What's up with WhatsApp? These newly leaked features, that's what3

The city of Vaison-la-Romaine was, unsurprisingly, built by the Romans, but only in part. In fact, it features two very different built-up areas: one leisurely laid out on flat land, and the other holding on tight to a tall and dominating rocky outcrop, on the other bank of River Ouvèze, which is spanned by a Roman bridge. And the history of Vaison is largely that of a going back and forth between those two areas.

The very first inhabitants of Vaison, pre-Roman conquest, prudently settled on the mountain. Traces of Neolithic occupation were found on its steep slopes. Confident in the Pax Romana they were bringing with them, the Romans settled comfortably in the plain, by the banks of the Ouvèze, and began building a lovely and remarkable city, of which many famous ruins remain. Then the invasions of Barbarians from the East, and Saracens from the South, drove the people back onto the mountain, where they took many of the Roman cut stones of the lower city to fortify, defend and build ramparts, homes and churches. It is not really until the 19th century that they deemed safe to go back down again and re-settle the Antique part of the city, building frenetically over Roman ruins. This being before the time of “pre-emptive archæological digs”, many such ruins are undoubtedly forever buried under the elegant homes of the 1800s Vaison.

The Château comtal (i.e., “Castle of the Counts”) we will visit today and over the following days is a symbol of the centuries-long feud between the sacred and the secular —the former, we must admit, being largely the main culprit: while it is true that secular powers oftentimes tried to encroach upon the religious (for example by trying to usurp and appropriate the right to appoint bishops, abbots or abbesses), the clerical powers-that-be were equally, if not more often liable to try and meddle in, and establish their rule over, profane affairs and management of what we would call today “civilian” life.

In Vaison, bishop Bertrand de Mornas was guilty of such an appropriation and was consequently driven away by force in 1160 by Raymond V of Toulouse, the Toulouse family being the local overlords at the time. The next bishop, Bertrand de Lambesc, re-took the town in 1178 but let Raymond’s troops station on the mountaintop. There, true to form, they built a wooden fort in 1183 to symbolize their domination; it is the ancestor of the castle we still see today. In 1185, the then-bishop, Bérenger de Reillanne, burned that fort. Count Raymond sent his troops back right away, once again driving the bishop away. Between 1190 and 1193, they built a stone castle impervious to fire. :o)

The castle is not open to the public, as there are some spaces that are dangerous. The municipality, which owns the monument, has been working for quite a while in the perspective of opening it one day. Securing the ways to access is also a big challenge, as the whole mountaintop, including the bedrock, is listed as a Historic Landmark. Therefore, nothing can be touched unless declassified —an administrative nightmare— and I verified for myself that getting there can be very tricky, slippery and risky. The way cannot be publicly endorsed as is, oit would bring a slew of law suits against the town. I was permitted access inside in my capacity as pro bono photographer for the Fondation du Patrimoine.

Inside the courtyard, there are buildings on three sides. The sheet wall collapsed or was dismantled on the fourth side, opening directly onto the vertical rock face, hence the need to put a metal fence in place.

Selfie features the iconic Selfridges store and the metal discs match the roundels on the Selfridges façade. The head and feet of the owl are painted chrome to reflect the surroundings, while the name is inspired by the store and the trend of taking ‘selfies’ – what better than a selfie with Selfie!

Artist: Martin Band

Martin Band is an enthusiastic artist and director of Environmental Associates, an urban design and landscape architects business, based in Cheshire.

Martin regularly gets involved in the design of streetscape, civic spaces and gardens – always aiming to bring something new, creative and invigorating to the designs that his practice produces.

Website: www.environmentalassociates.net

Sponsor: LDC

Auction Price: £11,000

The Big Hoot captured the imagination of everyone in Birmingham and beyond, with hundreds of thousands of people taking to the streets with their Big Hoot Trail maps to explore the colourful invasion of individually designed owls. Taking in the city’s 10 districts, tourists and residents alike enjoyed their owl adventure, discovering and celebrating the extraordinary creativity produced by many of Birmingham’s artistic community and over 25,000 young people.

The Big Hoot owls went under the hammer on 15 October 2015 at The Big Hoot auction sponsored by Vodafone and we are thrilled to have smashed our target by raising the incredible sum of £508,035!

The money raised from the auction will support Birmingham Children’s Hospital Charity’s £3.65m Star Appeal. This appeal will enable us to create a first of its kind, a Rare Diseases Centre in the UK specifically for children. It will provide co-ordinated care, treatment, support and most importantly hope to children and families living with a rare or undiagnosed condition.

In addition the auction raised £15,000 for G’owl’d by Temper with proceeds going to Edward’s Trust, and £7,800 for Fleet and Free with proceeds going to Birchfield Harriers.

So thank you - we simply couldn’t have done it without you.

Artists have played a major role in The Big Hoot, creating almost 100 owl sculptures. We would like to thank all the artists for their incredible creativity and hard work.

Professional artists from Birmingham, the wider Midlands region and further afield have created extraordinary giant owls that are all unique in style and character and represent the city’s creativity, history and heritage, music, fashion, architecture and attractions.

Birmingham is home to a wealth of artistic and creative individuals and communities and many award-winning and nationally and internationally acclaimed artists. We are delighted with the response from Birmingham’s creative community and are thrilled to work in collaboration with them to transform the streets, squares and parks of the city.

For five months artists have been creating owls in their studios, at home and in The Big Hoot Artists’ Studio at the Custard Factory in Digbeth. Their inspiring and innovative designs have been realised in genres including graffiti, illustration, fine art, graphics, typography, mosaic and new media. They have worked with both community groups and with corporates to realise ideas and create their stunning designs.

The Big Hoot not only provides a high quality and ambitious free public event for families but also supports the creativity of artists and celebrates talent and diversity. The Big Hoot has provided an inspiring relationship between the city and the arts.

The artists have also reached out to communities enabling more people to participate in the arts, to experience working with professional artists and to be inspiring and inspired. From the north to the south of the city residents groups, youth groups and older peoples’ groups have been collaborating with artists to generate ideas, design and create owls for The Big Hoot.

Creativity is everywhere but the opportunity to participate is not. A range of activities have been programmed within Birmingham’s diverse communities and people from the age of 3 – 97 and from wards within the city boundaries have contributed to The Big Hoot and helped make the event extraordinary. Our projects have seen artists working with hundreds of residents and community members including children in looked after care, older peoples’ clubs, young people and residents organisations to design and decorate the owls displayed as part of the 10 week public event.

Features smoke from bad bush fires

Agecroft Hall

Agecroft Hall rests serenely on the banks of the James River in Richmond, Virginia, more than 3,000 miles from its original home overlooking the River Irwell in Lancashire, England. Situated today in Richmond's Windsor Farms neighborhood, it is not a reconstruction, but a synthesis of Tudor and 20th century styles. It incorporates many of the decorative features and some of the structural elements of the original Agecroft Hall in England. It boasts original windows, ornately paneled wood interiors, period paintings and lavish furnishings.

The grounds and gardens add to Agecroft Hall's charm. Visitors are attracted to the stately boxwoods, aromatic roses, and medicinal herbs, all typical of an English manor home of days gone by. Agecroft Hall is more than a tribute to the past. Today, its exhibits and various programs have helped history come to life for generations of modern visitors.

Source: www.agecrofthall.com/View.aspx?page=about

The story of Agecroft Hall begins more than 500 years ago in the northwestern county of Lancashire, England. Thereafter follows a long and colorful history that documents the lives of the Langley and Dauntesey families in Lancashire and the Williams family in America. Much of the information known about Agecroft and its inhabitants comes from archival material that was preserved at Agecroft until the early 20th century. These remarkable documents, some of which are retained at Agecroft today, include deeds, settlements, and royal letters dated between 1199 and 1926.

Agecroft Hall was built on land in the Irwell River Valley, between the villages of Prestwich and Pendlebury, not far from the city of Manchester. The house was constructed in stages over the course of many years, and was expanded according to the needs of the residents. The greatest expansion took place under the auspices of William Dauntesey in the mid-16th century.

By the late 16th century, Agecroft was a quadrangular structure surrounding a central courtyard. The house contained approximately 20 rooms, including a kitchen, great hall, great parlor, dining parlor, several bedchambers, and a private chapel.

In 1561, Sir Robert Langley, last of the male Langley heirs, died, leaving Agecroft and adjoining lands in Pendlebury to his daughter, Ann Langley. She married William Dauntesey of London and Wiltshire sometime before 1570. Upon their marriage, Agecroft Hall became the property of of the Dauntesey family and remained so until 1811. Thereafter, as was often the custom when distant relatives inherited English estates, subsequent owners assumed the Dauntesey name.

Developments during the Industrial Revolution, such as the discovery and mining of coal near the house and the placement of railroad tracks through the property, led to the deterioration of the house. in 1867, attempts to modernize Agecroft resulted in the destruction of much of the interior of the original building. Additional modernization took place in 1894 after a serious fire destroyed the east and south wings of the house.

Finally, with increasing industrial development, the residents of Agecroft moved away. The house was unoccupied from 1904 until 1925 when it was put up for auction.

Source: www.agecrofthall.com/View.aspx?page=history/england

Rebuilding in America

Mr. Thomas C. Williams, Jr. of Richmond, Virginia, a wealthy entrepreneur, purchased Agecroft Hall upon the advice of this architect, Henry G. Morse. Mr. Williams, whose financial interests included tobacco, banking, and shipping, wished to build a true English manor house on his 23 acres overlooking the James River. Agecroft was dismantled, crated, transported across the ocean, and reconstructed in Richmond's Windsor Farms neighborhood. Windsor Farms was the fashionable new neighborhood being developed by Mr. Williams on the Williams' family farm site which had long been known as 'Windsor.'

The architect, Mr. Morse, was retained to oversee the reconstruction. The intention was not to replicate Agecroft as it had stood in Lancashire, but rather to create a functional and comfortable house reminiscent of its English predecessor. The original floor plan was abandoned and many 20th century conveniences were included. Reconstruction took two years and cost approximately $250,000, a considerable sum for that time. The project was completed during the spring of 1928.

Sadly, the following year Mr. Williams died. With great foresight and generosity, he stipulated in his will that upon his widow's death or relocation, Agecroft Hall would become a house museum. The core of the endowment for the museum came from the estates of Mr. Williams, his brother, A.D. Williams, and his sister, Sue Williams Massie. The museum is administered by the Agecroft Association, under the control of a Board of Trustees. The house and gardens opened to the public in 1969.

Source: www.agecrofthall.com/View.aspx?page=history/america

This features my version of the Veyman Genesis by Dark Syntax. Instead of posting just the build this time around, I figured I'd show how it compares to my usual measuring sticks. As is my normal, I made a couple of changes to the original build to reflect my design choices and parts availability.

Brickshelf gallery.

Features: openable hood, steering, front suspension.

Structures that show his power, and a mouth in his torso.

This is the first main antagonist of my story. He's nearly complete, but just missing his fingers on his left hand and the white peice on his thigh needs to be changed to black.

Family: Isotomidae

Order: Entomobryomorpha

Subclass: Collembola

Class: Entognatha

Slender form. Prominent collophore. Very hairy. Head and body shape meant I had been leaning to Entomobryidae but on yudy1987's well-informed advice below, I have reverted to Isotomidae. Distinguishing features include Macrochaetae that taper to a point and a long third abdominal segment.

Collected from leaf litter samples.

DSC05335_DSC05341

The city of Vaison-la-Romaine was, unsurprisingly, built by the Romans, but only in part. In fact, it features two very different built-up areas: one leisurely laid out on flat land, and the other holding on tight to a tall and dominating rocky outcrop, on the other bank of River Ouvèze, which is spanned by a Roman bridge. And the history of Vaison is largely that of a going back and forth between those two areas.

The very first inhabitants of Vaison, pre-Roman conquest, prudently settled on the mountain. Traces of Neolithic occupation were found on its steep slopes. Confident in the Pax Romana they were bringing with them, the Romans settled comfortably in the plain, by the banks of the Ouvèze, and began building a lovely and remarkable city, of which many famous ruins remain. Then the invasions of Barbarians from the East, and Saracens from the South, drove the people back onto the mountain, where they took many of the Roman cut stones of the lower city to fortify, defend and build ramparts, homes and churches. It is not really until the 19th century that they deemed safe to go back down again and re-settle the Antique part of the city, building frenetically over Roman ruins. This being before the time of “pre-emptive archæological digs”, many such ruins are undoubtedly forever buried under the elegant homes of the 1800s Vaison.

The Château comtal (i.e., “Castle of the Counts”) we are visiting is a symbol of the centuries-long feud between the sacred and the secular —the former, we must admit, being largely the main culprit: while it is true that secular powers oftentimes tried to encroach upon the religious (for example by trying to usurp and appropriate the right to appoint bishops, abbots or abbesses), the clerical powers-that-be were equally, if not more often liable to try and meddle in, and establish their rule over, profane affairs and management of what we would call today “civilian” life.

In Vaison, bishop Bertrand de Mornas was guilty of such an appropriation and was consequently driven away by force in 1160 by Raymond V of Toulouse, the Toulouse family being the local overlords at the time. The next bishop, Bertrand de Lambesc, re-took the town in 1178 but let Raymond’s troops station on the mountaintop. There, true to form, they built a wooden fort in 1183 to symbolize their domination; it is the ancestor of the castle we still see today. In 1185, the then-bishop, Bérenger de Reillanne, burned that fort. Count Raymond sent his troops back right away, once again driving the bishop away. Between 1190 and 1193, they built a stone castle impervious to fire. :o)

The castle is not open to the public, as there are some spaces that are dangerous. The municipality, which owns the monument, has been working for quite a while in the perspective of opening it one day. Securing the ways to access is also a big challenge, as the whole mountaintop, including the bedrock, is listed as a Historic Landmark. Therefore, nothing can be touched unless declassified —an administrative nightmare— and I verified for myself that getting there can be very tricky, slippery and risky. The way cannot be publicly endorsed as is, oit would bring a slew of law suits against the town. I was permitted access inside in my capacity as pro bono photographer for the Fondation du Patrimoine.

The great hall shown yesterday lies along a north-south orientation. This is the northern end of it, where food was prepared (or at least kept hot after having been brought from the adjoining kitchen). There was a fireplace up against the wall, and what you see here is the chimney that remains.

Earlier this week I posted a picture of the plants in our diningroom window and thought I’d show you a cool thing. The screen on that window developed a hole (don’t remember why) and when casting around for solutions to repair, I found this butterfly. It is a clear sticky patch and two magnets (one for inside and one for outside), so it covers the hole and stays in place. Cool- huh? Some creative problem solvers out there!

hoto by: Abdulhameed ShamandourJ

Location: Jarash, JordanJerash, the Gerasa of Antiquity, is the capital and largest city of Jerash Governorate, which is situated in the north of Jordan, 48 km (30 miles) north of the capital Amman towards Syria. Jerash Governorate's geographical features vary from cold mountains to fertile valleys from (1250 to 300 meters above sea level), suitable for growing a wide variety of crops.Jerash is known for the ruins of the Greco-Roman city of Gerasa, also referred to as Antioch on the Golden River. It is sometimes misleadingly referred to as the "Pompeii of the Middle East or Asia", referring to its size, extent of excavation and level of preservation (though Jerash was never buried by a volcano). Jerash is considered one of the most important and best preserved Roman cities in the Near East. It was a city of the Decapolis.Jerash was the home of Nicomachus of Gerasa (Greek) (c. 60 – c. 120) one of the greatest mathematicians in human history. Nicomachus of Gerasa is known for his works Introduction to Arithmetic (Arithmetike eisagoge), The Manual of Harmonics and The Theology of Numbers, as well as many other books. His most famous book Introduction to Arithmetic was written using Arabic numbers, and was subsequently translated into Roman numbers. This book remained a standard mathematics textbook for more than a thousand years.Map of the Decapolis showing location of Gerasa (Jerash)The ruins of the Roman Jerash next to modern-day city of JerashRecent excavations show that Jerash was already inhabited during the Bronze Age (3200 BC - 1200 BC). After the Roman conquest in 63 BC, Jerash and the land surrounding it were annexed by the Roman province of Syria, and later joined the Decapolis cities. In AD 90, Jerash was absorbed into the Roman province of Arabia, which included the city of Philadelphia (modern day Amman). The Romans ensured security and peace in this area, which enabled its people to devote their efforts and time to economic development and encouraged civic building activity.In the second half of the first century AD, the city of Jerash achieved great prosperity. In AD 106, the Emperor Trajan constructed roads throughout the provinces and more trade came to Jerash. The Emperor Hadrian visited Jerash in AD 129-130. The triumphal arch (or Arch of Hadrian) was built to celebrate his visit. A remarkable Latin inscription records a religious dedication set up by members of the imperial mounted bodyguard "wintering" there.The city finally reached a size of about 800,000 square metres within its walls. The Persian invasion in AD 614 caused the rapid decline of Jerash. However, the city continued to flourish during the Umayyad Period, as shown by recent excavations. In AD 749, a major earthquake destroyed much of Jerash and its surroundings. During the period of the Crusades, some of the monuments were converted to fortresses, including the Temple of Artemis. Small settlements continued in Jerash during the Ayyubid, Mameluk and Ottoman periods. Excavation and restoration of Jerash has been almost continuous since the 1920s.TetrapylonThere are a large number of striking monuments located in Jerash: the Corinthium column, Hadrian's Arch, a circus/hippodrome, two immense temples (to Zeus and Artemis), the nearly unique oval Forum, which is surrounded by a fine colonnade, a long colonnaded street or cardo, two theatres (the Large South Theatre and smaller North Theatre), two baths, a scattering of small temples and an almost complete circuit of city walls. Most of these monuments were built by donations of the city's wealthy citizens.From AD 350, a large Christian community lived in Jerash, and between AD 400-600, more than thirteen churches were built, many with superb mosaic floors. A cathedral was built in the fourth century. An ancient synagogue with detailed mosaics, including the story of Noah, was found beneath a church.mosaic at the Chistian ChurchToday the ruins of Jerash are thoroughly excavated and excellently preserved. This has led to a nickname, the "Asian Pompeii."

SAO PAULO, BRAZIL - FEBRUARY 18: Koji "Laz" Ushida of ZETA DIVISION poses during the VALORANT Champions Tour 2023: LOCK//IN features day on February 18, 2023 in Sao Paulo, Brazil. (Photo by Lance Skundrich/Riot Games)

Features: Custom designed and applied decals, DC-15 blaster

Available here

www.dutchmicro.com/store/products/clone-trooper-waxer/

Check out the gallery here!

www.flickr.com/photos/48487023@N02/galleries/721576327017...

Support here!

lego.cuusoo.com/ideas/view/31714

Features include opening cockpit, rotating engines, moving gun/landing thingies, and a containment cell for your bad-guy.

Within a couple of weeks this new book The Art of LEGO Scale Modeling will be published. This book features, among many models by great builders from all over the globe, a new model by Ingmar Spijkhoven. Especially designed for this book and includes the best of both worlds. An accurate model of an existing truck and harbor an amazing amount of functionalities such as remote driving and steering!

Being invited to join this project a concept model of this Scania was at hand. Always evolving and reaching out for new projects a Scania has been on the wish list for quite a while. Additionally the modeling and developing process was already in progress. Nevertheless still a lot of effort has put into this project yet the invitation accelerated the build.

Building mainly US (style) trucks so far Ingmar's model range now includes a European truck as well. Dawning a new era of new trucks and trailers. In spite of this specific model being an Australian edition, it is European after all.

Designed especially for and featured in this book doesn't necessarily mean there will be no instructions. You have to be patient for a couple of more weeks, but instructions will be available together with the all time parts list!

About the book:

The Art of LEGO Scale Modeling displays amazing, fan-built LEGO recreations of real-life vehicles, showing off every amazing detail with high-quality photographs.

Authors Dennis Glaasker and Dennis Bosman share their own impressive LEGO models as well as highlight models from builders around the world. The Art of LEGO Scale Modeling also includes tips and tricks that describe the design and building process.

BOX DATE: 1986

MANUFACTURER: Mattel

DOLLS IN LINE: Barbie; Dee Dee; Dana; Derek; Ken; Diva

BODY TYPE: 1966; twist 'n turn waist; bent arms; ring hole; bend & snap legs

HEAD MOLD: 1976 "Superstar"; pierced ears

SPECIAL FEATURES: Dances

***My doll on the right is wearing 1985 Barbie and the Rockers Fashions #2690.

PERSONAL FUN FACT: This Barbie eluded me for YEARS!!! I wanted her since I first started collecting dolls again in 2011. Every time I would see a group of dolls from the 80s, I would hope this gal would be included. For whatever reason, despite having found her clothing early on, the doll herself proved to be elusive. It was March 2023 when I finally got my hands on her (doll on the left). The story behind this lady makes her all that much more special. She was an extremely thoughtful gift--one of the many dolls from the "Mountains of Monsters Lot." The generous person who gave me and Colleen the dollies knew I did not have this doll in my collection. Since she was a personal favorite of the sender, she included one in the box!!! I could not have been more elated to see this familiar face in the throng of other plastic people. I knew who she was instantaneously (before I even found the note which mentioned her, that was buried beneath things). I can't believe that this fabulous creature is finally part of my collection. She is in great condition too--after a boil wash and bath, she looked wonderful. And I FINALLY had the doll for this outfit that I had waiting for over a decade. I think some of my fondness for this doll is rooted in the fact that she reminds me a bit of Dance Club Barbie, aka Coola, who my sister got at a yard sale as a kid. I also had a lot of luck finding Barbie and the Rockers dolls the first few years I began collecting again, so they've always had a warm place in my heart. I will always cherish this Barbie--she's a true treasure and an incredibly thoughtful gift.

It was so ironic that BOTH of these Rocker Barbies were gifts, and from rather large lots. In July of 2024, a box showed up at my front door. I would have been caught off guard completely, however the sender had given me the heads up that it was arriving. I was surprised by the density of the package when I brought it inside. But since nothing was rattling around, I figured it was one large doll, rather than numerous ones. I waited to open what was later dubbed the "Biggies and Barbies Lot" until my sister was home from work. This was one of two packages--the Barbie on the right arrived in the first box. Anyways, once we peeled back the cardboard flaps, we spotted a treasure trove of neatly labeled Barbies, a soft sculpture Cabbage Patch doll, and a Coleco Cabbie, along with a few clothes. The large softie was the reason everything was so tightly packed. It was a very generous, and appreciated surprise. The coolest thing is that the second Rocker Barbie is a different country make than my first. She also still has her original earrings intact!

BOX DATE: 1997

MANUFACTURER: Mattel

DOLLS IN PACK: Barbie, Kelly

VARIATIONS: Blonde; African American; Hispanic

BODY TYPE: 1966; white molded B print panties; Twist 'n Turn waist; articulated elbows; speaker on torso; battery compartment & button on back; bend & snap knees

HEAD MOLD: 1976 "Superstar"; pierced ears

SPECIAL FEATURES: Talks

PERSONAL FUN FACT: The funny thing is, I don't ever remember seeing Dentist Barbie in stores. I'm sure that we crossed paths many times in the toy aisles when I was growing up, but I guess I never picked her up on my radar. But that being said, Dentist Barbie came to be one of the most iconic 90s Barbie dolls ever made to me. I was about seven years old when I encountered a Dentist Barbie at my local flea market. She was on a table with a bunch of other Barbies, who were all laid out for $1 or $2. I gazed over the selection of dolls, when Dentist Barbie caught my eye. She was still wearing her original uniform, but it had come unbuttoned, leaving her bosoms exposed. I recall trying to snap Barbie's dress back up, because I felt bad leaving her in such a state of undress. But the uniform kept popping open, which made me feel so very terrible for her. I remember that I was by myself--Dad, Colleen, and Mom were looking at some other stuff. Despite the fact that this event took place close to twenty years ago, I still vividly recall finding Dad and asking him if I could get a doll. He gave me the $2, and I promptly returned to the table to get Dentist Barbie. Colleen's interest was piqued when she realized I got a doll, and she too felt bad for the poor, exposed doll. When I got home with my new dolly, I had to work her into our current doll game, which featured Pearl Beach Christie and Bathtime Fun Kelly (the African American version). I decided that Dentist Barbie would be the nanny...and in the process, I made Christie turn into a villain. My idea of a "bad guy" was a poor housekeeper and a neglectful sister. Christie left piles of unwashed dishes in the sink, didn't make the beds, didn't tend to the garden, and of course didn't feed or bathe her little sister. Dentist Barbie became the heroine--I made her transform the untidy house into a magically clean space, and little Kelsey (that was Kelly's name) fell in love with her. By the end of the game, Christie had left, and Dentist Barbie and Kelsey were left to their happy ending in the Fold 'n Fun House. I still vividly remember dressing Barbie up in my 90s fashion packs, making her rake the paper leaves outside the house, and having her feed Kelsey at our Eat 'n Fun Kelly highchair. I still remember the day that Colleen and I forgot Kelsey and Barbie on the little kid sized table outside in the yard, and when we returned home, they were soaked because it rained. We rushed the dolls inside, dried them off, and changed them into fresh clothes. Dentist Barbie, who I purchased purely because I felt sorry for her, became my favorite doll. This love was only ever superseded by a handful of dolls--Jewel Girl Teresa, 2001 Sparkling Jasmine, and Travel in Style Barbie. Sadly, none of the dolls shown in this picture are my childhood Dentist Barbie. We parted ways only a year or so after I got her (if that). I went through this phase as an eight year old in which I felt bad having "too many" dolls. I think part of this was a manifestation of my un-diagnosed OCD. I became fixated on the number of dolls I had, how much space they took up, etc. This wasn't a healthy purge of sorts, that rid me of excess dolls I didn't love or use. Instead, it was almost a form of self punishment--I got rid of some of my favorite dolls of all time, including Dentist Barbie and Jewel Girl Teresa. There were dolls I hadn't even owned a month that I gave away, all for the sake of having less. The worst part of it all is that immediately after my friends were all gone, I was left with pangs of guilt and regret. So I started hunting for replacements right away, but Dentist Barbie eluded me.

The search for a blonde Dentist Barbie continued into my adulthood. After a five year hiatus, I was still desperate to reunite myself with Dentist Barbie. As a kid, I know I had purchased a shabby Dentist Barbie at the flea market (she may have been in a bin). But this doll had cut hair, broken thumbs, and a super wonky face. She looked nothing at all like my first beautiful doll...and I got rid of her as an adult (it's a shame really). I saw a few other Dentist Barbies on my quest, but I wanted a very specific looking one--I turned them all down, because they were wonky, broken, or just plain unattractive (beggars can't be choosers, but apparently I was). Anyways, I found my first blonde doll shown here wearing handmade earrings at an outdoor flea market in 2011. She was on a table, much like my childhood doll, sprawled out with tons of other dolls. The moment I met her, I knew she was the one. I managed to swap her into her uniform, which was being worn by another doll (the seller gave me permission). Despite the fact that she was in poorer condition than my childhood gal, all was right with the world, and I finally had my beloved Dentist Barbie.

The girl on the right is my newest and most wonderful Dentist Barbie! She was part of the "Clueless lot" of 2017. Ironically, for someone who searched for so long and in such desperation for a blonde Dentist Barbie, I paid this doll no mind when I first stumbled upon her at the flea market. Originally, Colleen and I were not going to buy the entire bin, because it cost $20 and we already had the majority of the dolls. We selected seven dolls and were going to pay for them separately, when the seller made a new offer of $15 for the lot. This is when a horrible event occurred. Barbie's baby sister Kelly must have been left behind as we transferred the seven dolls out of the paper bag and into one of Colleen's reusable shopping bags. Something nagged at me and told me to double check the paper bag before we left, but I ignored my instincts, and when we got home, I was horrified to realize that Kelly was gone. We went back to the flea market minutes after the discovery, only to come home empty handed. Up until the Kelly incident, I was preoccupied with the other new dolls, and had not taken much notice of this Barbie. But when I felt the need to apologize to her because I lost her sister, I realized how lucky I was. She looks EXACTLY like my first Dentist Barbie, the doll I rescued all those years ago. She has the same exact eye placement, facial expression, and beauty. She is even in wonderful condition like my old friend. While Kelly's fate is undoubtedly heart breaking, the one upside to this story is that I feel the Dentist Barbie chapter in my life has truly been closed. This doll is quite literally the closest thing I will ever get to my actual childhood doll, and for that I will be forever grateful. She's easily my most prized and appreciated Dentist Barbie in my collection (although I love them all). And I hope that my love can make up the loss of her sister to Barbie.

Features working brakes!...yeah I know there is not really any point, but I could so I did :) 2x 9v motors wheel-spin behind this when the brakes are clicked "on"

Also has a lightbrick in the firebox, actuated by pushing the main boiler slightly backwards. This light also serves as a "through" light to the rear tail lamp. Plus a "quick release" cab to be able to access the click hinge brake lever.

Had to sit on this for 8 months or so, but now able to show some of the pictures as "teasers".....designed and made exclusively for "The Lego Adventure" book: www.flickr.com/groups/2021445@N23/ which includes a full 18 page feature on how to build this, starting from chassis to end result.

Was an honour and a privilige to be chosen for this line up of "inspirational" builders throughout the world :)

standing-striding figure of a priest with aged features

Roman Period, around the turn of the era

Staatliches Museum Ägyptischer Kunst, München, Deutschland / State Museum of Egyptian Art, Munich, Germany

SAN FRANCISCO, CALIFORNIA - NOVEMBER 01: Lee "Faker" Sang-hyeok of T1 poses at the League of Legends World Championship Finals Features Day on November 1, 2022 in San Francisco, CA. (Photo by Lance Skundrich/Riot Games)

ORCA MKII - VTOL - Hybrid gunship.

Twistable thrusters and tailfins

The ship features a bunch of opening panels to access the inside details, such as the lounge area, cockpit and engine room.

are one of her greatest features .

In the late summer of 1965, an all-new Batman TV series was gearing up, with Dean Jeffries hired to build a Batmobile for the show. When the show's production schedule was moved up, Jeffries had to pass on the job, which then went to custom car builder George Barris. With merely three weeks to build the car, Barris decided to use the Ford Motor Company's abandoned Futura concept car as a basis for what would go on to become one of the most famous cars in the world.

The Futura worked perfectly as a Batmobile, as it had many "bat" features built into the design already, such as the long fins and bubble canopies. According to Barris, he further enhanced the theme by converting the nose into an integrated bat mask, a first for the car. He also opened the wheel wells, and modified the Futura's fins into subtle bat wings by extending their leading edges into the doors and scalloping the trailing edges. Once bodywork was complete, the car was painted gloss black with red trim to accentuate the various lines of he car. Three replicas were eventually built by Barris' shop for promotional and exhibition purposes.

The car featured an impressive array of bat-gadgets. In addition to the "atomic turbine engine" (the car was actually powered by a blueprinted Ford V8), the car had a nose-mounted chain slicer, lasers, rockets, an on-board telephone, radar, dash monitor, on-board computer, and police beacon. If needed, the Batmobile is capable of a quick 180° "bat-turn" thanks to two rear-mounted 10' parachutes, and the it is equipped with a smoke emitter and a nail spreader to discourage pursuit. Some changes were made during the run of the series, including different license plates, a change in steering wheel, and the addition of extra gadgets such as the rear-facing camera and battering ram.

In 1979, the car briefly returned to the screen for the nearly forgotten Legends of the Superheroes show. The Batmobile had gone through several more changes in the years since Batman ended. Most notably, the gloss black paint had been replaced with a flat black flocking, dubbed the "bat fuzz." An array of new and unidentfied gadgets had been added, as well as extra antennas, placards, mirrors, a new seering wheel, and spoked "Euro" wheels. The only subtraction from the car was the bat logos, now absent from both doors.

Today, the #1 car has been returned to its gloss black finish, though many of the extra gadgets remain in place. A tribute to its popularity, it set a world record on January 19, 2013 when it sold at the Barrett-Jackson auction for USD$4.2 million. Along with this fan recognition, its influence continues in Batmobile designs today and is considered by many to be the Batmobile.

www.batmobilehistory.com/1966-batmobile.php

BUSAN, SOUTH KOREA - MAY 07: Lee "Faker" Sang-hyeok of T1 poses at the League of Legends - Mid-Season Invitational Features Day on May 7, 2022 in Busan, South Korea. (Photo by Colin Young-Wolff/Riot Games)

Benmore Botanic Garden (formerly known as the Younger Botanic Garden) is a large botanical garden situated in Strath Eachaig at the foot of Beinn Mhòr, on the Cowal Peninsula, in Argyll and Bute, west of Scotland. The gardens are on the west side of the A815 road from Dunoon, between the Holy Loch and Loch Eck, and include footbridges across the River Eachaig. It is one of the sites of Royal Botanic Garden Edinburgh.

Features include an avenue of giant sequoias planted in 1863, large square walled gardens, a waterfall, a fernery, ponds and walks up the hillside to viewpoints over the Holy Loch. The garden is located within the Argyll Forest Park, which forms part of the Loch Lomond and The Trossachs National Park.

Most of Cowal, originally Clan Lamont territory, was taken over by Clan Campbell, including lands in Strath Echaig shortly after 1400. The area once called "Innasraugh", meaning "the sheltered valley", was part of the hunting grounds of the Dukes of Argyll, belonging to the Campbells of Ballochyle. It was reached by a ford across the River Eachaig at Uig, near modern Eckford house.

Around 1820, Ross Wilson introduced tree planting with the first known coniferous plantation of forest trees in Cowal. In 1849 the estate was bought by John Lamont, a wealthy sugar planter and slaveowner in Trinidad who had emigrated from Toward (near Dunoon) 48 years earlier. He arranged replacement of the previous manor house with the larger Benmore House, but died in 1850, a year before the house was completed. His nephew James Lamont inherited the estate, but then sold it and it went to various other owners in succession.

Benmore Estate was bought in 1862 by James Piers Patrick, a wealthy American who carried out extensive work to Benmore House, including construction of the tower, designed in the Scottish baronial style by the architect Charles Wilson. He developed the garden, and in 1863 planted the Redwood Avenue of Giant Sequoias.

In 1870 the Greenock sugar refiner and philanthropist James Duncan bought Benmore Estate, which he extended to include the adjacent Kilmun and Bernice Estates. He arranged extensive plantings in the grounds, including more than six million trees around the estate, and added paths leading up a ravine one kilometre (5⁄8 mile) to the south on the east side of the road, making Puck's Glen a scenic attraction. He extended the east wing of the house with a gallery to house his major collection of paintings: during the summers of 1881 and 1882, these were seen by more than 8,000 visitors. In 1889 he had to sell his assets, including Benmore.

Henry Younger of the Edinburgh brewer Younger's bought the estate in 1889, and with his son Harry George Younger made many improvements to the woods and gardens, with 40 staff employed to carry out maintenance. They introduced many exotic shrubs and trees, and also demolished the gallery and conservatory at the house. In 1924 Harry George Younger gifted the estate to the nation for science and education purposes: the Forestry Commission took over most of the woodlands.

In commemoration of the improvements James Duncan had made to the estate, Younger provided a hut high on the hillside above the gorge of Puck's Glen, to a special design by Sir Robert Lorimer, and "Puck's Hut" was dedicated to the memory of the botanist Sir Isaac Bayley Balfour.

The Royal Botanic Garden Edinburgh (RBGE) was looking for a place to take the large collection of plants which the botanist George Forrest had brought from China, and the high rainfall at Benmore was ideal. In 1929 the Younger Botanic Gardens were opened as the first outstation of the RBGE. In the 1930s, the Forestry Commission established Kilmun Arboretum, to try out tree species in the humid climate conditions, planting large groups of trees rather than individual specimens. Benmore House was used by the Forestry Commission for apprentice training, then in 1965 Edinburgh Corporation took it over as a schools outdoor education centre.

In the winds brought by Storm Ali in September 2018, four large trees at the garden were felled.

• Features a sleek satin mini dress with a smooth, glossy finish

• Designed with delicate spaghetti straps and a flattering draped neckline

• Showcases an elegant cowl neck for a soft, luxurious silhouette

• Crafted with a figure-hugging fit that accentuates the body

• Available in 7 color options, sold separately

• Fatpack available at a discounted price

• Rigged for Reborn, Legacy & MaitreyaX

• Copy / Modify / No Transfer

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Azaran Mary Dress

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Toksik . Eidos . Nonnative

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BOX DATE: 1998

MANUFACTURER: Mattel

MISSING ITEMS: Baby chair, cradle, mirror, tray, 2 hangers, 4 plates, 4 cups, pan, lid, vase, water bottle, picture frame, portable phone/receiver, 4 forks, 4 knives, 4 spoons, bench

SPECIAL FEATURES: Makes sound; rotating wall; fold out tub; shelf folds down into bed

PERSONAL FUN FACT: I'll never forget the first time I saw this compact Family House at the store when I was a kid. Mom, Dad, Colleen, and me were all out shopping at BJ's. Back in the day, there was a small toy section that we always had to check out. I'm not sure what it looks like these days since we haven't had a membership in years. Anyways, Colleen and I saw this house on one of our BJ's excursions. We were intrigued by the concept of a house made for Barbie AND all her sisters. At the time, Barbie's family consisted of Barbie, Kelly, Stacie, and Skipper. It was virtually the same as her current family, only Kelly has been substituted for Chelsea in recent years (no idea why). We were drawn to the iconic dolls that were advertised on the box--Flashlight Fun Stacie, Cool Sitter Skipper, and Cool Blue Barbie. We both drooled over this house that sported so many awesome features--like bed space for each doll and a rotating panel that could dual as a kitchen or desk/bed area! I still recall the way we rhapsodized about the games we could do in such a house. Even though we didn't have dolls with us that day, we were so wrapped up in the potential that the house could have, that we were basically playing anyways. I don't remember anymore if we asked Mom and Dad for the house, or if we knew it was a lost cause, but the house remained a dream. It wasn't until 2019, when we finally got a chance to purchase this house. We may have seen it at the flea market at some point over the years, but doll houses can be hit or miss secondhand. Some sellers want way to much money for Barbie houses that are gutted. Anyways, we unexpectedly came across ours at the local Salvation Army. Colleen and I popped in one Saturday hoping to find her a "fancy" outfit to wear to prom (she was a chaperone). It goes without saying that our first order of business was to investigate the toy section. After finding some Disney dolls we wanted, I noticed a playset tucked on top of a shelf above hanging comforters. I had not previously seen any toys in this particular spot, so I was intrigued. I noticed the $9.99 price tag and the squalid condition of the house and thought we should walk around and think about it before making a decision. The entire time we buzzed through the clothes, my mind kept drifting to the house. After Colleen found an outfit, we pulled the house down and opened it up to make sure it was in decent shape. All the fold out features were intact, and nothing looked broken. There weren't any tiny accessories included, and the house itself was absolutely filthy. It was coated in a brown layer of grime that wouldn't wipe off easily. We brought it to the register and to our surprise, the cashier rung it up for just $1.99! While it was worth the ten dollars to us, of course we loved getting it for a bargain (the cashiers at this location tend to mark the toys down for no reason, probably because they get so many). Once at home, I had the overwhelming task of washing the house. It could not be spot cleaned, and it didn't fit in the kitchen sink. So for a half hour/forty five minutes, I sat on the bathroom floor next to the shower scrubbing every nook and cranny. I had to make certain that each fold out feature was cleaned, and also the bottom of the playset. Then everything had to be left open to thoroughly dry. It was well worth the effort because now the house looks like new, minus a few missing components (listed above). Both Colleen and I felt like little kids living out a childhood dream when we set up the house for the first time!

My LEGO brick replica of the M1911A1 features a spring-loaded slide trigger, look-down iron sights, and a pull-back hammer. I've also created a display stand for the pistol, providing better viewing of the model.

Designed by John Browning, the M1911 semi-automatic pistol was used in World War I and then upgraded to the M1911A1 in time for World War II. In regular army use until the 80s, 'Old Slabsides' is the classic American, .45 caliber handgun.

After building the Beretta M9, which was the US military's successor to the M1911A1 in the 1980s, I decided to try building the older WWII pistol using the newest LEGO elements. This was a really fun project!

Instructions, along with more photos and details, are available at brickreplicas.com/m1911a1/

BUSAN, SOUTH KOREA - MAY 08: Lee "Gumayusi" Min-hyeong, left, and Lee "Faker" Sang-hyeok of T1 pose at the League of Legends - Mid-Season Invitational Features Day on May 8, 2022 in Busan, South Korea. (Photo by Lee Aiksoon/Riot Games)

Verona (/vəˈroʊnə/ və-ROH-nə, Italian: [veˈroːna]; Venetian: Verona or Veròna) is a city on the Adige River in Veneto, Italy, with 259,610 inhabitants. It is one of the seven provincial capitals of the region. It is the largest city municipality in the region and the second largest in northeast Italy. The metropolitan area of Verona covers an area of 1,426 km2 (550.58 sq mi) and has a population of 714,310 inhabitants. It is one of the main tourist destinations in northern Italy because of its artistic heritage and several annual fairs and shows as well as the opera season in the Arena, an ancient Roman amphitheater.

Between the 13th and 14th century the city was ruled by the Della Scala Family. Under the rule of the family, in particular of Cangrande I della Scala, the city experienced great prosperity, becoming rich and powerful and being surrounded by new walls. The Della Scala era is survived in numerous monuments around Verona.

Two of William Shakespeare's plays are set in Verona: Romeo and Juliet (which also features Romeo's visit to Mantua) and The Two Gentlemen of Verona. It is unknown if Shakespeare ever visited Verona or Italy, but his plays have lured many visitors to Verona and surrounding cities. Verona was also the birthplace of Isotta Nogarola, who is said to be the first major female humanist and one of the most important humanists of the Renaissance. In november of 2000 the city has been declared a World Heritage Site by UNESCO because of its urban structure and architecture.

History

The precise details of Verona's early history remain a mystery along with the origin of the name. One theory is it was a city of the Euganei, who were obliged to give it up to the Cenomani (550 BCE). With the conquest of the Valley of the Po, the Veronese territory became Roman (about 300 BCE). Verona became a Roman colonia in 89 BCE. It was classified as a municipium in 49 BCE, when its citizens were ascribed to the Roman tribe Poblilia or Publicia.

The city became important because it was at the intersection of several roads. Stilicho defeated Alaric and his Visigoths here in 403. But, after Verona was conquered by the Ostrogoths in 489, the Gothic domination of Italy began. Theoderic the Great was said to have built a palace there. It remained under the power of the Goths throughout the Gothic War (535–552), except for a single day in 541, when the Byzantine officer Artabazes made an entrance. The defections of the Byzantine generals over the booty made it possible for the Goths to regain possession of the city. In 552 Valerian vainly endeavored to enter the city, but it was only when the Goths were fully overthrown that they surrendered it.

In 569, it was taken by Alboin, King of the Lombards, in whose kingdom it was, in a sense, the second most important city. There, Alboin was killed by his wife in 572. The dukes of Treviso often resided there. Adalgisus, son of Desiderius, in 774 made his last desperate resistance in Verona to Charlemagne, who had destroyed the Lombard kingdom. Verona became the ordinary residence of the kings of Italy, the government of the city becoming hereditary in the family of Count Milo, progenitor of the counts of San Bonifacio. From 880 to 951 the two Berengarii resided there. Otto I ceded to Verona the marquisate dependent on the Duchy of Bavaria, however, the increasing wealth of the burgher families eclipsed the power of the counts, and in 1135 Verona was organised as a free commune. In 1164 Verona joined with Vicenza, Padua and Treviso to create the Veronese League, which was integrated with the Lombard League in 1167 to battle against Frederick I Barbarossa. Victory was achieved at the Battle of Legnano in 1176, and the Treaty of Venice signed in 1177 followed by the Peace of Constance in 1183.

When Ezzelino III da Romano was elected podestà in 1226, he converted the office into a permanent lordship. In 1257 he caused the slaughter of 11,000 Paduans on the plain of Verona (Campi di Verona). Upon his death, the Great Council elected Mastino I della Scala as podestà, and he converted the "signoria" into a family possession, though leaving the burghers a share in the government. Failing to be re-elected podestà in 1262, he affected a coup d'état, and was acclaimed Capitano del Popolo, with the command of the communal troops. Long internal discord took place before he succeeded in establishing this new office, to which was attached the function of confirming the podestà. In 1277, Mastino della Scala was killed by the faction of the nobles.

The reign of his son Alberto as capitano (1277–1302) was a time of incessant war against the counts of San Bonifacio, who were aided by the House of Este. Of his sons, Bartolomeo, Alboino and Cangrande I, only the last shared the government (1308); he was great as warrior, prince, and patron of the arts; he protected Dante, Petrarch, and Giotto. By war or treaty, he brought under his control the cities of Padua (1328), Treviso (1308) and Vicenza. At this time before the Black death the city was home to more than 40,000 people.

Cangrande was succeeded by Mastino II (1329–1351) and Alberto, sons of Alboino. Mastino continued his uncle's policy, conquering Brescia in 1332 and carrying his power beyond the Po. He purchased Parma (1335) and Lucca (1339). After the King of France, he was the richest prince of his time. But a powerful league was formed against him in 1337 – Florence, Venice, the Visconti, the Este, and the Gonzaga. After a three years war, the Scaliger dominions were reduced to Verona and Vicenza (Mastino's daughter Regina-Beatrice della Scala married to Barnabò Visconti). Mastino's son Cangrande II (1351–1359) was a cruel, dissolute, and suspicious tyrant; not trusting his own subjects, he surrounded himself with Brandenburg mercenaries. He was killed by his brother Cansignorio (1359–1375), who beautified the city with palaces, provided it with aqueducts and bridges, and founded the state treasury. He also killed his other brother, Paolo Alboino. Fratricide seems to have become a family custom, for Antonio (1375–87), Cansignorio's natural brother, slew his brother Bartolomeo, thereby arousing the indignation of the people, who deserted him when Gian Galeazzo Visconti of Milan made war on him. Having exhausted all his resources, he fled from Verona at midnight (19 October 1387), thus putting an end to the Scaliger domination, which, however, survived in its monuments.

The year 1387 is also the year of the Battle of Castagnaro, between Giovanni Ordelaffi, for Verona, and John Hawkwood, for Padua, who was the winner.

Antonio's son Canfrancesco attempted in vain to recover Verona (1390). Guglielmo (1404), natural son of Cangrande II, was more fortunate; with the support of the people, he drove out the Milanese, but he died ten days after, and Verona then submitted to Venice (1405). The last representatives of the Scaligeri lived at the imperial court and repeatedly attempted to recover Verona by the aid of popular risings.

From 1508 to 1517, the city was in the power of the Emperor Maximilian I. There were numerous outbreaks of the plague, and in 1629–33 Italy was struck by its worst outbreak in modern times. Around 33,000 people died in Verona (over 60 per cent of the population at the time) in 1630–1631.

In 1776 was developed a method of bellringing called Veronese bellringing art. Verona was occupied by Napoleon in 1797, but on Easter Monday the populace rose and drove out the French. It was then that Napoleon made an end of the Venetian Republic. Verona became Austrian territory when Napoleon signed the Treaty of Campo Formio in October 1797. The Austrians took control of the city on 18 January 1798. It was taken from Austria by the Treaty of Pressburg in 1805 and became part of Napoleon's Kingdom of Italy, but was returned to Austria following Napoleon's defeat in 1814, when it became part of the Austrian-held Kingdom of Lombardy-Venetia.

The Congress of Verona, which met on 20 October 1822, was part of the series of international conferences or congresses, opening with the Congress of Vienna in 1814–15, that marked the continuing enforcement of the "Concert of Europe".

In 1866, following the Third Italian War of Independence, Verona, along with the rest of Venetia, became part of United Italy.

The advent of fascism added another dark chapter to the annals of Verona. Throughout Italy, the Jewish population was hit by the Manifesto of Race, a series of anti-Semitic laws passed in 1938, and after the invasion by Nazi Germany in 1943, deportations to Nazi concentration camps. An Austrian Fort (now a church, the Santuario della Madonna di Lourdes), was used to incarcerate and torture Allied troops, Jews and anti-fascists, especially after 1943, when Verona became part of the Italian Social Republic.

As in Austrian times, Verona became of great strategic importance to the regime. Galeazzo Ciano, Benito Mussolini's son-in-law, was accused of plotting against the republic; in a show trial staged in January 1944 by the Nazi and fascist hierarchy at Castelvecchio (the Verona trial), Ciano was executed on the banks of the Adige with many other officers on what is today Via Colombo. This marked another turning point in the escalation of violence that would only end with the final liberation by allied troops and partisans in 1945. After World War II, as Italy joined the NATO alliance, Verona once again acquired its strategic importance, due to its geographical closeness to the Iron Curtain.

The city became the seat of SETAF (South European Allied Terrestrial Forces) and had during the whole duration of the Cold War period a strong military presence, especially American, which has since decreased.

(Wikipedia)

Verona ist eine Großstadt in der Region Venetien im Nordosten Italiens. Sie hat 259.608 Einwohner (Stand 31. Dezember 2019) und ist Hauptstadt der Provinz Verona. Verona liegt an der Etsch etwa 59 m über dem Meeresspiegel am Austritt des Etschtals und der Brenner-Transitroute in die Po-Ebene. Seit 2000 gehört die Altstadt von Verona zum UNESCO-Welterbe.

Geschichte

Frühgeschichte

Die erste vorübergehende Besiedlung Veronas kann zwischen dem 11. und dem 8. Jahrhundert v. Chr. angesiedelt werden, wie Grabbeigaben und vereinzelte Keramikfunde belegen. Besiedelt wurde zunächst das linke Etschufer rund um den Colle San Pietro, an dem eine Furt auf die andere Flussseite führte. Erst mit dem 4. Jahrhundert v. Chr. war der Hügel und seine nähere Umgebung erneut Ort einer festen Siedlung. Funde, die den Rätern, Euganeern und Cenomanen zugeordnet werden können, unterstreichen, dass die Siedlung an der Grenze verschiedener Kulturbereiche lag. Bereits römische Quellen hatten sich in dieser Richtung geäußert und Verona mit den genannten Völkern und Stämmen in Verbindung gebracht. Im 2. Jahrhundert v. Chr. tauchten die ersten römischen Siedler auf. Der Bau der Via Postumia 148 v. Chr. förderte die weitere römische Ansiedlung. Mit der Verleihung des latinischen Bürgerrechts an die Bewohner der Gallia cisalpina 89 v. Chr. wurde Verona zum Oppidum ausgebaut.

Mit der Verleihung der römischen Bürgerrechte unter Gaius Iulius Caesar wurde Verona 49 v. Chr. zum Municipium, was als offizieller Gründungsakt der Stadt angesehen wird. Mit der Ernennung erfuhr Verona auch einen radikalen städtebaulichen Schnitt. Lag das Zentrum des Ortes bis dahin am linken Etuschfer, wurde Verona nun am rechten Ufer innerhalb der Etschschleife neu angelegt und an der zur Po-Ebene offenen Seite mit Stadtmauern geschützt. Zwischen Etsch und den römischen Stadtmauern entstand bereits unter Kaiser Augustus die römische Stadt Verona, die bald über ihre Mauern hinaus wuchs. So wurde das gut erhaltene Amphitheater – die Arena von Verona – ein knappes Jahrhundert später bereits vor den Stadtmauern angelegt.

Im Vierkaiserjahr 69 n. Chr. entging Verona im Gegensatz zu Cremona der Verwüstung im Kampf zwischen den Legionen des Vespasian und den Legionen des Vitellius. Danach setzte bis zur Reichskrise des 3. Jahrhunderts eine friedlichere Phase ein. Der Usurpator Decius schlug hier 249 den Kaiser Philippus Arabs, Konstantin 312 den Pompejanus (Schlacht von Verona)

Während der Völkerwanderung wurde Verona 402 von den Westgoten unter Alarich bedroht. Zwar konnte Stilicho in der Schlacht bei Verona noch einen Sieg über Alarich erringen. Aber bereits 452 plünderten die Hunnen unter Attila die Stadt. Nach dem Sieg des Ostgotenkönigs Theoderich über Odoaker bei Verona 489 wurde die Stadt neben Pavia und Ravenna zur Residenz des Ostgotenkönigs, der später im deutschen Hoch- und Spätmittelalter zur Sagenfigur Dietrich von Bern stilisiert wurde. Aus dem Sagenkreis um Dietrich von Bern stammt auch der alte Name der Stadt: „Dietrichsbern“. Weiterhin war in alter Zeit die Bezeichnung „Welsch-Bern“ gebräuchlich (zimbrisch: Bearn). Im 5. und 6. Jahrhundert war Verona nicht nur Residenz der Ostgoten, sondern auch für den Langobardenkönig Alboin, bis es an das fränkische Reich kam.

Mittelalter und frühe Neuzeit

In der Folge der verheerenden Ungarneinfälle ab 899 in Oberitalien wurde die stark befestigte Stadt nach 900 Sitz einer Münzstätte, die zum Ausgangspunkt des Veroneser Währungsraums wurde. Ab 952 gehörte Verona zur Markgrafschaft Verona und damit zum Herzogtum Bayern und bzw. (ab 976) zu Kärnten. Erst zu Beginn des 12. Jahrhunderts wurde Verona selbständig und besaß eigene Stadtrechte. 1117 wurde die Stadt von einem Erdbeben getroffen, bei dem unter anderem Teile der Arena einstürzten. Die verheerenden Ausmaße, der von späteren Chronisten dargestellten Schäden, wurden in neueren Studien allerdings in Zweifel gestellt. Bei einem Stadtbrand 1172, ausgelöst durch Streitigkeiten zwischen Ghibellinen und Guelfen, brannten große Teile der Stadt ab. 1184 fand das Konzil von Verona statt.

m Kampf gegen Kaiser Friedrich I. stand Verona mit an der Spitze des Lombardischen Städtebundes. Darauf wurde es durch die Parteikämpfe der Adelsparteien, der Montecchi (Ghibellinen) und der San Bonifazios (Guelfen), erschüttert. Zu Anfang des 13. Jahrhunderts bemächtigten sich die Ezzelini, die Beschützer der Montecchi, der Stadt. Nach dem Tod Ezzelinos III. da Romano (1259) wählten die Veroneser 1260 Mastino I. della Scala zum Podestà. Die Scaliger herrschten fortan 127 Jahre lang über Verona und erreichten unter der Signoria von Cangrande I. ihre höchste Blüte und unter seinem Nachfolger Mastino II. die größte territoriale Ausdehnung.

1387 fiel Verona nach der Vertreibung von Antonio della Scala durch Gian Galeazzo Visconti an die Mailänder Viscontis. Nach dem Tod Gian Galeazzos 1402 nutzten die Carrarersi aus Padua das entstandene Machtvakuum und nahmen die Stadt 1404 in ihren Besitz. Aber bereits 1405 beendete die Republik Venedig die Träume eines paduanischen Herrschaftsgebietes auf der Terraferma und Francesco II. da Carrara musste Verona an die Serenissima übergeben. Mit dem von einer Vertretung der Stadt am 24. Juni 1405 geleisteten Treueid gegenüber der Republik Venedig begann die venezianische Herrschaft. Letztere wurde 1509 nach der Niederlage Venedigs in der Schlacht von Agnadello unterbrochen und die Stadt von den kaiserlichen Truppen Maximilian I. besetzt. Nach dem Ende des Krieges der Liga von Cambrai fiel Verona 1517 wieder an Venedig.

1630 wurde die Stadt erneut von der Pest heimgesucht, nachdem die Bevölkerung von Verona bereits im 14. und 15. Jahrhundert von Pestepidemien dezimiert worden war. Der im März 1630 ausgebrochenen Epidemie fielen bis November des gleichen Jahres etwa 30.000 der 50.000 Einwohner zum Opfer. An dem vom Geschichtsschreiber Francesco Pona abgefassten Bericht über die Epidemie inspirierte sich später Alessandro Manzoni für sein Werk I Promessi Sposi.

Moderne

Nach dem von Napoleon Bonaparte bedingten Ende der Republik Venedig fiel Verona im Frieden von Campo Formio 1797 an Österreich; der vorherige, antifranzösische Aufstand der Veroneser zu Ostern wurde blutig niedergeschlagen. Unter österreichischer Herrschaft war die Stadt Teil des oberitalienischen Festungsvierecks (it.: Quadrilatero), das 1815 zur Verteidigung der habsburgerischen Besitztümer in Italien in den Orten Peschiera, Mantua, Legnago und Verona errichtet wurde. Der Ausbau zur Festungsstadt wurde zwischen 1833 und 1866 nach Plänen des Ingenieurgenerals Franz von Scholl vorgenommen. 1866 kam Verona als Ergebnis des Deutschen Kriegs nach dem Dritten Italienischen Unabhängigkeitskrieg zum Königreich Italien.

1882 wurde die Stadt an der Etsch von einer schweren Flutkatastrophe heimgesucht, bei der mehrere Gebäude vollkommen zerstört, fast 200 beschädigt und 3000 Menschen obdachlos wurden. Der nachfolgende Wiederaufbau prägt nach wie vor das Stadtbild entlang des Etschufers. 1913 wurde zum 100. Geburtstags von Giuseppe Verdi in der römischen Arena die Oper Aida aufgeführt. Aus dem überwältigenden Erfolg entstanden nach dem Ersten Weltkrieg die Opernfestspiele in der Arena von Verona.

Nachdem Verona bereits im Ersten Weltkrieg zum Ziel der österreichisch-ungarischen Luftstreitkräfte geworden war, wurde die Stadt im Zweiten Weltkrieg mehrmals von den Alliierten bombardiert. Im Herbst 1943 fand im Castelvecchio der erste Parteitag der neugegründeten Republikanischen Faschistischen Partei statt, die nach dem Sturz Mussolinis im Juli 1943 und dem Verbot der Faschistischen Partei im September des gleichen Jahres gegründet worden war. An gleicher Stelle fand im Januar 1944 der sogenannte Prozess von Verona statt. In dem Schauprozess wurden sieben ehemalige Mitglieder des Großen Faschistischen Rats, die in der Sitzung vom 24./25. Juli 1943 im Rom im Palazzo Venezia für die Absetzung von Benito Mussolinis als Oberbefehlshaber der italienischen Streitkräfte gestimmt hatten, wegen Hochverrats zum Tode verurteilt, darunter Galeazzo Ciano, der Schwiegersohn Mussolinis. Am 26. April 1945 wurde Verona im Rahmen der alliierten Frühjahrsoffensive befreit. Zuvor hatten die abziehenden deutschen Truppen noch sämtliche zehn Etschbrücken der Stadt, darunter die Römerbrücke Ponte Pietra sowie die Scaligerbrücke, gesprengt.

Heute ist die Stadt durch die Nähe zum Gardasee und zu Venedig ein beliebtes Ausflugsziel für Touristen und wirtschaftliches Zentrum der Region Venetien. 2000 wurde die Altstadt von Verona in die Liste des UNESCO-Welterbes aufgenommen.

(Wikipedia)

One of the most characteristic and poorly-understood features of the Mysteries is the naked lion-headed figure often found in Mithraic temples, named by the modern scholars with descriptive terms such as leontocephaline (lion-headed) or leontocephalus (lion-head). He is entwined by a serpent (or two serpents, like a caduceus), with the snake’s head often resting on the lion’s head. The lion’s mouth is often open, giving a horrifying impression. He is usually represented as having four wings, two keys (sometimes a single key), and a scepter in his hand. Sometimes the figure is standing on a globe inscribed with a diagonal cross. In the figure shown here, the four wings carry the symbols of the four seasons, and a thunderbolt is engraved on the breast. At the base of the statue are the hammer and tongs of Vulcan, the cock, and the wand of Mercury. A variation the same figure, but with a human head instead of the lion-mask, is also found, but is rare..Although animal-headed figures are prevalent in contemporary Egyptian and Gnostic mythological representations, an exact parallel to the Mithraic leontocephaline figure has not been found.[47] The name of the figure has been deciphered from dedicatory inscriptions to be Arimanius, a Latinized form of the name Ahriman – a demonic figure in the Zoroastrian pantheon. Arimanius is known from inscriptions to have been a god in the Mithraic cult as seen, for example, in images from the Corpus Inscriptionum et Monumentorum Religionis Mithriacae (CIMRM) such as 222 from Ostia, 369 from Rome, and 1773 and 1775 from Pannonia.Some scholars identify the lion-man as Aion, or Zurvan, or Cronus, or Chronos, while others assert that it is a version of the Zoroastrian Ahriman.[There is also speculation that the figure is the Gnostic demiurge, (Ariel) Ialdabaoth.[51] Although the exact identity of the lion-headed figure is debated by scholars, it is largely agreed that the god is associated with time and seasonal change.] An occultist, D. J. Cooper, speculates to the contrary that the lion-headed figure is not a god, but rather represents the spiritual state achieved in Mithraism's "adept" level, the Leo (lion) degree.

Mithraism, also known as the Mithraic mysteries, was a mystery religion centred around the god Mithras that was practised in the Roman Empire from about the 1st to the 4th century. The religion was inspired by Persian worship of the god Mithra (proto-Indo-Iranian Mitra), though the Greek Mithras was linked to a new and distinctive imagery, and the level of continuity between Persian and Greco-Roman practice is debated.[1] The mysteries were popular in the Roman military.Worshippers of Mithras had a complex system of seven grades of initiation and communal ritual meals. Initiates called themselves syndexioi, those “united by the handshake”.[3] They met in underground temples, called mithraea, which survive in large numbers. The cult appears to have had its centre in Rome.Numerous archaeological finds, including meeting places, monuments and artifacts, have contributed to modern knowledge about Mithraism throughout the Roman Empire. The iconic scenes of Mithras show him being born from a rock, slaughtering a bull, and sharing a banquet with the god Sol (the Sun). About 420 sites have yielded materials related to the cult. Among the items found are about 1000 inscriptions, 700 examples of the bull-killing scene (tauroctony), and about 400 other monuments.[6] It has been estimated that there would have been at least 680 mithraea in Rome. No written narratives or theology from the religion survive; limited information can be derived from the inscriptions and brief or passing references in Greek and Latin literature. Interpretation of the physical evidence remains problematic and contested.The Romans regarded the mysteries as having Persian or Zoroastrian sources. Since the early 1970s the dominant scholarship has noted dissimilarities between Persian Mithra-worship and the Roman Mithraic mysteries. In this context, Mithraism has sometimes been viewed as a rival of early Christianity with similarities such as liberator-saviour, hierarchy of adepts (bishops, presbyters, deacons), communal meal and a hard struggle of Good and Evil (bull-killing/crucifixion).The name Mithras (Latin, equivalent to Greek "Μίθρας",is a form of Mithra, the name of an Old Persian god – a relationship understood by Mithraic scholars since the days of Franz Cumont. An early example of the Greek form of the name is in a 4th century BCE work by Xenophon, the Cyropaedia, which is a biography of the Persian king Cyrus the Great.The exact form of a Latin or classical Greek word varies due to the grammatical process of declension. There is archeological evidence that in Latin worshippers wrote the nominative form of the god’s name as "Mithras". However, in Porphyry’s Greek text De Abstinentia («Περὶ ἀποχῆς ἐμψύχων»), there is a reference to the now-lost histories of the Mithraic mysteries by Euboulus and Pallas, the wording of which suggests that these authors treated the name "Mithra" as an indeclinable foreign word.Related deity-names in other languages include.Sanskrit Mitra (मित्रः), the name of a god praised in the Rig Veda. In Sanskrit, "mitra" means "friend" or "friendship".the form mi-it-ra-, found in an inscribed peace treaty between the Hittites and the kingdom of Mitanni, from about 1400 BCE.Iranian "Mithra" and Sanskrit "Mitra" are believed to come from an Indo-Iranian word mitra meaning contract / agreement / covenant.Modern historians have different conceptions about whether these names refer to the same god or not. John R. Hinnells has written of Mitra / Mithra / Mithras as a single deity worshipped in several different religions.On the other hand, David Ulansey considers the bull-slaying Mithras to be a new god who began to be worshipped in the 1st Century BCE, and to whom an old name was applied.Mary Boyce, a researcher of ancient Iranian religions, writes that even though Roman Empire Mithraism seems to have had less Iranian content than historians used to think, none the less “as the name Mithras alone shows, this content was of some importance.”.Mithra was the god of light, purity, goodness, truth and occupied an important place in the faith of the ancient India-European peoples.There are various opinions on the spread of the Mithra (or Mithras, Mitra) cult, but the most reliable one is the first written protocol about the Mithraic cult from 14th century BC.In the treaty text signed between the powerful kingdom of Mitanni (Mitanni was situated in the North of Armenian Plateau) of king Shativaza (unknown-1350 BC), and the Hittite king of Suppiluliuma (1380-1346 BC) we can see the name of Mithra. So the Mithraic cult was mentioned in Persian cuneiform inscriptions and in the Indian Vedic texts since the fourth century BC.As a result of the religious revolution of Ardashir II, the Sassanid King of Persia in 395 AD, the cults of Mithra and Anahita, the Iranian goddess, were imported to Persia and combined with Zoroastrianism. In the first century BC the cult of Mithra penetrated into Rome, and in the third century AD this religion had become international and spread from India to the Black Sea, from the Balkans to Britain and Spain. Now there are more than four hundred Mithraic temple ruins throughout the Europe.So at first, in fourth century BC this cult spread from the Armenian Plateau to South Persia and India and in first century BC to North-West Europe. The Mysteries of Mithras.....The upper grades, known as the “Participants,” were: 4th . Lion, of the element of FireI died as a mineral and became a vegetable, I passed away as vegetation and became animal. Leaving the animal state I became man. Why should I fear? When was I less through death? I shall once more die: from manhood, to soar with angels: and I must pass beyond angelhood—all perish but God. When I have given up my angel self, I shall be what no mind has conceived.—Jalaluddin Rum.Perhaps it was fitting to begin the following article on the Mithraic Mysteries on the day of the recent Winter Solstice. According to tradition, the god Mithras was born of (“sprang from”) the rock on the shortest day of the year, his birthday celebration occurring on December 25, marking the return of Sol Invictus, the Unconquered Sun.Prior to the vision of Roman Emperor Constantine later establishing Christianity as state religion, a fraternity centered upon the Rites of Mithras once captivated the Western world. Originating in India and later spreading to Persia, Mithraism moved across Europe along with the sprawl of the late Roman Empire.Plutarch, in his Life of Pompey credits the introduction of Mithraism in Rome to pirates arriving from Cilicia, an ancient region south of the Tarsus Mountains in southeast Asia Minor along the Mediterranean Sea.The Indo-Persian myth describing Ahura-Mazda’s battle of Light against Darkness casts Mithras as an associate of the Sun.As the tale begins, Mithras captures the wild bull, the first creation of Ahura-Mazda, and confines it within a cave. The bull escapes, and the Sun sends his messenger the Raven to look for it. Mithras is also sent by Ahura-Mazda and with the help of his dog, he recaptures the beast. He drags it back to the cave and straddles it, cutting the bull’s throat. From the resulting issue of blood springs corn, wheat, and other forms of life. In retaliation, Ahriman, the Chief of Darkness, orders his minions, the ant, snake, and scorpion, to drink up the miraculous fluid, but to no avail: it spreads all over the world giving it life. In a gesture of acknowledgement, the Sun kneels before Mithras offering a crown to seal a covenant with him. The two part ways after a sacramental meal.As we shall see, the reenactment of the myth in the rites of initiation involved passing through seven grades that correspond to seven planets. The worship of Mithras at this time required the construction of a Mithraea, a temple in the form of an underground vault or “cave.” The temple interior consisted of a torch-lit hall with side benches culminating in a central sculpted image of Mithras. Adorned with a Phrygian (“Persian”) cap, he is depicted holding a bull by the nostrils from behind in the act of stabbing it in the neck with a dagger. His image is often accompanied by two torchbearers, possibly representing the Sun and the Moon: Cautes, with upraised torch, and Cautopates, with torch pointed earthward. The ceiling of the sanctuary was painted to resemble the starry “cave” of the night sky. Franz Cumont has mapped the dispersion of various Mithraea across Europe and Asia Minor. The number of them, and of other related Mithraic artifacts is astounding, and indeed, many temples remain intact to this day.

Roman Mithraism appropriated and adapted occult knowledge from the Pythagorean Mysteries, through the astronomical revelations of Hipparchus and the later speculations of the Stoics.Accordingly, Mithraic scholar David Ulansey feels that The Rites of Mithra may be explained by examining the astral religion of the Hellenistic period. The position of the images depicted in the sanctuary suggest that they are directly related to constellations observable at that time: the bull to Taurus, scorpion to Scorpio, snake to Hydra, raven to Corvus, dog to Canus minor, lion to Leo major.Ulansey connects Mithras with the Greek god Perseus of the constellation just above Taurus, who was also known as “the Persian.” Perseus was popularly worshipped in Cilicia, home to the pirates described by Plutarch. In myth, Perseus kills the Gorgon and similarly, as we have seen, Mithras kills the bull. The astral adaptation is a metaphor for the precession of the equinoxes signaling the end of the Age of Taurus, and the beginning of the Age of Aries. Mithras is seen as a diety with the power to move the universe on its cosmic axis, one who controls Fate. Identification with such a God through ritual would seem to confer similar gifts upon the initiate, bestowing the promise of everlasting life.8)One writer has labeled Mithraism “the Alchemy of the Roman World.”

However, initiation into the Mysteries of Mithras in a Roman Mithraea involved austerities and hardships that would make the most rugged Freemason of today blanch.10) The candidate entered the ritual space blindfolded and naked. An oath of secrecy was obtained. Ordeals by fire, by branding upon the forehead, scourging, striking with the leg of a bull, as well as the laying on of hands, pouring on of water, and the bestowing of a solar crown upon the head are reported. Masks and costumes representing key figures found in the myth were worn by participants who had previously achieved the various grades in the hierarchy of the Rite.The “grades” accompanying initiation correspond to the principal participants and their activity found within the myth.The lower grades, known collectively as “Servitors” were in ascending order: 1st. Raven, of the element of Air, is under the sign of Mercury messenger of the gods. Symbols of this degree include the raven, cup, and caduceus of Mercury. 2nd. Bride(groom?), of the element of Water, is under the sign of Venus. Fragments suggest that symbols of this degree included a lamp and a crown. The joining of hands was part of this grade, hence the allusion to a “wedding ceremony.” 3rd. Soldier, of the element of Earth, is under the sign of Mars. Symbols are the soldier’s pouch worn over his shoulder, a helmet, and a lance.The upper grades, known as the “Participants,” were: 4th . Lion, of the element of Fire, under the sign of Jupiter. Symbols of this degree include a fire shovel, a sistrum, and thunderbolts. 5th. Persian, of the element of Water, under the sign of the Moon. Symbols include a hooked knife, a scythe or plow, and the moon and a star. 6th. Courier of the Sun, of the element of Fire, under the sign of the Sun. Symbols are a torch, crown, and a whip (to drive his chariot across the sky). 7th. Father (Pater) under the sign of Saturn. Symbols include a ring or dish, a staff, the Phrygian cap, and a sickle. The holder of this highest rank dressed like Mithras himself. During initiations and other regular ritual activity including sacramental meals, the holders of the various grades were regarded as the earthly representatives of celestial, archetypal participants in the myth.Were the Rites of Mithras “co-alchemic?” Not in the Roman rite, which was most popular among men in the military. At its peak, it was a warrior’s religion. However, evidence suggests that there were fraternal relationships with women from the Cybele-cult, who possibly shared the taurobolium—a “baptism” in bull’s blood, with initiates of Mithraism. This point is controversial, and it is not clear how it may have been performed in a typically small Mithraea.A final sculptural image of Mithras depicts him as the Aeonic Mithras, the Mithraic Cronus, representative of Boundless Time.According to Armenian ancient beliefs, 365 saints are living in the heart of the Sun and each of them is the owner of one day of the year, appointed in order to prevent evil.It is said that within the salty sea (Lake of the Van), there was a rock, and when heaven was darkened the light fell on the rock and shortly after was born Mithra, almost naked but with a Phrygian hat on his head, and torch in his left hand, and it illuminated the world. By killing the bull, Mithra was creating the world from its parts.Strabo chronicled that during the ruling of Achaemenid Empire the Armenian Satrap donated 20,000 horses to the annual Mithra celebration. The observations dedicated to Mithra were celebrated by Armenians in the Month of Areg, which coincided with Iranian month of Mithra. The Armenian seventh month is named Mehekan and each month’s eighth day was called Mithra.Mithra, the god of light, kindness and contracts was indeed born from the very rock—this characteristic is affirmed either by archaeological finds or by the Geghard temple in Armenia, which is carved into the rocky landscape.In 1953-54 during research in Eskikale (Turkey) a tunnel was unearthed which reached depths of 160 meters (525 feet) consisting of a long mountain slope ending with two circular rooms. It is similar to the tunnel at Bagaritch in Upper Armenia with the temple complex dedicated to Mithra.From the mythological point of view, tunnels are the place of birth of Mithra as it said “the beam, separated from the star, penetrates into the depths of the tunnel, giving birth to Mithra, from where he ascended to heaven.” The carved temple of Geghard has also been seen as the birthplace of Mithra during the pre-Christian period.In Vedic texts Mithra is the god who protected the Sun and is always mentioned with Varuna.In Indian sources Mithra is the god of love, light, tenderness and sun shine. The closeness and affection of Mithra and Varuna is inseparable and stable. Varuna is the god of heaven and night. Mithra is the god of light, sunshine and day. These gods of night and day are fellows in cult rituals. Varuna is also the god of waters and seas , and is the husband of Varun, god of wine.Vedic texts are notable for the main ritual of the Mithraic cult, such as sacrificing a bull, which penetrated to Europe. One of the noblest gods is Soma (in Avesta, the primary collection of religious texts of Zoroastrianism, he is instead named Haoma). Soma is the god of invincible power, the god who cures all the diseases. It is Soma who gave life, wealth, and wish fulfillment.In Sanskrit, the name Soma is used for the Moon. They are the same only by name, however, as all the characteristics of the Moon are attributed to a goddess of plants. So, they believed the moon presided over healing plants and thus sacrificed oblations and offerings in worship rituals.Also Soma is the name of a sacred plant. From the leaf of this plant was made a strong alcoholic beverage loved by the gods, and which was dedicated to the gods. During rituals, priests drank this beverage in order to come close to and join with the gods. Soma was the life deity and life essence, and even though the gods received their eternity from this beverage, mortal men could attain temporary ‘eternity’ by drinking the beverage too, allegorically meaning the joining with the God and Essence.According to legend a riot arose between the gods. The god Shiva got involved in the formidable fighting and in one stoke divided god Soma in two, which demonstrates the tradition of sacred bull killing.In other versions the gods decided to kill Soma. The god Wayuu ordered the execution and asked help from Mithra-Varuna. Mithra refused to help and said, “I wish love, boon and affection to everybody.” At the end Mithra agreed to participate in ritual killing in order to benefit from the sacrifice. After the killing they crushed Soma between two stones. It was Mithra’s responsibility to spill on the ground the part of his Soma juice from which would germinate the plants and the animals.In pictures and sculptures of the bull sacrifice ritual, Mithra is often seen turning his face and eyes away, indicating the rejection or distaste of this action. But the bull is the source of life, and the ritual is necessary.“A Being with lion’s head, and eagles wings, and brute’s feet, and human body, enwrapped with a serpent, standing on a globe and holding the keys of life and death in its two hands….The Autozoon, or Living Creature in itself the summation of all forms of life, including man.”14)“It was this God, that the adepts of the mysteries placed at the head of the celestial hierarchy, and considered the first Principal.”15) Surrounded by the signs of the zodiac, he is the winged, invincible Soul emerging from the Cosmic Egg, coiled in the form of the rising serpent representing the manifestation of matter out of the central mystery of Eternity.The fraternal Mithraic Rites fulfill the function of a Mystery School designed to join the temporal nature of the initiate with the Eternal Reality of Spiritual Truth. Establishing a Golden Chain linking Heaven and Earth through the intermediary of human experience, the follower of Mithras walks a path mirroring that of the stars moving through the Universe, and beyond, into a timeless realm that truly, no mind may conceive.Mithraism.......Lion-headed figure... He will say: 'Where ... ?One of the most characteristic and poorly-understood features of the Mysteries is the naked lion-headed figure often found in Mithraic temples, named by the modern scholars with descriptive terms such as leontocephaline (lion-headed) or leontocephalus (lion-head). He is entwined by a serpent (or two serpents, like a caduceus), with the snake’s head often resting on the lion’s head. The lion’s mouth is often open, giving a horrifying impression. He is usually represented as having four wings, two keys (sometimes a single key), and a scepter in his hand. Sometimes the figure is standing on a globe inscribed with a diagonal cross. In the figure shown here, the four wings carry the symbols of the four seasons, and a thunderbolt is engraved on the breast. At the base of the statue are the hammer and tongs of Vulcan, the cock, and the wand of Mercury. A variation the same figure, but with a human head instead of the lion-mask, is also found, but is rare.Although animal-headed figures are prevalent in contemporary Egyptian and Gnostic mythological representations, an exact parallel to the Mithraic leontocephaline figure has not been found.The name of the figure has been deciphered from dedicatory inscriptions to be Arimanius, a Latinized form of the name Ahriman – a demonic figure in the Zoroastrian pantheon. Arimanius is known from inscriptions to have been a god in the Mithraic cult as seen, for example, in images from the Corpus Inscriptionum et Monumentorum Religionis Mithriacae (CIMRM) such as 222 from Ostia, 369 from Rome, and 1773 and 1775 from Pannonia.Some scholars identify the lion-man as Aion, or Zurvan, or Cronus, or Chronos, while others assert that it is a version of the Zoroastrian Ahriman.There is also speculation that the figure is the Gnostic demiurge, (Ariel) Ialdabaoth.[51] Although the exact identity of the lion-headed figure is debated by scholars, it is largely agreed that the god is associated with time and seasonal change.[52] An occultist, D. J. Cooper, speculates to the contrary that the lion-headed figure is not a god, but rather represents the spiritual state achieved in Mithraism's "adept" level, the Leo (lion) degree. According to M. J. Vermaseren, the Mithraic New Year and the birthday of Mithras was on December 25.[54][55] However, Beck disagrees strongly.[56] Clauss states: "the Mithraic Mysteries had no public ceremonies of its own. The festival of Natalis Invicti, held on 25 December, was a general festival of the Sun, and by no means specific to the Mysteries of Mithras."Mithraic initiates were required to swear an oath of secrecy and dedication,[58] and some grade rituals involved the recital of a catechism, wherein the initiate was asked a series of questions pertaining to the initiation symbolism and had to reply with specific answers. An example of such a catechism, apparently pertaining to the Leo grade, was discovered in a fragmentary Egyptian papyrus (P.Berolinensis 21196), He will say: 'Where ... ?... he is/(you are?) there (then/thereupon?) at a loss?' Say: ... Say: 'Night'. He will say: 'Where ... ?' ... Say: 'All things ...' (He will say): '... you are called ... ?' Say: 'Because of the summery ...' ... having become ... he/it has the fiery ... (He will say): '... did you receive/inherit?' Say: 'In a pit'. He will say: 'Where is your ...?... (Say): '...(in the...) Leonteion.' He will say: 'Will you gird?' The (heavenly?) ...(Say): '... death'. He will say: 'Why, having girded yourself, ...?' '... this (has?) four tassels. Very sharp and ... '... much'. He will say: ...? (Say: '... because of/through?) hot and cold'. He will say: ...? (Say): '... red ... linen'. He will say: 'Why?' Say: '... red border; the linen, however, ...' (He will say): '... has been wrapped?' Say: 'The savior's ...' He will say: 'Who is the father?' Say: 'The one who (begets?) everything ...' (He will say): '('How ?)... did you become a Leo?' Say: 'By the ... of the father'. ... Say: 'Drink and food'. He will say '...Almost no Mithraic scripture or first-hand account of its highly secret rituals survives;[29] with the exception of the aforementioned oath and catechism, and the document known as the Mithras Liturgy, from 4th century Egypt, whose status as a Mithraist text has been questioned by scholars including Franz Cumont.[60][61] The walls of Mithraea were commonly whitewashed, and where this survives it tends to carry extensive repositories of graffiti; and these, together with inscriptions on Mithraic monuments, form the main source for Mithraic texts.Nevertheless, it is clear from the archeology of numerous Mithraea that most rituals were associated with feasting – as eating utensils and food residues are almost invariably found. These tend to include both animal bones and also very large quantities of fruit residues.[63] The presence of large amounts of cherry-stones in particular would tend to confirm mid-summer (late June, early July) as a season especially associated with Mithraic festivities. The Virunum album, in the form of an inscribed bronze plaque, records a Mithraic festival of commemoration as taking place on 26 June 184. Beck argues that religious celebrations on this date are indicative of special significance being given to the Summer solstice; but this time of the year coincides with ancient recognition of the solar maximum at midsummer, whilst iconographically identical holidays such as Litha, St John's Eve, and Jāņi are observed also.For their feasts, Mithraic initiates reclined on stone benches arranged along the longer sides of the Mithraeum – typically there might be room for 15 to 30 diners, but very rarely many more than 40 men.[64] Counterpart dining rooms, or triclinia, were to be found above ground in the precincts of almost any temple or religious sanctuary in the Roman empire, and such rooms were commonly used for their regular feasts by Roman 'clubs', or collegia. Mithraic feasts probably performed a very similar function for Mithraists as the collegia did for those entitled to join them; indeed, since qualification for Roman collegia tended to be restricted to particular families, localities or traditional trades, Mithraism may have functioned in part as providing clubs for the unclubbed.[65] However, the size of the Mithraeum is not necessarily an indication of the size of the congregation.Each Mithraeum had several altars at the further end, underneath the representation of the tauroctony, and also commonly contained considerable numbers of subsidiary altars, both in the main Mithraeum chamber and in the ante-chamber or narthex. These altars, which are of the standard Roman pattern, each carry a named dedicatory inscription from a particular initiate, who dedicated the altar to Mithras "in fulfillment of his vow", in gratitude for favours received. Burned residues of animal entrails are commonly found on the main altars indicating regular sacrificial use. However, Mithraea do not commonly appear to have been provided with facilities for ritual slaughter of sacrificial animals (a highly specialised function in Roman religion), and it may be presumed that a Mithraeum would have made arrangements for this service to be provided for them in co-operation with the professional victimarius[68] of the civic cult. Prayers were addressed to the Sun three times a day, and Sunday was especially sacred.It is doubtful whether Mithraism had a monolithic and internally consistent doctrine.It may have varied from location to location.However, the iconography is relatively coherent.[38] It had no predominant sanctuary or cultic centre; and, although each Mithraeum had its own officers and functionaries, there was no central supervisory authority. In some Mithraea, such as that at Dura Europos, wall paintings depict prophets carrying scrolls,[72] but no named Mithraic sages are known, nor does any reference give the title of any Mithraic scripture or teaching. It is known that intitates could transfer with their grades from one Mithraeum to another.HomeThe Red Cap of Liberty is also known as the Phrygian Cap, Mithraic Cap, sacrificial Cap, mitre and in French as the bonnet de laLiberté or bonnet rouge. It symbolizes the sacred acts of Initiation, Sacrifice, Liberty, Revolution, Enlightenment, and Brotherhood...It has been worn by various Abrahamic priesthoods over the last few thousand years and also newly emancipated slaves since the time of Ancient Rome. The red cap not only an ancient symbol, it is one of the oldest magical talismans that is still in use to this very day by various religions, secret societies, and governments all around the world.British Alchemist and Rosicrucian, Hargrave Jennings had written, "The Phrygian Cap, the classic Mithraic Cap, sacrificial Cap, and mitre all derive from one common ancestor." He continues, The whole is a sign of “initiation,” and of baptism of a peculiar kind. The Phrygian cap, ever after this first inauguration, has stood as the sign of the “Enlightened.” The heroic figures in most Gnostic Gems, which we give in our illustrations, have caps of this kind.""Mithras, God of the Sunset, low on the Western main. Thou descending immortal, immortal to rise again! Now when the watch is ended, now when the wine is drawn, Mithras, also a soldier, keep us pure till the dawn!”~From Song to Mithras, Rudyard Kipling."The significance of Mithraism as the first historical, pan-Eurasian religion has never been fully appreciated by European scholarship, which persistently has tried to draw an Iron Curtain between the East and West. In various forms, however, Mithraism has left an indelible and defining mark on the religious history of that vast continent. Christianity was at the same time the greatest benefactor as well as the most destructive scourge of Mithraic tradition. While destroying or vandalizing the material cultural remains of that once great religion, early Christians also copied and co-opted its outward forms in many details, building upon its successes and learning from its limitations. Indeed, both literally and figuratively, Christianity was built upon Mithraic foundations.2Such dependence was a great liability to a Church claiming a new and original dispensation, and every effort was made to suppress the commonalities. For the most part, this meant emphasizing the more obvious (and superficial) mythological and dogmatic differences, but this was hardly enough to demonstrate an essential practical difference between the visionary Eucharistic practices of the two competing Mystery Religions. In fact, the shared gnosis seemed to validate the syncretism and co-option that had so obviously occurred—even in the outward expressions—of the old and new “official” religions of the Empire. For the ancients, such a situation was the norm; that the unitive experiences elicited by the various Mysteries all demonstrated an essential and universal identification not only between the rites of particular gods and goddesses, but also between deities and the celebrant, and between the celebrant and the co-creative Cosmos as a whole.

Given such an underlying assumption of gnosis as a kind of basic and defining experience at the esoteric core of all the Mysteries, dogmatic and doctrinal differences were only of marginal concern and interest, and crass literal interpretations were easily abandoned in favor of a mythological richness infused and sacralized by a common gnosis.Mithraism, as we have shown, was a key and formative element in the radical syncretism that characterized much of Classical spirituality. Considered in these terms, it is important to note that Christianity came to stand in polar opposition to this synthesizing and comparatively tolerant attitude toward other religions. In fact, it is justifiable to consider the Christian claim, that of being the sole source of Salvation, as the only truly original and distinguishing characteristic of the new religion—this along with its insistence on the literal historical veracity of its Savior and His miracles. While Imperial Rome was singularly influential in popularizing and codifying both religions, we must recognize a common ecstatic and communal thread in them that starts in the earliest strata of Indo-European traditions and extends even into the present—intact in its esoteric, entheogenic essence.At the very root of the Mithraic Mysteries lay esoteric mythological, astrological, and pharmacological lore that was not easily to be suppressed, let alone destroyed. The long and almost unbelievably complex history of Mithraism in Eurasia had inseparably woven its mythopoeia into the very fabric of religious-intellectual, artistic, and literary culture throughout the Persian and Classical worlds. As Mithraism faded as a world religion, its venerable esoteric cannon became a river, fed by streams of derivative and original gnostic tradition. It is quite clearly this ancient torrent that sustained and characterized the post-Christian Hermetic and literary undercurrent, erupting throughout history in the various popular gnostic revivals, which were, repeatedly (and often violently), suppressed by the Church Triumphant, which opposed personal mysticism and insisted on imposing itself politically as the essential mediator with the deity.Surviving into modern times, and deriving from uncertain and legendary sources, Freemasonry3 is the most notable of the secret societies that have perpetuated the pre-Christian Mysteries. Although it is true that over the centuries the Masons have been accused of all manner of conspiratorial and diabolical activity (as has been the case with other ‘secret’ societies throughout history), this has been done with largely circumstantial evidence, partial understanding and paranoid zealotry. There can be no doubt, however, that Masonic lodges were indeed hotbeds of pro-revolutionary sentiment and the philosophies of the Enlightenment that opposed the feudal “Ancién Regime” with a “New World Order.”4 This new philosophy, in turn, was illuminated and inspired by the Classical Revival that had first found popular expression during the Renaissance. There can also be no doubt that Masonic membership was often made up of the social and intellectual elite who were the driving force behind the Revolutions that established the political reality of a new social paradigm—a paradigm that is at least as defining a characteristic of ‘modernity’ as the Industrial Revolution.Claiming to be the inheritors and preservers of ancient mysteries via direct lines of descent going back at least the time of the Knights Templar, Masonic symbolism does seem to betray a cohesive and accurate synopsis of the ancient Mysteries. Iconographic items such as the Sun, the all-seeing disembodied eye, the ouroboros, the sacred evergreen, and, most importantly for us, the red Phrygian cap atop a spear or Sword of the Accord are all elements well known to the ancient religions, possessing profound meanings to those initiates who learned of their true significance and interconnection.While most of these symbols are common to alchemical and Masonic imagery, the origins of the so-called ‘liberty pole’ and ‘liberty cap’ are less familiar. It goes without saying, however, that all elements are to be understood as cryptic references that simultaneously conceal and reveal arcane mysteries. The fundamental innovation promulgated in the revolutionary ideal is the dependence upon a kind of Natural Law—as well as the necessary and ongoing revelation of the natural, inalienable and sacred rights of citizens—as the nourishing and necessary spirit upon which a republican democracy might stand. Similarly, Thomas Jefferson appealed to the need for ‘eternal vigilance’ on the part of citizens in maintaining such a government.

While the American Revolution unfolded a world removed from the entrenched monarchies of Europe, the philosophical and political culture in which its revolutionary ideas fermented was fundamentally Continental. Encouraged by the American success, a democratic fervor set Europe—and especially France—ablaze with a call for an inevitable and radical reappraisal of basic political and social suppositions.The uncanny

correspondence between Mithraic, Alchemic, and revolutionary esoteric symbolism is clearly displayed in the various illuminated versions of the Declaration of the Rights of Man (Déclaration des droits de l’homme).

en.wikipedia.org/wiki/Mithraism

In Greek mythology, Owl of Athena was the ‘Little Owl’ who accompanied Athena, the Goddess of Wisdom and is depicted on many different artefacts, including coins and ceramics. Owl of Athena features a stunning, ochre and earthy palette against which, the whiteness of a sinewy tree is very striking, with six cute, ‘mini’ owls balanced on its stylised, undulating branches.

Artist: Karoline Rerrie

Karoline Rerrie is an illustrator who creates images by hand using drawing, painting and screen printing. She sees her work as a craft and tries to maintain a handmade element. Her work is characterised by the use of bold outlines, pattern and bright colours and it is inspired by folk art from around the world.

Collaboration and participation are important elements of Karoline’s creative practice. She co-ordinates group exhibitions and the publication of limited-edition postcard books, fanzines and colouring books, featuring her artwork and that of other women illustrators. Karoline also has 20 years of experience of facilitating workshops in different settings, including schools, galleries and libraries. She works with a wide range of ages and abilities, including children, young people, adults and people with learning disabilities.

Sponsor: Wild in Art

Auction Price: £8200

The Big Hoot captured the imagination of everyone in Birmingham and beyond, with hundreds of thousands of people taking to the streets with their Big Hoot Trail maps to explore the colourful invasion of individually designed owls. Taking in the city’s 10 districts, tourists and residents alike enjoyed their owl adventure, discovering and celebrating the extraordinary creativity produced by many of Birmingham’s artistic community and over 25,000 young people.

The Big Hoot owls went under the hammer on 15 October 2015 at The Big Hoot auction sponsored by Vodafone and we are thrilled to have smashed our target by raising the incredible sum of £508,035!

The money raised from the auction will support Birmingham Children’s Hospital Charity’s £3.65m Star Appeal. This appeal will enable us to create a first of its kind, a Rare Diseases Centre in the UK specifically for children. It will provide co-ordinated care, treatment, support and most importantly hope to children and families living with a rare or undiagnosed condition.

In addition the auction raised £15,000 for G’owl’d by Temper with proceeds going to Edward’s Trust, and £7,800 for Fleet and Free with proceeds going to Birchfield Harriers.

So thank you - we simply couldn’t have done it without you.

Artists have played a major role in The Big Hoot, creating almost 100 owl sculptures. We would like to thank all the artists for their incredible creativity and hard work.

Professional artists from Birmingham, the wider Midlands region and further afield have created extraordinary giant owls that are all unique in style and character and represent the city’s creativity, history and heritage, music, fashion, architecture and attractions.

Birmingham is home to a wealth of artistic and creative individuals and communities and many award-winning and nationally and internationally acclaimed artists. We are delighted with the response from Birmingham’s creative community and are thrilled to work in collaboration with them to transform the streets, squares and parks of the city.

For five months artists have been creating owls in their studios, at home and in The Big Hoot Artists’ Studio at the Custard Factory in Digbeth. Their inspiring and innovative designs have been realised in genres including graffiti, illustration, fine art, graphics, typography, mosaic and new media. They have worked with both community groups and with corporates to realise ideas and create their stunning designs.

The Big Hoot not only provides a high quality and ambitious free public event for families but also supports the creativity of artists and celebrates talent and diversity. The Big Hoot has provided an inspiring relationship between the city and the arts.

The artists have also reached out to communities enabling more people to participate in the arts, to experience working with professional artists and to be inspiring and inspired. From the north to the south of the city residents groups, youth groups and older peoples’ groups have been collaborating with artists to generate ideas, design and create owls for The Big Hoot.

Creativity is everywhere but the opportunity to participate is not. A range of activities have been programmed within Birmingham’s diverse communities and people from the age of 3 – 97 and from wards within the city boundaries have contributed to The Big Hoot and helped make the event extraordinary. Our projects have seen artists working with hundreds of residents and community members including children in looked after care, older peoples’ clubs, young people and residents organisations to design and decorate the owls displayed as part of the 10 week public event.

Nikon D5 Preview: chinese.engadget.com/2016/02/27/nikon-d5-preview/

www.dcmot.com/windows-10-has-launched-read-its-features-b...

One of the major features of the ex-LNWR Delph station was Bailey Mill, dating from 1866, which was located adjacent to the station building. The line to Delph Junction ran to the left of the mill and in its time had been served by a siding.

The massive 8-storey sandstone building had been derelict since ceasing production in 1996 when it was gutted by fire in 2016 and was subsequently demolished. A 16-year-old boy was arrested on suspicion of arson.

The chimney, a series of derelict ancillary buildings and this pile of rubble is all that remains of the Victorian structure, fenced off from the footpath that now occupies the trackbed of the Delph branch.

ATLANTA, GEORGIA - OCTOBER 26: Moon "Oner" Hyeon-joon of T1 poses at the League of Legends World Championship Semifinals Features Day on October 26, 2022 in Atlanta, GA. (Photo by Fernando Decillis/Riot Games)

LONDON, ENGLAND - MAY 07: Lee "Faker" Sang-hyeok of T1 at the League of Legends - Mid-Season Invitational Features Day on May 7, 2023 in London, England. (Photo by Gary Handley/Riot Games)

This Hubble image features stars at the center of the glittering globular cluster Caldwell 79. Globular clusters are dense, gravitationally bound packs of stars that roam the fringes of the galaxy. Most of the Milky Way’s globular clusters are estimated to be over 10 billion years old — about twice as old as our solar system. They typically contain hundreds of thousands of stars that are thought to have formed at roughly the same time. They also contain some of the most ancient stars in our galaxy, but their role in galactic evolution is still a matter of study.

This image combines visible and ultraviolet observations taken with two of Hubble’s cameras: the Advanced Camera for Surveys and the Wide Field Camera 3. Hubble targeted Caldwell 79 because it has some peculiar qualities that could help astronomers understand how globular clusters form and evolve.

The cluster harbors a dark secret in its core — a black hole that’s indirectly visible through its gravitational effects on a nearby star. The cluster’s orbit is also puzzling because Caldwell 79 whips around the center of the galaxy in the opposite direction than what we would expect. This may indicate that Caldwell 79 didn’t originate in our galaxy at all — it may have formed elsewhere and then been ensnared by the Milky Way’s gravity when the cluster passed close by.

Possibly countering the theory that Caldwell 79 is of extragalactic origin, the cluster is chemically very similar to the galaxy’s other globular clusters. Further observations may reveal whether the cluster originated in our galaxy or formed elsewhere to be later subsumed.

Caldwell 79 was discovered by Scottish astronomer James Dunlop in 1826 and is also cataloged as NGC 3201. The cluster is located relatively nearby — about 16,000 light-years away toward the Vela constellation. With a magnitude of 6.7, it’s just a bit too dim to be seen with the unaided eye. A pair of binoculars is sufficient to view the cluster, though it will be a much more impressive spectacle viewed through a telescope. Unfortunately, Caldwell 79 isn’t easily visible from most northern latitudes, except those close to the equator, where observers can look for it in the springtime. The cluster is best viewed from the Southern Hemisphere during autumn months.

For more information about Hubble’s observations of Caldwell 79, see:

www.nasa.gov/image-feature/goddard/2018/hubbles-standout-...

Credit: ESA/Hubble & NASA, Acknowledgement: Sarajedini et al

For Hubble's Caldwell catalog website and information on how to find these objects in the night sky, visit:

www.nasa.gov/content/goddard/hubble-s-caldwell-catalog

ATLANTA, GEORGIA - OCTOBER 26: DRX poses at the League of Legends World Championship Semifinals Features Day on October 26, 2022 in Atlanta, GA. (Photo by Fernando Decillis/Riot Games)

View my flickr set on gardens by the bay

here

.:Taken from From Wikipedia, the free encyclopedia:.

About Marina Bay Sands

Marina Bay Sands (traditional Chinese: 濱海灣金沙; simplified Chinese: 滨海湾金沙) is an integrated resort fronting Marina Bay in Singapore. Developed by Las Vegas Sands, it is billed as the world's most expensive standalone casino property at S$8 billion, including cost of the prime land.[1][2]

With the casino complete, the resort features a 2,561-room hotel, a 1,300,000-square-foot (120,000 m2) convention-exhibition centre, the 800,000-square-foot (74,000 m2) The Shoppes at Marina Bay Sands mall, an iconic ArtScience museum, two large theatres, seven "celebrity chef" restaurants, two floating Crystal Pavilions, an ice skating rink, and the world's largest atrium casino with 500 tables and 1,600 slot machines. The complex is topped by a 340m-long SkyPark with a capacity of 3,900 people and a 150m infinity swimming pool, set on top of the world's largest public cantilevered platform, which overhangs the north tower by 67m.[3][4] The 20-hectare resort was designed by Moshe Safdie Architects. The local architect of record was Aedas Singapore, and engineering was provided by Arup and Parsons Brinkerhoff (MEP). The main contractor was Ssangyong Engineering and Construction.[5]

Originally set to open in 2009, Las Vegas Sands faced delays caused by escalating costs of material and labour shortages from the onset. The severe global financial crisis also pressured the company to delay its projects elsewhere to complete the integrated resort.[6] Although Marina Bay Sands has been compared on scale and development costs to MGM's CityCenter, the latter is a mixed-use development, with condominium properties (comprising three of the seven main structures) being sold off.[7][8]

The resort was officially opened with a two-day celebration on 23 June 2010 at 3.18 pm, after a partial opening (which included the casino) on 27 April 2010.[9] The SkyPark opened a day later on 24 June 2010. The theatres were completed in time for the first performance by Riverdance on 30 November 2010. The floating pavilions are still being built and are expected to be fully completed by 2011. The indoor skating rink, which uses artificial ice, opened to a performance by Michelle Kwan on 18 December 2010. The ArtScience Museum opened to the public and the debut of a 13-minute light, laser and water spectacle called Wonder Full on 19 February 2011 marked the full completion of the entire Integrated Resort.

The grand opening of Marina Bay Sands was held on 17 February 2011. It also marked the opening of the seven celebrity chef restaurants. The highly-anticipated Broadway musical The Lion King debuted on 3 March 2011.[10] The last portion of the Marina Bay Sands, the floating pavilions, were finally opened to the public when the two tenants (Louis Vuitton and Pangaea Club) opened on 18 September 2011 and 22 September 2011 respectively.

About Garden by the Bay

Gardens by the Bay consists of three distinctive waterfront gardens – Bay South, Bay East and Bay Central, spanning a total of 101 hectares. They are set in the heart of Singapore’s new downtown Marina Bay, encircling the Marina Reservoir like a green necklace. The Gardens will complement the array of attractions around Marina Bay.

Gardens by the Bay is an integral part of a strategy by the Singapore government that further transforms Singapore from a ‘Garden City’ to a ‘City in a Garden’, in which the city is woven into a green and floral tapestry. This aims to raise the quality of life in Singapore with a more holistic and all-encompassing programme that enhances greenery and flora in the city. First announced to the public by Prime Minister Lee Hsien Loong during the National Day Rally in August 2005, Gardens by the Bay will become Singapore’s premier urban outdoor recreation space, and a national icon.

An international competition for the design of the master plan was held in January 2006 to elicit the best designs for the Gardens. This attracted more than 70 entries submitted by 170 firms from 24 countries, from which two firms – Grant Associates and Gustafson Porter – were eventually awarded the master plan design for the Bay South and Bay East Gardens respectively.

The Gardens are being developed in phases. Bay South is currently being constructed and is slated to be completed by June 2012. Bay East has been developed as an interim park in support of the Youth Olympic Games 2010, and is scheduled to open to the public in late 2011 or early 2012. The full master plan implementation of Bay East and the development of Bay Central are part of the next phase of development.

...:Taken from From Wikipedia, the free encyclopedia:.

The Singapore Flyer is a giant Ferris wheel located in Singapore, constructed in 2005–2008. Described by its operators as an observation wheel,[2] it reaches 42 stories high, with a total height of 165 m (541 ft), making it the tallest Ferris wheel in the world, 5 m (16 ft) taller than the Star of Nanchang and 30 m (98 ft) taller than the London Eye.

Situated on the southeast tip of the Marina Centre reclaimed land, it comprises a 150 m (492 ft) diameter wheel, built over a three-story terminal building which houses shops, bars and restaurants, and offers broad views of the city centre and beyond to about 45 km (28 mi), including the Indonesian islands of Batam and Bintan, as well as Johor, Malaysia.

The final capsule was installed on 2 October 2007, the wheel started rotating on 11 February 2008 and it officially opened to the public on 1 March 2008.[1] Tickets for rides on the first 3 nights were sold out for S$8,888 (US$6,271), an auspicious number in Chinese culture.[2] The grand opening for the Flyer was held on 15 April 2008.[3]

Each of the 28 air-conditioned capsules is capable of holding 28 passengers, and a complete rotation of the wheel takes about 30 minutes.[4] Initially rotating in a counter-clockwise direction when viewed from Marina Centre, its direction was changed on 4 August 2008 under the advice of Feng shui masters.[5]

.:From www.nparks.gov.sg/cms/index.php?option=com_news&task=... :.

About Super trees

Concept and Overview

•Supertrees are uniquely designed vertical gardens ranging from 25 to 50 metres in height (9 to 16 storey), with emphasis placed on the vertical display of tropical flowering climbers, epiphytes and ferns.

•There are a total of 18 Supertrees, all located within Bay South at Gardens by the Bay. Out of the 18 Supertrees, twelve are situated in the Supertree Grove while the remaining six are placed in clusters of threes near the Arrival Square and Dragonfly Lake.

•Given the relatively short time span to create a garden from reclaimed land, the Supertrees provide an immediate scale and dimension to the Gardens while marrying the form and function of mature trees.

•They also create height to balance the current and future tall developments in the Marina Bay area.

•In the day, the Supertrees' large canopies provide shade and shelter. At night, the Supertrees will come alive with lighting and projected media.

•Eleven of the Supertrees are embedded with environmentally sustainable functions.

•A 128-metre-long aerial walkway will connect the two 42-metre Supertrees in the Supertree Grove and enable visitors to take in a different view of the Gardens from a height of 22 metres.

•The 50-metre Supertree will have a treetop bistro that will offer a panoramic view of the Gardens and surrounding Marina Bay area, while F&B outlets located in the Supertree Grove will offer a casual dining experience amidst the lush garden setting. These are among the many dining options that will be available in the Gardens.

•Visitors can look forward to getting up-close to the Supertrees when Bay South officially opens in June 2012.

Construction

The Supertree comprises four major parts:

•Reinforcement concrete core - Inner vertical structure that upholds the Supertree;

•Trunk - A steel frame that will be attached around the reinforcement concrete core;

•Planting panels - Installed on the trunk in preparation for the planting of the living skin;

•Canopy - Shaped like an inverted umbrella, the canopy will be assembled and hoisted via a hydraulic jack system (with the exception of the 50m Supertree canopy which will be assembled at its final height).

Environmentally Sustainable Functions

•Eleven Supertrees will have canopies embedded with environmentally sustainable functions.

•Some will have photovoltaic cells to harvest solar energy for lighting up the Supertrees. Some will be integrated with the cooled conservatories and serve as air exhaust receptacles.

Plants

•Over 162,900 plants comprising more than 200 species and varieties of bromeliads, orchids, ferns and tropical flowering climbers will be planted on the 18 Supertrees.

•Examples of some of the species that will be planted on the Supertrees include the Tillandsia stricta from Brazil, Tillandsia fasciculate from Panama, Cattleya maxima from Ecuador, and Pseudorhipsalis from Costa Rica.

•The plants are chosen based on the following considerations:

◦Suitable for vertical planting

◦Lightweight and hardy

◦Soil-less

◦Easy to maintain

◦Suitable for Singapore's Climate

◦Not commonly found in Singapore

◦Visually interesting

•The Supertrees will have different planting schemes in various colours ranging from warm tones like reds, browns, orange and yellows, to cooler hues like silver and pink.

.:From Wikipedia, the free encyclopedia:.

About Garden by the Bay

Gardens by the Bay consists of three distinctive waterfront gardens – Bay South, Bay East and Bay Central, spanning a total of 101 hectares. They are set in the heart of Singapore’s new downtown Marina Bay, encircling the Marina Reservoir like a green necklace. The Gardens will complement the array of attractions around Marina Bay.

Gardens by the Bay is an integral part of a strategy by the Singapore government that further transforms Singapore from a ‘Garden City’ to a ‘City in a Garden’, in which the city is woven into a green and floral tapestry. This aims to raise the quality of life in Singapore with a more holistic and all-encompassing programme that enhances greenery and flora in the city. First announced to the public by Prime Minister Lee Hsien Loong during the National Day Rally in August 2005, Gardens by the Bay will become Singapore’s premier urban outdoor recreation space, and a national icon.

An international competition for the design of the master plan was held in January 2006 to elicit the best designs for the Gardens. This attracted more than 70 entries submitted by 170 firms from 24 countries, from which two firms – Grant Associates and Gustafson Porter – were eventually awarded the master plan design for the Bay South and Bay East Gardens respectively.

The Gardens are being developed in phases. Bay South is currently being constructed and is slated to be completed by June 2012. Bay East has been developed as an interim park in support of the Youth Olympic Games 2010, and is scheduled to open to the public in late 2011 or early 2012. The full master plan implementation of Bay East and the development of Bay Central are part of the next phase of development.

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Hot springs and other thermal features change continually through time, especially as the minerals dissolved in hot water eventually obstruct the underground seeps and cracks (aka, the "plumbing") forcing the water through new weak spots and new emergence sites. As the water flows into new areas, long-established plants including trees are quickly poisoned by the mineral-laded, highly acidic or highly alkaline waters while their skeletons often stand staunchly for years if not decades to come.

Mammoth Hot Springs, Yellowstone

BUSAN, SOUTH KOREA - MAY 18: T1 poses at the League of Legends - Mid-Season Invitational Rumble Features Day on May 18, 2022 in Busan, South Korea. (Photo by Lee Aiksoon/Riot Games)

Available for purchase from www.ballaratheritage.com.au

VHR - springthorpe

Statement of Significance

What is significant?

The Springthorpe Memorial within the Boroondara Cemetery (VHR0049)commemorates Annie Springthorpe, and was erected in 1897 by her husband Dr John Springthorpe. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures. It contains twelve columns of deep green granite from Scotland supporting a Harcourt granite superstructure, and a glass dome roof of lead lighting.

How is it significant?

The Springthorpe Memorial is of historic and architectural significance to the State of Victoria

Why is it significant?

The Springthorpe Memorial is historically important in demonstrating nineteenth century social and cultural attitudes to death, and for reflecting the ideals of the Victorian Garden Cemetery movement which aimed at providing comfort for mourners. The memorial is important in demonstrating uniqueness, no other example being known of such aesthetic composition, architectural design and execution, or scale. It is important in exhibiting good design and aesthetic characteristics and for the richness and unusual integration of features. The Springthorpe Memorial is also important in illustrating the principal characteristics of the work of a number of artists including Desbrowe Annear, Mackennal, the glass manufacturers Auguste Fischer and the bronze work of Marriots.

VHR Statement of Significance

What is significant?

Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery

Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society.

Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Strett was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum.

The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known.

The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end.

The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior.

By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia.

The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect.

The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum.

Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii')

Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria.

The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery.

How is it significant?

Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria.

Why is it significant?

The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery.

The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment.

The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907.

The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement.

The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (chamaecyparis funebris 'aurea') is the only known example in Victoria.

The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.