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U.S. Sailors with a visit, board, search and seizure team assigned to the littoral combat ship USS Freedom (LCS 1) participate in routine waterborne entry training in the Singapore Strait June 14, 2013, during Cooperation Afloat Readiness and Training (CARAT) 2013. CARAT is a series of bilateral exercises held annually in Southeast Asia to strengthen relationships and enhance force readiness. (U.S. Navy photo by Mass Communication Specialist 3rd Class Karolina A. Oseguera/Released)
I haven't found any info about these sculptures ; they look romanesque, but I think that they're from the restoration of 1888-1901, tho they may be copies or recreations.
A great dive in Zeeland at a difficult spot, where currents can be unforgiving. Now there was dead tide, so diving conditions were optimal.
Entry for the vectortuts competition. This little panda can't resist ice cream, not even in the cold, deep winter. This one is done also in cs4 illustrator, and it's fully vector.
This was my entry into the Student Lindt Chocolate Competition that we conducted at George Brown. There's a lot of things I wish I could change about my centerpiece. First of all, I wish I put the top tea cup on the bottom so you can see the detail that went into painting the flowers on it. And I really wish I took a picture downstairs before I brought it upstairs, because I had no idea that I would break it upon setting it down on the mirror.
While they were judging, I was totally expecting the stack of tea cups to fall over, and that it would be a mess but it did withstand the few hours they were in there judging.
Yes, this is the entry system to my flat. It was like then when I left the house one morning and no better when I got home. Hint: If looking for a flat in Edinburgh avoid Charles White Property Management. They'd step over your corpse, only turning back to suck the fillings out your mouth.
Mirror: World Maket, faux-rustic with white paint, gold paint, and sharpie
Candle and hurricane: World Market
Art: Kings' Daughters - my friend and her mom sell art to benefit the women of Israel
Scent: Hotel Emma - local boutique hotel
Cute kids: my niece and nephew's school pics
Glass plate and book: wedding gifts. We went to Italy for our Honeymoon - the book is signed by guests to our rehearsal dinner!
JSC2008-E-006641 (23 Jan. 2008) --- European Space Agency (ESA) astronaut Hans Schlegel, STS-122 mission specialist, awaits the start of a training session in the Space Vehicle Mockup Facility at the Johnson Space Center. Schlegel is wearing a training version of his shuttle launch and entry suit.
The Royal Armouries began life as the main royal and national arsenal housed in the Tower of London. Indeed the Royal Armouries has occupied buildings within the Tower for making and storing arms, armour and military equipment for as long as the Tower itself has been in existence.
Early in the 19th century the nature and purpose of the museum began to change radically. Displays were gradually altered from exhibitions of curiosities to historically ‘accurate’ and logically organised displays designed to improve the visitor by illuminating the past.
Origins
The origins of the Armouries may be traced back to the working armoury of the medieval kings of England. The first recorded visitor to the Tower Armouries was in 1498, when entry was only by special permission. After the restoration of Charles II in 1660, the paying public was allowed in to marvel at new displays set up to celebrate the power and splendour of English monarchy.
The Armouries is one of the ancient institutions of the Tower of London, which have also included the Board of Ordnance, the Menagerie, the Royal Mint, the Jewel House, the Royal Observatory and the Tower Record Office. These institutions are the focus of a permanent exhibition in the White Tower – Powerhouse).
An important chapter in its development occurred in the early 15th century, with the emergence of the Office of Armoury as an offshoot of the Privy Wardrobe of the Tower. At this point it seems that the positions ‘Keeper of the King’s armour at the Tower of London’ (first mentioned in 1423) and the ‘Master of the Ordnance’ (first recorded in 1414) replaced the previous ‘Keeper of the Wardrobe’.
The offices of the Armoury and Ordnance were responsible for procuring and issuing a wide variety of military equipment. The Armoury concentrated on armour and edged weapons; the Ordnance concentrated on cannon, handguns and the more traditional bow and arrow. Developments in the art of war resulted in the Ordnance becoming the more important of the two organisations, and in 1670 the equipment and functions of the Office of Armoury passed to the Ordnance.
16th–17th centuries
By the end of the 16th century, some of the early visitors to the Tower began to record their impressions of the Armoury. Jacob Rathgar, secretary of Frederick, Duke of Wirtenburg, described what they were shown in 1592. Despite the presence of many fine pieces of artillery, Rathgar felt the collection did not compare with those in his native Germany for ‘they stand about in the greatest confusion and disorder’.
Paul Hentzner provided the first detailed description of the Armoury after a visit to London in 1598. He was shown many items belonging to Henry VIII, including a gilt suit of armour, and several historic cannon; among them two wooden pieces used to deceive the French at the siege of Boulogne in 1544.
The following year Joseph Platter, a Swiss traveller from Basle, visited the Tower and again paid attention to the personal armoury of Henry VIII, which he makes clear was located in the White Tower. Interestingly, reference is made to the cost of viewing the Armoury, with payments being made at four points in the building ‘to a servant appointed to receive the same’.
Rathgar’s complaint in 1592 about the disorderly appearance of the Armoury, repeated by the Duke of Stettin-Pomerania a decade later, suggests that little attention was paid to presentation in the late 16th and early 17th centuries.
This situation was to change immediately after the Restoration of the monarchy in 1660, when two permanent public displays were set up, known as the Line of Kings and the Spanish Armoury.
The former, as the name suggests, was a row of figures representing the kings of England. They appeared on life-sized wooden horses wearing what was said to be their personal armour. The line was first recorded in the Tower in an inventory dated October 1660, and it is possible that the display was assembled to mark Charles II’s visit to the Tower of London in August that year, after his many years in exile.
The Spanish Armoury was a collection of fearsome-looking weapons, displayed alongside a few instruments of torture, claimed to have been taken from the Spanish Armada in 1588. However, the historical basis for this association was quite unsound, with few, if any, of the objects having Spanish connections.
17th–19th centuries
Towards the end of the 17th century, the Office of Ordnance added two new armouries’ displays to the visitor attractions at the Tower. These were housed in one of the largest and most prestigious buildings ever to be seen at the Tower – the Grand Storehouse – that was built on the high ground immediately north of the White Tower.
The third, and most fantastic, display was installed on the first floor in 1696. Under the supervision of John Harris of Eaton, tens of thousands of small arms, and a mass of elaborate wooden carvings, were used to create such diverse installations as the ‘Witch of Endor’, the ‘Back Bones of a Whale’, a huge organ, and a seven-headed monster.
In the great Artillery Hall stood the great guns of the artillery train. As time went by, however, the room increasingly took on the appearance of a museum of military power, in which cannon and other trophies captured from battlefields around the world were brought here and displayed.
Also to be seen were items of curiosity and historic interest. Perhaps one of the most infamous was the Tower ‘Rack to extort Confession’. Last prepared for use in January 1673, the rack had presumably been decommissioned by June 1675, as it then appears in the first of several Ordnance inventories.
Throughout the 18th and into the early 19th century, the Ordnance continued to adjust and embellish its four armouries at the Tower. In 1825, the decision was taken to re-locate the Line of Kings into a new building against the south side of the White Tower.
The Horse Armoury was architecturally significant as it represented the first purpose-built museum gallery at the Tower. With the move, the notable antiquarian Dr Samuel Meyerick reorganised the exhibits along more scholarly and scientific lines.
Moreover, the Ordnance began to release funds allowing objects to be bought for the first time to expand the collection in specific and targeted, areas. Together with inaugural efforts at object conservation, the first decisive steps had been taken to transform the Tower armouries into a modern museum.
19th–21st centuries
In 1838 the cost of visiting the Tower Armouries was cut from 3 shillings to 1 shilling and lowered again the following year to 6d. The effect of these reductions was to see visitor numbers rise from 10,500 in 1837 to 80,000 in 1839.
On the evening of 30 October 1841 the Grand Storehouse was engulfed by a terrible fire destroying most
White Hart Hotel (former), Market Place, Spalding, Lincolnshire.
A facade of two builds - mid C18 & late C18.
A c1500 timber-framed core; stuccoed façade.
Grade ll* listed.
Now the Shanghai Garden Restaurant (2015).
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WHITE HART HOTEL, MARKET PLACE
Grade II* Listed
List Entry Number: 1063953
Details
In the entry for :
MARKET PLACE 1. 5313 (North Side) TF 2421 1/99 29.12.50 White Hart Hotel (including former No 20)
II
The address, the description and the grade shall be amended to read:
TF 2421 SPALDING MARKET PLACE
722-0/1/99 White Hart Hotel
GV II*
Hotel. c1500 core with facade of 2 builds: Mid C18 and late C18. Timber-framed core; stuccoed facade; Welsh slate roofs. Facade of 3 storeys and 7 bays plus 2 bays to right of 2 storeys and attic but of similar overall height: Complex range of various builds set around courtyard to rear. 7-bay part is late C18: raised quoins, floor-bands, architraved windows with projecting sills. Ground floor windows boarded-up at time of survey; carriage entrance to bays 4 and 5 with basket arch covered by Doric porch having incomplete entablature. 1st floor has 12-pane sashes (some boarded-up). Blind windows to false 2nd-floor windows set beneath a corniced parapet which conceals a steeply- pitched roof. 2-bay part to right, mid C18: ground floor has tall windows with architraves, pulvinated friezes and cornices; floor band beneath 1st floor windows having 12-pane sashes in architraves with double keystones; band beneath coped parapet. Gabled dormer with 4-pane sash; large brick stack at junction with lower 7-bay part. Interior: The front range contains 4 bays of timber framing dating from the late 14th Century to the early 15th Century. This is contained within the 2 bays to the left of the passageway, above the passage, and the further bay to the right. The left end wall contains square framing with corner post with curved braces, 2 intermediate posts, a first floor bressumer tie beam and 2 intermediate rails. The ground floor room has 2 elaborately moulded cross beams, with apholiate carved timber boss at the inter section. The tie beam which marks the end of this bay is also moulded and carved with small decorative panels. The room above is modern. The bay to the right has full height square framing in the first floor cross wall with daub infill, and above a crown post truss. This roof continues for a further 2 bays, both with crown post truss, the centre one with additional braces in a scissor form. A few rafters survive with fire damaged ends. The rear wing to this range contains some later 16th to 17th Century framing with straight braces. Late 17th Century turned banister stair.
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MARKET PLACE 1. 5313 (North Side) 29.12.50. White Hart Hotel (including former No 20) TF 2421 1/99 II
2. Dating probably from late mediaeval period (exposed timber framing in north wing) but front later and of builds. To east, early-mid C18. 2 storeys and gabled dormer. Parapet and cornice. Rendered. 2 windows in surrounds with rusticated keystones, glazing bars. Band between storeys. 2 windows on ground floor have pulvinated friezes and cornices and surrounds. West section later. 3 storeys. Also rendered and with roof of Welsh slates. 7 windows in surrounds- corresponding blind panels to top storey. Glazing bars. 5 windows on ground floor. Rusticated quoins and bands between storeys. Parapet. Projecting rectangular porch in Roman Doric. Interior contains part of original C17 staircase, as well as earlier wing to rear.
Listing NGR: TF2478422660
Entry in category 1. Object of study; © CC-BY-NC-ND: Tomaž Einfalt
Life is insanely big. Insanely complex. And insanely beautiful.
As the biotechnological revolution took the science world as a summer storm, scientist went down the rabbit hole, looking at life from a smaller and smaller perspective. Just to realize how vast it is. During our everyday work, we often awed at this beauty. Usually, the appropriate quote would be: Well this looks funny or god this is cool. But don’t be mistaken, these simple words mirror our awe of nature. We discovered, cellular portraits (or multicellular for the nitpickers among you, for it is hard to find a sole cell in a petri dish) are just as beautiful as the multicellular organisms these single cells build. Took us quite a while to come up with a suitable name for this actually. Artcella. This is a portrait of the innate immune system. A THP-1 macrophage (membrane stained) eating up fluorescent nanoparticles. The whole scene is presented in black and white.
Official list entry
Heritage Category: Listed Building
Grade:II
List Entry Number: 1291553
Date first listed: 13-Mar-1973
Statutory Address 1: TORQUAY PAVILION, TORBAY ROAD
Statutory Address 2: TORQUAY PAVILION, VAUGHAN ROAD
Location
Statutory Address: TORQUAY PAVILION, TORBAY ROAD
Statutory Address: TORQUAY PAVILION, VAUGHAN ROAD
District: Torbay (Unitary Authority)
Parish:Non Civil Parish
National Grid Reference: SX 91736 63453
Details
Pavilion. 1911 by HA Garrett, Borough Surveyor, based on 1897 designs by Edward Richards, architect to the Haldon estate; contractor RE Narracott of Stoke Gabriel. Conversion to shopping precinct 1986-7. Built on reclaimed land on a concrete raft reinforced with expanded steel frame with brick infill, clad externally with Doulton's patent carrera-ware with a cream and green glazed finish; copper roof; fine Art Nouveau ironwork. PLAN: On a north/south axis. Nave with barrel roof and clerestory windows, top-lit by a central dome. Flat-roofed flanking aisles and end blocks for roof promenades incorporate octagonal corner turrets with railings and domed roofs on cast-iron columns; central bow on west side overlooking Princess Gardens. Interior originally comprised hall with a stage, orchestra pit and balcony; tea garden on roof. EXTERIOR: Nave with pedimented, gabled ends with large Diocletian windows onto ashphalted roof terraces with balustrades; cast-iron steps with floral balustrades on east and west sides. Corner turrets with pretty railings and bell-shaped copper domes on cast-iron columns. North end entrance block with terrace over, flanked by turrets with pointed copper domes crowned with statues of Mercury. Statue of Britannia on nave dome. Segmental-headed doorway with glazed canopy on cast-iron brackets. Sides articulated with pilasters; round-headed windows, some arranged in pairs and triplets with Art Nouveau glass. East side repaired in the 1980s conversion following demolition of adjoining theatre. INTERIOR: Original plasterwork to barrel vault, arranged in panels. Borough arms over east entrance flanked by good figures of health and happiness. 1980s stair to mezzanine. An exuberant seaside building with an interesting construction and exceptional ironwork. (Ellis CA: An Historical Survey of Torquay, 2nd edition: 1930-: P.382-386; Buildings of England: Cherry B: Devon: London: 1952-1989: P.854).
© Historic England 2022
Competition entry for HAPPYSNAPS May competition. www.flickr.com/groups/1262731@N22/discuss/72157681222799851/
Negative No: 1971-0396 - Negatives Book Entry: Northgraves Street/ Florence Street C.P.O Cheetham Various View of the area
The entry at the South Campus Building of the Pasadena Art Center by Daly Genik Architects. The building is a former wind tunnel, and the design cuts away at the building, revealing all sorts of layered surfaces with differing textures.
Click to read the blog entry about Les Eclaireurs Lighthouse picture in Argentina
Coachpoint 2004 A8CPX setra S415HD C34FT went away with top setra and top Executive Coach at The 67th UK Coach Rally. Photo taken 01/04/23
5 exp HDR @1EV with bounced flash in the living room to right and left. Big entry door behind and left.
This space is a renovation project that I designed and installed. All of the art was designed and fabricated by me...
See the publication of this online at: "Condo" (A European Design Magazine)
As you probably remember, we entered the Doll Wardrobe's fashion design contest. The second round of entries are up and ready for voting!
To vote, you can send an email to nora.demington@gmail.com specifying which ones you would like to vote for. If you would like to vote for us, we are #58, and we have a friend entering who is #42. (Yes, you can vote for more than one! :D ) If you choose to vote for us, thank you very much!
Contest page: