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Stopped him from getting ran over while we were waiting for our flight back to Boston. He looked tired so we gave him water and food then released him soon after. Hope you're still alive OB <3.
đừng nhìn e nữa đôi mắt ngày xưa
giờ ở đâu ? a còn là a?
nay a đã khác rồi, a muốn quay lưng quên hết đi..
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HIM, la formazione finlandese guidata da Ville Valo, torna sui palchi di tutta Europa per l’ultimo saluto ai fan; il 7 dicembre sono all’Alcatraz di Milano.
Dopo un lungo silenzio, dunque, HIM annunciano il tour d'addio: “Dopo 25 anni di Love & Metal, sentiamo che HIM hanno concluso la loro corsa e gli addii devono essere detti per fare spazio a viste, odori e suoni ancora inesplorati. Abbiamo completato lo schema, risolto il puzzle e girato la chiave. Grazie”
Gli HIM sono un gruppo rock finlandese di Helsinki, fondato nel 1991 dal cantante Ville Valo, dal chitarrista Lily Lazer (Mikko Lindström) e dal bassista Mige Amour (Mikko Paananen).
I temi toccati da questo gruppo sono principalmente l'amore e la morte. Il nome corretto della band è scritto tutto maiuscolo, in quanto era originariamente l'acronimo di His Infernal Majesty, scelto scherzosamente, senza reali legami con il mondo satanico.
Il gruppo ha come simbolo l'Heartagram, unione di un cuore e del pentacolo rovesciato, racchiusi in un cerchio, a simboleggiare che l'amore viene dato dalla convivenza (cerchio) del bene (cuore) e del male (pentacolo), sentimento che a detta di Ville Valo è "forse non la cosa più importante, ma l'unico motivo per cui mi alzo dal letto la mattina".
Ville Valo – lead vocals
Mikko "Mige" Paananen – bass
Mikko "Linde" Lindström – guitars
Janne "Burton" Puurtinen – keyboards
Jukka "Kosmo" Kröger – drums
Lena poster
www.rogercummiskey.com/el-y-ella/
See Fuengirola TV programme. www.aia-artgroup.com/el-y-ella.mp4
This is Spain: thisisspain.info/costa-del-sol/fuengirola/art-exhibition/
"I saw him first", Lesser Scaup, (Aytha affinis), 12/18/2015,The Landing's brackish lagoon # 3, Skidaway Island, Savannah, Ga.
This morning I noted a male and female had joined the single female amongst 100 + Hooded Mergansers.
View large and check out the female upper right!
When the ship gets close enough, we play "Where's Matt?" using Cousin Tim's telephoto lens to take detail pictures and then squint against the sun to see. Matt isn't in this picture.
to see him that way because he hasn’t started, he hasn’t played in two years,” Manusky said. That can’t be overlooked. And those hilarious costumes he wore and crazy personae he assumed during postgame interviews were classic.
www.odciski.pl/malcolm-smith-suffered-a-pectoral-tear-in-...
Dennis is a tall man, Danielle is a shorter woman. Dennis is 48 years old and Danielle is 39. Dennis and Danielle met together at the firehouse during open house when she brought her adopted kid, while she left her kids to explore the kids area she fell into Dennis's chest as she tripped over a speaker cable. She smelled him and said "Oh man you smell and feel right" That night he came to her house and she slept snuggled into his smoky smelly sweaty uniform jacket. She refuses to let him ever wash his uniform, she loves the smoky sweaty smell and when they sleep together she pulls his jacket open crawls inside and pulls it closed around her. Dennis loves how she rushes out to see him whenever he comes home and runs up to him hugs him and smells his wet sweaty neck.
this little guy followed us as we wandered through tea plantations up a hill in Nuwara Eliya, Sri Lanka. he had a broken leg but that didn't stop him from hobbling by our side, begging us for an ear scratch.
we had to cancel our trip to tenn since jackson got sick. but he still had team spirit since his sylvie sent him some vol attire.
It's Poddy, and I met him at SpokAnimal CARE. He was ready for adoption. And I hear he was going to be on TV yesterday, so he'll likely not be there long, but holy smokes was he charming.
Looking for a dog? Look no further than your local shelter. Okay? And if you look at a Border Collie... think twice. They are very intelligent and need a lot of attention and time. I cannot overemphasize the amount of time it takes. This is a working dog, and they will give back all you give to them... but expect to give a lot, okay?
Okay. Soapbox dismantled.
Blessings.
Terry Bain 
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she taught him how to sign "i love you" while they were in line waiting to have their tickets and luggage checked.......... poor little P&S was herniating trying to get a picture at a distance and with backlighting
Jacket, 1800
JC Frank
Wool, silk, silver thread, wooden buttons
In 1793 the Prince of Wales was appointed colonel of the 10th Light Dragoons, something that caused him to feel 'boundless joy'. The miniature in this case may have been painted to commemorate this event. The Prince of Wales had long been fascinated by the flamboyant uniforms of the Hungarian hussar regiments, a picturesque interpretation of traditional Hungarian peasant dress. Hussar features were incorporated into the clothing of the prince's unit, which was later renamed the 10th Royal Hussars. These included frogging (looped cord decoration), a corded waist sash with tubular gold barrels and tassels, and a fur-lined pelisse cloak.*
From the exhibition
Style & Society: Dressing the Georgians
(April to October 2023)
The display brings together over 200 works from the Royal Collection, including paintings, prints and drawings by artists such as Gainsborough, Zoffany and Hogarth, as well as rare surviving examples of clothing and accessories. The exhibition builds up a layer-by-layer picture of what the Georgians wore - from the practical dress of laundry maids to the glittering gowns worn at court - and chart the transformation of clothing and silhouettes from the accession of George I in 1714 to the death of George IV in 1830.
At the heart of the exhibition is a rarely displayed, full-length portrait of Queen Charlotte by Thomas Gainsborough, c.1781, which usually hangs in the White Drawing Room at Windsor Castle. Painted by candlelight, it depicts the Queen in a magnificent gown, worn over a wide hoop and covered with gold spangles and tassels. The painting is be shown alongside a beautifully preserved gown of a similar style, worn at Queen Charlotte’s court in the 1760s, on loan from the Fashion Museum Bath.
On display for the first time is Queen Charlotte’s book of psalms, covered in the only silk fabric known to survive from one of her dresses. The expensive fabric, decorated with metal threads to glimmer in candlelight, was most likely repurposed after the dress had passed out of fashion. As textiles were highly prized, Georgian clothing was constantly recycled, even by the royal family, and there was a thriving market for second-hand clothes.
The exhibition includes items of jewellery from Queen Charlotte’s famed collection, such as a diamond ring featuring a miniature of her husband George III, given to her on her wedding day. Other accessories on display will include beautiful English and French fans, which reached their fashionable zenith during this period, some representing topical events such as the first hot air balloon flight, and jewel-encrusted snuffboxes, reflecting the craze amongst both men and women for taking snuff throughout the 18th century.
The exhibition reveals how the Georgians ushered in many of the cultural trends we know today, including the first stylists and influencers, the birth of a specialised fashion press and the development of shopping as a leisure activity. From the popularity of fancy-dress and the evolution of childrenswear, to the introduction of military uniforms and the role of clothing in showing support for revolutions at home and abroad, Style & Society will explore what clothing can tell us about all areas of life in the rapidly changing world of 18th-century Britain.
[*IanVisits]
From the Queen's Gallery, Buckingham Palace
Buckingham Palace
Royal Palace. 1825 design, begun 1826 by John Nash, rebuilding Buckingham House of 1705 as a palace for George IV, completed 1837 with alterations by Edward Blore; The east range added 1847-50 by Blore; the Ballroom block of 1853-54, with Ambassadors' Court, by Sir James Pennethorne; the east front refaced 1913 by Sir Aston Webb for George V
Marble faced east front, the rest Bath stone except for Blore's west quadrangle front in Caen stone; slate and leaded roofs. Quadrangle plan. Monumental Graeco-Roman, composed with picturesque intent by Nash; Webb's east front a stiff Dixhuitieme exercise constrained by Blore's existing range but with elegant detailing: East front: three storeys with ground and attic floor mezzanines. Fenestration in rhythm 3:7:3:7:3 with centrepiece and terminal pavilion. Channelled ground floor with semicircular arched central gateway flanked by square headed doorways, all with fine ornamental iron gates of 1847; end pavilions and main range with square headed and semicircular arched gateways respectively; architraved sashes with open pediments on first floor and cornices on second floor; fluted Corinthian pilasters rise through first and second floors supporting main entablature with blocking course and balustraded parapet; centrepiece and terminal pavilions with Corinthian columns in antis and plain outer pilasters, in pairs on centrepiece, crowned by blind attics with pediments; continuous balustraded balcony to first floor.
West front: of Blore's east range; advanced centrepiece with tetrastyle giant fluted Corinthian column portico above archway; sculpture in pediment. North and South quadrangle ranges: by Nash and given uniform three storey height, with attic, by him in 1828; slightly advanced five-window wide pilastered centrepieces; ground floor Greek Doric colonnades filled in by Blore; to the south Ambassadors' Court with temple portico-porch and flanking ranges with Corinthian colonnade in antis, adjoining Pennethorne's 1853-1854 Ballroom block which continues giant columned corner pavilion theme of Nash's garden front.
East front of Nash's West range: originally open to deep forecourt and Mall, has storeys and attic main block, 11 windows wide, with three storey three-window wings, the main block with prominent, tetrastyle, two storey portico centrepiece, its low ground storey with cast iron coupled Greek Doric columns and the upper with giant coupled stone Corinthian columns carrying entablature and pediment with sculpture by Baily and crowning figures in Coade stone by W Croggan; the cast iron Doric colonnade is returned across ground floor of main block which has pavilion end bays dressed with giant pairs of Corinthian columns; tall blind attic; the friezes either side of portico by Westmacott and originally intended for the attic of Marble Arch.
West garden front, by Nash: Long symmetrical composition with five accents; basement, ground floor, piano nobile through two storeys and attic to main block with three-storey wings; the main block with five-window central bow and three-window side ranges terminating in one-window pavilions; the wings each of four windows with similar pavilion end bays; ground floor channelled, giant engaged Corinthian columns to bow and detached coupled Corinthian columns to pavilions carrying entablature with rich rinceau frieze; large frieze panels of Coade stone over first floor by Croggan; the attic above half dome of bow (Blore's replacement of Nash's dome) has a frieze by Westmacott intended for Marble Arch; the range is flanked at east of terrace by projecting conservatories in the form of hexastyle Ionic temples with pediments; the south conservatory altered as palace chapel in 1893 and as the Queen's Gallery in 1962.
Interior: State Apartments in west range at firs floor level, with two suites divided by the Picture Gallery, c1829-36 by Nash and Blore, in rich and already eclectic Graeco-Roman style with Louis XIV and Wren details in mouldings and motifs, approached via the Grand Hall with marble columns and Nash's recasting of the original Buckingham House staircase as well as by Pennethorne's Grand Staircase to south extended by Pennethorne to give access to his Ballroom block; the Picture Gallery redecorated 1914; the interior of the Ballroom retains Pennethorne's ceiling and throne recess but redecorated by Ludwig Gruner in 1902 when the walls, windows and doorways were remodelled by Verity; the plainer ground floor rooms below the State Apartments survive virtually as designed by Nash. Marble Arch (qv) designed by Nash in 1828 as the forecourt gateway was removed by Blore's east range and re-erected in 1851 on its present site.
[Historic England]