The Mahy boys were each given a car by their father: Ivan got a small Volugrafo Bimbo from just after World War Two; his younger brother Hans an Amilcar CGSS from 1927. While not yet even in their teens, the two young rascals raced their cars around the grounds of the family villa at Sint-Denijs-Westrem, just outside Ghent. One day, an unresponsive steering shaft caused Ivan to miss a bend and the Bimbo bashed into the Amilcar. The slender French sports car lost a headlamp and a wing and both boys got a good telling-off from Ghislain. The damaged Amilcar was added to the other half-wrecks in the collection still awaiting repair. And there it has remained for the past 70 years, slowly deteriorating further.

Founded in 1921 by Joseph Lamy and Emile Akar, the fortunes of Amilcar (an incomplete anagram of the two names) soared as the Roaring Twenties progressed. At their base in Saint-Denis, Amilcar designed lively ‘cyclecars’, which were a kind of hybrid between a car and a motor bike. The most well known of these C models was the Grand Sport and its derivative, the Grand Sport Surbaissé, with a lowered chassis. Between 1926 and 1929, Amilcar constructed no fewer than 4,700 of these cars in Germany, Austria and Italy. The CGSS had a 1074 cc engine behind its gleaming nose and brakes on all four wheels. This powerful combination helped André Lefèbvre to win the 1927 edition of the Monte Carlo Rally, an exhausting race for both man and machine, starting in what is now Kaliningrad (Russia) and finishing on the Grimaldi’s rock overlooking the Mediterranean. On a cool September evening of that same year, the American dancer Isadora Duncan climbed into an Amilcar CGSS in Nice. With the promise of an unforgettable evening ahead, race driver Benoît Falchetto sped off into the night. The dramatic Duncan threw a shawl around her neck to keep out the cold. It was a fatal gesture. The fabric became entangled in the spokes of the Amilcar’s wheel and broke her neck. Her last words were ‘Adieu, mes amis. Je vais à l’amour.’ Goodbye, dear friends. I am going to where love is.

1.074 cc

4 In-line

Expo : Mahy, a family of cars - The Barnfind Collection

07/07/2023 - 03/09/2023

Autoworld

www.autoworld.be

Brussels - Belgium

August 2023

Given its proximity to the tube station and the Piazza, this is likely to get very busy with tourists. It's been part of the McMullen chain for about a century.

Address: 10 James Street.

Owner: McMullen.

Links:

CAMRA

Pubs History (history)

After the Charisma Carpenter plastic surgery the difference can be seen in the playboy magazine which she modeled for immediately after she has given birth.

celebritypost.net/charisma-carpenter-plastic-surgery/

Given that Daw Mill colliery has closed forever and Didcot power station no longer is coal burning this shot of 66 548 on Hatton Bank on 24/03/11 with 6Z98 12.57 Daw Mill - Didcot p.s. is a historical shot. Things do move quickly these days.

Copyright Geoff Dowling; All rights reserved, no use to be made without consent.

Happy St. Pat's Day to all! I'm a wee bit o' the Irish meself and Kathleen is me given name!

St. Patrick was said to have taught the pagans about the Trinity by using the 3 leaf clover as an example of how there is one God and 3 divine persons in the Godhead. The Father, the Son, and the Holy Spirit. The next passage shows all 3 present at the same time: The Father God speaking, Jesus being baptized, and the Holy Spirit descending upon Jesus, the Son of God.

Matthew 3:1 In those days came John the Baptist, preaching in the wilderness of Judaea, 2 And saying, Repent ye: for the kingdom of heaven is at hand. 3 For this is he that was spoken of by the prophet Esaias, saying, The voice of one crying in the wilderness, Prepare ye the way of the Lord, make his paths straight. 4 And the same John had his raiment of camel's hair, and a leathern girdle about his loins; and his meat was locusts and wild honey. 5 Then went out to him Jerusalem, and all Judaea, and all the region round about Jordan, 6 And were baptized of him in Jordan, confessing their sins.

7 But when he saw many of the Pharisees and Sadducees come to his baptism, he said unto them, O generation of vipers, who hath warned you to flee from the wrath to come? 8 Bring forth therefore fruits meet for repentance: 9 And think not to say within yourselves, We have Abraham to our father: for I say unto you, that God is able of these stones to raise up children unto Abraham. 10 And now also the axe is laid unto the root of the trees: therefore every tree which bringeth not forth good fruit is hewn down, and cast into the fire. 11 I indeed baptize you with water unto repentance: but he that cometh after me is mightier than I, whose shoes I am not worthy to bear: he shall baptize you with the Holy Ghost, and with fire: 12 Whose fan is in his hand, and he will throughly purge his floor, and gather his wheat into the garner; but he will burn up the chaff with unquenchable fire.

13 Then cometh Jesus from Galilee to Jordan unto John, to be baptized of him. 14 But John forbad him, saying, I have need to be baptized of thee, and comest thou to me? 15 And Jesus answering said unto him, Suffer it to be so now: for thus it becometh us to fulfil all righteousness. Then he suffered him. 16 And Jesus, when he was baptized, went up straightway out of the water: and, lo, the heavens were opened unto him, and he saw the Spirit of God descending like a dove, and lighting upon him: 17 And lo a voice from heaven, saying, This is my beloved Son, in whom I am well pleased.

Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.

A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.

Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.

In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms

.

Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.

Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.

In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.

The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.

The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.

Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.

Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.

The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.

In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.

Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.

Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.

However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.

In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.

en.wikipedia.org/wiki/Gandhara

en.wikipedia.org/wiki/Gautama_Buddha

Begining a search.

More than 40 Special Constables have today (17/5/13) given up their day job to help Greater Manchester Police as part of Give & Gain Day 2013.

The national day will see more than 11,000 employees across the UK donate their time to help out the communities they live or work in.

Specials taking part in the day have been given a day’s paid annual leave to support the day of action and their bosses have been invited to see what they do first hand.

Businesses supporting the national day include Tesco, Inspire 2 Independence (i2i) Ltd, Willmott Dixon Construction, AKW, Trafford Park, Lloyds Banking Group, NHS Blood & Transplant Service, Ofsted, Dept of Work Pensions, Bury Council, Asda Pilsworth and BT.

Specials working on the day are taking part in a variety of different tasks including warrants, an ANPR operation and burglary initiative.

Chief Superintendent Nick Adderley, programme director for the Special Constabulary, said: “Every day I’m blown away by the dedication, commitment and good work being done by our Special Constables to keep communities safe.

“These are people who want to make a real difference to the area which is commendable in itself but when you add to this the fact that they are giving up their spare time and aren’t being paid, I have nothing but the uttermost respect for them.

“Being a Special Constable enables individuals to gain hands on experience in dealing with challenging situations that they might not encounter in any other career. This helps to improve confidence, develop communication skills and manage conflict, which can help them in both their personal and professional lives.

“I’m delighted to take part in Give & Gain Day 2013 and would like to extend a personal thank you to the organisations that have allowed their staff to take a day off to help make Greater Manchester a safer place to live, work and visit.”

Simon Butcher, Director of Operations of Willmott Dixon Construction Northern said: “As an organisation we recognise the significant contribution that specials make in the policing of Greater Manchester and the significant personal risks it brings in protecting the public and serving the community.

“At Willmott Dixon we are always happy to support whether that be at an event like today or time off work for duties and training. Furthermore we recognise the significant benefits it brings to both individuals and company. Chief Inspector Mike Walmsley is one of our ‘Top Flight’ Project Managers and I have no doubts that Mike’s career with Willmott Dixon has benefited by the experience and training he has received in his voluntary role with the Specials.

“I am very much looking forward to spending a day in the life of a Special Constable and witnessing with my own eyes the marvellous work that these people carry out.”

Special Constable Oliver Mayall, who is being supported by his employer Inspire 2 Independence (i2i), said: "I joined the Special Constabulary because I wanted to give something back to my community. However, my experiences in the challenging role of a volunteer police officer have also enabled me to further develop my own skills and abilities.

"My paid employer is supporting me in this day of action by giving me the day off to undertake policing duties within the communities of Manchester. This makes me feel fulfilled as an employee, as it shows that I work for an organisation that is not only supportive of my own personal development, but also keen to contribute towards increasing public safety and confidence within Greater Manchester.”

To find out more about Greater Manchester Police please visit our website.

www.gmp.police.uk

You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

Given the weather in the mid morning and knowing this was 953 I wasn't going to bother with this, but as I left the office for lunch, thought I might as well catch it. It rolled through the station early along platform 8 as I descended the steps of platform 5. I quick piece of framing was required to at least give a half decent capture avoiding a completely wasted journey.

Given the fact that the outgoing Golf is a genuinely impressive vehicle with small margin for gripes, VW has set for itself a fairly tough act to follow. It’s hard enough to make the step up and replace a model that has in built issues or numerous niggling deficiencies. Improving on one that has been so successful is a different story altogether. www.mynrma.com.au/motoring/reviews/car-reviews/volkswagen...

From the handout given at the park:

O’Leno State Park and River Rise Preserve State Park Fact Sheet

•Together the parks number 6212 acres. 4,500 in River Rise Preserve and the remainder in the older O’Leno State Park.

•There are 18 different natural communities within the parks boundaries.

•Both parks contain the 3 mile “natural bridge” where the Santa Fe River flows into the sink and returns to the surface at the rise.

•Hernando De Soto traveled through these parks in 1539 while exploring the interior of Florida. Here he met members of local Timucan speaking tribes the Utina and Potano.

•The Park occupies property in both Alachua and Columbia Counties.

•We have 55 listed Cultural sites on park property.

•There are 19 miles of equestrian trails at River Rise Preserve State Park. With a 20 horse stall barn and primitive campsites.

•There are 61 family campsites with water and electric. Two primitive Youth Camps for 25 people apiece and one up to 10 person “hike in/hike out” primitive campsite.

•A town existed here first called Keno and later Ken that lasted from the 1840’s until the mid 1890’s. Hence the origin of the park’s name “Old Leno” becoming O’Leno.

•1935-36 the Civilian Conservation Corps Company 418 Camp P-67 constructed Camp O’Leno to be used as a park/forestry training area. Some of the CCC buildings are still being used today by the park.

•The camp became a park in 1940, and is one of the older state parks. River Rise was purchased as a Preserve in 1974.

•Florida’s First Federal Roadway, the Bellamy Road traveled through the park in the 1820’s. It originated from an earlier Indian trail and later the Camino Real which connected missions in the interior of Florida with St Augustine.

•There are 6 miles of hiking trails.

•There are 17 cabins and 8 support buildings in our Group Camp.

•Both parks receive about 65,000 visitors annually that spend over 2 million dollars annually in the local economy. 67 local jobs are generated because of the parks.

•The park creates over $230,000 in local sales tax revenue.

History of O’Leno State Park

O’Leno State Park occupies an historic crossroads area, unique compared to all of north Florida. The Santa Fe River along with its geologically unique disappearance into the ground and aquifer (River Sink) and its reappearance 3 miles to the south (River Rise) creating a natural land bridge, has the first basis of this land being a crossroads. Before the Spanish arrived in the 1500’s, Native Indian presence and villages were abundant in north Florida. Villages were close by. Research has also shown that the Santa Fe River was a boundary line between the Utina and Potano tribes of the Timucua Indians.

The first European to pass through the area was the Spanish explorer Hernando De Soto in 1539. In the Spanish mission period of the 1600’s, the Spanish used the Indian trail for their road running from St. Augustine, through the Santa Fe land bridge, to Tallahassee and Pensacola, calling it the El Camino Real.

About two hundred years later, when Florida was a U.S. territory, the federal government contracted with John Bellamy, a plantation owner, in 1824 to build the first federally-funded major road from St. Augustine to Tallahassee. This road followed the El Camino Real and also passed through the Santa Fe land bridge. This road became known as the Bellamy Road, now referred to today as the Old Bellamy Road.

Just a quarter mile of the River Sink and 2 miles north of the Old Bellamy Road was a fitting place for a town. A town was established on the west bank of the river in 1840 by a man named Henry Matier. The town as “Keno,” a popular bingo-type gambling game in those days. Later, in 1876, the General Store manager, Col. Whetstone, applied for a post office from the U.S. government. It is reported that the request was denied due to the name of the town being associated with gambling. Therefore, the town’s name was changed to Leno, and a post office was granted. Several years later, Col. Whetstone moved the post office to his seat of residence in Mikesville, three miles to the north.

In the latter 1800’s the town of Keno/Leno grew by the hard work defeating the odds of nature, establishing grist mills, saw mills, and cotton gins along the river by first creating a couple dams and channeling the river into the shoots, where the mills were strategically built. The dams were created by embedding cedar slats across the river, backed by barriers of large rocks to direct the river flow. Remnants of these dams, mill sites, and cedar slats and shoots can be seen today when the river is down low. Due to the grinding capability from the two grist mills and six cotton gins and circular saw mill, Leno became and agricultural hub for the area.

In the days of Keno/Leno, criss-crossing the Bellamy Road was the north-south “Alligator Road,” passing Keno/Leno, and heading north up to the city of Alligator, now Lake City. When the town heard in 1894 of a railroad coming through the area, they were hopeful. But the train bypassed Leno, going to Fort White instead. This struck a major blow to the town, and many of the residents moved to neighboring communities. A major freeze then occurred in 1896 killing the major crops in that day, oranges, cotton, and tobacco, which sealed a final blow to the once thriving town of Leno.

My challenge (given to me by Mr. Kevin Thai www.flickr.com/photos/kthai/) for the Get Pushed week is to use the same Lego Minifigure and show a range of emotions everyday. Today's emotion is Anger!

As we discovered yesterday this Clone Commander enjoys his free time spent in his garden, tending to his borders and pots. Nothing makes him happier! Just imagine how upset he was when he saw this Bomb Squad Trooper picking the heads off his flowers! The red mist descended and grabbing Thor's hammer the Clone Commander decided to show him who was boss!

The TRAFALGAR WAY is the name given to the historic route used to carry dispatches with the news of the Battle of Trafalgar overland from Falmouth to the Admiralty in London. The first messenger in November 1805 was Lieutenant John Richards Lapenotière, of HMS Pickle, who reached Falmouth on 4 November after a hard voyage in bad weather. He then raced to London bearing the dispatches containing the momentous news of Lord Nelson's victory and death in the Battle of Trafalgar on 21 October 1805.

Following the death in action of the Commander in Chief, Admiral Lord Nelson, his deputy, Vice Admiral Cuthbert Collingwood, took command of the British Fleet. Because his ship, the Royal Sovereign, had been dismasted, Collingwood transferred to the undamaged frigate HMS Euryalus to control operations. Shortly after the battle a severe storm blew up and lasted for several days. Collingwood was faced with the challenge of ensuring the safety and survival of his own and the captured ships: at the same time, he needed to report the outcome of the battle to the Admiralty in London as soon as possible.

The first dispatch. Collingwood entrusted the safe delivery of his first reports of the battle to Lapenotière, but could not spare him at once owing to the storm. On Saturday 26 October, the Pickle was finally detached: Lapenotière carried Collingwood’s first dispatch, written on 22 October, containing his initial report of the battle, and a second, written on 24th, describing the effects of the storm on the ships that had survived. He also carried copies of two General Orders addressed to the Fleet. Pickle reached Falmouth on Monday 4 November and Lapenotière then travelled overland to London. He rode "express in a post chaise and four." Edited versions of Collingwood’s four documents that Lapenotière delivered were published in The London Gazette on 6 November and subsequently in most papers. The first report contained the words "I fear the numbers that have fallen will be found very great, when the returns come to me; but it having blown a gale of wind ever since the action, I have not yet had it in my power to collect any reports from the ships". This news triggered understandable anxiety, particularly amongst the families of the 18,465 men who had been with Nelson at Trafalgar, to learn the details of the casualty lists, or "butcher’s bill" as they were commonly known.

Lapenotière's journey was about 271 miles, taking 38 hours and costing £46. There were 21 stops to change horses on the way from Falmouth to London and his "account of expenses", which was carefully saved for posterity in Admiralty records, shows his route, where he changed horses and his costs. The route he took was the main Falmouth to London coaching road of 1805 so each stage was between 10 and 15 miles at a speed of just over 7 mph. The expenses involved for each leg were:-

Falmouth to Truro, £ 1 : 2 : 6 ........continued To Blandford £ 2 : 10 : 6

To the Blue Anchor £ 2 : 17 : To Woodyates

£ 2 : 5 :

To Bodmin £ 1 : 19 : To Salisbury £ 1 : 17 : 6

To Launceston £ 3 : 6 : 6 To Andover £ 2 : 15 :

To Oakhampton £ 3 : 4 : To Overton £ 1 : 13 :

To Crockernwell £ 1 : 16 : 6 To Basingstoke £ 1 : 14 :

To Exeter £ 1 : 17 : 6 To Hertford-bridge £ 1 : 15 : 6

To Honiton £ 2 : 14 : To Bagshot £ 1 : 12 :

To Axminster £ 1 : 11 : 7 To Staines £ 1 : 17 : 6

To Bridport £ 1 : 16 : 6 To Hounslow £ 1 : 14 : 6

To Dorchester £ 2 : 14 : 6 To Admiralty £ 2 : 5 :

Total £46 : 19 : 1

To date no record has been found to show exactly where he obtained fresh horses, although in some of the smaller places there was probably only one stable or coaching inn available.

The "race". Nelson had ordered Commander John Sykes of the 18-gun sloop HMS Nautilus to patrol off Cape St. Vincent in southwest Portugal. He met Pickle as she sped homewards on 28 October and, having heard Lapenotière’s news of the battle, he appears to have elected to abandon his ordered station and escort Pickle for her safety, but they lost sight of each other in very heavy weather. When Nautilus arrived at Plymouth late on 4 November Sykes reported to Admiral William Young, who feared that Pickle might be missing.

As a precaution the Admiral therefore ordered Sykes to travel to the Admiralty to report the sketchy details of the battle that he had learnt from Lapenotière at sea. As Sykes reached Exeter, neither Lapenotière nor Sykes were aware that they were now only a few miles apart on the same road in an involuntary race for London. By the time they reached Dorchester, documented accounts reported the two officers as being only one hour apart. Sykes reached the Admiralty at 2 a.m. on Wednesday 6 November, about an hour behind Lapenotière.

An encounter engagement order was given over the company channel. Excitement and trepidation get mixed. This is it I think to myself as a shiver runs down my back.

Then the training kicks in and I give the order "Crew, advancing to observation post, driver, forward slow, stabilization, antennas!".

I hoist myself out through the commander's hatch to spot the enemy.

I remember the "intel" briefing that a sniper can take a head shot form over 800 meters so I droop the foot-rest a notch. I'm glad I camouflaged my Jantex helmet, despite my comrades "you're poisoned" remarks.

The objective, a company size "pitta" position is barely visible over the mound we are climbing.

"Driver, Stop!" I command and the tank stops instantly. I raise the binoculars and start scanning.

I spot two tanks in their firing position inside the "pitta".

"Cannon, Arrow 7, tank couple, driver, forward slow" I command.

The tank starts moving, very slowly not to raise dust or exhaust.

I drop the foot-rest so only my head is outside.

I grab the commander's joystick and swivel the cannon to the general direction of the targets.

I hear the distinctive clink of the cannon's breech.

"Loaded!" Assaf reports after he slammed an Arrow 7 APDS round into the chamber and opening the safety switch. He now holds another round in his hands ready to load the gun again.

Haim, my gunner calls out "On!". Meaning he's sees the target and can aim the cannon.

"Driver stop, range left target!" I raise the binoculars to watch the target.

Haim swivel the cannon to the left tank target, places the cross-hairs on it and presses the laser range finder button. He announces "3550!"

"3550" I repeat, "Fire!"

"Firing now" he warns as he presses the trigger.

The cannon erupts. The bright light from the blast blinds me for a brief second.

Then the deafening boom, the heat wave and dust from the blast wash over my face as the entire tank recoils slightly.

I hear the distinctive clink of the spent shell case falling into case basket and smell the burnt gun powder.

I struggle to retain my sight on the target through the dust, trying to spot the tracer of the round.

It takes a bout 2 to 3 seconds for the round to cover the distance. I mange to see it, it missed! Shit, I curse to myself. But I see where it went.

"Long, decrease, right, half, Fire!" I give a correction firing order.

Assaf calls "Loaded!"

"Long, decrease, right, half" Haim repeats. A second passes, "On, firing now!"

BOOM, the cannon erupt again. Clink, clink, I hear the spent shell in the case basket. The wind changed direction now I can also taste the dust. This time I don't need to struggle to keep my eye on the target, I see a bright flash of light and the target explodes in a ball of fire.

"Taaarrrrget! Last aim to the riiiiight, fire!"

Haim swivels the gun to the right tank. The instant the gun stops moving I hear "Ooonnn, fiiiiring NOW!"

Through the dust raise by the gun blast I track the round, the second target is hit with the distinctive flash of light but it doesn't explode.

"Taaaarrrget, repat!" I want to make sure that tank is DEAD.

"Loaded"

"Repeat" Haim confirms the order. "Firing NOW!".

Another bright flash as the target is hit again and then an explosion rips the turret of the tank.

"Target, cannon cease fire, driver backward FAST, stabilization, antennas!"

Zagori, the driver, shifts to reveres and slams the "pedal to the metal". With 4 shifts in reverse our Merkava tank can go backward as fast as it can forward. It jumps back roaring down the little mound that was our firing position.

I'm looking backward as we are racing down. At the bottom of the mound I command "Driver, hard right, HARD RIGHT!".

Zagori breaks hard to the right, as the tank straightens along the bottom I give the "OK!" command to stop the turn. I turn my head to look for a now position.

I call "Driver, hard left, HARD LEFT!" as we reach a spot that looks like a good position.

When we are perpendicular to the mound I call "Driver STOP!"

I collect my breath and think to myself, here we go again, as I hear myself saying "Crew, advancing to observation post, driver, forward slow, stabilization, antennas!"

The news from the South brings back old memories.

To all our troops fighting out there now, god speed and get back safely.

Amazonehaven Europoort9-3-2020 gezien vanaf DE NIEUWE PRINS van de RET

This is a photograph from the annual BHAA Government Services/Social Protection Group's 5 Mile Road Race took place on Tuesday 27th May 2013 at 20:00 in Dunboyne, Co. Meath, Ireland. The course is a fast flat course which begins on the Dunboyne-Maynooth Road between the two entrances to Dunboyne Castle Estate. The race then proceeds in an anti-clockwise direction back to the Dunboyne Athletic Club on the Rooske Road in Dunboyne. The race reaches higher standards with every passing year. Paul Gorey and his team of volunteers must be given great credit for putting on such a wonderful race event. Thanks are also extended to Dunboyne Athletic Club, the BHAA, and the local community who all make this possible.

This photograph is part of a large set of photographs taken at the finish line area of the race. There are also some races of the buildup and the start of the race. The full set is available at www.flickr.com/photos/peterm7/sets/72157644466844507/

Overall Race Summary

Participants: There were approximately 500 participants .

Weather: A bright sunny evening with little breeze

Course: This course is fully left handed with very little in the way of inclines. Good road surface. These are nice narrow country roads with shelter provided by mature hedgerows. This year the race finished with 3/4 of a lap of the Dunboyne AC track.

Refreshments: Lots and lots as is the tradition with BHAA Events - served outside the scouts hall at the track.

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

Some Useful Links

Results of the 2014 race will appear here: bhaa.ie/results/

Our photographs from the BHAA Dunboyne Race 2011: www.flickr.com/photos/peterm7/sets/72157626730168603/

Our photographs from the BHAA Dunboyne Race 2012: www.flickr.com/photos/peterm7/sets/72157629959245726/

Our photographs from the BHAA Dunboyne Race 2013: www.flickr.com/photos/peterm7/sets/72157633772077781/

Tom Healy BHAA usually photographs these BHAA events - his Flickr set is at www.flickr.com/photos/tomhealy/sets/

Can I use these photographs directly from Flickr on my social media account(s)?

Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.

We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.

This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

I want to download these pictures to my computer or device?

You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.

I want get full resolution, print-quality, copies of these photographs?

If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.

I would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

We use Creative Commons Licensing for these photographs

We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?

The explaination is very simple.

Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.

ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.

Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

Don't like your photograph here?

That's OK! We understand!

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets

Stromboli is a small island in the Tyrrhenian Sea, off the north coast of Sicily, containing one of the three active volcanoes in Italy. It is one of the eight Aeolian Islands, a volcanic arc north of Sicily. This name is derived from the Ancient Greek name Strongulē which was given to it because of its round swelling form. The island's population is between 400 and 850. The volcano has erupted many times and is constantly active with minor eruptions, often visible from many points on the island and from the surrounding sea, giving rise to the island's nickname "Lighthouse of the Mediterranean". The most recent major eruption was on 13 April 2009. Stromboli stands 926 m (3,034 ft) above sea level, and over 2,700 m (8,860 ft) on average above the sea floor.There are three active craters at the peak. A significant geological feature of the volcano is the Sciara del Fuoco ("Stream of fire"), a big horseshoe-shaped depression generated in the last 13,000 years by several collapses on the northwestern side of the cone. Two kilometers to the northeast lies Strombolicchio, the volcanic plug remnant of the original volcano.Mt. Stromboli has been in almost continuous eruption for the past 2,000 years. A pattern of eruption is maintained in which explosions occur at the summit craters, with mild to moderate eruptions of incandescent volcanic bombs, at intervals ranging from minutes to hours. This Strombolian eruption, as it is known, is also observed at other volcanoes worldwide. Eruptions from the summit craters typically result in a few short, mild, but energetic bursts, ranging up to a few hundred meters in height, containing ash, incandescent lava fragments and stone blocks. Mt. Stromboli's activity is almost exclusively explosive, but lava flows do occur at times when volcanic activity is high: an effusive eruption occurred in 2002, the first in 17 years, and again in 2003, 2007, and 2013-14.The two villages San Bartolo and San Vincenzo lie in the northeast while the smaller village Ginostra lies in the southwest. Administratively, they are one of the frazione of Lipari.In the early 1900s a few thousand people inhabited the island, but after several emigrations the population numbered a few hundred by the mid-1950s.

Stromboli è un'isola dell'Italia appartenente all'arcipelago delle isole Eolie, in Sicilia. Si tratta di un vulcano attivo facente parte dell'Arco Eoliano. Posta nel bacino Tirreno del mare Mediterraneo occidentale, l'isola è la più settentrionale delle Eolie e si estende su una superficie di 12,2 km².L'edificio vulcanico è alto 926 m s.l.m. e raggiunge una profondità compresa tra 1300 m e 2400 m al di sotto del livello del mare. Stromboli ha una persistente attività esplosiva ed è uno dei vulcani più attivi del mondo. A poche centinaia di metri a nord-est dell'isola di Stromboli si trova il neck di Strombolicchio, residuo di un antico camino vulcanico. L'isolotto ospita un faro della Marina, disabitato e automatizzato.Lo Stromboli è un vulcano esplosivo e le sue eruzioni avvengono con una frequenza media di circa una ogni ora. La sua attività "ordinaria" ha luogo ad una quota di 750 m s.l.m. dalle diverse bocche eruttive presenti nell'area craterica e allineate in direzione NE-SW. Tale attività consiste in esplosioni intermittenti di media energia, della durata di pochi secondi ad intervalli di 10–20 minuti, durante le quali vengono emesse piccole quantità di bombe scoriacee incandescenti, lapilli, cenere e blocchi, con velocità di uscita compresa tra 20 a 120 metri al secondo ed altezze comprese tra poche decine fino ad alcune centinaia di metri. L'attività eruttiva è associata ad un degassamento pressoché continuo dall'area craterica, il cui volume stimato è di 6000-12000 t/gi, e che consiste principalmente di H2O (3200-6300 t/g), CO2 (2900-5800 t/g), SO2 (400-800 t/g) e quantità minori di HCl e HF.Periodi di totale inattività, senza lanci di materiale, sono piuttosto rari. Il più lungo tra quelli registrati si è protratto per circa due anni, dal 1908 al 1910. Periodi di prolungata quiescenza, della durata di qualche mese, sono stati registrati più volte.

L'attività normale può essere periodicamente interrotta da esplosioni di maggiore energia, dette "esplosioni maggiori". Questi eventi consistono di brevi ma violente esplosioni, durante le quali vengono prodotti lanci balistici di blocchi e bombe di dimensioni anche metriche a distanze di alcune centinaia di metri, associati a piogge di lapilli e cenere; la distribuzione dei prodotti è solitamente confinata all'interno dell'area craterica. Sono distribuite non omogeneamente nel tempo, ma si tratta mediamente di 2,1 eventi ogni anno.

Le eruzioni stromboliane più violente mai accadute in tempi storici risalgono al 1919 e al 1930, ed entrambe (pare) furono causate da grandi infiltrazioni d'acqua marina nel camino vulcanico: il magma, a contatto con l'acqua, avrebbe causato violente esplosioni con grande emissione di vapori e scorie, accompagnate da violenti terremoti. Per la prima e finora unica volta nella storia del vulcano, delle colate laviche si riversarono anche al di fuori della Sciara del Fuoco, arrivando a lambire i centri abitati (Piscità fu sfiorata ad appena 20 metri), causando ingenti danni e numerose vittime, e causando un piccolo tsunami che generò un'onda di 2–3 m che arrivò a far danni fino a Capo Vaticano, in Calabria.I parossismi rappresentano le manifestazioni più energetiche del vulcano di Stromboli; consistono in violente ed improvvise esplosioni "tipo cannonata", durante le quali avviene l'emissione sostenuta di scorie incandescenti, ceneri, bombe e blocchi litici a distanze considerevoli, fino ad interessare le zone abitate dell'isola. Tali esplosioni possono produrre nubi convettive che raggiungono quote di 10 km. Durante i parossismi sono emessi volumi sensibilmente maggiori di materiali rispetto alle eruzioni normali e a quelle maggiori e frequentemente possono avvenire profonde modificazioni dell'area craterica. L'ultimo evento parossistico è avvenuto il 15 marzo 2007 all'interno dell'eruzione di febbraio-aprile 2007.Il 27 febbraio 2007, con un'iniziale effusione di lava dal cratere di NE, durata alcune ore e seguita dall'apertura di una bocca effusiva nella Sciara del Fuoco, a quota 400 m s.l.m. circa. Il 9 marzo 2007 si è aperta una seconda bocca sempre sulla Sciara del Fuoco, ma posizionata a circa 500 m s.l.m.; l'attività di questa bocca è stata comunque breve (circa 24 ore). Il 2 aprile 2007 è infine terminata anche l'effusione di lava dalla bocca di quota 400 m s.l.m. Il 4 maggio 2009 il vulcano ha ripreso l'attività eruttiva.

Nell'ultimo secolo sono riportati circa 26 episodi durante i quali si sono avute emissioni laviche. I prodotti emessi sono rappresentati principalmente da colate di spessore variabile; la morfologia del vulcano obbliga le colate di lava a riversarsi sul versante nord-occidentale, dove sono confinate all'interno della Sciara di Fuoco e quindi non rappresentano un pericolo per la popolazione dell'isola. Le colate fuoriescono generalmente attraverso fratture eruttive nella zona craterica o all'interno della Sciara del Fuoco, ma possono generarsi anche per tracimazione dal bordo craterico.La storia geologica dell'isola di Stromboli comincia circa 200.000 anni fa, quando un primo vulcano attivo di grandi dimensioni emerge dal mare, in posizione NE rispetto all'isola; di questo vulcano antico rimane soltanto il condotto solidificato (neck) rappresentato da Strombolicchio (vedi sotto).Il vero e proprio vulcano di Stromboli emerge dal mare circa 160.000 anni fa. Inizialmente i centri di emissione sono nella parte meridionale dell'isola, dove affiorano le unità più antiche appartenenti ai complessi del Paleostromboli I e II.Circa 35.000 anni fa il centro di emissione migra leggermente verso nord e le emissioni di lava e i depositi piroclastici legati a eruzioni esplosive danno origine ad un cono che raggiunge quota 700 m s.l.m. (Paleostromboli III).Le fasi successive della storia di Stromboli vedono la formazione ed il collasso calderico di vari edifici vulcanici. In particolare, a circa 34.600 anni fa risale il complesso eruttivo di Scari, osservabile presso Scari e a sud del paese sotto forma di spesse sequenze di bombe vulcaniche, lapilli e lahar. Mentre successivo (circa 26.000 anni fa) è il complesso del Vancori, caratterizzato da depositi piroclastici e basalti shoshonitici. In questa fase, la cima del vulcano era occupata probabilmente da una grande caldera. Il ciclo Scari-Vancori si conclude con il collasso laterale (una grande frana) del settore occidentale e nordoccidentale dell'edificio vulcanico.La fase successiva, a partire da circa 13.800 anni fa, vede la ricostruzione dell'edificio nel settore nordoccidentale. Il nuovo centro eruttivo, detto Neostromboli, è ubicato a nord del costone dei Vancori. Contemporaneamente, alcuni centri eruttivi secondari danno origine al "Timpone del Fuoco" presso Ginostra, alle lave di San Bartolo e di San Vincenzo.All'incirca tra 10000 e 5000 anni fa il settore nordoccidentale subisce nuovi collassi laterali (frane), lasciando una profonda depressione a forma di ferro di cavallo che si estende dalla cima fino ad una profondità di circa 2.000 m sotto il livello del mare: la Sciara del Fuoco. Lentamente la depressione viene riempita da materiale piroclastico e colate di lava. Il centro eruttivo attuale è rappresentato da un grande cono piroclastico che si trova nella parte sommitale della Sciara del Fuoco, a quota inferiore rispetto al Pizzo Sopra la Fossa, ed è caratterizzato, come detto sopra, dalla presenza di tre crateri allineati parallelamente alla Sciara, in direzione NE-SW.

Stromboli è nota, frequentata ed abitata fin dall'antichità remota, e la sua economia si è sempre fondata sulle produzioni agricole tipicamente mediterranee: olivo, vite (malvasia coltivato basso in giardini terrazzati), fichi - e poi sulla pesca e sulla marineria. Fino al XIX secolo questa economia fu fiorente e Stromboli arrivò a contare circa 2700 abitanti, precisamente nel 1891, secondo i dati ufficiali a disposizione (fonte Mastriani e ISTAT ).Il peggioramento delle condizioni economiche seguito all'unità d'Italia, il ripetersi di eruzioni e terremoti (in particolare l'eruzione del 1930) e infine l'attacco della peronospora che negli anni trenta sterminò la più redditizia coltura locale, quella della vite, fecero sì che una grandissima maggioranza degli strombolani prendesse la via dell'emigrazione, soprattutto verso l'Australia e l'America e l'isola rischiò seriamente di restare abbandonata.Venne riscoperta dopo la guerra da Roberto Rossellini che, con il film del 1949 Stromboli terra di Dio (con protagonista femminile la giovane Ingrid Bergman), portò l'isola e la sua straordinarietà all'attenzione del pubblico.Il vulcano è chiamato dai suoi abitanti (gli stombolani) Struògnoli, o anche Iddu (Lui in siciliano), in riferimento alla natura divina che un tempo era attribuita ai fenomeni naturali incontrollabili.Il nome proviene dal greco antico Στρογγύλη (rotondo) per via della sua forma. In siciliano strummulu significa trottola.Stromboli dà il nome a un tipo di vulcani caratterizzati da un'attività vulcanica effusiva detta Stromboliana.I principali borghi abitati sono San Vincenzo (o semplicemente il paese di Stromboli, anticamente era borgo degli agricoltori) con l'approdo storico di Scari, Piscità e Ficogrande, che anticamente era il borgo degli armatori.A sudovest, raggiungibile solo via mare, c'è Ginostra dove d'inverno restano circa 30 o 40 abitanti e dove l'unico mezzo di trasporto è il mulo.A Stromboli c'è una scuola elementare e media per i pochi ragazzi abitanti dell'isola. Dopo le scuole solitamente i ragazzi vanno a Lipari dove sono presenti alcune scuole secondarie di secondo grado.Da Napoli, Lipari, Milazzo e Messina Stromboli è raggiungibile col traghetto e, d'estate, anche in aliscafo da Messina, Reggio Calabria, Vibo Valentia e Tropea.Il flusso turistico verso l'isola, che costituisce la principale risorsa economica di Stromboli, fino agli anni settanta fu rappresentato soprattutto da persone alla ricerca di un ambiente particolare, naturale ed integro e non privo di scomodità come mancanza di elettricità, scarsità d'acqua. Nei decenni successivi le scomodità sono molto diminuite e il turismo è molto cresciuto, anche se resta limitato prevalentemente ai mesi centrali estivi.L'isola è meta di turisti in cerca di tranquillità: anche per questo nei locali dell'isola è vietato diffondere musica oltre le due di notte.Giornalmente, inoltre, si organizzano escursioni al vulcano con guide esperte, che portano ad oltre 900 metri sul livello del mare. Tramite imbarcazioni è inoltre possibile raggiungere nelle ore notturne la vicina e movimentata Panarea, lo scoglio di Strombolicchio e Ginostra, caratteristica località sull'isola di Stromboli dove l'unico mezzo di trasporto sono i muli (ne sono presenti una decina in tutto) e che è irraggiungibile per via terrestre dall'altra parte abitata dell'isola.Stromboli è anche meta, seppur in misura minore, di molti giovani, che si recano nei locali e nelle feste sulla spiaggia periodicamente organizzate nella stagione estiva.Caratteristica dell'isola, oltre alle stradine strette percorribili solo dal motocarro e dai motorini elettrici, che i turisti affittano sull'isola stessa, è la mancata illuminazione notturna nelle strade, che il Comune a cui l'isola fa riferimento, ovvero quello di Lipari, vuol mantenere come importante attrattiva turistica. Dall'Osservatorio, infine, si può vedere la lava del vulcano, l'unico delle Isole Eolie perennemente in attività e il cielo stellato evidenziato dalla mancanza di illuminazione.Durante la stagione turistica partono imbarcazioni per permettere ai turisti di fare il bagno presso lo scoglio di Strombolicchio.

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YORK, ENGLAND - NOVEMBER 04: during the West Riding County FA Development West League match between i2i Albion and i2i County at Haxby Road on November 4th 2022 in North Yorkshire, United Kingdom. (Photo by Matthew Appleby)

Only by for Austria successful outcome of Ottoman wars in Europe the conditions were given to turn the old Hofburg, which until now was more fortress than imperial residence, into a befitting palace of a powerful dynasty. When Emperor Charles VI in 1711 succeeded to the throne, stood along the Schaufler alley until St. Michael's square yet the old two-story Chancellery Wing from the time of Ferdinand I. It was significantly lower than the Amalien wing and the Leopoldine wing, bordering the Interior Castle courtyard on the southwest and the southeast side. Between the Chancellery Wing and the Swiss courtyard there was a by Daniel Suttinger created Gate construction. In its place erected Johann Lukas von Hildebrandt in 1712 the so-called Carolingian Triumphal Arch but which was as well demolished in 1728 because now they had laid the foundation for a much more representative Chancellery Wing and in 1723 started the construction work. Hildebrandt's plans provided the unification of the entire inner castle but failed in the end due to the immense cost. 1726 he had to cede construction management to in the meantime appointed Court architect Joseph Emanuel Fischer von Erlach. This one let the already finished construction at Schaufler alley remain but put in front of it the splendid late baroque wing at the courtyard side. Fischer too could due to lack of sufficient liquid funds of the Imperial family his ideas which comprehended also the entire castle not fully realize. Work came to a halt in 1735 and was finally discontinued. The St. Michael's gate was only from 1888 after the demolition of the old Hofburg theater finished.

Herakles of Mattielli

In Chancellery wing were until 1806 when Emperor Franz II/I resigned the Roman-German Imperial Crown the central offices of the administration of the Holy Roman Empire housed. This included especially as the most important Imperial authority the Aulic Councel. 1810 lived here the French ambassador Berthier, when he, on behalf of Napoleon, asked for the hand of Maria Louise, the daughter of Francis I. At the time of the Vienna Congress in some rooms of the Imperial Chancellery Wing was housed the king of Bavaria. 1848 served archduke Johann a suite of rooms as an apartment. In the summer of this year, he received in Great Audience Hall a delegation from Frankfurt Imperial Diet, offering him the dignity of a "German Imperial Regent". A few years later the rooms were renovated, refurbished and converted into apartments for the Imperial family. Traditionally, no Austrian Emperor has taken over the apartment of his predecessor. Franz Joseph moved into his apartment in 1857, three years after his marriage, and lived there until his death in 1916. The apartment of his wife Elisabeth was in the neighboring Amalien wing. Today, the Imperial Apartments as well as the recently opened Sisi Museum and the former Court Silver and Table Room can be visited. The latter is dedicated to the culture of courtly household and the court ceremonial.

While the front is not very spectacular in Schaufler alley, turns the five-story face side of the Imperial Chancellery Wing towards the interior courtyard. This one served till the 16th century as a tournament court. In 1561 issued Thurnierbuch (tournament book) is yet of tournaments of the future Emperor Maximilian II reported which this one had held here in June of last year. In the 17th century but here no more tournaments took place but mounted tournaments, as the then popular horse ballet. The long facade facing the courtyard is accented by three only little projecting risalits with portals and balconies (1727/29) and divided by giant pilasters. The design of the façade is already reminiscent of the design language of French classicism. Franz Joseph and Elisabeth got through the Imperor's gate in central projection to their rooms on the first floor. The leading upwards Emperor's stairway has a magnificent stucco marble equipment and is decorated with gilted bronze vases. But it is hardly ever used. Today's visitor entrance to the Imperial Apartments is located beneath the dome of St. Michael's gate. The five windows above the Emperor's gate are preceded by a long balcony which rests on strong consoles. On the attic of the central projection is attached the huge blazon of Emperor Charles VI with the double-headed eagle. It is overtopped by the German imperial crown and surrounded by a golden chain with the Golden Fleece. Flanked is it by two, carrying trumpets genii. Beside the portals of the side projections stand each two sandstone sculptures of Lorenzo Mattielli. They show the deeds of Hercules. On the ground floor were housed until 1918 various court offices, as the Chamber for payments of the Court, the House, Court and State Archives (until 1902) and the Control office of the Court. In the premises of once Imperial linen room was from 1921 to 1987 the Vienna tapestry manufacture whose leading products have been exported throughout the world.

Study of Franz Joseph

Additionally to the living quarters of the Emperor - those of the Empress were in neighboring Amalien wing - belongs to the Imperial Apartments the Guard room where the bodyguards were on sentry duty but most of all the large Audience waiting room and the Audience chamber, where the Emperor, standing at his desk, used to receive his visitors individually. Under Maria Theresa, took place the deliberations of the Imperial, Court and State Councils of the former Imperial Chancellery in Audience waiting room. Unfortunately, this beautiful, decorated in white, red and gold hall was similarly to fairy-tale grotto recently equipped with figurines in the national costume of the individual crown lands in order to document that here waited people from all walks of life and from all provinces of the country for an audience. During his long reign, there were at least more than 250,000. In this room, hang large, many-figured murals (1832) of Biedermeier painter Peter Krafft, showing scenes from the life of Emperor Franz I. From the ceiling hangs a eighty-flammy Bohemian crystal chandelier still dating from the time of Maria Theresa. The originally fitted with candles chandelier of the Imperial apartments were in 1891 electrified. The ornate pottery kilns partly still stem from the 18th century. They were heated externally via the situated behind the rooms heating passage with wood. In the equipment of his private rooms the personal modesty of the emperor is reflected. Unlike his wife, he had not even running water injected. Noteworthy is also the simple iron military bed that served him for decades as a place to sleep. His office, in which he most of the time was yet active from six o'clock in the morning is adorned with numerous photos and paintings of his family. Here hangs also a famous portrait of the Empress by Franz Xaver Winterhalter. The equipment of the 22 official and residential premises of Emperor Franz Joseph and his wife Elisabeth, which today can be visited as Imperial Apartments, stems from several eras: from late Baroque to Rococo and the Empire to the 19th century neo-Baroque. These include also the four rooms of Stephan's apartment which is named after Archduke Stephan Viktor. The former theater corridor which enabled a direct connection to the old Hofburg Theater is walled off today.

www.burgen-austria.com/archive.php?id=512

Given the PSE 13 treatment

mike tyson not upset that brad pitt slept with robin givens.ray sipe

Stagecoach London Limited Alexander Dennis TransBus Plaxton 34362 LV52HKO Which Is The Last Of This Batch Of Buses At Bromley Bus Garage The Rest Of This Batch Went To Catford Bus Garage When The Route 314 was Given Brand New Enviro 200'S 34362 Is Seen Here On Her Native Route 314 Having her 5 Minutes Of Rest Before A Run To New Addington As TB 79 34362 Has Also Been Seen on Route 61 ,Route 227 And Route 246 34362 Is Also The Oldest Greatest Single Decker Bus At Bromley Bus Garage (TB)

Also a Rare Working On A Sunday

Given my first donation (470mls) of the lovely red stuff this year.. When you going to donate.?

Even wore my red teashirt especially!!

Sheffield, Sheffield Blood Donor Centre..

www.blood.co.uk/

Given to us by someone claiming she had already cleaned it.

North Toraja (or Toraja Utara) is a regency (kabupaten) of South Sulawesi Province of Indonesia, and the home of the Toraja ethnic group. The local government seat is in Rantepao which is also the center of Toraja culture. Formerly this regency was part of Tana Toraja Regency.

The Tana Toraja boundary was determined by the Dutch East Indies government in 1909. In 1926, Tana Toraja was under the administration of Bugis state, Luwu. The regentschap (or regency) status was given on October 8, 1946, the last regency given by the Dutch. Since 1984, Tana Toraja has been named as the second tourist destination after Bali by the Ministry of Tourism, Indonesia. Since then, hundreds of thousands of foreign visitors have visited this regency. In addition, numerous Western anthropologists have come to Tana Toraja to study the indigenous culture and people of Toraja.

GEOGRAPHY

Tana Toraja is located on the Sulawesi island, 300 km north of Makassar, the provincial capital of South Sulawesi. Its geographical location is between latitude of 2°-3° South and longitude 119°-120° East (center: 3°S 120°ECoordinates: 3°S 120°E). The area of the new North Toraja Regency is 1,151.47 km², about 2.5% of the total area of South Sulawesi province. The topography of Tana Toraja is mountainous; its minimum elevation is 150 m, while the maximum is 3,083 above the sea level.

Tana Toraja Regency (Indonesian for Torajaland or Land of the Toraja, abbreviated Tator) is a regency (kabupaten) of South Sulawesi Province of Indonesia, and home to the Toraja ethnic group. The local government seat is in Makale, while the center of Toraja culture is in Rantepao. But now, Tana Toraja has been divided to two regencies that consist of Tana Toraja with its capital at Makale and North toraja with its capital at Rantepao.

The Tana Toraja boundary was determined by the Dutch East Indies government in 1909. In 1926, Tana Toraja was under the administration of Bugis state, Luwu. The regentschap (or regency) status was given on 8 October 1946, the last regency given by the Dutch. Since 1984, Tana Toraja has been named as the second tourist destination after Bali by the Ministry of Tourism, Indonesia. Since then, hundreds of thousands of foreign visitors have visited this regency. In addition, numerous Western anthropologists have come to Tana Toraja to study the indigenous culture and people of Toraja.

GEOGRAPHY

Tana Toraja is centrally placed in the island of Sulawesi, 300 km north of Makassar, the provincial capital of South Sulawesi. It lies between latitude of 2°-3° South and longitude 119°-120° East (center: 3°S 120°ECoordinates: 3°S 120°E). The total area (since the separation of the new regency of North Toraja) is 2,054.30 km², about 4.4% of the total area of South Sulawesi province. The topography of Tana Toraja is mountainous; its minimum elevation is 150 m, while the maximum is 3,083 above the sea level.

ADMINISTRATION

Tana Toraja Regency in 2010 comprised nineteen administrative Districts (Kecamatan), tabulated below with their 2010 Census population.

The Torajans are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja").[1] Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognised this animistic belief as Aluk To Dolo ("Way of the Ancestors").

The word Toraja comes from the Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colourful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.

Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism development and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model—in which social life and customs were outgrowths of the Aluk To Dolo—to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.

ETHNIC IDENTITY

The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonisation and Christianisation, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders—such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi—than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups—the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).

HISTORY

From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognised in 1957 as one of the regencies of Indonesia.

Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.

In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to Christianity.

Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognised religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognised, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalised as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.

SOCIETY

There are three main types of affiliation in Toraja society: family, class and religion.

FAMILY AFFILIATION

Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin)—except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.

Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.

Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.

CLASS AFFILIATION

In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.

Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.

Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women—a crime punishable by death.

RELIGIOUS AFFILATION

Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.

The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.

CULTURE

TONGKONAN

Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").

Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.

The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.

Architecture in the style of a tongkonan is still very common. Various administration buildings were built in this style in recent years, e.g. the Kecamatan building in Rantepao.

WOOD CARVINGS

To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.

Each carving receives a special name, and common motifs are animals and plants that symbolise some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolise fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. Torajan wood carvings are composed of numerous square panels, each of which can represent various things, for example buffaloes as a wish of wealth for the family; a knot and a box, symbolizing the hope that all of the family's offspring will be happy and live in harmony; aquatic animals, indicating the need for fast and hard work, just like moving on the surface of water.

Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.

FUNERAL RITES

In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased's family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.

The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.

Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.

There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.

In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.

DANNCE AND MUSIC

Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.

As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.

A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.

COGENDER VIEWS

Among the Saʼadan (eastern Toraja) in the island of Sulawesi (Celebes), Indonesia, there are homosexual male toburake tambolang shamans; although among their neighbors the Mamasa (western Toraja) there are instead only heterosexual female toburake shamanesses.

LANGUAGE

The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.

Language varieties of Toraja, including Kalumpang, Mamasa, Tae, Talondo, Toala, and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages.

A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterised their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.

ECONOMY

Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market.

With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies—to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.

Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s—including religious conflicts elsewhere on Sulawesi—tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.

TOURISM AND CULTURAL CHANGE

Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.

In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.

Tourism developers have marketed Tana Toraja as an exotic adventure—an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialised. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.

A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.

Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.

WIKIPEDIA

1940s WW II French advertisement for Camus "La Grande Marque" Cognac given out to American soliders of the United States Army Air Forces - USAAF - Paris, France

Given the right boys ties, a boys suit, a sportcoat -an entire look- snaps to attention. All our boys ties at Heritage House are 100% silk, proportioned for a young man's body.

In the spring of 1865 John Given with his wife Eliza and their four children, John Jr., Mary, Anna, and Martha, settled in the meadow land about 110 feet west of here. They built a cabin and willow shanty. Charles Brown and Charles W. Leah were helping them plow and plant crops. Early in the morning of May 26th they were attacked by a band of Indians. Brown and Leah escaped and ran six miles for help, which came too late. The entire Given family was massacred, and their cattle and household furnishings taken. The murdered people were buried in Fairview.

The grandchildren were given a constellation projector for Christmas, like the one they had a few years ago that stopped working. Happy me, as I'd been wanting to project something onto someone's face for ages. Cavan was the victim here. He's holding the projector, which is what that oof blob is bottom left.

The constellation on his face is: Ophiuchus (play /ˌɒfiːˈjuːkəs/) a large constellation located around the celestial equator. Its name is from the Greek Ὀφιοῦχος "serpent-bearer", and it is commonly represented as a man grasping the snake that is represented by the constellation Serpens.

Ophiuchus was one of the 48 constellations listed by the 2nd-century astronomer Ptolemy, and it remains one of the 88 modern constellations. It was formerly referred to as Serpentarius (/ˌsɜrpənˈtɛəriəs/; also Anguitenens), a Latin word meaning the same as its current name.

So now you know.

YORK, ENGLAND - NOVEMBER 04: during the West Riding County FA Development West League match between i2i Albion and i2i County at Haxby Road on November 4th 2022 in North Yorkshire, United Kingdom. (Photo by Matthew Appleby)

Big Boy was the name given to the Union Pacific Railroad's twenty-five 4000 class 4-8-8-4 articulated steam locomotives built between 1941 and 1944 by Alco. No. 4012 is on display at the Steamtown National Historic Site at Scranton, PA.

A világ legnagyobb gőzmozdonya a Union Pacific vasúttársaság Big Boy artikulált (csuklós) 4-8-8-4 tengelyelrendezésű mozdonya. A 4012-es sorozatszámú egyik túlélő mozdony a pennsylvaniai Scranton vasúttörténeti emlékhelyén van kiállítva, távolról sem tökéletes állapotban - nekem viszont óriási élmény volt a monstrum megérintése, alapos megszemlélése, miután annyi mindent olvastam róla különböző könyvekben.

The Big Boys were the only locomotives to have the 4-8-8-4 wheel arrangement, combining two sets of eight driving wheels with both a four-wheel leading truck for stability entering curves and a four-wheel trailing truck to support the large firebox.

The Big Boys were specifically designed to pull a 3,600 short ton (3,300 t) freight train over the long 1.14% grade of the Wasatch Mountains in Utah. Before their arrival, helpers were needed. Adding and removing helpers from a train slowed them down. For such locomotives to be worthwhile, they had to be faster and more powerful than slow mountain luggers tried after World War I. To avoid locomotive changes, the new class would need to pull long trains at sustained speed—60 miles per hour (100 km/h)—once past the mountain grades. Towards the end of the 4000's career (in the late 1950s) it was found that they could still pull more than their rated tonnage - they regularly pulled 4,450 short tons (4,040 t) up the Wasatch grade, unassisted.

They were designed for stability at 60 miles per hour (100 km/h). They were built with a heavy margin of reliability and safety, as they normally operated well below that speed in freight service. Optimal horsepower was achieved at about 35 mph (56 km/h); optimal tractive effort, at about 10 mph (16 km/h).

25 Big Boys were built, all were coal burning, with large grates to burn low quality Wyoming coal from mines owned by the railroad. Postwar increases in the price of both coal and labor and the efficiency of diesel-electric motive power foretold a limited life for the Big Boys, but they were among the last steam locomotives taken out of service. The last revenue train hauled by a Big Boy ended its run early in the morning on July 21, 1959. Four of them remained in operational condition at Green River, Wyoming until 1962. Their duties were assumed by diesels and turbines.

Given that this is over the Driver's seat in my car, does it mean 'don't face backwards in a child seat while driving'?

Hotel Provincial

In a city distinguished internationally for the charm and hospitality of its venerable French Quarter, there exists a secluded, intimate hotel that offers its guests yet another dimension to the Vieux Carre experience. The Hotel Provincial, although conveniently located near all the desirable historic and tourist attractions of downtown New Orleans, also offers its visitors the serenity and unique style reserved for the private, residential section of the French Quarter.

Listed on the National Register of Historic Places, and locally owned by the Dupepe family since 1961, this hotel is valued as an architectural gem, and features modern amenities housed within a compound of meticulously restored historic structures. The beautifully appointed lobby area, lush tropical courtyards and carefully restored outbuildings offer the perfect place for enjoying a relaxing family vacation, planning a social or corporate event, or celebrating a memorable destination wedding.

Discover New Orleans hospitality at its finest at Hotel Provincial—a special place that successfully combines a welcoming family atmosphere with the amenities only an experienced, professional staff can offer.

•Address: 1020-1022 Chartres St.

•Significance Rating: Orange, unrated 20th century construction

•Building Type: Commercial

•Current Style: Modern / Faux Historical

•Square Number: 20

•National Landmark: No

•Primary/Secondary Use: Primary

•Easement: No

•Square: 20

•Lot Number: 22740

Property Info

•Vieux Carré Commission Evaluation: No change: orange. Provincial Motor Hotel (Nolan, Nolan and Nolan, original architects; Donald Zimmer, addition), constructed c. 1963 on the site of a c. 1903 ice house.

oOrange Portion of Building: Main Material: Masonry

Note: partially of Wood; Provincial Motor Hotel

•Dimensions (Dimensions run CCW)

oFrontage: 33' 4" 4'''

oSide 2: 63' 11" 0'''

oSide 3: 3' 2" 1'''

oSide 4: 63' 11" 3'''

oSide 5: 30' 1" 0'''

oSide 6: 127' 10" 6'''

Chain of Title

Last Update: Wednesday, October 1st 1980

•Wednesday, July 8th 1959

oRecord Source: COB

oVolume: 630

oPage: 285

oRecord Type: [sale?]

oAuthority: Brittmar P. Landry (Notary)

oAuthority Date: Not Given

oFrom: French Market Ice Manufacturing Company of New Orleans, Limited

oTo: Provincial Motels, Inc.

•Wednesday, April 29th 1903

oRecord Source: COB

oVolume: 191

oPage: 321

oRecord Type: [sale?]

oAuthority: P. J. Patorno (Notary)

oAuthority Date: Not Given

oFrom: Marie Ursule Soloy

oTo: French Market Ice Manufacturing Company of New Orleans, Limited

oBrief Description: Original Act: 3/75

•Tuesday, January 4th 1887

oRecord Source: COB

oVolume: 126

oPage: 994

oRecord Type: [sale?]

oAuthority: H. Fourcelle (Notary)

oAuthority Date: Not Given

oFrom: Marie Anne Trope

oTo: Marie Ursule Soloy Guilhauma Francingues

•Wednesday, January 1st 1879

oRecord Source: Unknown

oRecord Type: succession

oAuthority Date: Not Given

oFrom: Pierre Noel Canton

oTo: Marie Ann Trope Canton

oBrief Description: Inherited. [No date given.]

•Monday, July 1st 1878

oRecord Source: COB

oVolume: 111

oPage: 581

oCourt#: 9160

oRecord Type: sheriff’s sale

oAuthority: 5th District Court (Court)

oAuthority Date: Not Given

oFrom: Joseph Girod

oTo: Pierre Noel Canton

oBrief Description: From Joseph Giron in the suit of “Pierre Noel Canton vs. Joseph Girod.”

•Monday, July 12th 1852

oRecord Source: COB

oVolume: 58

oPage: 30

oRecord Type: survey

oAuthority: A. Mazureau (Notary)

oAuthority Date: Not Given

oBrief Description: Original Act: 43/167 Survey-sketch by L. Pilie, dated July 2, 1852, annexed to this act.

•Monday, June 28th 1852

oRecord Source: COB

oVolume: 55

oPage: 696

oRecord Type: [sale?]

oAuthority: A. Mazureau (Notary)

oAuthority Date: Not Given

oFrom: Pierre Laurans

oTo: Joseph Girod

oBrief Description: Original Act: 42/555A Pierre Laurans had three children: William Laurans, Mme. Louisa Laurans, wife of Auguste F. A. Garnier, and Mme. Marie Julie Adele Laurans, wife of Alphonse R. J. Martin Lavalle. The latter daughter died, but left two children: Marie J. A. Martin Lavalle, and Pierre Martin Lavalle. The two living children inherited one-third each of their father’s estate and the two grandchildren inherited each one-half of their deceased mother’s one-third. These same heirs were entitled to the same rights, and in the same proportion in the share and interest of their mother and grandmother, Mme. Julie Beauvais Laurans, wife of Pierre Laurans, by virtue of the donation inter vivos made by her to them by an act passed before Philibert L. Turguet and Philippe A. Beaufeu, Paris Notaries, August 31, 1846.

•Friday, January 19th 1838

oRecord Source: Original Act

oVolume: 63

oPage: 32

oRecord Type: partition

oAuthority: Hortence Hortence T. Hershberg (Notary)

oAuthority Date: Friday, January 19th 1838

oAgent/Single Party Act/Other: Jean Roques Marie Adeline Prudhomme Julie Beauvais Pierre Laurans

oBrief Description: Act of Partition between Mme. Julie Beauvais, wife of/and Pierre Laurans, and Mme. Marie Adeline Prudhomme, wife of/and Jean Roques. With the two houses constructed thereon. There has been constructed, according to this act, a party wall fixing the limits of the properties partitioned which had belonged to Pierre Laurans and his wife Julie Beauvais, and to Jean Roques and his wife, Marie Adeline Prudhomme, to whom the whole of the property partitioned in this act had belonged, one undivided half to each husband and wife. By this act Jean Roques and wife become sole owners of the property fronting on Levee Street, and Pierre Laurans and his wife become sole owners of this property fronting on Conde (Chartres) Street. Plan annexed to this act.

•Tuesday, April 5th 1831

oRecord Source: Original Act

oVolume: 14

oPage: 302

oRecord Type: survey

oAuthority: Hortence Hortence T. Hershberg (Notary)

oAuthority Date: Tuesday, April 5th 1831

oBrief Description: Excellent survey-sketch by L. Pilie, dated March 23, 1831, annexed to this act. Includes Lots No. 22739 and 22740-B. Note: Here this lot becomes part of a larger portion of land running the depth of the entire square from Chartres to Decatur streets, comprising present-day Lots NO. 22740, 22740-B, 22739, 22727, 22723, 22724, 22725 and 22726.

•Monday, January 5th 1829

oRecord Source: Original Act

oVolume: 6

oPage: 14

oRecord Type: [sale?]

oAuthority: Hortence Hortence T. Hershberg (Notary)

oAuthority Date: Monday, January 5th 1829

oRelated Lot: a) 22727

oRel. Lot Note: a) (interior lot)

oFrom: Angelique Pauline Carrick; Adeline Segond

oTo: Jean Roques; Pierre Laurans

oBrief Description: A lot of ground, on Levee Street, opposite in one part to the steam water works and the vegetable market, between St. Philip and Ursuline streets, having frontage on one side on Levee Street, and on the other side fronting on Conde (Chartres) Street, measuring F.M. 90' 2" front on Levee Street, keeping this width for a depth of 177' 10" on the line separating it from the lot belonging to l’Eveche, then widening 1' on the same side on the line that separates it from the property of J. Marcos and the Nuns of the Ursuline Convent, and measuring 165' as far as Conde (Chartres) Street, with a front footage on Conde Street measuring 94' 4" and maintaining this width for a depth of 60' on a line separating it from the property of Soniat Dufossat extending as far as the limits of Mr. Gillet’s property, then closing 3' and continuing this way for 282' 4" along the line that separates the property of Soniat Dufossat and that of Gillet as far as Levee Street; said lot of ground has from one street to the other 342' 10" depth on the line bordering that of l’Eveche, Marcos, and the Ursuline Nuns (Ursuline Street side) and 342' 4" on the line bordering the Widow Visosos, Mr. Cyprien Gros, R. Otero, Blineau, the Succession of Gayarre, Gillet, and Soniat Dufossat. With all buildings thereon constructed. Note: Excellent plan of the whole square, showing ownership as of this date and clearly delineating the area and footage of this lot, drawn by Joseph Pilie, dated December 24, 1827, annexed to this act. “The lot and buildings presently sold belong to the vendors in the following manner: To Mme. Angelique Pauline Carrick, wife of Andrew Lockhart, a portion measuring 32' 3" front on Conde Street by 123' in depth, bounded on one side by the property of the Ursuline Nuns and on the other side by the property of the Widow Carrick, as making part of the payment of the lot that had been constituted by her mother Mme. Carrick, has ascribed access on the rights of heritage in the Succession of the late James Carrick, her father, given to her before his death, thus it belongs to the contract of marriage passed between the said Mme. Lockhart and Andrew Lockhart, before Marc Lafitte, Notary, December 22, 1823, in which marriage contract it had been stipulated by the contracting parties, Article 3, that it would be allowed the future wife, with the authority of her future husband, and the said future husband with the consent of the said future wife, to sell and alienate the properties given in the said contract to the future wife to the tile of the dotal settlement, even as all other that will belong to them in the future with all personal responsibility, who accepts the responsibility. To Mme. Widow Carrick the remainder of the lot and buildings presently described and sold belong, as being part of the goods belonging to the Succession of James Carrick, her late husband, which she inherited jointly with her daughter, Mme. Lockhart, and a small portion of 3' 3" front on Chartres Street by 64' of depth, A.M., by means of the acquisition she made from Mme. Rosalie Segund, widow of Pierre Sauve. Mr. James Carrick had become proprietor of the whole of said lot of ground and buildings, with the exception of the 3' previously mentioned, by means of an acquisition which he had made during his lifetime of M. Elias Beauregard.”

•Thursday, September 27th 1827

oRecord Source: Unknown

oRecord Type: [sale?]

oAuthority: Hortence Hortence T. Hershberg (Notary)

oAuthority Date: Not Given

oFrom: Rosalie Segond

oTo: Adelaide Segond

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. A lot measuring, A.M., 3' 3" front on Conde (Chartres) Street by 64' of depth, bounded on one side by property of the purchaser and on the other side by property of Joseph Soniat Dufossat. This property belonged to Mme. Sauve, in common with her children, by virtue of the Succession of her husband, Pierre Sauve, who, during his lifetime, acquired it with a larger lot of ground.

•Saturday, August 3rd 1822

oRecord Source: Court

oRecord Type: succession

oAuthority: Probate Court (Court)

oAuthority Date: Not Given

oFrom: Pierre Sauve

oTo: Rosalie Segond Sauve

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Inherited from the Succession of her husband.

•Tuesday, April 20th 1819

oRecord Source: Original Act

oVolume: 17

oPage: 222

oRecord Type: succession; sale

oAuthority: M. de Armas (Notary)

oAuthority Date: Tuesday, April 20th 1819

oFrom: Lancelot Pearson

oTo: Pierre Sauve

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'.

•Tuesday, May 7th 1811

oRecord Source: Unknown

oRecord Type: [sale?]

oAuthority: Narcisse Broutin (Notary)

oAuthority Date: Not Given

oFrom: Simon Ducournau

oTo: Lancelot Pearson

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot forming the corner of St. Philip and Conde streets, the whole of which tract is bounded by the property of M. Launda [sic] on one side and by the property of the Succession of James Carrick on the other, on which lot is a principal house and two small houses of brick between posts, and with other buildings in the courtyard.

•Monday, December 19th 1808

oRecord Source: Original Act

oPage: 524

oRecord Type: [sale?]

oAuthority: Narcisse Broutin (Notary)

oAuthority Date: Monday, December 19th 1808

oFrom: Edmond Forstall; Edouard Forstall

oTo: Simon Ducournau

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'.

•Monday, December 19th 1808

oRecord Source: Original Act

oPage: 523

oRecord Type: [sale?]

oAuthority: Narcisse Broutin (Notary)

oAuthority Date: Monday, December 19th 1808

oFrom: Jeanne Darby

oTo: Edmond Forstall Edouard Forstall

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. A lot of ground at the corner of Conde and St. Philip streets, bounded by properties of Larionda and heirs to James Carrick, with a principal house and two smaller houses constructed of brick between posts, also other buildings in the courtyard.

•Thursday, January 1st 1807

oRecord Source: Unknown

oRecord Type: succession

oAuthority Date: Not Given

oFrom: Jean de la Villebeuvre

oTo: Jeanne Darby de la Villebeuvre

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Inherited from the Succession of her husband.

•Friday, June 27th 1800

oRecord Source: Original Act

oVolume: 37

oPage: 416

oRecord Type: [sale?]

oAuthority: Pierre Pedesclaux (Notary)

oAuthority Date: Friday, June 27th 1800

oFrom: Elias Beauregard

oTo: Santiago Carrick

oBrief Description: “Lot of ground measuring 89' to 90' in front, all the way to the back, bounded on one side by the property of His Majesty, and on the other by the property of the Widow Visoso. The property belongs to Elias Beauregard by means of an inheritance from the Succession of his mother, Dona Magdaline Cartier.”

•Tuesday, January 1st 1799

oRecord Source: Unknown

oRecord Type: succession

oAuthority Date: Not Given

oFrom: Magdalina Cartier

oTo: Elias Beauregard

oBrief Description: Inherited from the Succession of his mother. [No date given.]

•Wednesday, February 22nd 1775

oRecord Source: Unknown

oRecord Type: [sale?]

oAuthority: Juan B. Garic (Notary)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: Antonio Beauregard

oBrief Description: Neighboring reference, related to Lot No. 22741, states that this property, as part of a larger lot, belonged to Antonio Beauregard. Note: A break occurs here in the record. However, the following continues the chain with two more transactions.

•Wednesday, February 22nd 1775

oRecord Source: Original Act

oRecord Type: [sale?]

oAuthority: Juan B. Garic (Notary)

oAuthority Date: Wednesday, February 22nd 1775

oFrom: Theresa Gallard

oTo: Jean de la Villebeuvre

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. One house and lot situated at a corner of Chartres and St. Philip, with other buildings, bounded on one side by property of Mrs. Cecilio Odorundo and on the other by that of Antonio Beauregard.

•Wednesday, September 16th 1772

oRecord Source: Original Act

oPage: 258

oRecord Type: sale

oPrice: $104.00<Pesos

oAuthority: Andres Almonester (Notary)

oAuthority Date: Wednesday, September 16th 1772

oFrom: Augustin Macarty

oTo: Henrique Desprez

oBrief Description: A lot situated on Conde (Chartres) Street, measuring 90' front by 150' of depth, bounded by the house owned by Madame Granpre and by lot owned by the King. Mr. Macarty acquired this lot at a public auction held by the creditors of Claudio Joseph Villars of his properties on March 12 of this year, and sells it mortgage free at a price of 104 pesos.

•Thursday, March 12th 1772

oRecord Source: Unknown

oRecord Type: auction sale

oAuthority Date: Not Given

oFrom: Claudio Joseph Villars

oTo: Augustin Macarty

oBrief Description: Public sale held by the creditors of Claudio Joseph Villars.

•Monday, January 1st 1731

oRecord Source: Map

oRecord Type: land grant

oAuthority: Gonichon Map (Map)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: Company of the West/Company of the Indies

oBrief Description: Lot No. 38 granted to the Company.

•Monday, January 1st 1731

oRecord Source: Map

oRecord Type: [land grant and/or sale and/or succession]

oAuthority: Gonichon Map (Map)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: Trudot

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot No. 39 granted to Sieur Trudot.

•Thursday, January 1st 1728

oRecord Source: Map

oRecord Type: vacant

oAuthority: Broutin Map (Map)

oAuthority Date: Not Given

oBrief Description: Unassigned.

•Thursday, January 1st 1728

oRecord Source: Map

oRecord Type: [land grant and/or sale and/or succession]

oAuthority: Broutin Map (Map)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: Trudeau

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot No. 46 granted to Sieur Trudeau.

•Thursday, January 1st 1722

oRecord Source: Map

oRecord Type: land grant

oAuthority: de la Tour Map (Map)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: La Loire

oBrief Description: Lot No. 4 granted to Sieur La Loire.

•Thursday, January 1st 1722

oRecord Source: Map

oRecord Type: [land grant and/or sale and/or succession]

oAuthority: de la Tour Map (Map)

oAuthority Date: Not Given

oAgent/Single Party Act/Other: Massy Trudeau

oBrief Description: Refers to the small strip of land measuring 3' 3" × 64'. Lot No. 6 granted to Mr. Massy. “I believe they were not held by Mr. Massy, he not having given ___ on the frontage.” Marginal note: “Granted to the Sieur Trudeau in replacement of the No. 00 which was taken to build a warehouse.”

Citations (Specific to this address)

“NOTICE. FELIX, Ladies Hair dresser…Ladies wishing to have their hair dressed at his house, will please apply to his wife to appoint the hour. The price is two dollars. He also informs that he cuts gentlemen’s hair for a dollar at their houses, and 50¢ at his shop…he lives in Mme. Carrick’s house Conde Street opposite Mr. Moreau’s…”

—Source: Louisiana Courier Date: Wednesday, December 11th 1816

“Fire…6:30, November 5…French Market Ice Manufacturing Company, 1024 Chartres Street…damage chiefly to the building and equipment was estimated at $200,000…fire started in the 3rd floor of the building which is about 30 feet in the rear of the street facing a courtyard…explosions of crude oil storage tank and an ammonia tank…the only two modern buildings in the square are the French Market Branch of the Whitney Bank and the La Stella Manufacturing Company, corner of St. Philip and Chartres.”

—Source: Times-Picayune, p. 1, c. 1 Date: Sunday, November 6th 1927

Given the ability to build these prolific models, I'm delighted to have researched and constructed steamboats of various designs and configurations; inparticular, the steamers that operated in the Hudson River Valley between New York and Albany.

Not just the dayboats, but also the nighboats and towboats that awed both passenger and shoreline viewers of that period.

This close up shows the meticulous superstructure of MARY POWELL, from walking beam engine down to the paddlewheel. Her racey hogframes were state-of-the-art; a beautiful, graceful design that no other steamer of her build carried. This was the MARY POWELL.

To view other steamboat models and stories, visit www.rex-stewart.blogspot.com.

...given by someone under the belief that wheelchair users are essentially blind, or daft..or both!

Given the PSE 8 treatment

Arthur Boyd and Bundanon.

The land at Bundanon along the Shoalhaven River was given as a free land grant in 1837 to R Browne. He soon sold the land on to Kenneth McKenzie. He built a timber-framed house here and finally in 1866 he had a fine two-storey Georgian style residence erected. That is the grand homestead of Bundanon today. McKenzie was also a doctor and a magistrate and acquired other properties too but he returned to Scotland in 1869 and his son Hugh took over Bundanon. Hugh ran the property as a dairy farm with many workers employed. He served for 20 years as the mayor of the local district. When he died in 1917 his son Kenneth inherited Bundanon until he drowned in 1922. A memorial jacaranda was planted in front of the house for Kenneth and it is still there. His family leased the property out from 1926 until 1967. In 1968 the new owners landscaped the grounds and removed many of the old outbuildings. Arthur Boyd the well-known Australian artist from a family of sculptors, potters and painters visited Bundanon in 1971 and returned several times to paint there. He and his wife purchased the adjacent property called Riversdale in 1974 and finally Bundanon as well in 1979. Arthur Boyd then spent part of each year at Bundanon and part in England until 1998 when he returned to England permanently. In 1993 Arthur Boyd bequeathed to the government of Australia Bundanon homestead and outbuildings, 2,700 acres of land and a large collection of his paintings and family antiques. The Bundanon Trust was formed in that year and a program of artists in residence was established at Bundanon. The Bundanon property became an Artists Centre with residential accommodation. Arthur Boyd died in Melbourne in 1999. The property has the main homestead erected in 1866, the servants’ quarters 1870, the kitchen 1880, Arthur Boyd’s studio 1981, the early slab barn 1880 and a caretaker’s cottage 1870. Access to the property is limited and not available when artists are accommodated there for workshops and the road entrance limits the size of coaches. The property is a significant heritage property because of the homestead, the natural bushland, the gardens and the linkages with Arthur Boyd.

Who was Arthur Boyd? Boyd was best known for his Australian landscape paintings in both impressionist and expressionist styles with biblical references and mythical modernist figures with deformed bodies in Australian landscapes. Some of his best-known landscape works were the bride and groom series especially Dreaming Bridegroom, Frightened Bridegroom, Bride Running Away and Mourning Bride. The titles alone indicate that his landscapes are not like those of Sir Hans Heysen! Arthur Boyd was related by marriage to Sidney Nolan and shared some of his views about the Australian landscape. Bride Running Away recently sold for $1.68 million. Another landscape series that Boyd produced was called the Wimmera series and one of his last series was called The Shoalhaven. His other notable landscape series was the Nebuchadnezzar series. Boyd was also well known for his bronze sculptures. He was awarded many ovations, knighted and made a Companion of the Order of Australia. His works hang in the National Gallery in Canberra and most state galleries and in London. His mother and father were well-known potters and painters Merric and Doris Boyd and both of Arthur’s brothers were artists. A tapestry made of one of his Australian landscape paintings hangs in the Great Hall of Parliament House in Canberra.

friend had a piece with him, i had to shoot it because it looked so cool!

Given that I was abroad last week, we decided to have a rerun of Pancake Day a week late.

They were rather tasty, but I was too busy flipping to take photos!

Instead, here's an 'after' shot of some of the tinned cherries that made it on to some of the pancakes, alongside sugar, lime juice, lemon juice, chinese style chicken, chicken curry and cheese and onion. Not all on the same pancake though. ;)

LUGNuts' founder Lino Martins has graciously given me permission to replicate his series of automotive illustrations based on various mixed alcoholic drinks.

The fourth in this series is a Lego -model replication of 'Boo-Berry' - Chevrolet 1963 Impala Low-rider.

In Lino's own words.

"For the first installment of a holy trinity of cars I went with a 1963 Chevy Impala customized as a lowrider. Starting in Los Angeles in the 1940’s, lowriders are an important part of Mexican-American culture and often include flamboyant paint jobs and religious iconography. I figured Boo Berry would best serve as “The Holy Ghost” in my Holy Trinity of cars. Thin whitewalls, small 100-spoke gold rims and minor gold details completes the look nicely. This one features subtle luminescent orbs that some believe to be spirits, especially when appearing in photographs. Let me know what you think and stay tuned for more soon. Thanks for stopping by. Procreate and Apple Pencil."

Given the right boys ties, a boys suit, a sportcoat -an entire look- snaps to attention. All our boys ties at Heritage House are 100% silk, proportioned for a young man's body.

given out to super-sponsors and featured guests

5054. A request from a London viewer has given us a chance to correct an old misjudgment. We posted a cropped version of this wonderful image by the late Roger Eastwood of HMAS QUEENBOROUGH in the Thames in 1955, not quite realizing it was a much lower resolution version than the same wider, uncropped image we have here.

QUEENBOROUGH is being passed by the Thames passenger launch ABERCORN here in 1955, and Ben of the River Thames Flickr photostream [rhttp://www.flickr.com/photos/31235337@N00/[ used to travel to work on her in the 1990s! Ben was seeking a larger image, we hope this fills that request.

As we have now mentioned many times, this visit by QUEENBOROUGH, which had been on training deployment to the Joint Anti-submarine Warfare School in Londonderry, Northern Ireland, was actually the first time a RAN vessel had been up the Thames.

No doubt for that reason, we eventually received or came across quite a few photos of this event including two here from the HMAS CERBERUS Museum, starting at pic NO 2206 :

www.flickr.com/photos/41311545@N05/4708928193/in/photostr...

Pic 2160 followed by 2161 here:

www.flickr.com/photos/41311545@N05/4700627444/

Another from the RAN Archives here at pic 4268:

www.flickr.com/photos/41311545@N05/5591288437/

No more sightings of ferry launch ABERCORN unfortunately.

This photo: The late Roger Eastwood, courtesy of his son, Geoff Eastwood.

A two-part COMPENDIUM of the Photostream's 60+ images of HMAS QUEENBOROUGH begins at Entry NO. 5435, here:

www.flickr.com/photos/41311545@N05/6684005275/in/photostream

Given the nearing deadline for lightweight service buses to be fully DDA compliant the number of Mercedes-Benz minibuses still in use has declined sharply over the past few years, therefore I was quite surprised to find this elderly example parked in the back streets of Leek. K424ARW is a Wright Nimbus bodied Mercedes-Benz 811D which is owned by small operator Hamps Valley Coaches of Winkhill, nr Leek, its main duty seemingly being the 329 school service - wherever that may go, 20/09/2013.

Does anyone know whose livery it wears?

Well, this kit was given to me back in 1997 and I sort of dabbled with some assembly but soon lost interest – for I really hate the Robocop 3 movie, but no hard feelings on the figures – and chucked the partly assembled figure in the box and forgot about it until yesterday afternoon. I was tiding up my office and it stood out so I took it out and had a look. Many parts were missing through the years so I slapped whatever I see fit and here is the result and I decided to paint it as if it is of military issue. Painting took me one Back to the Future Part 1 movie and a bit – that is when I was painting I watched the movie. I love watching my favorite movies while I build model kits. As I did rush to finish it I did not want to wait after painting one layer and wait a day or two then put another coat for proper blending work – especially the face area – I literally slapped multiple layers at the same time so the paint is not yet dry and it will take a long while before I get to do the final top coat with flat varnish. Well, most of the job done, I can wait. However, I will move on to the next project. By the way, I just remembered that I forgot to attach the metal hose which connects the left arm and the backpack! It would've been much nicer...

© Mazur/catholicnews.org.uk

Bob Given Photography

Bob Given Photography