berjualan es batu kristal rumahan di Surabaya ini membuat banyak rumah makan masih menggunakan es balok yang besar serta kurang hygienist beralih ke es kristal. Permintaan distributor terhadap es kristal juga masih belum terpenuhi, ini sebabnya usaha jualan es batu kristal rumahan di Surabaya akan masih sangat terbuka lebar bagi anda yang ingin membuka usaha jualan es batu Kristal murah di surabaya.
Saat ini banyak masyarakat yang sadar akan kesehatan, termasuk dalam pemilihan es batu kristal rumahan di Surabaya. Masyarakat kian sadar bahwa pembuatan es batu balok kurang hygienist serta cara pendistribusiannya juga asal-asalan. Berbeda dengan es balok, jualan es batu kristal rumahan di Surabaya lebih bersih dan pembuatannya lebih hygienist karena menggunkann air mineral. Pengemasan juga lebih hygienist, serta lebih praktis saat pengolahan. Banyak saat ini kedai minuman yang beralih ke es kristal, meskipun harga es kristal lebih mahal dibanding dengan es balok namun para pelanggan akan lebih tertarik saat menggunakan es krstal, selain bentuknya yang lebih rapi, dinginnya juga lebih cepat dibanding menggunakan es balok. Pengolahan es kristal juga akan lebih praktis dibanding menggunakan es balok yang harus memotong terlebih dahulu.
Akhir akhir ini kebutuhan akan es batu diberbagai tempat makin banyak, hal ini disebabkan oleh karena makin banyaknya pedagang minuman ringan yang menggunakan es batu dalam menyajikan minumannya. Selain itu makanan Seafood juga membutuhkan sejumlah banyak es batu untuk menyimpan bahan bakunya; seperti udang, cumi, ikan, dll. Restoran dan Cafe yang juga membutuhkan es batu kristal dalam jumlah banyak semakin banyak bermunculan. Hal ini menciptakan peluang Usaha jualan Es Batu kristal rumahan di Surabaya yang cukup menjanjikan keuntungan karena dalam pembuatan es batu bahan baku yang digunakan cuma air bersih.
Dalam pembuatan Es batu kristal rumahan di Surabaya ini sangat sederhana sekali dan setiap orang dapat membuatnya di rumah, hanya dengan menggunakan Kulkas dan bahan baku air bersih. Namun demikian dengan kebutuhan yang begitu banyak, kapasitas sebuah kulkas atau freezer biasa tidak akan mencukupinya. Pada saat ini sudah tersedia dipasaran Mesin pembuat pembuat Es Batu Kristal atau Es Cube. Mesin Es kristal atau Ice Cube Machine adalah sebuah mesin pembuat es batu berbentuk kubus kecil dengan ukuran kubus kira kira 20mm. Mesin pembuat es batu ini berkapasitas besar, yakni mampu memproduksi sampai puluhan kilo per harinya.
#esduabintang #estube #eskristal
(c) EsDuaBintang
Source:
Es Dua Bintang, Premium Zero Crystal Reverse Osmosis Ice Tube.
www.esduabintang.com/jualan-es-batu-kristal-rumahan-di-su...
#esduabintang, #estubekristal, #esbatupremium, #estubehigenis
4" Diameter Round Flat Pad Air Bearing for precision applications.
Nelson Air Corp. www.nelsonair.com/NA_prods_flatpad.htm
Computing the diameter (i.e. the maximal distance between two nodes) of a huge graph is in many cases too time-consuming to be performed.
In Fast Computation of Empirically Tight Bounds for the Diameter of Massive Graphs we propose several methods to obtain upper and lower bounds for the diameter of a given graph. Although these bounds are guaranteed (it is sure that the diameter is between the bounds), we do not know if the bounds are tight in general. We therefore computed them on a variety of real-world cases; in all of them, the results were excellent: the difference between the upper and lower bounds was a few units only. As the computations needed to compute these bounds are very efficient, this provides an effective solution for diameter estimations when exact computation is out of reach (or not needed).
Our methods to compute upper and lower bounds are not deterministic: if we run them several times, we may obtain different values. As, in all cases, it is guaranteed that the diameter is indeed between the bounds, one may cumpute several bounds and keep the best ones.
The plot above represents the distributions of the obtained bounds for each method, ran 2000 times each on a web graph of approximately 40 million nodes and 800 million links. Each line corresponds to a different method (detailed in the paper)). For upper bounds (the three rightmost lines), we plot for each value x on the horizontal axis the number of times that the method output a bound larger than or equal to x. For lower bounds (the two leftmost lines) we plot for each value x on the horizontal axis the number of times that the method output a bound smaller than or equal to x.
In this case, we therefore reach the conclusion that our 40 million node graph has a diameter between 32 and 33 (it is thereforre 32 or 33, exactly). This is a very precise result, typical of this approach. It is obtained in minutes, while classical methods are unable to handle such massive graphs even within weeks.
Halemau’mau is a half mile diameter pit crater in the summit caldera of Kilauea volcano. The ledge which
can be seen about halfway up the crater wall marks the high point of the lava lake from the 1967-68 eruption.
In the Hawai’ian mythology, Halemau’mau is the home of Pele, the goddess fire and volcanoes. It is a sacred
place to Hawai’ians, who sometimes leave offerings on the rim of the crater. According to legend, the Kilauea
caldera was formed during an epic battle between Pele and her sister Hi’iaka. Pele had sent Hi’iaka to fetch
her lover from Kauai. When she returned, she found that Pele had broken her promise and burned Hi’iaka’s
favorite forests, so Hi’iaka retaliated by making love to Pele’s lover at the summit of the volcano, in full view
of Pele. Pele then buried her lover Lohi’au in a flood of lava. Hi’iaka dug frantically to recover the body, but
her brother stopped her from digging so she would not reach water and put out Pele’s fire. Colorful story.
Vulcanologists have a different story. In the late 1400s, great outflows of magma from the Kilauea lake
emptied the magma reservoir, and with its internal support withdrawn, the surface collapsed forming the
caldera, accompanied by explosive eruptions. This is a far more unlikely possibility than Pele and Hi’iaka.