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The litany of Ra continues in the second corridor of the tomb, and in niches at the top of the walls, are depicted the seventy-four manifestations of the sun god. This is from the right side wall.
From the "turning point" (left to right) of the niche the manifestation names of the sun god are: 21 - The Brilliant One, 22 - The Hidden One, 23 - The Jubilating One, 24 - He Whose ways are correct, 25 - The Lightning One, 26 - The Shining Horn, 27 - He of the Exalted Forms, 28 - The Distant Ba, 29 - The High Ba, 30 - He of the Two Children, 31 - The Blazing One in the Earth, 32 - He of the Caldron and 33 - The Watchers.
The first part of the tomb was the work of Setnakht.
20th dynasty, tomb of Ramses III - KV11, Valley of the Kings
Zaha Hadid: Form in Motion at Philadelphia Museum of Art. Video at VernissageTV: vernissage.tv/blog/2011/09/30/zaha-hadid-form-in-motion-p...
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
A look around the inside of the castle / house.
The Grand Hall
Stained glass windows
A series of conceptual digital works inspired by the female body painting and torso works of Yves Klein. This piece is also referential to classical Greek and Roman sculpture.
www.formlogix.com/web-forms/design-web-forms.htm
When you design web forms with the FormLogix form creator you can layout your forms any way you want. You can place your elements anywhere on the form, add images, change background color and font styles.
~*Photography Originally Taken By: www.CrossTrips.Com Under God*~
United States Air Force
The United States Air Force (USAF) is the aerial warfare branch of the armed forces and one of the seven uniformed services of the U.S. Previously part of the U.S. Army, the USAF was formed as a separate branch of the military on September 18, 1947.[2] It is the last branch of the United States military to be formed.
The USAF is the largest and one of the most technologically advanced air forces in the world, with about 6013 manned aircraft in service (4,282 USAF; 1,321 Air National Guard; and 410 Air Force Reserve); approximately 160 Unmanned Combat Air Vehicles, 2161 Air-Launched Cruise Missiles, and 580 Intercontinental Ballistic Missiles;[3] and as of April 4, 2008, had 328,808 personnel on active duty, 70,303 in the Selected and Individual Ready Reserves, and 106,254 in the Air National Guard. In addition, the Air Force employs 141,573 civilian personnel.[3]
The USAF is conducting a large Reduction-in-Force (RIF). Because of budget constraints, the USAF will reduce the service's current size from 333,000 active duty personnel, to 316,000, which will be the smallest United States Air Force since Pearl Harbor according to Air Force Chief of Staff, General Mosley, in his interview with air internationals vol.74 issue. The current size of the active-duty force is roughly 70% of that of the USAF at the end of the first Gulf War in 1991.[4]
Not all of the United States' military combat aircraft are operated by the USAF. The Army operates its own helicopters, mostly for support of ground combatants; it as well maintains a small fleet of fixed wing aircraft (mostly Unmanned Aerial Vehicles). The Navy is responsible for a multitude of aircraft, including integrated air wing combat aircraft operating aboard its 11 aircraft carriers and also many maritime patrol and transport aircraft stationed at multiple Naval air stations around the world. The Marine Corps operates its own combat and transport aircraft in support of its ground mission and often in conjunction with Naval Aviation. The Coast Guard also maintains transport and search-and-rescue aircraft (SARA), which may be used in a combat and law enforcement role. All branches of the U.S. military operate helicopters.
The Department of the Air Force is headed by the civilian Secretary of the Air Force who heads administrative affairs. The Department of the Air Force is a division of the Department of Defense, headed by the Secretary of Defense. The highest ranking military officer in the Department of the Air Force is the Chief of Staff of the Air Force.
Contents
[hide]
* 1 Mission
o 1.1 Search and rescue
* 2 History
o 2.1 Wars
o 2.2 Humanitarian operations
* 3 Administrative organization
o 3.1 Force structure
* 4 Operational organization
o 4.1 Aerospace Expeditionary Task Force
o 4.2 Commander, Air Force Forces
+ 4.2.1 Air Operations Center
o 4.3 Air Expeditionary Wings/Groups/Squadrons
* 5 Vocations
* 6 Aircraft
* 7 Culture
o 7.1 Uniforms
o 7.2 Awards and badges
o 7.3 Grade Structure and Insignias
o 7.4 Motto
* 8 See also
* 9 References
o 9.1 Further reading
* 10 External links
[edit] Mission
1. According to the National Security Act of 1947 (61 Stat. 502) which created the Air Force:
In general the United States Air Force shall include aviation forces both combat and service not otherwise assigned. It shall be organized, trained, and equipped primarily for prompt and sustained offensive and defensive air operations. The Air Force shall be responsible for the preparation of the air forces necessary for the effective prosecution of war except as otherwise assigned and, in accordance with integrated joint mobilization plans, for the expansion of the peacetime components of the Air Force to meet the needs of war.
2. §8062 of Title 10 US Code (10 USC 8062) defines the purpose of the Air Force as:
* to preserve the peace and security, and provide for the defense, of the United States, the Territories, Commonwealths, and possessions, and any areas occupied by the United States;
* to support national policy;
* to implement national objectives;
* to overcome any nations responsible for aggressive acts that imperil the peace and security of the United States.
3. The stated mission of the USAF today is to "deliver sovereign options for the defense of the United States of America and its global interests — to fly and fight in Air, Space, and Cyberspace".[5]
[edit] Search and rescue
The National Search and Rescue Plan designates the United States Coast Guard as the federal agency responsible for maritime search-and-rescue (SAR) operations, and the United States Air Force as the federal agency responsible for inland SAR.[6] Both agencies maintain Rescue Coordination Centers to coordinate this effort.[3]
* United States Air Force Rescue Coordination Center
[edit] History
Main article: History of the United States Air Force
Roundels which have appeared on US aircraft1. 5/17-2/18 2. 2/18-8/19 3. 8/19-5/42 4. 5/42-6/43 5. 6/43-9/43 6. 9/43-1/47 7. 1/47-
Roundels which have appeared on US aircraft
1. 5/17-2/18 2. 2/18-8/19 3. 8/19-5/42
4. 5/42-6/43 5. 6/43-9/43 6. 9/43-1/47
7. 1/47-
The United States Air Force became a separate military service on September 18, 1947, with the implementation of the National Security Act of 1947.[7] The Act created the United States Department of Defense, which was composed of three branches, the Army, Navy and a newly-created Air Force.[8] Prior to 1947, the responsibility for military aviation was divided between the Army (for land-based operations) and the Navy, for sea-based operations from aircraft carrier and amphibious aircraft. The Army created the first antecedent of the Air Force in 1907, which through a succession of changes of organization, titles, and missions advanced toward eventual separation 40 years later. The predecessor organizations of today's U.S. Air Force are:
* Aeronautical Division, U.S. Signal Corps (August 1, 1907 to July 18, 1914)
* Aviation Section, U.S. Signal Corps (July 18, 1914 to May 20, 1918)
* Division of Military Aeronautics (May 20, 1918 to May 24, 1918)
* U.S. Army Air Service (May 24, 1918 to July 2, 1926)
* U.S. Army Air Corps (July 2, 1926 to June 20, 1941) and
* U.S. Army Air Forces (June 20, 1941 to September 17, 1947)
[edit] Wars
The United States Air Force has been involved in many wars, conflicts, and operations since its conception; these include:
* World War I[9] Aviation Section, U.S. Signal Corps
* World War II[10] United States Army Air Forces
* The Cold War
* The Korean War
* The Vietnam War
* Operation Eagle Claw
* Operation Urgent Fury
* The United States invasion of Panama
* Operation Eldorado Canyon
* The Gulf War
* Operation Northern Watch
* Operation Southern Watch
* The Kosovo War
* Operation Enduring Freedom
* Operation Iraqi Freedom
[edit] Humanitarian operations
The U.S. Air Force has taken part in numerous humanitarian operations. Some of the more major ones include the following:[11]
* Berlin Airlift (Operation Vittles), 1948-1949
* Operation Safe Haven, 1956-1957
* Operations Babylift, New Life, Frequent Wind, and New Arrivals, 1975
* Operation Provide Comfort, 1991
* Operation Sea Angel, 1991
* Operation Provide Hope, 1992-1993
* Operation Unified Assistance, December 2004 - April 2005
[edit] Administrative organization
Main article: Organizational structure and hierarchy of the United States Air Force
The Air Force is one of three service departments, and is managed by the (civilian) Department of the Air Force. Guidance is provided by the Secretary of the Air Force(SECAF) and the Secretary's staff and advisors. The military leadership is the Air Staff, led by the Chief of Staff.
USAF direct subordinate commands and units are the Field Operating Agency (FOA), Direct Reporting Unit (DRU), and the currently unused Separate Operating Agency.
The Major Command (MAJCOM) is the superior hierarchical level of command. Including the Air Force Reserve Command, as of 30 September 2006, USAF has nine major commands, and a tenth, Air Force Cyber Command, in process. The Numbered Air Force (NAF) is a level of command directly under the MAJCOM, followed by Operational Command (now unused), Air Division (also now unused), Wing, Group, Squadron, and Flight.
[edit] Force structure
Headquarters, United States Air Force, The Pentagon, Arlington, Virginia
* Air Combat Command (ACC), headquartered at Langley Air Force Base, Virginia
o First Air Force, headquartered at Tyndall Air Force Base, Florida
o Eighth Air Force, headquartered at Barksdale Air Force Base, Louisiana
o Ninth Air Force, headquartered at Shaw Air Force Base, South Carolina
o Twelfth Air Force, headquartered at Davis-Monthan Air Force Base, Arizona
* Air Education and Training Command (AETC), headquartered at Randolph Air Force Base, Texas
o Second Air Force, headquartered at Keesler Air Force Base, Mississippi
o Nineteenth Air Force, headquartered at Randolph Air Force Base, Texas
* Air Force Cyber Command (Provisional) (AFCYBER), interim location at Barksdale Air Force Base, Louisiana
o Twenty Fourth Air Force
* Air Force Materiel Command (AFMC), headquartered at Wright-Patterson Air Force Base, Ohio
* Air Force Reserve Command (AFRC), headquartered at Robins Air Force Base, Georgia
o Fourth Air Force, headquartered at March Air Force Base, California
o Tenth Air Force, headquartered at Naval Air Station Joint Reserve Base Fort Worth, Texas
o Twenty-Second Air Force, headquartered at Dobbins Air Reserve Base, Georgia
* Air Force Space Command (AFSPC), headquartered at Peterson Air Force Base, Colorado
o Fourteenth Air Force, headquartered at Vandenberg Air Force Base, California
o Twentieth Air Force, headquartered at F. E. Warren Air Force Base, Wyoming
* Air Force Special Operations Command (AFSOC), headquartered at Hurlburt Field, Florida
o Twenty-Third Air Force
* Air Mobility Command (AMC), headquartered at Scott Air Force Base, Illinois
o Eighteenth Air Force, headquartered at Scott Air Force Base, Illinois
* United States Air Forces in Europe (USAFE), headquartered at Ramstein Air Base, Germany
o Third Air Force, headquartered at Ramstein Air Base, Germany
o Seventeenth Air Force, headquartered at Sembach Annex, Germany
* United States Pacific Air Forces (PACAF), headquartered at Hickam Air Force Base, Hawaii
o Fifth Air Force, headquartered at Yokota Air Base, Japan
o Seventh Air Force, headquartered at Osan Air Base, Republic of Korea
o Eleventh Air Force, headquartered at Elmendorf Air Force Base, Alaska
o Thirteenth Air Force, headquartered at Hickam Air Force Base, Hawaii
The permanent establishment of the USAF, as of 30 September 2006,[12] consisted of:
* Active duty forces:
o 57 flying wings, 8 space wings, and 55 non-flying wings
o 9 flying groups, 8 non-flying groups
+ 134 flying squadrons, 43 space squadrons
* Air Force Reserve
o 35 flying wings, 1 space wing
o 4 flying groups
+ 67 flying squadrons, 6 space squadrons
* Air National Guard
o 87 flying wings
+ 101 flying squadrons, 4 space squadrons
The United States Air Force and its Air Reserve Components field a total of 302 flying squadrons.[13]
[edit] Operational organization
The above organizational structure is responsible for the peacetime Organization, Equipping, and Training of aerospace units for operational missions. When required to support operational missions, the National Command Authority directs a Change in Operational Control (CHOP) of these units from their peacetime alignment to a Regional Combatant Commander (CCDR). In the case of AFSPC, AFSOC, PACAF, and USAFE units, forces are normally employed in-place under their existing CCDR. Likewise, AMC forces operating in support roles retain their componency to USTRANSCOM unless chopped to a Regional CCDR.
[edit] Aerospace Expeditionary Task Force
CHOPPED units are referred to as "forces". The top-level structure of these forces is the Air and Space Expeditionary Task Force (AETF). The AETF is the Air Force presentation of forces to a CCDR for the employment of Air Power. Each CCDR is supported by a standing Component Numbered Air Force (C-NAF) to provide planning and execution of aerospace forces in support of CCDR requirements. Each C-NAF consists of a Commander, Air Force Forces (COMAFFOR) and AFFOR/A-staff, and an Air Operations Center (AOC). As needed to support multiple Joint Force Commanders (JFC) in the COCOM's Area of Responsibility (AOR), the C-NAF may deploy Air Component Coordinate Elements (ACCE) to liaise with the JFC. If the Air Force possesses the most strategic air assets in a JFC's area of operations, the COMAFFOR will also serve as the Joint Forces Air Component Commander (JFACC).
[edit] Commander, Air Force Forces
The Commander, Air Force Forces (COMAFFOR) is the senior Air Force officer responsible for the employment of Air Power in support of JFC objectives. The COMAFFOR has a special staff and an A-Staff to ensure assigned or attached forces are properly organized, equipped, and trained to support the operational mission.
[edit] Air Operations Center
The Air Operations Center (AOC) is the JFACC's Command and Control (C²) center. This center is responsible for planning and executing air power missions in support of JFC objectives.
[edit] Air Expeditionary Wings/Groups/Squadrons
The AETF generates air power to support COCOM objectives from Air Expeditionary Wings (AEW) or Air Expeditionary Groups (AEG). These units are responsible for receiving combat forces from Air Force MAJCOMs, preparing these forces for operational missions, launching and recovering these forces, and eventually returning forces to the MAJCOMs. Theater Air Control Systems control employment of forces during these missions.
[edit] Vocations
The vast majority of Air Force members remain on the ground. There are hundreds of support positions which are necessary to the success of a mission.
The classification of an Air Force job is the Air Force Specialty Code (AFSC). They range from flight combat operations such as a gunner, to working in a dining facility to ensure that members are properly fed. There are many different jobs in fields such as computer specialties, mechanic specialties, enlisted aircrew, medical specialties, civil engineering, public affairs, hospitality, law, drug counseling, mail operations, security forces, and search and rescue specialties.
Perhaps the most dangerous Air Force jobs are Explosive Ordnance Disposal, Pararescue, Combat Control, Combat Weather and Tactical Air Control Party, who deploy with infantry and special operations units who disarm bombs, rescue downed or isolated personnel, call in air strikes and set up landing zones in forward locations. Most of these are enlisted positions. Other jobs have seen increasing combat, and have been billed "Battlefield Airmen". These include EOD, Vehicle operators, and OSI.
Nearly all enlisted jobs are "entry level," meaning that the Air Force provides all training. Some enlistees are able to choose a particular job, or at least a field before actually joining, while others are assigned an AFSC at Basic Training. After Basic Military Training, new Air Force members attend a technical training school where they learn their particular AFSC. Second Air Force, a part of Air Education and Training Command is responsible for nearly all technical training.
Training programs vary in length; for example, 3M0X1 (Services) has 31 days of tech school training, while 3E8X1 (Explosive Ordnance Disposal) is 1 year of training with a preliminary school and a main school consisting of 10 separate divisions; somtimes taking students close to 2 years to complete. Some AFSC's have even shorter or longer training.
[edit] Aircraft
Main article: List of military aircraft of the United States
B-2 Spirit
B-2 Spirit
F-22 Raptors
F-22 Raptors
V-22 Ospreys
V-22 Ospreys
C-17 Globemaster III
C-17 Globemaster III
The United States Air Force has over 7,500 aircraft commissioned as of 2004. Until 1962, the Army and Air Force maintained one system of aircraft naming, while the U.S. Navy maintained a separate system. In 1962, these were unified into a single system heavily reflecting the Army/Air Force method. For more complete information on the workings of this system, refer to United States Department of Defense Aerospace Vehicle Designations.
Current aircraft of the USAF[14]:
* O/A-10A/C Thunderbolt II
* An-26 Curl
* B-1B Lancer
* B-2A Spirit
* B-52H Stratofortress
* C-5A/B/C/M Galaxy
* KC-10A Extender
* C-12C/D/F Huron
* C-17A Globemaster III
* C-20A/B/C Gulfstream III
* C-20G/H Gulfstream IV
* C-21A Learjet
* C-22B
* VC-25A (Air Force One)
* C-26B Metroliner
* C-29A
* C-32A
* C-37A Gulfstream V
* C-38 Courier
* C-40B Clipper
* C-41A Aviocar
* C-130E/H/J Hercules
* AC-130H/U Spectre/Spooky II
* HC-130H/N
* LC-130H
* MC-130E/H/W Combat Talon/Combat Spear
* WC-130J
* C-135C/E/K Stratolifter
* NC-135B/E/W
* KC-135E/R/T Stratotanker
* EC-137D Stratoliner[citation needed]
* VC-137C
* CN-235-100[citation needed]
* E-3B/C Sentry
* E-4B
* E-8C JSTARS
* E-9A
* F-15A/B/C/D Eagle
* F-15E Strike Eagle
* F-16A/B/C/D Fighting Falcon
* F-22A Raptor
* F-35 Lightning II
* F-117A Nighthawk
* MH-53J/M Pave Low III/IV
* HH-60G Pave Hawk
* Mi-8 Hip
* NT-39A/B Sabreliner
* OC-135B
* M/RQ-1A/B Predator
* RQ-4A Global Hawk
* MQ-9 Reaper
* RC-135S/U/V/W
* T-1A Jayhawk
* T-6 Texan II
* (A)T-38A/B/C Talon
* Boeing T-43
* TC-18E
* TC-135S
* TC-135W
* Piper Aircraft Company TG-8A Piper Club glider
* TG-3A
* TG-4A
* TG-7A
* TG-9A
* TG-10B/C/D
* TG-11A
* TG-15A/TG-15B
* UH-1N Iroquois
* U-2R/S "Dragon Lady"
* UC-26C
* UV-18A/B Twin Otter
* UV-20A Chiricua
* CV-22B Osprey
* U-28A
* WC-135C/W
Source: [15]
[edit] Culture
[edit] Uniforms
Main article: United States Air Force uniform
United States Air Force personnel wear uniforms which are distinct from those of the other branches of the United States Armed Forces. The current uniform is an olive drab/black/brown and tan combination called the Battle Dress Uniform (BDU). Members deployed to an AOR wear a variation of the BDU, tan and brown in color, called the Desert Camouflage Uniform (DCU). A new uniform called the Airman Battle Uniform (ABU) is currently being distributed to some bases, and in a memo from HQ AFPC at Randolph AFB dated September 2007, will be distributed to basic trainees in their clothing issue starting October 2007. The ABU is already authorized for wear, and is scheduled to completely replace the BDU and DCU by November 2011.
[edit] Awards and badges
In addition to basic uniform clothing, various badges are used by the USAF to indicate a job assignment or qualification-level for a given assignment. Badges can also be used as merit-based or service-based awards. Over time, various badges have been discontinued and are no longer distributed.
[edit] Grade Structure and Insignias
See also: United States Air Force officer rank insignia
See also: United States Air Force enlisted rank insignia
The standard USAF uniform is also decorated with an insignia to designate rank. USAF rank is divided between enlisted airmen, non-commissioned officers, and commissioned officers, and ranges from "airman basic" to the commissioned rank of general. Promotions are granted based on a combination of test scores, years of experience, and selection board approval. Promotions among enlisted men and non-commissioned officers rankings are generally designated by increasing numbers of insignia chevrons. Commissioned officer rank is designated by bars, oak leaves, a silver eagle, and anywhere from one to five (only in war-time) stars.
For cadet rank at the U.S. Air Force Academy, see United States Air Force Academy Cadet Insignia.
[edit] Motto
The United States Air Force does not have an official motto, but there are numerous unofficial slogans such as "Nothing Comes Close" and Uno Ab Alto. For many years, the U.S. Air Force used "Aim High" as its recruiting motto; more recently, they have used "Cross Into the Blue", "We've been waiting for you" and "Do Something Amazing", and the newest one, "Above All".[16]
Each wing, group, or squadron usually has its own motto(s). Information and logos can usually be found on the wing, group, or squadron websites.[17]
The Airman's Creed is a statement introduced in the spring of 2007 to summarize the culture of the Air Force.
Today, I went to Vancouver and a group of women where raising money for www.walk.com for world poverty and they where giving people henna for a small fee! So of course I got this beauty! I love it, I think it's so beautiful! the woman did a wonderful job. I'd love to learn how to do this!
ALSO!! guess who I saw at Whole Foods in Vancouver? Mark Harmon!!! from NCIS who plays Gibbs! I never see anyone famous so I got a little overly excited.
Iron Photographer #182
1 - a head (or at least part of one)
2 - something on the head that doesn't belong there (the unqualified deep contemplation of homeownership in a 21 century industrialized nation)
3 - heavy post-processing (a digital tribute to the cutout animation of Terry Gilliam).
Blancpain Endurance Series - SOFREV ASP - Patrice Goueslard - Julien Jousse - Jérome Policand - Ferrari 458 Italia - GT3 Pro Cup
St Martin’s Church in Zillis, Canton Graubünden, CH
The earliest preserved, figuratively painted wooden ceiling in Europe can be seen above the nave of St Martin's Church in Zillis. Today only three other painted ceilings from the Middle Ages remain: they are located in Hildesheim (St Michael's), in Peterborough Cathedral and in Dadesjo (Sweden). The Swedish church in Sodra Rada was destroyed by fire in 2001.
The ceiling paintings in Zillis demonstrate such a rich variety of form and contents as is only found in great works of art.
And so today the ceiling serves to illustrate the Gospel, Sunday for Sunday, from spring to autumn. In winter the parishioners do without heating in the church for the sake of the paintings and hold their services in the parish hall. Only funeral services and the school Christmas celebrations on Christmas Eve take place in the moderately heated church during the cold season.
St Martin's Church is situated below the historic centre of Zillis. At first, the church possibly stood directly above the wide bed of the Hinterrhein River. Zillis is one of the two settlements nestling at the bottom of the Schams Valley (Romansh: Val Schons), an inner-Alpine valley basin, through which a route has traversed the Alps at least since the Roman era. It used to link Bregenz with Milan, Lake Constance with Lakes Como and Maggiore. The Schams is the secondhighest section of the Hinterrhein Valley. It lies directly south of the Viamala Gorge, which on the northern side of the Alpine ridge represented the main obstacle on the route from Chur over the Splugen Pass to Chiavenna, resp. over the San Bernardino Pass to Bellinzona and Locarno. Throughout all the centuries Zillis occupied a very peripheral position on the inner border of the Alps, but was always on a route connecting the major settlements flanking the Alpine ridge.
THE PAINTED CEILING
THE CONCEPT OF THE PAINTED CEILING
The Zillis ceiling comprises 153 painted panels. They are slotted into longitudinal battens, which until 1938 were attached to the ceiling beams by long nails. Cross-battens are inserted between the painted panels as a connecting link, forming a regular grid. Doubled longitudinal and cross-battens accentuate the junctions of the grid, creating the shape of the cross.
The ceiling is enhanced by a meander frieze which was created at the same time; the greater part of the frieze was restored in 1938-1940. In the frieze we see female busts, representing the Classical sybils, whose prophesies were taken fro(ll late Antiquity onwards as a reference to the Advent of Christ.
The 153 panels are arranged as on a medieval map of the world. There is a border representing the ocean surrounding the Continent, on which the Life of Christ and the legend of St Martin are portrayed.
The border
At the edges of the ceiling, resp. on the borders of the world, swim mythical fish-tailed creatures; there are even some manned boats and music-making sirens on a continuous band of wavy lines, which represent the sea in a simplified and abstract form. Only the angels sounding their horns in the corners, marked as the south wind Auster and the north wind Aquilo, stand on firm land.
The inner cycle
On the interior fields, i.e. the Continent, the Life of Christ is depicted on 98 panels. One half describes Christ's childhood and youth, the other half recounts his miracles, his teaching and Passion. The individual scenes frequently continue over several successive panels. Each half has seven rows with seven panels. The last row of the interior panels is dedicated to the church patron St Martin.
The choir is the best place from which to view the first half of the cycle portraying the Life of Christ. Since the 1940 rearrangement the visitor has been able to «read» the pictures like a text from this vantage point, in rows running from left to right. The cycle begins with a gallery of Christ's ancestors, the Kings of the Old Testament, and the personifications of Synagogue and Ecclesia. The story of Christ's Life begins with the Annunciation of the Blessed Virgin, followed by Joseph's Dream, the Visitation and the four panels on the Nativity.
15 panels describe the Journey of the Three Magi. This is followed by the Purification and the the Presentation of the Infant Jesus in the Temple, the Flight into Egypt and the Massacre of the Innocents in Bethlehem, the Miracle of the Clay Pigeons, the 72-year-old Jesus in the Temple and the Sermons of St John the Baptist.
The second part of the Christological cycle begins with the Baptism of Christ and the Temptation by the Devil. These are followed by cases of miraculous Healings: in addition to the Wedding Feast in Cana and the Raising of Lazarus, we see the Healing of physically and mentally sick persons. The mentally disturbed were considered to be possessed by demons. After the miracles follow the Teachings of Jesus, the Transfiguration on Mount Tabor, the Entry into Jerusalem and the Expulsion of the Moneychangers from the Temple, the Last Supper, the MOunt of Olives, the Betrayal by Judas, Christ before Pilate, the Mocking of Christ and the Crowning with Thorns.
The cycle then breaks off. There is no consensus among researchers on whether this was, in fact, the original end of the cycle or if the Crucifixion and the Rising from the Dead were formerly depicted on the north wall of the nave or in the former Romanesque choir.
The last seven panels of the interior fields describe episodes from the life of St Martin, commencing with the Sharing of the Cloak, probably the best-known element of the legend. This is followed by the Consecration and the Miracle of the Raising from the Dead. The conclusion comprises three panels on St Martin's Encounter with a King who pretended to be Jesus but turned out to be the Devil.
As mentioned above, the panels were rearranged on the ceiling in 1940, the 1938 sequence having been described by experts as «absurd» und «unsystematic». An attempt to reconstruct the original order, based on the sequence of the pictures before 1938, gives the following results: the panels were arranged to be read by following the rows in an S-shaped order. In the centre of the ceiling there was the depiction of Christ's Baptism; in front of this, the scenes with St John the Baptist; behind, the four panels on the Temptation of Christ by the Devil.
During the Reformation the sequence of the panels was probably altered. In the cycle depicting the Life of St Martin, the consecration scene was removed from the central axis. The sermons of St John the Baptist and the Temptation of Christ by the Devil disappeared from the central row and were replaced by the cases of miraculous healing and depictions of Christ's teachings. From the 16th century until 1938 the Expulsion of the Moneychangers from the Temple, as a symbol of one of the Reformation's main tenets, was set in the centre of the ceiling replacing Christ's Baptism.
Not the greatest of shots but I was struck by how pale this Buzzard was.
Footnote: speaking to someone at work and mentioned this. He tells me that a 'white' Buzzard had been seen regularly about 10 miles north of here last winter and was frequently and wrongly reported as an Osprey. At least I didn't make that mistake but when I was checking ID I did notice how similar the markings were to that of an Osprey
«Ahora que he descubierto la forma de volar, ¿en qué dirección debería adentrarme en la noche? Mis alas no son blancas ni plumosas; son de seda verde; vibran al viento y se ondulan cuando me muevo, primero en círculo, después en línea recta y, por último, en una trayectoria de mi invención. La negrura que queda atrás no me preocupa, ni tampoco las estrellas que me aguardan.
Me río de mí, de la insensatez de mi imaginación. [...]
—¿De qué te ríes?
—De todo —respondo, y es cierto.»
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
After the Victorian Kitchens, headed via the Castle Shop to get into the house, which was more the exit than the entrance to the interiors (did it the wrong way around).
stairs
Exam Piece (5 Hour Constraint) AS 3D design '07
(To answer the question "Distressed Forms")
Hand-Built Clay
approx: h13" w7" d8"
“No permanence is ours; we are a wave
That flows to fit whatever form it finds:
Through night or day, cathedral or the cave
We pass forever, craving form that binds.”
― Hermann Hesse, The Glass Bead Game
Aríbalo en forma de erizo. FAyenza silicea. Baja época. Din. XXVI
Wild or domesticated animals had a vital role in ancient Egypt. The exhibition "Animals and Pharaohs" shows the role and importance of animals in Pharaonic civilization.
Consisting of more than four hundred pieces the exhibit reconstructs the relationship between animals and men religious beliefs , nature and culture, from admiration and fear in everyday life, war or in agriculture.
Los animales salvajes o domesticados tienen un papel fundamental en el antiguo Egipto. La exposición Animales y faraones muestra la función y la importancia de la figura animal en la civilización faraónica.
Formada por más de cuatrocientas piezas, reconstruye la relación que se estableció entre los hombres y los animales, la naturaleza y la cultura, desde la admiración y el temor en la vida cotidiana, en la agricultura, la guerra y las creencias religiosas.
A series of test images taken from various Processing sketches that explore simple graphic patterns.
"Contrapuntal Forms 1950-51" is carved from Irish blue limestone. It was commissioned for the Festival of Britain by the Arts Council and in 1953 was presented to the new town of Harlow where it still (normally) stands.
Durga
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In Hinduism, Durga one who can redeem in situations of utmost distress; is a form of Devi, the supremely radiant goddess, depicted as having ten arms, riding a lion or a tiger, carrying weapons and a lotus flower, maintaining a meditative smile, and practising mudras, or symbolic hand gestures.
An embodiment of creative feminine force (Shakti), Durga exists in a state of tantrya (independence from the universe and anything/anybody else, i.e., self-sufficiency) and fierce compassion. Kali is considered by Hindus to be an aspect of Durga. Durga is also the mother of Ganesha and Kartikeya. She is thus considered the fiercer, demon-fighting form of Shiva's wife, goddess Parvati. Durga manifests fearlessness and patience, and never loses her sense of humor, even during spiritual battles of epic proportion.
The word Shakti means divine feminine energy/force/power, and Durga is the warrior aspect of the Divine Mother. Other incarnations include Annapurna and Karunamayi. Durga's darker aspect Kali is represented as the consort of the god Shiva, on whose body she is often seen standing.
Durga Slays Mahishasura, Mahabalipuram sculpture.
As a goddess, Durga's feminine power contains the energies of the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.
According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (an inhuman force/demon) named Mahishasura. He had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods went to Brahma, who had given Mahishasura the power not to be defeated by a man. Brahma could do nothing. They made Brahma their leader and went to Vaikuntha — the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. Hearing this Vishnu, Shiva and all of the gods became very angry and beams of fierce light emerged from their bodies. The blinding sea of light met at the Ashram of a priest named Katyan. The goddess Durga took the name Katyaayani from the priest and emerged from the sea of light. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme Brahman who had created all the gods. Now she had come to fight the demon to save the gods. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.
It is said that upon initially encountering Durga, Mahishasura underestimated her, thinking: "How can a woman kill me, Mahishasur — the one who has defeated the trinity of gods?" However, Durga roared with laughter, which caused an earthquake which made Mahishasur aware of her powers.
And the terrible Mahishasur rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.
Then Mahishasur began attacking once more, starting to take the form of a buffalo again. The patient goddess became very angry, and as she sipped divine wine from a cup she smiled and proclaimed to Mahishasur in a colorful tone — "Roar with delight while you still can, O illiterate demon, because when I will kill you after drinking this, the gods themselves will roar with delight".[cite this quote] When Mahashaur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.
Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini — the slayer of Mahishasur. According to one legend, the goddess Durga created an army to fight against the forces of the demon-king Mahishasur, who was terrorizing Heaven and Earth. After ten days of fighting, Durga and her army defeated Mahishasur and killed him. As a reward for their service, Durga bestowed upon her army the knowledge of jewelry-making. Ever since, the Sonara community has been involved in the jewelry profession [3].
The goddess as Mahisasuramardhini appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands [4]. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini (2-, 4-, 6-, and at Udayagiri, 12-armed). The spear and trident are her most common weapons. a Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a bufalo-faced demon (as contrasted with a buffalo demon); a variation also seen at Ellora. In later sculptures (post-seventh Century), sculptures show the goddess having decapitated the buffalo demon
Durga Puja
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Durga puja is an annual Hindu festival in South Asia that celebrates worship of the Hindu goddess Durga. It refers to all the six days observed as Mahalaya, Shashthi , Maha Saptami, Maha Ashtami, Maha Navami and Bijoya Dashami. The dates of Durga Puja celebrations are set according to the traditional Hindu calendar and the fortnight corresponding to the festival is called Devi Paksha and is ended on Kojagori Lokkhi Puja
Durga Puja is widely celebrated in the Indian states of West Bengal, Assam, Jharkhand, Orissa and Tripura where it is a five-day annual holiday.In West Bengal and Tripura which has majority of Bengali Hindus it is the Biggest festival of the year. Not only is it the biggest Hindu festival celebrated throughout the State, but it is also the most significant socio-cultural event in Bengali society. Apart from eastern India, Durga Puja is also celebrated in Delhi, Uttar Pradesh, Bihar, Maharashtra, Gujarat, Punjab, Kashmir, Karnataka and Kerala. Durga Puja is also celebrated as a major festival in Nepal and in Bangladesh where 10% population are Hindu. Nowadays, many diaspora Bengali cultural organizations arrange for Durgotsab in countries such as the United States, Canada, United Kingdom, Australia, Germany, France, The Netherlands, Singapore and Kuwait, among others. In 2006, a grand Durga Puja ceremony was held in the Great Court of the British Museum.
The prominence of Durga Puja increased gradually during the British Raj in Bengal. After the Hindu reformists identified Durga with India, she became an icon for the Indian independence movement. In the first quarter of the 20th century, the tradition of Baroyari or Community Puja was popularised due to this. After independence, Durga Puja became one of the largest celebrated festivals in the whole world.
Durga Puja also includes the worship of Shiva, Lakshmi, Ganesha, Saraswati and Kartikeya. Modern traditions have come to include the display of decorated pandals and artistically depicted idols (murti) of Durga, exchange of Bijoya Greetings and publication of Puja Annuals.
El Batallón Valparaíso también llamado Batallón de Línea Valparaíso fue una unidad militar de infantería creada sobre la base de la policía municipal de Valparaíso al comienzo de la Guerra del Pacífico. Aunque la policía no pertenecía al Ejército fue junto al Batallón Bulnes que fue creado sobre la base de los guardias de cárceles (gendarmes) y de la policía municipal de Santiago, de los primeros batallones con que se engrosó el ejército expedicionario que se formaba en Antofagasta.
El 1 de mayo de 1879, el 2do de Línea fue embarcado en el transporte “Rimac” con destino a Antofagasta, donde formó parte de las divisiones que ocupaban esa provincia, durante la Guerra del Pacífico. El 23 de Mayo formó parte de la Batalla de Calama y el 2 de Noviembre del Asalto y Toma de Pisagua.
Tres semanas más tarde, el 27 de noviembre participó en la Batalla de Tarapacá, en la cual las bajas superaron el 75 %. Luego de la Batalla, muere su Comandante Eleuterio Ramírez Molina, así como su Segundo Comandante Bartolomé Vivar, el subteniente abanderado Telésforo Barahona, y gran parte de la oficialidad y tropa, en la ocasión también fue capturado el Estandarte de Combate.
Nuevamente organizado tuvo participación en la Batalla de Tacna, recuperando su estandarte en la Iglesia San Ramón.
El 29 de septiembre de 1880, entró a formar parte de la I División, distinguiéndose después en la toma del Morro Solar, la Batalla de Chorrillos y Miraflores, así como en la Campaña de la Sierra.
En la guerra civil de 1891 participó en la Batalla de Pozo Almonte y Batalla de Concón, enfrentando a las fuerzas parlamentaristas, que luego vencerían.
Durante el siglo XX, el año 1902, la Unidad fue elevada a Regimiento, llamándosele además “Maipo” Nº 2, respondiendo a la orden que establecía que los cuerpos de armas debían llevar el nombre de un hecho de armas, cubriendo guarnición en la ciudad de Viña del Mar.
En 1907, luego de haber participado activamente durante el terremoto de 1906 en Valparaíso, será trasladado a Valparaiso, ocupando el Cuartel de Playa Ancha, cuyas construcciones fueron iniciadas por la constructora Hansen Hermanos y después por el arquitecto Jorge Schröeder, siendo la primera edificación de 1907 y la segunda, de gran similitud del año 1928 – 1929.
De ellas el Presidente de la República don Carlos Ibáñez del Campo y su ministro de Guerra, Bartolomé Blanche, mencionaron, según consta en diarios de la época, que sería el regimiento más moderno del país
La foresta di Badde Salighes è formata da piante autoctone, alcune delle quali millenarie, e da piante esotiche, che alla fine dell'800 furono messe a dimora nel parco attorno alla villa Piercy, dal proprietario della tenuta, l'ingegnere Benjamin Piercy. La vegetazione autoctona è costituita principalmente da formazioni miste di lecci, tassi, aceri, agrifogli e roverelle. Alcuni esemplari millenari di tasso, che superano i sette metri di circonferenza, possono essere considerati relitti dell'originaria foresta primaria del periodo terziario. In questo contesto naturale si colloca l'opera del Piercy che intervenne creando un parco modellato secondo l'esempio dei grandi parchi inglesi, seguendo il gusto dell'epoca. Le specie da introdurre furono scelte in modo particolarmente accurato, tanto è vero che esse paiono essersi adattate perfettamente al nuovo ambiente.
Particolarmente accurato era il progetto che ne regolava la disposizione, in modo da ottenere grandi viali, boschetti di alberi della stessa specie alternati a spazi aperti ad esempio, con attenzione anche agli effetti cromatici dati dai diversi tipi di fioriture. Per la realizzazione di questo parco fu quindi tagliata una parte della foresta originaria che fu sostituita con i grandi viali di ippocastano, di calocedro, gli abeti, i cedri e i cipressi ed altri. Tra le particolarità da segnalare c'è anche il tunnel di bosso sempreverde, molto bello e fra i più lunghi in Italia.
TAXUS BACCATA
TASSO
Taxacee. Albero alto fino a 20-25 m. Il tronco è eretto, spesso diviso fin dalla base; e ramoso con rami secondari penduli che sostengono una corona piramidale espansa di colore verde cupo.
Foglie persistenti, aghiformi, lineari, piatte, leggermente a forma di falce, acute ma non pungenti. Hanno inserzione distica.
Frutti: arilli grossi, carnosi, dapprima verdi poi scarlatti, a forma di campana che circonda un solo seme nero di lunghezza non superiore al centimetro.
Corteccia di colore rossastro,nei primi anni di vita è liscia poi si desquama con l'età.
Il tasso è una pianta molto longeva può vivere fino a 2000 anni.
Nordeuropa, Caucaso, Nordafrica, Nordamerica, sporadico nei boschi di conifere.
Viene anche chiamato "albero della morte" ma solo perché le foglie ed i semi contenuti nelle rosse bacche, sono velenosi poiché contengono un alcaloide denominato tassina.
Per gli antichi romani la strada che portava all'aldilà era bordata proprio di tassi.
In antichità si credeva che steccando un arto fratturato le proprietà terapeutiche della pianta potessero calcificare le ossa prima del dovuto.
Dal legno di tasso, molto elastico e di grana fine erano ricavati archi e frecce. Queste ultime, data la tossicità della pianta, divenivano strumenti letali.
Oggi, l'uso del legno di Tasso è essenzialmente d'ebanisteria.
Great Blue Heron (Ardea herodias)
Form follows function is a principle associated with modern architecture and industrial design in the 20th Century, which states that the shape of a building or object should be predicated by or based upon its intended function or purpose. Linking the relationship between the form of an object and its intended purpose
It seems Nature has been utilizing this principle for millions of years. It's always fun to watch these majestic birds as they slowly and methodically move along the shallow waters. Once they spot their target - their long neck and spear like beak strike with amazing speed and accuracy.
side note: I actually photographed the Heron at the Fort Worth Zoo. It was not in an actual exhibit, but is native to North and Central America. This particular Heron has learned to hang out among the Zoo animals, and has become somewhat used to people, and I was happy to take advantage of the opportunity.