The Durable Rice Blast Resistance for Africa annual project and stakeholders meetings co-convened by BecA-ILRI Hub; Ministry of Agriculture, Livestock and Fisheries (MALF) the United Republic of Tanzania; the Kenya Agricultural and Livestock Research Organization (KALRO); and Exeter University 22-24 July 2017 (photo: BecA-ILRI Hub/Ethel Makila)

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Sized to fit most 15" laptops, this laptop compatible messenger-style shoulder bag has an adjustable cross-body strap with security clasp so that you can anchor your bag to a secured fixture when you're not wearing it. With travel-focused organization, two-way lockable zippers and a back-slip panel for stacking on wheeled luggage, the Heritage Commuter Brief is a must have. Made of the time-tested dependability of Cordura® fabric with the added durability of a wipeable Bi-Tech™ bottom for easy cleaning.

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Financial District, Lower Manhattan

The American Telephone & Telegraph Company Building, designed by noted architect William Welles Bosworth and constructed in three phases from 1912 to 1922, is an important example of Greek-inspired neo-Classical design. Envisioned by company president Theodore Newton Vail as a grand corporate symbol, the building was designed to create an impression of quality, durability, and permanence expressive of the Telephone Company’s commitment to public service.

Its architect, Welles Bosworth, was a prominent designer of classical buildings and a leading preservation architect and this, his only large-scale office building, is considered one of his finest works. Inspired by Greek and Roman precedents, the facades of the American Telephone and Telegraph Building are clad in Vermont granite and incorporate nine superimposed colonnades, with eight three-story high Ionic colonnades based on the order of the then recently excavated Temple of Sardis stacked on a double-height base of colossal columns copied from the Doric order of the Athenian Parthenon.

The impression of solidity is enhanced by the use of stone spandrel panels at the base of each story grouping which contrast with bronze spandrels and window frames in the upper two-thirds of the bays. The spacing of the bays on Dey Street and certain other features of the design reflect the theories of Professor William H. Goodyear regarding Greek architectural practice and were intended to create a sense of “rhythmic beauty.” The facades are beautifully detailed with Greek-inspired ornament, including swags, and wreaths, lion heads, frets, paterae, anthemia, and delicate foliate reliefs.

The concern for classical detailing also extended to the articulation of the subway stair enclosures on Dey and Fulton Streets and to the southbound platform of the Fulton Street IRT subway where the A level basement Broadway facade of the 1912-16 portion of the building was faced with granite and given special bronze gates and shop windows enriched with classical motifs.

The western end of the building which contained the company’s executive offices is surmounted by a small Ionic temple with a stepped roof modeled on the mausoleum of Halicarnasus and is capped by a golden orb which originally supported a gilded bronze figure of The Genius of Electricity. From 1916 until 1983, this building was the headquarters of the American Telephone and Telegraph Company, the largest corporation in the world for much of the twentieth century. It remains in use as an office building.

The American Telephone and Telegraph Company Building is located on an irregular lot that extends approximately 154 feet along Broadway, 275 feet along Dey Street, and 200 feet along Fulton Street. The major portion of the building is twenty-six stories high (the double-height lobby space counting as two stories) and is surmounted by a twenty-seventh attic story housing mechanical equipment that was installed in 1959-61. The northwest corner of the building at 170 Dey Street rises to twenty-nine stories and is treated as a tower. The building has five basement stories. The southern portion of the Broadway facade of the A level basement story fronts onto the southbound platform of the Fulton Street IRT subway and is also included in this exterior designation.

The three major facades and the tower are clad in white Vermont granite. Except for the tower wing on Fulton Street, the facades are articulated with nine superimposed orders consisting of a double-height base of colossal Doric columns surmounted by eight three-story high Ionic colonnades. The tower is articulated with a tripartite design incorporating a three story base, twenty-three-story shaft, and three-story crown capped by a stepped pyramid. The southern portion of the west wall of the Fulton Street wing and the northern rear wall of the Dey Street wing, both visible from Fulton Street, and the small sliver of Dey Street wing’s western wall visible from Church Street are clad with light colored brick. The major facades retain their original bronze entrance and first-story window enframements, although a few windows have been altered to create display windows and some entries have been adapted for wheelchair access. (The windows and doors vary in configuration from facade to facade and are described below). All of the bronze metalwork has been painted gold and the inset nickel relief panels are painted silver. A large portion of the bronze grilles that were employed at the base of the building have been removed. These were originally fixed in front of the window glass on both the bottom and upper tier of windows and were employed for the paired sliding doors that were pushed into pockets behind the lower tier of sidelights during the day and pulled shut at night to protect the rotating door entries. When the 1920s addition was constructed and the main entrance to the building was moved from Dey Street to Broadway, the revolving door entrance bays were modified by adding spandrel panels designed by the sculptor Paul Manship over the entries (now replaced with copies) and by removing the upper range of grilles. Other grilles were removed from the Dey Street facade. In the 1980s, when Peter Kalikow acquired the building, many more grilles were removed, but a few original grilles still survive (see below). The upper stories have their original bronze one-over-one sash windows. The majority of the window openings on the secondary facades have been sealed. The surviving windows have one-over-one sashes.

Broadway Facade

Base: The double-height Broadway facade is organized into eight-major bays. These are divided into two four bay groups by a massive pier faced with pilasters at the center of the facade which marks the junction of the original (1912-16) portion of the building and the (1920-22) addition. Heavy piers also frame the corners of the facade. Between the piers the bays are articulated with three freestanding Doric columns copied from the Doric order of the Parthenon in Athens. The columns and piers support a Doric entablature. The corner piers have non-historic medallions which feature the building’s logo based on the cross axial pattern used for the bronze grilles and read “195 Broadway,” “L&L Holdings.” A non-historic sign between the two pilasters bears the logo of the Thomson Financial corporation. Below it a bronze plaque reads “195 Broadway - Built in 1923 as the Headquarters for American Telephone and Telegraph - William Welles Bosworth, Architect.” Non-historic metal brackets are attached to the sides of the center pier to hold the ropes for the two flagpoles above. The north side of the center pier has some large areas of staining/ dark patching. Dark bands of stain/patching appear above each drum on the second column (reading north to south).

Bay 1 (reading north to south) was altered in 1939 to create a show window for AT&T’s Precision Clock display. This historic window has a bronze surround with a paneled bulkhead at its base, slender pilasters framing the edges of the window and crowning entablature with an inlaid nickel frieze decorated with a rinceau pattern. A historic round bronze handrail extends in front of the window. The upper portion of the bay retains its original three-light bronze window frame characterized by the slender mullions that frame the panes and by the decorative bronze spandrel panels ornamented with foliate forms that cap the windows. The openings in Bays 2 and 3 are divided into a wide center bay and narrower sidelights to accommodate revolving door enclosures. The bulkheads at the base of the sidelights are decorated with fielded panels. The mullions that separate the bays are treated with pilasters with inset nickel panels decorated with scrolled foliate reliefs and capitals ornamented with palmettes and egg-and-dart moldings. The mullions support narrow cornices decorated with nickel relief bands. The bronze revolving door enclosures and the revolving doors are original. The enclosures are ornamented with pilasters to match the treatment of the mullions. The bronze-and- glass revolving doors have four closely spaced push bars ornamented with palmettes. Above the entries are spandrel panels with copies of Paul Manship’s sculptural reliefs flanked by decorative panels. The panel in Bay 2 has a female figure personifying water; Bay 3 has a male figure symbolizing fire. Capping the spandrels are rows of anthemion antefixae. The second tier of windows retains its original mullions and friezes. In both bays, the center pane of glass been painted with the numerals “195”. Bays 4 and 5 retain their original frames with four-over-four fixed lights crowned by decorative bronze spandrel panels. In the lower tier of windows, the center lights are slightly projected and are set off by decorative bronze and nickel pilasters and stylized pediments crowned with anthemion antefixae. Bays 6 and 7 are also entrance bays which match Bays 2 and 3 in their configuration and design. Bay 7 retains its original bronze grilles on the sidelights flanking the revolving door entry. The revolving door in bay 6 has been replaced with a-historic metal-and-glass door and sidelight for wheelchair accessibility. Bay 6 is surmounted with a spandrel panel representing Wind, bay 7’s panel represents Earth. Bay 8 has four-over-four windows and matches bays 4 and 5.

Upper Stories: The upper stories are arranged into eight three-story groupings set off by giant fluted Ionic half-columns and pilasters and entablatures with prominent denticulated cornices. The arrangement of piers and columns is identical to that of the base except that each bay contains a pair of windows separated by stone mullions. The windows at the base of each three story grouping support wide stone spandrel panels capped by cornices. This treatment was intended to give “a solidity to the structure and provide a contrast with the lightness of the upper two-thirds of the orders” which are grouped together by connecting bronze frames with spandrel panels decorated with stylized Ionic columns and rondels between the upper and lower windows. The spandrel panels above the third story are embellished with swags. The frieze of the entablature above the twenty-sixth story is enriched with wreaths and its cornice is decorated with lion heads. The twenty-sixth story is surmounted by a high parapet wall articulated with pilasters at the center and corners of the building. All of the upper story windows retain their original bronze one-over-one sashes. Two flagpoles rest on the cornice above the base section of the facade and are anchored into the masonry surrounds of the third story windows in the bays flanking the center pier.

Attic: The non-historic mechanical attic story set slightly back from the parapet wall was installed between 1959 and 1961. It has regularly spaced piers which frame panels of corrugated metal siding. A non-historic iron railing extends along the edge of the roof.

Dey Street Facade

Base: The long Dey Street facade is organized into a 4-1-4-1-4 composition with three four-bay columned sections separated by plainer recessed bays. Except for the inclusion of intermediate bays the articulation of the columns and piers is repeated from the Broadway facade. To compensate for the downward slope of Dey Street the columns and piers rest on a stone plinths which increase in height at the western end of the facade. Steps are employed in front of the columned sections of the facade except for the westernmost four bays where the plinths are so high they permit street level entrances. The small step in the first bay at the corner of Broadway and Dey Street has been cut back to provide wheelchair access. The corner piers have non-historic medallions which feature the building’s logo and read “195 Broadway,” “L&L Holdings.” The four westernmost plinths are articulated with large recessed panels which are almost entirely filled by non-historic signs. The western three plinths have signs for Starbucks Coffee, the other pier advertises B & CO – Baguettes & Company. The small openings for ventilation grilles beneath the window in bay 5 appear to be original. The eastern opening beneath the window in bay appears to have been greatly enlarged.

Fenestration and Entries: On Dey Street the first four bays (reading east to west from Broadway) are arranged into three tiers of wide center bays and narrower sidelights. The framing elements around the windows are somewhat heavier than on Broadway and it appears that the second tier sidelights are or were operable casements. The decorative elements are very similar to those employed for the Broadway facade with the street level middle bays set off by pilasters and stylized pediments decorated with anthemion acroteria.

As on Broadway decorative nickel panels are set into the pilasters and the friezes over the first tier of windows. Decorative spandrel panels cap the top tier of windows. The center opening of bay 1 originally contained paired bronze and glass doors. These have been replaced by a wider non-historic metal and glass door and a narrower non-historic operable sidelight to provide wheelchair access. The middle opening of bay 2 retains its original projecting enclosure sheltering a staircase down to the subway. It is also bronze with nickel trim and is decorated with the same elements as the storefronts including the crowning acroteria.

It has been modified by the addition of a non-historic roll-down gate with its housing set just below the frieze and side tracks attached to the corner piers that frame the entry. The center openings at street level in Bays 3 and 4 contain a pair of windows which are separated by a narrow mullion. Approached by a short flight of steps windows look like they might have been doorways but apparently were fixed. Bay 5 is a recessed transitional bay which retains its original nine-light window arranged in a three-over-three­over-three pattern with decorative spandrel panels capping the top tier of windows. Bays 6, 7, 8, and 9 were the main entrances to the 1912-16 portion of the building leading to the main elevator court. Like the entries on Broadway they are articulated into a wide center bay and narrower sidelights to accommodate revolving door enclosures. As in bays 1-4 the center bays are framed by pilasters and capped by a pediment with acroteria. To signalize the importance of these bays only a single upper tier of very tall narrow windows is employed. These are capped by decorative spandrel panels. In the 1960s, when the floor level was raised in this section of the lobby, the revolving doors were removed from bays 7 and 8.

The sliding outer doors were then permanently closed preserving the original bronze grilles on both the doors and sidelights at street level. Bays 6 and 9, which continue to be used as entrances, also retain their original grilles for the sidelight windows at Street level. They retain their original revolving doors and revolving doors Bay 10 is a recessed transitional bay which matches bay 5 in its configuration and design. Bays 11, 12, 13, and 14 comprise the original portion of the facade from the first phase of the building’s development in 1912-14. They have a slightly different configuration than the other windows employing three tiers of wide center bays and sidelights but incorporating the set of Paul Manship spandrel panels (now replaced) between the second and third tier of windows and eliminating the foliate spandrel panels that cap the other window bays. Bay 11 retains its original revolving door and revolving door enclosure. Bay 14 also originally had a matching door but it was replaced by non-historic paired glass doors to create a non-historic wheelchair accessible entrance. Bays 12 and 13 have one large center window opening at street level.

In addition to the changes to the entries, changes to this facade include the replacement of the Manship sculptural panels with copies [Check] and the incorporation of small flagpoles for banners anchored to the transom bars just beneath the spandrels in bays 12 and 13.

Upper Stories: The design of the upper stories on Dey Street is identical with that of the Broadway facade except for the introduction of the intermediary bays. They are articulated very simply with only a sill course setting off the second tier of window in each three story unit. All of the original bronze one-over-one windows survive. Non-historic flagpoles are anchored next to the third-story windows in the transitional bays.

Fulton Street Facade

The Fulton Street facade is comprised of two parts: the three-bay-wide facade of the tower, which formed part of the original 1912-16 building and is treated independently, and the nine bay wide facade of the 1920-22 addition, which extends westward from Broadway to the tower.

For the relatively short facade of the addition, Bosworth abandoned the four-bay divisions he had used on Broadway and Dey Street instead stretching his colonnades westward for eight uninterrupted bays to a plain recessed transitional bay with a single file of windows.

1920-22 Addition Base: The articulation of the piers and columns is identical with that of the Dey Street and Broadway facade except for the number of bays incorporated in the colonnaded sections of the facades. As on Dey Street the columns and piers rest on stone plinths which increase in height at the western end of the facade to compensate for the downward slope of the site. Steps are employed in front of the columned sections of the facade except for the western transitional bay. (That bay originally also had steps and was used as an entry to the Benedict Brothers Jewelry store but they were removed and the entrance was filled in after the store closed in 1939.)

The framing piers at the corner of Broadway and Fulton Street and between bays 8 and 9 (reading east to west from Broadway) have non-historic medallions which feature the building’s logo and read “195 Broadway,” “L&L Holdings. The base of the transitional bay is decorated with a molded course and paterae presumably installed when the bay was modified in 1939.

Fenestration and Entries: The fenestration of the base matches that of the first four bays on Dey Street. The openings are arranged into three tiers of wide center bays and narrower sidelights.

A historic photograph of the facade published in 1923 shows that bronze grilles were employed for all of the street level doors and windows but were not used for the upper tiers of windows. The base of Bay 1 has been modified by the insertion of a historic bronze display case installed by the mid-1950s. The case is decorated with recessed panels at its base and inset nickel panels on its mullions and cornice to match the window articulation. The case does not seem to have damaged the original framing elements and decoration. Identical display cases were installed in Bays 3, and 4 but were removed c. 1990. Bay 2 has a subway entrance enclosure that originally was identical in design to the entry on Dey Street.

In 1940 this enclosure was modified by the architectural firm of Voorhees Walker Foley & Smith who installed a window at the back of the enclosure and installed lights on the ceiling and rear jambs.70 The sidelights that flank the entry were also modified with grillework set behind rather than in front of the window glass. Bay 5 was originally an entrance bay with a revolving door but was altered to match the fenestration in bays 3 and 4 and like them had a show window, now removed; bay 6 retains its original revolving door and bronze enclosure and has an original grille on its east sidelight. The tall opening in bay 9 which originally contained an entry is now filled with a non-historic louvered grille.

Upper Stories: The arrangement of bays is identical to that of the base except that each bay encompasses a pair of windows, excepting the transitional bay which still has only a single line of windows. At the third and fourth stories the transitional bay contains non-historic louvered grilles. All of the other windows on this facade retain their historic one-over-one bronze sashes.

The Tower

This narrow (thirty-three feet-wide), 422 feet tall wing, which originally towered over the other buildings on Fulton Street, was treated as campanile-type skyscraper.

It is articulated with a tripartite design featuring an elaborately detailed three story base, a sparely decorated granite-faced mid-section that rises unbroken twenty-two-stories, and the crowning tower. Base The lower section was articulated with a giant order Ionic half-column set in antis between Doric pilasters. Originally the street level bays contained an entry to the main lobby and a shopfront. The bottom portion of the bays was removed and the bottom half of the column cut back to create a loading dock. Non-historic roll down gates have been inserted in each bay. Above the doors a non-historic projecting sheet metal fascia incorporating several recessed light fixtures spans the entry.

A wire extends from the fascia to a non-historic video camera which has been installed on the westernmost pier. Above the fascia are the surviving pediments decorated with acroteria from the original storefront and entry. At the second story each bay contains a pair of windows which are separated by a slender bronze Ionic column. The windows retain their original bronze one-over-one sashes. The second story is crowned by an entablature with a prominent denticulated cornice. At the third story the piers are articulated as pilasters inset with stone relief panels. These depict seated figures of Electricity holding a shield with the Western Union insignia and Demeter, the goddess of abundance, holding a torch. The center pilaster is embellished with a bronze lion monopodium flagpole holder (flagpole missing).

Each bay has two windows which retain their original one-over­one sashes. A simple entablature crowns this story which acts as a transition to the largely undecorated mid-section

Mid-section: The twenty-two story mid-section is articulated with double pairs of windows framed by pilaster strips on the corner piers. The only decorative elements on this section of the facade are the swag frieze above the twenty-sixth story windows and the crowning cornice which continues the articulation of the cornice from the main section of the Fulton Street facade save for the omission of the lion heads. All of the windows in the mid-section retain their original one-over-one sashes.

Crown: All four faces of the top element of the tower are articulated. At its base is a pedestal which is very close in design to the parapet wall. The base supports a temple-like structure articulated by twelve giant engaged Ionic columns. These support an entablature with a frieze ornamented by paired wreaths and capped by a cornice ornamented with lion heads. Set between the columns are the bronze frames for two stories of original multi-light paired casement windows separated by bronze spandrels enriched with fret motifs and patera. This temple structure supports a stepped pyramidal stone roof which terminates in a plinth ornamented by a molded cornice and acroteria. Resting on the plinth is a gilded bronze orb that once supported a figure of Electricity by Evelyn Beatrice Longman which stood atop the tower from 1916 to 1980.

Secondary Facades Western elevation, Fulton Street Wing: Visible only where it projects beyond the adjacent Millennium Hotel, the lowest portion of the western elevation of the Fulton Street wing is a projecting section of masonry (probably the party wall of a now demolished building) which has been faced with stucco and scored to look like masonry blocks. From the third story to twelfth story the wall is parged.

Above the twelfth story the facade is divided into two vertical sections. The northern four bays are treated as the western facade of the tower. They are clad in granite and articulated with framing pilaster strips and crowned by a swagged frieze and cornice. Except for the top three stories all of windows have been bricked up (the southernmost of the top story windows is also sealed.) The south portion of the wall above the twelfth story is clad in cream colored brick and articulated with two lines of windows. All but the top three stories are sealed. The remaining windows on this facade have one­over-one sash. Both sections of the facade are capped by the building’s crowning cornice and parapet.

Northern elevation, Dey Street Wing: The northern elevation of the Dey Street is divided vertically into three sections.

The two end bays are the rear walls of two wings that flanked a light court at the rear of the original Dey Street section of the building. The court was filled in the 1960s and its north wall forms the mid-section of the facade. It is faced with non-historic cladding, probably pressed metal. The eastern side wing originally had three window bays at each story; all of the windows are now sealed. The western bay had a single line of windows of which only the upper three are not sealed. The cornice line and parapet are articulated on both the outer bays although on the eastern bay the area above the cornice was actually an attic story pierced by windows. The twenty-seventh floor corrugated metal enclosure for mechanical equipment is visible above the eastern wing.

Western elevation, Dey Street Wing: The narrow section of the west wall of the Dey Street wing that is not concealed by the Millennium Hilton Hotel is clad with cream brick trimmed with granite quoins, belt courses, cornice, and parapet. There is a non-historic window at street level modified from a entrance that was installed in the 1950s or 1960s. A small window opening has also been created just below the cornice line.

- From the 2006 NYCLPC Landmark Designation Report

(the reference to the non-historic video camera is priceless)

durable car

Had these for a long time.Used for about 2 years but still in great condition. Tough durable beginner shoe and is a classic, old school shoe for kids. Also, they are available for sale and trade. (Mine while very young)

Opti+ is for "students" of all ages, from toddlers to adults. All furniture can be provided with accessories that enlarge their application-possibilities. The furniture of the Opti+ range are designed with the eye on a low environment- impact, durability of construction and materials and the re-usement of raw materials.

A must-have lightweight carry-on weekender duffel bag. The adjustable cross-body strap has a security clasp so that you can anchor your bag to a secured fixture when it's not over your shoulder. Tons of pockets, travel-focused organization, and a back slip panel for stacking on wheeled luggage. Made of the time-tested dependability of Cordura® fabric with the added durability of a wipeable Bi-Tech™ bottom for easy cleaning.

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More or less clean, morning soles

BAE Systems has developed a prototype vehicle platform, specifically designed to meet mission profile requirements that fit the gap in the commercial and military marketplace. The Sentinel demonstrates the many options in an off-road patrol vehicle. The base concept is developed to provide superior off-road capability and durability, lifecycle value, and user-defined functionality - without sacrificing mission effectiveness.

File name: 06_10_022900

Title: Braided rugs, durable, washable, colorful, reversible. Range of sizes and colors for all needs.

Created/Published: ""Tichnor Quality Views,"" Reg. U. S. Pat. Off. Made Only by Tichnor Bros., Inc., Boston, Mass.

Date issued: 1930 - 1945 (approximate)

Physical description: 1 print (postcard) : linen texture, color ; 3 1/2 x 5 1/2 in.

Genre: Postcards

Subject: Rugs

Notes: Title from item.

Collection: The Tichnor Brothers Collection

Location: Boston Public Library, Print Department

Rights: No known restrictions

It's a pic for brother of a Martyr Sayed Ali Al-Filfil who has been killed by Saudi Forces

Location : Saudi Arabia - Qatif

Camera Model :Canon EOS 550D

F-Stop : f/5.6

Exposure Time: 1/40

ISO Speed : ISO-400

Focal Length :75mm

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Back view: NEW Uniqlo Denim Tights with durable broad elastic band

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Arachnophobia Durable Transformers Pattern Aluminum Metal Bumper Case Cover for iphone 5 5G(Black)

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A Canadian Masonic baseball cap with a red maple leaf and a blue Square and Compasses on a black cap. The design was good but I prefer the more durable double thick curved visors.

Masonic Square and Compasses.

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

Square and Compasses:

Source: Mackey's Encyclopedia of Freemasonry

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

Square and Compass:

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest."

Ipê Amarelo, Tabebuia [chrysotricha or ochracea].

Ipê-amarelo em Brasília (UnB), Brasil.

This tree is in Brasília, Capital of Brazil.

Text, in english, from Wikipedia, the free encyclopedia

"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).

Tabebuia

Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil

Scientific classification

Kingdom: Plantae

(unranked): Angiosperms

(unranked): Eudicots

(unranked): Asterids

Order: Lamiales

Family: Bignoniaceae

Tribe: Tecomeae

Genus: Tabebuia

Gomez

Species

Nearly 100.

Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.

They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.

Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.

Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.

Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.

Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)

Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.

Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.

Tabebuia alba

Tabebuia anafensis

Tabebuia arimaoensis

Tabebuia aurea – Caribbean Trumpet Tree

Tabebuia bilbergii

Tabebuia bibracteolata

Tabebuia cassinoides

Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)

Tabebuia chrysotricha – Golden Trumpet Tree

Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)

A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.

Tabebuia dubia

Tabebuia ecuadorensis

Tabebuia elongata

Tabebuia furfuracea

Tabebuia geminiflora Rizz. & Mattos

Tabebuia guayacan (Seem.) Hemsl.

Tabebuia haemantha

Tabebuia heptaphylla (Vell.) Toledo – tajy

Tabebuia heterophylla – roble prieto

Tabebuia heteropoda

Tabebuia hypoleuca

Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"

Tabebuia incana

Tabebuia jackiana

Tabebuia lapacho – lapacho amarillo

Tabebuia orinocensis A.H. Gentry[verification needed]

Tabebuia ochracea

Tabebuia oligolepis

Tabebuia pallida – Cuban Pink Trumpet Tree

Tabebuia platyantha

Tabebuia polymorpha

Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate

A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela

Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco

Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)

Tabebuia shaferi

Tabebuia striata

Tabebuia subtilis Sprague & Sandwith

Tabebuia umbellata

Tabebuia vellosoi Toledo

Ipê-do-cerrado

Texto, em português, da Wikipédia, a enciclopédia livre.

Ipê-do-cerrado

Classificação científica

Reino: Plantae

Divisão: Magnoliophyta

Classe: Magnoliopsida

Subclasse: Asteridae

Ordem: Lamiales

Família: Bignoniaceae

Género: Tabebuia

Espécie: T. ochracea

Nome binomial

Tabebuia ochracea

(Cham.) Standl. 1832

Sinónimos

Bignonia tomentosa Pav. ex DC.

Handroanthus ochraceus (Cham.) Mattos

Tabebuia chrysantha (Jacq.) G. Nicholson

Tabebuia hypodictyon A. DC.) Standl.

Tabebuia neochrysantha A.H. Gentry

Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry

Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry

Tecoma campinae Kraenzl.

ecoma grandiceps Kraenzl.

Tecoma hassleri Sprague

Tecoma hemmendorffiana Kraenzl.

Tecoma heteropoda A. DC.

Tecoma hypodictyon A. DC.

Tecoma ochracea Cham.

Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.

Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].

Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].

Há uma espécie homônima descrita por A.H. Gentry em 1992.

Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.

Características

Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.

Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.

Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.

FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.

O desenvolvimento da planta é rápido.

Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.

Tabebuia alba (Ipê-Amarelo)

Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto

Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller

Atualizado em 10/07/2006

O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).

A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.

As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.

A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.

Taxonomia

Família: Bignoniaceae

Espécie: Tabebuia Alba (Chamiso) Sandwith

Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso

Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.

Aspectos Ecológicos

O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).

Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.

Informações Botânicas

Morfologia

As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.

Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.

As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.

As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.

Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.

As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.

Reprodução

A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.

As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).

As sementes são dispersas pelo vento.

A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.

Ocorrência Natural

Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.

Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.

Clima

Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.

A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.

Solo

A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).

Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).

Pragas e Doenças

De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.

ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.

ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.

A Madeira

A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).

MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.

Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.

A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.

Usos da Madeira

Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.

Produtos Não-Madeireiros

A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.

O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.

Outros Usos

É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.

Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.

Aspectos Silviculturais

Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.

Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.

Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).

Produção de Mudas

A propagação deve realizada através de enxertia.

Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.

A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.

Sementes

Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).

As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.

As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.

Preço da Madeira no Mercado

O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).

LR-15835 - Regular viewers may be aware that the old Fell style walking boots had been letting in water for the last few week. Here is the replacements, which I hope are more durable than the Fell cloth style, yes they have steel toe caps as well.

Now I have not brought a pair of shoes that have a manual with them before, except for some Clark shoes (with compass, tracking symbols and alike).

Whilst they were fresh out the box, I thought it was an opportunity to try some product shots :)

Plus an excuse to share Paolo Nutini - New Shoes if you wanted to listen.

Hey, I put some new shoes on,

And suddenly everything is right,

I said, hey, I put some new shoes on and everybody's smiling,

It so inviting,

Oh, short on money,

But long on time,

Slowly strolling in the sweet sunshine,

And I'm running late,

And I don't need an excuse,

'cause I'm wearing my brand new shoes.

Have a great weekend

Exposure: 0.02 sec (1/50)

Aperturef/10.0

ISO Speed: 320

Lightroom colour tweaks - Heightened orange here is the yellow reflected from the box lid

Compare in slideshow

Stability, Durability and Agility - Tensile Structures are engineered and designed to last. They have been proven in the most extreme of environments on our planet. We design it to meet all loads for wind, snow, and seismic codes.

The self-cleaning abilities of the high-tech membranes provide years of virtually maintenance-free performance.

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IRUV liquid film treated 3mm single glass penetrates 10 deg.c. less heat. Cuts 99% UV, Cooler in the summer, Warmer in the winter. It minimizes the condensation/frost build up on the window glass.Easy Application, durable, one coat last 15 years.

Participation de Najat Vallaud-Belkacem, ministre de l'Éducation nationale, de l'Enseignement supérieur et de la Recherche, au débat: "L'éducation au développement durable - la feuille de route gouvernementale pour les jeunes" suivie de la remise des trophées Campus responsables, au Kedge Business School Center Paris Victoire, le mardi 10 février 2015.

Photo © Philippe Devernay / MENESR

Participation de Najat Vallaud-Belkacem, ministre de l'Éducation nationale, de l'Enseignement supérieur et de la Recherche, au débat: "L'éducation au développement durable - la feuille de route gouvernementale pour les jeunes" suivie de la remise des trophées Campus responsables, au Kedge Business School Center Paris Victoire, le mardi 10 février 2015.

Photo © Philippe Devernay / MENESR

As with all of the spending for Vancouver's olympics.....it doesn't stop there. More scaffolding......the irony being that this stuff's probably stronger and more durable than the apartments it was used to help build.

Please attribute this photo with the following credit line and URL:

Photo by MyAssetTag.com

Participation de Najat Vallaud-Belkacem, ministre de l'Éducation nationale, de l'Enseignement supérieur et de la Recherche, au débat: "L'éducation au développement durable - la feuille de route gouvernementale pour les jeunes" suivie de la remise des trophées Campus responsables, au Kedge Business School Center Paris Victoire, le mardi 10 février 2015.

Photo © Philippe Devernay / MENESR

N°184 Best of Nature: 7,000 kilomètres de Randonnées et de Découvertes, Grande Ceinture Verte de Paris + Beaujolais Pays des Pierres Dorées. Adely 3,500 kilomètres de randonnée à 13 ans.

Slideshow Diaporama: www.flickr.com/photos/natureboheme/sets/72157631155921710...

Album Mosaïque: www.flickr.com/photos/natureboheme/sets/72157631155921710/

Notre manifeste: "TRUC ET ASTUCE: L’ART ET LA MANIÈRE DE DONNER LE GOÛT DE LA NATURE ET DE LA RANDONNÉE AUX ENFANTS?"

www.les-vegetaliseurs.com/article-80507-commentdonnerlego...

#Balade #Promenade #Randonnée #Sortie #CarnetDeRandonnée #CheminDeGrandeRandonnée #Sortie #Marche #SentierPédestre #ParcNaturelRégional #GR #GRP #PNR #Écologie #DéveloppementDurable #Nature #PleinAir #Chemin #Sentier #Campagne #Champêtre #Bucolique #CeintureVerte #BonneHumeur #JoieDeVivre #Paysage #Faune #Flore #Trail #Round #Gone #Hiking #Walk #Ecology #Natural #Bucolic #Rural #Countryside #GoodMood #JoyOfLife #Landscape #Beau #Belle #Extraordinaire #Magnifique #Surprenant #Étrange #Insolite #Ravissant #Superbe #Cute #Awesome #Priceless #Amazing #Stunning #Oustanding #Beautifull #Lovely #Charming #Great #Excellent #Wonderful #Super #Delightful #Bello #Fantastic #Nice

balade promenade randonnée sortie marche nature trail round gone hiking walk écologie "plein air" chemin sentier campagne champêtre bucolique paysage faune flore landscape ecology natural bucolic rural countryside "bonne humeur" "joie de vivre" "good mood" "joy of life" beau belle extraordinaire magnifique surprenant étrange insolite ravissant superbe cute awesome priceless amazing stunning oustanding beautifull lovely charming great excellent wonderful super delightful bello fantastic nice GR GRP PNR "chemin de grande randonnée" "carnet de randonnée" "sentier pédestre" "parc naturel régional" "développement durable" "ceinture verte"

#184, Best of, le Meilleur des Photos-Nature Adely et Yves 2006->2012!

Diaporama / Slide Show à ce lien, Plein écran, (F11) full screem recomanded !

www.flickr.com/photos/natureboheme/sets/72157631155921710...

Merci de visionner notre important travail photographique !

Classeur Best of, le Meilleur des Photos-Nature Adely et Yves 2006->2012!

Selection of our best photographys 2006->2012 ! Thank you to take an eye on it !

www.flickr.com/photos/natureboheme/collections/7215763007...

Lisez notre manifeste : (Article paru sur le site des Végétaliseurs)

« Trucs et Astuces ! » « L'Art et la Manière de donner le goût de la Nature et de la Randonnée aux enfants. »

www.les-vegetaliseurs.com/article-80507-commentdonnerlego...

(Français, English, Viet nam, Spanish,)

Nous aimons la Vie ! Nous aimons la Nature ! Nous aimons la randonnée ! Nous aimons la Lumière ! Nous aimons la Couleur ! Nous pratiquons la Joie de Vivre et la Bonne Humeur! Vive la Nature ! Vive la Vie ! Respectons et Aimons toutes les Formes de Vie !

We love the Life ! We love the Nature ! We love the Nature ! We love hiking ! We love the Light ! We love the Color ! We practice the Joy of Living ! Bravo the Nature ! Respect and Love all the forms of Life ! Live the Life you Love!

Chung toi yeu cuoc song! Chung toi yeu thien nhien ! Chung toi yeu thich di bo duong dai ! Chung toi yeu thich anh sang ! Chung toi yeu thich mau sac ! Chung toi thuc hanh niem vui duoc song ! Hoan ho Thien Nhien ! Hoan ho Cuoc song ! Hay Kinh Trong va Yeu thuong tat ca nhung hinh thuc cua Cuoc Song !

Nos Gusta la vida ! Nos gusta la naturaleza ! Nos gusta la caminata ! Nos gusta la luz ! Nos gusta el color ! Viva la Naturaleza !

Viva la Vida ! Respectomos e amenos todas las formas de vida ! Live the Life you Love!

[Mots Clefs : "âme d'enfant" "bonne humeur" Good mood "fou rire" laughter "joie de vivre" exhilaration "marche à pied" walking allégresse amusements amuser apaisement ardeur balade jaunt bien-être well-being bizarre odd blague joke bonheur happiness bucolique calme campagnard campagne countryside champêtre champs contempler contentement "coup de cœur" curieux curious distraction divertir divertissement égayer enchantement delightfulness enthousiasme espiègle étrange strange excursion pleasure trip extraordinaire extraordinary fée féerie félicité ferveur flânerie force forestier forêt forest gaieté merriment gaité guilleret herbages humour humor idyllique inaccoutumé insolite unusual inspiration jeux joie, jouer jubilation liesse lyrisme malicieux muse nature observer paix pastoral pâturages prairie pédestre pétillant plaire plaisanter plaisanterie poésie poetry poète prairies prés prodigieux promenade outing quiétude randonnée ramble ravissement récréer regarder réjouir rigolo rire ritournelle romanesque romantique romantisme romanticism sentier sérénité singulier *sourire smile sous-bois undergrowth surprenant vif virée vitalité zen tamycoladelyves natureboheme clairefontaine yves-Noel-Marie Gonnet-Nguyen ]

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Durable and Elegant Slim Digital Camera Hard Case for your Nikon COOLPIX S Series: S70 S100 S2600 S3000 S3100 S3200 S3300 S4000 S4100 S4200 S4300 S6200 S6300 in Purple Metallic Shine:

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Participation de Najat Vallaud-Belkacem, ministre de l'Éducation nationale, de l'Enseignement supérieur et de la Recherche, au débat: "L'éducation au développement durable - la feuille de route gouvernementale pour les jeunes" suivie de la remise des trophées Campus responsables, au Kedge Business School Center Paris Victoire, le mardi 10 février 2015.

Photo © Philippe Devernay / MENESR

Durable silkscreened cloth coasters to activate the enegetic blueprint of water. May also serve as patches, frisbees, or wall decoration. Glows in black light !

Owen Jones doing a demonstration. Oak swill baskets are traditionally made in the Lake District. They are strong, durable, oval baskets made by weaving thin strips of coppiced oak around a hazel rim. Owen Jones sells baskets and teaches courses in this ancient craft - www.oakswills.co.uk/

Participation de Najat Vallaud-Belkacem, ministre de l'Éducation nationale, de l'Enseignement supérieur et de la Recherche, au débat: "L'éducation au développement durable - la feuille de route gouvernementale pour les jeunes" suivie de la remise des trophées Campus responsables, au Kedge Business School Center Paris Victoire, le mardi 10 février 2015.

Photo © Philippe Devernay / MENESR

Nike Dunk High Vandal Premium, Men’s Size 10, Varsity Red, 2008 Release, 346113-661, UPC: 00676556854239, Vandal Pack of Dunk High Premium’s, Nike Dunk and Vandal hybrid, nylon Upper, Padded collar for a snug and secure, Foam midsole, Nike Air unit, Pivot points in the forefoot, Nike Swoosh Branding, rubber soles, Nike Air branding on tongue, Nike branding on heel, piping detail, Red mid-sole, Red Rubber outsole, leather lining, Nike Zoom Air in the heel, durable impact protection, flexible rubber outsole, forefoot pivot circle, Padding on the collar and tongue, High-top silhouette, ankle support, 777, reddealsonline, sneakerhead, eBay shoes, Authenticate, Authenticity Guarantee, Red Deals Online, ebay.us/XMKtn7

Lafox,

rue de Blaire.

Des années que cela dure ici!

Et ce n'est pas les deux coups de cisaille qui ont été données qui ont réellement solutionné le problème.

Dans l'agglomération d'Agen, de nombreux particuliers ne respectent pas les 50 cm de distance avec leur limite de propriété lors de la plantation des haies.

C'est pourtant important, surtout dans le cas des cyprès de Leyland qui deviennent vite ingérables en cas d'entretien irrégulier.

www.google.fr/maps/@44.1637341,0.7087567,3a,75y,303.14h,7...

Professeur de yoga Greet De Ryck a partagé ses conseils bien-être avec UNRIC.

A video showing the durability (and flexibility) of Glamdring's blade.

This project was an interesting look at the structural capabilities of the LEGO System in creating the long, thin blade. The building method that I used for Sting is strong enough to keep Glamdring's blade straight when the ‘sharp edges’ are pointing up and down, and a significant droop occurs when the broad sides of the blade are pointing up and down.

What’s interesting is that the blade’s smoothly bending downward seems to evenly distribute the weight so that the structure stays in one piece, even if I rapidly wobble the blade like a diving board. (Not bad for a ‘purist’ model with no glue!) If the blade was supposed to be much longer or thicker, I could not have accomplished this level of durability in the model.

[I apologize for the lack of focus when the camera is zooming in on the hilt; I took this video with my regular stillshot camera, which has trouble refocusing while filming. I would have cut out the blurry part but I wanted to show the minimal wear on the sword in the same shot that I stress the blade.]

* 16 durable reinforced cubbies create 16 separate storage cubbies for multiple uses, hold up to 16 pairs of shoes or accessories

* Stackable, Made from durable wipe clean polyester fabric, easy to clean

* Installs easily in just a few quick steps

* Also works great in bedroom for storing scarves, purses, hats, and other accessories, or in home offices and classrooms for bills and school work

* Maximize floor space and be a great décor to your house

StorageIdeas 16-Pair Shoes Organizer

This stackable 16 compartment shoe organizer made from durable wipe clean polyester fabric maximizes floor space with a stylish cubby design. This freestanding organizer and shoe rack can store up to 16 pairs of shoes like loafers, low-heeled sandals in pairs, and accessories like scarves, purses, hats, and other items neat and organized. The wipe-clean chocolate polyester fabric looks great in any closet, hallway, playroom, bedroom or front entryway. Units are easy to stack vertically if you buy more than one.

About StorageIdeas

StorageIdeas is a professional provider of various high quality home storage products, such as shoes rack, laundry hamper, closet system, drying racks, storage bins and cabinets, wash bags, and so on. With Sophisticated styling and practical design, StorageIdeas makes themselves a welcome and useful addition to any home, keeping your home in tidy and in order. What's more, all those products can help you make best use of your space! StorageIdeas will keep bringing best home storage products to customers all over the world.

Not just fit and finish, Pango make a second blower tube and hide it if not use. We make the two tubes on different of the bouncer so that could fit the power location. Looking down the road you will find you need a second inflation tube. We want to make sure clients could use the bouncer convenient.

Stronger Baffles

Baffles that are secured by a 840 denier material that provides the MAXIMUM strength of the internal baffling of every inflatables. This material upgrade is unmatched by anyone else in the industry. This material is key to the overall durability of the products we sell.

D Ring Expose

Take a close look at the construction of the "d" rings in the products we sell. A tether system is only as strong as its weakest link. Tether points on the inflatable are extremely durable. The "d" ring tethering System have been laboratory-tested and certified by Professional Engineers for use on all giant slides and all other types of inflatables.

Vinyl（PVCTarpaulin） Expose

At Pango Inflatable, the only products we sell are constructed from the finest coated vinyl. Unlike other vinyl producers, the Coated Vinyl are Lead-Free in addition to meeting the EN71 test by SGS. Lead-Free vinyl are a standard that has been that way since day one. Exposure to lead is dangerous to children. The products Pango Inflatable sell are safe from the effects of lead. As for durability, the materials are a weft inserted substrate, which makes any possible rips virtually impossible.

No Wax Surfaces

We provide removable sliding surfaces for every slides we made, While other only provide the normal vinyl, Inflatable vinyl is not naturally slippery, therefore, waxing has become a normal preparation for getting a slide ready for use. The removable sliding surface found the on the products we sell is a high polished urethane coating, which in turn reduces the need to wax.

Zipper with Flaps

Unlike others, Pango Inflatable sells products that are easy to use. For example, the deflation zipper utilizes a Velcro flap that covers the zipper, thus, less air is lost and zippers are not exposed to abrasion or mischief.

Blower Tube Strap

While most manufacturers tie their blower inflation tubes to the blower system, however, the products Pango Inflatable sells, utilizes a universal sleeve with a cinching Velcro strap. One- handed operation keeps the tube securely attached to the blower system.

Liquid Laminator

DWe do the Digital Printing in our factory, unlike most factory here in China, they do the printing outside and could not control the delivery time and the quality. igitally printed graphics are one thing, keeping those beautiful images durable as well scratch and fade resistant is quite another. Every digital image used within an inflatable sold by Pango Inflatable is clear-coated with a special liquid laminate that is vulcanized to the vinyl surface.

Finger-Safe Netting

Most bouncer manufacturers use 1" or 2" netting. A child bouncing can easily catch their fingers in that size of netting, thus serious injuries can happen. Only the Pango Inflatable could provide netting that even a small child's finger cannot penetrate. Yet, the netting is still transparent enough to allow for easy viewing.

Removable Covers

Virtually every area that your customers step, slide or climb upon is on a replaceable & easily removable vinyl cover. From climbing stairs, to entrance tunnel sleeves to sliding surfaces, Pango Inflatable only sells products that are designed for high-volume traffic.

Safety Door on Bouncers

Worried about children possibly falling out of a bouncer? Don't be. We got 3 points of reinforcement on the entrance of the bouncer which make the entrance very strong. Also we add the step outside the entrance following the AU and USA standards of jumping castle.

On-Staff Engineering and Designing

We do reinforce stitching at the fixion of D-ring. Four stitching line will share the tension of the bouncer. This made the D-ring last much longer and stronger. Other factory use other design of the fixion, but will not good for the tension sharing. Could find the differnce in the attached photos.

Cushion Designs

We do cushion between the wall and the base. When the kids bounce on the bouncer this parts bear most of the pressure, so this new design will make this parts much more strong and safety, while other factory only stitch to the base.

Contact Site:http://www.pangoinflatable.com/

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Durable and Elegant Extra Thick Digital Camera Case for your Canon Powershot Series: A800 A810 A1200 A1300 A2200 A2300 A2400 IS A3300 A3400 A4000 SX230 hS SX260 hS S95 S100 ELPH 110 HS ELPH 100 HS ELPH 510 520 530 HS ELPH 300 310 320 HS in Eva Hot Pink:

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Comfort, style and durability are what comes with the Havaiana flip flop. With this sleek color and style, you will be able to wear the sandal at any occasion! Dress it up, or dress it own, these flip flop always look great!! Add a little spice to your life with these and really flare up your outfit!! These sandals can make your feet really stand out! Buy now at www.zelenshoes.com/.

This lightweight carry-on luggage features the classic Eagle Creek design aesthetic, rooted and inspired by our rich heritage of designing adventure travel gear. Built tough for every journey, this travel bag features expandability, two-way lockable zippers, large over-sized wheels to conquer any terrain, and maximum packing space. Plus, an attached piggyback clip, pockets for organization, interior compression wings and a travel-tested wheel and handle system. Durable, lightweight and smart, that’s the EC Adventure Collection promise.

Product available in Black, Olive, and Sienna

air max90 men's shoes are air max 90 new products,these shoes made with real leather,mesh upper, air-cushion sole.

Real leather give you more energy and vigor wherever you go;mesh upper can keep you away from the foot odor,make your feet dry and comfortable ;air-sushion sole can protect your feet ,so as to avoid injury,and durability! nike air max 90 shoes will give you new feeling!