Co-curated by Sarah Cook and Kathy Rae Huffman, Broadcast Yourself is an international group exhibition that contextualises the current trend of sharing videos online (on websites such as YouTube) through the presentation of works of video art and web-based art from the 1970s to the 1990s. It includes the work of a diverse group of artists who have challenged television culture and questioned what it means to undertake the personal act of putting oneself ‘on-air’.

 

Works presented ranged from Bill Viola’s Reverse Television — Portraits of Viewers (1984), where he filmed American television viewers and broadcast the footage back out at them as they watched television, to Shaina Anand’s Khirkee Yaan Project (2006) from New Delhi, an exploration of what happens when you connect people via an open circuit TV system.

 

The exhibition included artists: Active Ingredient (Rachel Jacobs / Matt Watkins), Shaina Anand, Ian Breakwell, Chris Burden, Stan Douglas, Kit Galloway and Sherrie Rabinowitz, Alistair Gentry, Guillermo Gómez-Peña, Doug Hall, Chip Lord and Jody Proctor, Joanie 4 Jackie (Miranda July et al.), Pat Naldi and Wendy Kirkup, TV Swansong (curated by Nina Pope and Karen Guthrie), Bill Viola, Van Gogh TV, 56Ktv Bastard Channel (curated by Reinhard Storz / xcult.org).

 

The exhibition toured to Cornerhouse, Manchester from 13 June to 10 August 2008.

 

Biography

Sarah Cook is a curator and writer based in Newcastle upon Tyne, UK. She is a Reader at the University of Sunderland where she co-founded and co-edits CRUMB, the online resource for curators of new media art and teaches on the MA Curating course. Having grown up in Canada, she has a longstanding association with The Banff Center where she has worked as a guest curator and researcher in residence. After completing her PhD in 2004, she worked as adjunct curator of new media at BALTIC Centre for Contemporary Art funded by the AHRC and in 2008 was the inaugural curatorial fellow at Eyebeam Art and Technology Center in New York. Sarah has curated and co-curated international exhibitions including Database Imaginary (2004), The Art Formerly Known As New Media (2005) and Broadcast Yourself (2008).

 

Kathy Rae Huffman is an independent curator. She has commissioned artists, written about and coordinated events for a variety of international festivals and organisations since the 1980s. Huffman received an MFA in Exhibition Design from California State University Long Beach, where she also completed the post-graduate course in Museum Studies. She has held curatorial posts at the Long Beach Museum of Art (1979-1984) and The ICA Boston (1984-1990). She was professor of electronic art and director of EMAC at RPI, Troy, New York (1998-2000). She was Visual Arts Director at Cornerhouse, Manchester from 2002-2008, where her curatorial work included: Art TV (for The Getty Museum), Nick Crowe: Commemorative Glass, Marcel Odenbach: The Idea of Africa and Zineb Sedira: Telling stories with differences amongst others.

 

Credit

Co-curated by Sarah Cook and Kathy Rae Huffman. Touring exhibition produced by AV Festival 08 and Cornerhouse in collaboration with Hatton Gallery. Supported by Arts Council England, CRUMB at the University of Sunderland, and The Leverhulme Trust.

 

The Dallas Arts District's "Spotlight Sunday" on October 18

 

Festivities to celebrate the opening of the new AT&T Performing Arts Center include a day of free admission and extended hours. Enjoy performances in the exhibition All the World’s a Stage, tours family experiences, and much more.

 

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The Dallas Arts District

2200 Ross Ave

Dallas, TX 75201

(214) 744-6642

www.thedallasartsdistrict.org

 

The Dallas Arts District is a unique, 68-acre, 19-block neighborhood in the heart of the city. A rare jewel that is the centerpiece of the region’s cultural life, the District is home to some of the finest architecture in the world. Enhancing the downtown Dallas skyline are buildings by Pritzker Prize winners I.M. Pei, Renzo Piano, Norman Foster, Rem Koolhaas and AIA “Gold Medal” recipient Edward Larrabee Barnes.

Our neighborhood is a center for innovative architecture, world-class exhibits, exemplary cultural programming and much more. We are restaurants, hotels, churches, residences and even the world headquarters of 7-Eleven.

This website is designed to help you explore the many facets of the district. And whether you are coming from around the corner or from around the world, we hope you will find your trip enjoyable and your experience unparalleled.

We look forward to sharing with you the works of art, the performances, the cuisine and the vibrancy of the Dallas Arts District.

 

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Dallas Museum of Art

The Dallas Museum of Art ranks among leading art institutions in the country and is distinguished by its innovative exhibitions and groundbreaking educational programs.

 

www.dallasmuseumofart.org

 

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Nasher Sculpture Center

The Nasher Sculpture Center opened in 2003 as the first institution in the world dedicated exclusively to the exhibition of modern and contemporary sculpture with a collection of global significance at its foundation.

 

www.nashersculpturecenter.org/

 

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Trammell Crow Center and Crow Collection of Asian Art

The Trammell and Margaret Crow Collection of Asian Art is nestled like a small jewel in Dallas’ Arts District, offering visitors a glimpse of a world possessing serene beauty and spirituality in the heart of a bustling city.

 

www.crowcollection.org/

 

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Belo Mansion

The current home of the Dallas Bar Association, the Belo Mansion was built c. 1890 by Coleonel A. H. Belo, founder of the Dallas Morning News.

 

www.belomansion.com

 

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Cathedral Shrine of the Virgin of Guadalupe

The city’s oldest Catholic parish, this High Victorian Gothic cathedral is the second busiest Catholic cathedral in the nation.

 

www.cathedralguadalupe.org/

 

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Morton H. Meyerson Symphony Center

Since its grand opening celebration, the legendary rich sound of the Meyerson’s Eugene McDermott Concert Hall has made it a premier destination for the world’s finest soloists and conductors.

 

www.dallasculture.org/meyersonSymphonyCenter/

 

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AT&T Performing Arts Center Margot and Bill Winspear Opera House

With transparent, soaring 60-foot glass walls revealing views of the Grand Lobby and a café open throughout the day, the Winspear Opera House is a destination for all.

 

www.attpac.org/

 

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AT&T Performing Arts Center Dee and Charles Wyly Theatre

The world’s only vertical theatre, the innovative design of the Wyly Theatre creates ultimate performance flexibility.

 

www.attpac.org/

 

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Booker T. Washington High School for the Visual and Performing Arts

The school’s dual emphasis on arts and academics has produced a stellar list of famous graduates including Grammy Award®-winners Norah Jones, Erykah Badu and jazz trumpeter Roy Hargrove.

 

www.dallasisd.org/btw/

 

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St. Paul United Methodist Church

St. Paul United Methodist Church was founded in 1873 by freed slaves from Mississippi, Louisiana and Texas.

 

www.stpaulumcdallas.com/

 

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One Arts Plaza

One Arts Plaza is a multiuse structure comprised of residences, corporate offices and retail, the first of three buildings on over 10 acres at the eastern edge of the Dallas Arts District.

 

www.oneartsplaza.com/

 

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Dallas Black Dance Theatre

Dallas Black Dance Theatre is the city’s oldest continuously operating dance company.

 

www.dbdt.com/

 

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AT&T Performing Arts Center Elaine D. and Charles A. Sammons Park

Weaving together the Winspear Opera House, Wyly Theatre, Strauss Square and City Performance Hall, the ten-acre park stretches from Woodall Rodgers Freeway to Ross Avenue, and is the first public park in the Dallas Arts District.

 

www.attpac.org/

 

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Inside the AT&T Performing Arts Center Margot and Bill Winspear Opera House

 

www.attpac.org/

Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.

 

A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.

In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]

Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.

  

Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec

 

Galileo Galilei. Phases of the Moon. 1616.

Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.

 

There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).

 

A quick, unrefined drawing may be called a sketch.

 

In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.

 

History[edit]

Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.

 

Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]

 

The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.

 

Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.

 

Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.

 

Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.

 

Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.

 

The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.

 

Technique[edit]

 

Raphael, study for what became the Alba Madonna, with other sketches

Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]

 

Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.

 

The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]

 

Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.

 

Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.

 

Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.

 

Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]

 

Tone[edit]

 

Line drawing in sanguine by Leonardo da Vinci

Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.

 

Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.

 

Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.

 

Form and proportion[edit]

 

Pencil portrait by Ingres

Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.

 

When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]

 

A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.

 

Perspective[edit]

Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.

  

Two-point perspective drawing

When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.

 

Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.

 

Artistry[edit]

 

Chiaroscuro study drawing by William-Adolphe Bouguereau

The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.

 

The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.

 

When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.

  

Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)

A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.

 

Process[edit]

Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]

 

Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.

 

Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]

 

Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]

 

This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.

 

Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".

 

Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]

 

Clouding over and cooling down at Shoreham Beach this evening after another sunny hot day. Plenty of people on the beach including this pair in animated conversation

Spa Gardens is a beautiful park right in the heart of Ripon. It has been recognised for its high-quality maintenance and facilities and has been awarded Green Flag status.

 

In the centre of the park is a splendid Victorian bandstand, where band concerts take place on Sunday afternoons throughout the summer. For birdwatchers, carefully sited nesting boxes have encouraged many varieties to make a home in the gardens. There is also a cafe serving home cooked food and cakes, and you can enjoy a round of crazy golf or try playing bowls.

 

Tree sculpture

The newest addition to Spa Gardens is a series of tree sculptures depicting characters from Lewis Carroll's Alice's Adventures in Wonderland. Carroll spent time as a choirboy at Ripon Cathedral and is said to have been inspired to create the characters by the cathedral's animal carvings.

 

Chainsaw Mick was commissioned to create the carvings, using the trunks of a cypress tree. As well as a very lifelike Alice, these garden sculptures include the Caterpillar, Mad Hatter and the White Rabbit.

 

Restoration

In 2011, the Friends of Spa Gardens worked with us to secure funding for the restoration of the war memorial and the Marquess of Ripon statue.

 

The war memorial, at the entrance to Spa Gardens, has been named the best war memorial in the town class several times in the Yorkshire in Bloom awards.

 

Facilities include:

Sun Parlour café

Victorian bandstand

band concerts - Sunday afternoons from May to August

statue of the Marquess of Ripon

war memorial

colourful seasonal bedding displays

toilets with disabled access

nine-hole crazy golf

18-hole putting green

flat bowling green

three tennis courts in Spa Park

tree trail and quiz

Green Man trail - more than 30 Green Man plaques are hidden among trees and flowerbeds in the gardens. See how many you can find and record them on the trail sheet

refurbished play area in Spa Park

 

Ripon is a cathedral city and civil parish in North Yorkshire, England. The city is located at the confluence of two tributaries of the River Ure, the Laver and Skell. Within the boundaries of the historic West Riding of Yorkshire, the city is noted for its main feature, Ripon Cathedral, which is architecturally significant, as well as the Ripon Racecourse and other features such as its market.

 

The city was originally known as Inhrypum. Bede records that Alhfrith, king of the Southern Northumbrian kingdom of Deira, gave land at Ripon to Eata of Hexham to build a monastery and the abbot transferred some of his monks there, including a young Saint Cuthbert who was guest-master at Ripon abbey. Both Bede in his Life of Cuthbert and Eddius Stephanus in his Life of Wilfred state that when Eata was subsequently driven out by Alhfrith, the abbey was given to Saint Wilfrid who replaced the timber church with a stone built church. This was during the time of the Anglian kingdom of Northumbria, a period during which it enjoyed prominence in religious importance in Great Britain. It was for a period under Viking control, and later suffered under the Normans. After a brief period of building projects under the Plantagenets, the city emerged with a prominent wool and cloth industry. Ripon became well known for its production of spurs during the 16th and 17th centuries, but would later remain largely unaffected by the Industrial Revolution.

 

Ripon is the third-smallest city in England and the smallest in Yorkshire, by population. According to the 2011 United Kingdom Census it had a population of 16,702, an increase on the 2001 United Kingdom Census figure of 15,922. It is located 11 miles (18 km) south-west of Thirsk, 16 miles (26 km) south of Northallerton and 12 miles (19 km) north of Harrogate. As well as its racecourse and cathedral, Ripon is a tourist destination because of its proximity to the UNESCO World Heritage Site which consists of the Studley Royal Park and Fountains Abbey.

 

During its pre-history the area which later became Ripon was under the control of the Brigantes, a Brythonic tribe. Three miles (5 km) north at Hutton Moor there is a large circular earthwork created by them. The Romans did not settle Ripon, but they had a military outpost around five miles (8 km) away at North Stainley. Solid evidence for the origins of Ripon can be traced back to the 7th century, the time of the Anglian kingdom of Northumbria. The first structure built in the area, known at the time as Inhrypum, was a Christian church dedicated to St Peter, with the settlement originating in 658.This was founded by a Northumbrian nobleman known as Wilfrid, who later became Archbishop of York; he was granted the land by King Alhfrith.

 

The earliest settlers were stonemasons, glaziers and plasterers that Wilfrid brought over to help construct the Ripon monastery, from Lyon in Francia and Rome which was then under Byzantine rule. The years following the death of Wilfrid are obscure in Ripon's history. After the invasion of the Great Heathen Army of Norse Vikings in Northumbria, the Danelaw was established and the Kingdom of Jórvík was founded in the Yorkshire area. In 937 Athelstan, then King of England, granted the privilege of sanctuary to Ripon, for a mile around the church. One of his successors was less well-disposed: after the Northumbrians rebelled against English rule in 948, King Edred had the buildings at Ripon burned. Prosperity was restored by the end of the 10th century, as the body of Saint Cuthbert was moved to Ripon for a while, due to the threat of Danish raids.

 

After the Norman conquest, much of the north rebelled in 1069, even trying to bring back Danish rule; the suppression that followed was the Harrying of the North, which resulted in the death of approximately one-third of the population of the North of England. Ripon is thought to have shrunk to a small community around the church following the suppression. The lands of the church were transferred to St Peter's Church at York as the Liberty of Ripon and it was during this time that a grand Collegiate Church was built on top of the ruins of Wilfrid's building. Eventually developed in the Gothic style, the project owed much to the work of Roger de Pont L'Evêque and Walter de Gray, two Archbishops of York during the Plantagenet era. During the 12th century Ripon built up a booming wool trade, attracting Italian trade merchants, especially Florentines, who bought and exported large quantities.

 

Ripon's proximity to Fountains Abbey, where the Cistercians had a long tradition of sheep farming and owned much grazing land, was a considerable advantage. After English people were forbidden from wearing foreign cloth in 1326, Ripon developed a cloth industry which was third in size in Yorkshire after York and Halifax. Due to conflict with Scotland, political emphasis was on the North during the time of Edward I and Edward II, as Scottish invaders attacked numerous northern English towns. Ripon had a wakeman to make sure the residents were safely home by curfew and law and order was maintained, yet it was forced to pay 1,000 marks to the Scots to prevent them from burning down the town on one occasion.

 

Ripon, which relied heavily on its religious institutions, was badly affected by the English Reformation under the Tudor king Henry VIII. The Abbot of Fountains, William Thirske, was expelled by Henry and replaced; Thirske went on to become one of the leaders of the Pilgrimage of Grace popular rising. The people of Northern England were quite traditional in their beliefs and were unhappy about Henry's intention to break with Rome; the Pilgrimage of Grace was the manifestation of this sentiment. The revolt failed and Henry followed through with the break from Rome and the Dissolution of the Monasteries, which included Fountains Abbey.

 

After Mary, Queen of Scots, fled Scotland to Northern England she stayed at Ripon on her journey. The mainly Catholic North supported her, and there was another popular rising known as the Rising of the North; this began six miles (10 km) away at Topcliffe and was led by Thomas Percy, the 7th Earl of Northumberland and Charles Neville, the 6th Earl of Westmorland. The rebels stayed at Ripon on 18 November 1569, but the rising eventually failed resulting in 600 people being executed, 300 of whom were hanged at Gallows Hill in Ripon during January 1570.

 

Plans were drawn up to make Ripon a centre of education, a University of the North, to rival Oxford and Cambridge. Although chief advisers Lord Burghley and Archbishop Sandys supported the idea, Elizabeth I did not follow it through. The scheme was revived in 1604 by Sandys' widow Cicely, under the patronage of Anne of Denmark and Bess of Hardwick without success.

 

Ripon replaced its old textiles industry with one for the manufacture of spurs during the 16th century. They were so widely known that they gave rise to the proverb "as true steel as Ripon Rowels". At the time, spurs did not just serve as functional riding accessories, they were also fashionable; an expensive pair was made for King James I when he stayed at Ripon in 1617 It was James who granted Ripon a Royal Charter in 1604 and created the first Mayor of Ripon. After the Bishops' Wars in Scotland, a treaty was signed at Ripon in 1640 to stop the conflict between Charles I and the Scottish Covenanters. Although Ripon was not in the main line of fighting which was to the east, it remained loyal and royalist during the English Civil War. There was an incident in 1643, when parliamentarian forces under Thomas Mauleverer entered Ripon and damaged the Minster, but John Mallory and the royalist forces soon settled the matter after a skirmish in the Market Place. The royalists were eventually defeated in the Civil War and Charles I spent two nights as a prisoner in Ripon. Oliver Cromwell visited the city twice on his way to battle, once on the way to the Preston and also on the way to the Battle of Worcester.

 

By the time of the English Restoration, several strains of non-conformist Christian practices had appeared, although they were not common in Ripon, the majority of people being Anglicans with a Catholic minority. After the Revolution of 1688 which overthrew James II, there were Jacobite risings in the British Isles; some Riponmen were jailed in February 1746 upon "suspicion of corresponding with Prince Charles Edward Stuart". The founder of Methodism, John Wesley, preached in Ripon and a small community of followers was established. During the Georgian era Ripon, unlike several other cities, was not significantly affected by the Industrial Revolution despite the existence of various guilds. Although more widely known for his activities outside of Ripon, John Aislabie, during his time as Member of Parliament for Ripon, created the Studley Royal Park with its water garden and erected the Ripon Obelisk (designed by Nicholas Hawksmoor). Newby Hall was also created during this period by Christopher Wren.

 

Communications were improved with the opening of Ripon railway station in May 1848. During the First World War a large military training camp was built in Ripon, the local community offering hospitality not only to soldiers' wives but to the Flemish refugees who became part of Ripon's community. The racecourse south-east of the city also served as an airfield (RFC Ripon) for the Royal Flying Corps (and latterly, the Royal Air Force). The racecourse was also used as a demobilisation centre for troops returning from France well into 1919.

 

The town had a similar though smaller role during the Second World War and, in recognition of this, the Royal Engineers were presented with the Freedom of the City in 1947. Since the War, Ripon has gone through some remodelling and has grown in size; it attracts thousands of tourists each year who come to see its famous buildings with their long Christian heritage, nearby Studley Park, Ripon Racecourse, and in recent times the theme park Lightwater Valley.

 

Ripon was the first Church of England diocese to be created after the English Reformation, as it was recognised that existing dioceses were unsuited for the large increases in population caused particularly by the Industrial Revolution of the 18th century in central England. It was deemed that new cathedral building on a national scale was not viable and so Ripon, containing a high status parish church, was created from the existing Chester and York dioceses in 1836, with the building promoted to cathedral status. Ripon council presumed this had elevated the town to the rank of city, and started referring to itself as such. The next diocese Manchester was promoted similarly, but doubts as to its use of the title were raised. With the subsequent clearer understanding of needing to petition the monarch, Manchester did so and obtained the status in 1853. Ripon was encouraged to follow suit, with its own status being recognised by the parliamentary City of Ripon Act in 1865.

 

In 1974 Ripon borough (see Governance) was abolished and a parish council established as part of wider local government reform. The award of city status is typically granted to a local authority, whose administrative area is then considered to be the formal borders of the city, the grant in this case being removed at the same time and bestowed onto the parish. By this definition, the whole parish council area of Ripon, including its settlement and surrounding rural area containing a tiny portion of the Nidderdale AONB to the north west, is considered to be the limits of the city. It contains the third lowest population of all the cities in England, however it falls to seventh place when taking the whole of the UK into consideration. Using 2011 ONS census statistics, Ripon has the third smallest city council area but the fourth lowest urban area of any city in England.

 

Ripon became a municipal borough of the West Riding of Yorkshire with its headquarters at Ripon Town Hall in 1835, and remained an independent borough until 1974. That year, following the Local Government Act 1972, the former area of Ripon borough was merged with Harrogate borough and several rural districts of the West Riding to form an enlarged Harrogate borough in the ceremonial county of North Yorkshire.

 

The lowest tier of governance in Ripon is the Ripon City Council, a parish council with twelve members, three for each of four wards. In 2019, four councillors are Conservative, and the rest are independent.

 

Ripon was represented by the Member of Parliament for Yorkshire until it had its own parliamentary borough established on a permanent basis in 1553. Ripon was able to elect two MPs to represent its parliamentary borough; the right of election was vested not in the population as a whole, but in the burgesses (originally meaning freemen of the borough or freeholders) until the Great Reform Act of 1832. The next Reform Act which came into force at the 1868 election, reduced Ripon's representation from two MPs to one. Some of the more notable MPs of Ripon were John Aislabie, Frederick John Robinson and George Cockburn. The Reform Act of 1885 abolished the borough of Ripon, but the county constituency in which the town was placed as a result was named Ripon, and this continued as a single member constituency, albeit with some boundary changes, until it was abolished before the 1983 general election. Since 1983, Ripon has been part of the Skipton and Ripon constituency, a Conservative Party stronghold.

 

Ripon lies at the confluence of two rivers, the Laver and the Skell, which meet in the west of the city. As they flow through the city, the Skell feeds water into the basin of Ripon Canal. East of the city, the Skell meets the River Ure, and both the Ure and canal head south-eastwards towards Boroughbridge. The Ure was the traditional boundary between the old West and North Ridings of Yorkshire.

 

As the city is at the meeting point of three rivers, it has flooded often in the 20th and 21st centuries; notable floods have occurred in 1982, 1991, 1995, 2000, 2005 and 2007. This prompted spending over £14 million on the building of flood defences for the city and a storage area upstream of the city which can hold 53,000,000 cubic feet (1,500,000 m3) of water.

 

Much of the geology of the district is magnesian limestone, part of the Permian rocks which extend southwards from Darlington to Wetherby. The area has pockets of gypsum underlying the surface soils. Water has dissolved the gypsum, leaving the area prone to sinkholes, especially north of the city and on the northern side of the Ure.

 

The main feature of Ripon is an English Gothic style cathedral, originally founded by Irish monks but refounded by Saint Wilfrid in 672. It has been rebuilt many times, and the only original building is the Saxon crypt. It is home to Wilfrid’s grave.

 

Ripon is home to Ripon Grammar School which is a selective intake, state secondary school. The school claims to take roots from the school which was attached to the Collegiate Church, founded during the time of the Angle kingdom of Northumbria by Saint Wilfrid. The refoundation date for the school was during the reign of Queen Mary I in 1555. The school has several notable alumni, known as Old Riponians, including theologian Bishop Beilby Porteus, historian Bishop William Stubbs, fashion designer Bruce Oldfield and television presenter Richard Hammond. In the modern day the school hosts around 800 pupils, gaining engineering status in 2006, it receives favourable reports from the Ofsted, being either good or outstanding. Opposite Ripon Grammar on Clotherholme Road is the non-selective Outwood Academy Ripon (formerly Ripon College, a secondary comprehensive school), which was also known as Ripon City School until 1999. It has around 630 pupils and is exceeding the national average of GCSE and A-Level results.

 

On the site of the Old Ripon Racecourse in Whitcliffe Lane was St Olave's Preparatory School. This site was taken over by an independent co-ed preparatory school founded in 1960 called the Cathedral Choir School. The choir school closed in 2012 and the site has now had approval for the building of new residential dwellings. Ripon previously had higher education facilities in the form of the College of Ripon and York St John until 2001. This college had its roots in two Anglican teacher training colleges, which were founded in York in 1841 for men and 1846 for women. The women's college moved to Ripon in 1862. Over the next century, the colleges gradually diversified their education programmes. The colleges merged in 1974 to form the College of Ripon and York St John. The combined institution became a college of the University of Leeds in 1990. Between 1999 and 2001, all activities were transferred to York and the college received the name York St John University. One of York St John's buildings on its Lord Mayor's Walk campus was renamed 'Ripon' in June 2018 to commemorate Ripon Training College's "contribution to women's education" over 123 years of service.

 

Evolve, a small, inclusive post-16 college is based in the centre of Ripon, which works alongside Craven College, which is based in Skipton.

 

On the outskirts of Ripon there is the specialist autism education school called Spring Hill. The school offers day and boarding places. Current pupil numbers are 22. These include 17 boys, 5 girls, and 6 boarders. Spring Hill is owned by Cambian group PLC which is a large UK provider of specialist provision for children and adults. Spring Hill was previously in the ownership of the charity Barnardos. The current headteacher is Samantha Campbell, the head of care is Rebecca Sharp, The deputy headteacher is Christine Sherman, the head of education is currently vacant and the transitions and admissions coordinator is currently vacant.

 

Christianity is the largest religious affiliation in Ripon; 79.3% of the people in the area polled as part of the United Kingdom Census 2001 professed the Christian faith. Ripon Cathedral is the main religious building in the city and contains a tomb said to contain the bones of Saint Wilfrid who founded a monastery here and with it the town. The Venerable William Gibson is another noted local figure, a Catholic martyr who was one of the eighty-five martyrs of England and Wales.

 

The Church of England is in the majority, with two parishes: the ancient Ripon Cathedral and Holy Trinity Church. Ripon was the episcopal see of the Diocese of Ripon and Leeds represented by the Bishop of Ripon and Leeds, created in 1836 with just Ripon in its title but adapted to include Leeds in 2000. In 2014 it became part of the Diocese of Leeds, with Ripon Cathedral serving as one of its three cathedrals of equal status. During the time of the kingdom of Northumbria there was a short-lived Diocese of Ripon, with Eadhedus the only bishop. There is also a Medieval chapel located on Magdalens Road, which was once part of a leper hospital. The Chapel of St Mary Magdalen is still used for regular worship and is a grade I listed building.

 

There is a Roman Catholic parish in Ripon called St Wilfrid's; it is covered by the Diocese of Leeds in the Harrogate deanery and the church is an architecturally significant building. There are also around two places of worship for Methodism in Ripon, as well as a couple of evangelical churches including Bethel Church and Zion Baptist Church.

 

Market day is held on a Thursday, and there are 120 stalls.[76] In celebration of the city's founder the Wilfrid Procession is held every year; it originated in 1108 when King Henry I granted the privilege of holding a fair for him. At the procession there are various decorated floats which make their way through the city with locals in costume. Part of the tradition represents the return of Wilfrid to Ripon, a decorated dummy (sometimes a man in costume instead) dressed as Wilfrid is sat on a horse, accompanied by two musicians with another man carrying St Wilfrid's hat around. Ripon also has dancing traditions such as the Long Sword dance and Morris dance.

 

The market square is the site of the Ripon Obelisk, erected in 1702 by John Aislabie and designed by Nicholas Hawksmoor. It stands 80 ft (24 m) in height and is capped with a weathervane bearing a representation of the wakeman's horn. It is Grade I listed and reputed to be the oldest in England.

 

The tradition of the Ripon Hornblower has endured since 886 and continues on to this day. It originates with the wakeman of Ripon, whose job in the Middle Ages was similar to that of a mayor, although he had more responsibilities in the keeping of law and order. Every day at 9:00 pm the horn is blown at the four corners of the obelisk in Ripon Market. The horn has become the symbol of the city and represents Ripon on the Harrogate borough coat of arms. There are three museums in Ripon collectively known as the Yorkshire Law and Order Museums; it includes the Courthouse, the Prison and Police and the Workhouse Museums.

 

In terms of sport, the most noted field of participation is horse racing with the Ripon Racecourse. The sport has a long history in Ripon, with the first recorded meeting on Bondgate Green in 1664, while its current location has been used as a racetrack since 1900. Ripon staged Britain's first race for female riders in 1723. The city is also home to Ripon Rugby Union Football Club who were founded in 1886 and currently play in Yorkshire 2, the eighth tier of the English Rugby Union league.

 

Local news and television programmes are provided by BBC Yorkshire and BBC North East and Cumbria on BBC One & ITV Yorkshire and ITV Tyne Tees on ITV1. Television signals can be received from either Emley Moor or Bilsdale TV transmitters.

 

Local radio stations are BBC Radio York, Greatest Hits Radio Yorkshire (formerly Stray FM), 'Your Harrogate' which broadcast from Harrogate and BFBS that provides radio programmes for His Majesty's Armed Forces.

 

The city was previously served by Ripon railway station on the Leeds-Northallerton Line that ran between Leeds and Northallerton. It was once part of the North Eastern Railway and then London & North Eastern Railway. The Ripon to Harrogate Line was closed in the 1960s as part of the Beeching cuts. Today much of the route of the line through the city is now a relief road and although the former station still stands, it is now surrounded by a new housing development. The issue remains a significant one in local politics and there are movements wanting to restore the line. Reports suggest the reopening of a line between Ripon and Harrogate would be economically viable, costing £40 million and could initially attract 1,200 passengers a day, rising to 2,700.

 

By road Ripon is well connected; it is accessible from the north and south via the A1(M) motorway which connects to Ripon by the B6265. Ripon is accessible from the east and west via the A61 which is the main road running through the city.

 

Harrogate Bus Company's route 36 links the city to Harrogate and Leeds, and there are also regular bus routes to Boroughbridge, York, Thirsk, Northallerton, Leyburn, Richmond and others

 

The Ripon Canal was proposed by John Smeaton in 1766, to connect the city centre to part of the River Ure; it was used for the transportation of coal from the Durham coalfields into the city. Although abandoned in 1956, a conservationist campaign saw it partly reopened in 1988, and fully in 1996.

 

Town twinning

Foix in France 1957.

 

Freedom of the City

Individuals

Charles, Prince of Wales: 24 October 2002.

Military units

The Royal Engineers: 27 July 1949.

RAF Leeming: 14 September 2015.

------------------♥ Jules Letter A & Bella Jeans Shorts Duo – Includes Exclusive Textures ♥--------------------

♥ Pretty Things to Wear Group Members Release 25% with Tag Inworld on Exclusive Vendors ♥

 

maps.secondlife.com/secondlife/Cevedale/103/18/315

 

marketplace.secondlife.com/p/GH-Letter-A-Jules-Bonus-Bell...

 

The red kite (Milvus milvus) is a medium-large bird of prey in the family Accipitridae, which also includes many other diurnal raptors such as eagles, buzzards, and harriers. The species is currently endemic to the Western Palearctic region in Europe and north-west Africa. It is resident in the milder parts of its range, but birds from north-eastern and central Europe winter further south and west, reaching south to Turkey.

 

They are 60-70 cm long with a 175–179 cm wingspan; males weigh 800–1,200g and females 1,000–1,300g. It is an elegant bird, soaring on long wings held at a dihedral, and long forked tail, twisting as it changes direction. The body, upper tail and wing coverts are rufous. The white primary flight feathers contrast with the black wing tips and dark secondaries. Apart from the weight difference, the sexes are similar, but juveniles have a buff breast and belly. Older females, such as this one, have a whitening of the feathers on the head. Its call is a thin piping sound, similar to but less mewling than the common buzzard.

 

Their diet consists mainly of small mammals such as mice, voles, shrews, young hares and rabbits. They feed on a wide variety of carrion including sheep carcasses and dead game birds. Live birds are also taken and occasionally reptiles and amphibians. Earthworms form an important part of the diet, especially in spring.

 

As scavengers, red kites are particularly susceptible to poisoning. Illegal poison baits set for foxes or crows are indiscriminate and kill protected birds and other animals.

 

In the UK red kites were ubiquitous scavengers that lived on carrion and rubbish. Shakespeare's King Lear describes his daughter Goneril as a detested kite, and he wrote "when the kite builds, look to your lesser linen" in reference to them stealing washing hung out to dry in the nesting season. In the mid-15th century King James II of Scotland decreed that they should be "killed wherever possible", but they remained protected in England and Wales for the next 100 years as they kept the streets free of carrion and rotting food. Under Tudor "vermin laws" many creatures were seen as competitors for the produce of the countryside and bounties were paid by the parish for their carcasses.

 

By the 20th century the breeding population was restricted to a handful of pairs in South Wales, but recently the Welsh population has been supplemented by re-introductions in England and Scotland. In 2004, from 375 occupied territories identified, at least 216 pairs were thought to have hatched eggs and 200 pairs reared at least 286 young. In 1989 six Swedish birds were released at a site in north Scotland and four Swedish and a Welsh bird in Buckinghamshire. Altogether, 93 birds of Swedish and Spanish origin were released at each of the sites. In the second stage of reintroduction in 1995 and 1996, further birds were brought from Germany to populate areas of Dumfries and Galloway. 94 birds were brought from the Chilterns and introduced into the Derwent Valley in north-east England between 2004 and 2006. In Northern Ireland 80 birds from wild stock in Wales were released over three years between 2008 and 2010, and in 2010 the first successful breeding was recorded. The reintroductions in the Chilterns have been a success. Between 1989 and 1993 90 birds were released in the Chilterns Area of Outstanding Natural Beauty and by 2002, 139 pairs were breeding there. Another successful reintroduction has been in Northamptonshire, which has become a stronghold for the red kite. Thirty Spanish birds were introduced into Rockingham Forest near Corby in 2000, and by 2010, the RSPB estimated that over 200 chicks had been reared from the initial release. So successful has the reintroduction been that 30 chicks have been transported from Rockingham Forest, for release in Cumbria.

 

A sighting of the first red kite in London for 150 years was reported in The Independent newspaper in January 2006 and in June of that year, the UK-based Northern Kites Project reported that kites had bred in the Derwent Valley in and around Rowlands Gill, Tyne and Wear for the first time since the re-introduction.

 

In 1999 the red kite was named 'Bird of the Century' by the British Trust for Ornithology. It has been unofficially adopted as the national bird of Wales.

 

In June 2010 the Forestry Commission North West England announced a three-year project to release 90 red kites in Grizedale Forest, Cumbria under a special licence issued by Natural England. The Grizedale programme will be the ninth reintroduction of red kites into different regions of the UK, and the final re-introduction phase in England.

 

As of July 2011, non-breeding birds are regularly seen in all parts of Britain, and the number of breeding pairs is too large for the RSPB to continue to survey them on an annual basis.

 

Some of the best places to see them in the UK are Gigrin Farm near Rhayader, mid-Wales, where hundreds are fed by the local farmer as a tourist attraction, and the nearby Nant-Yr-Arian forest recreation centre in Ceredigion where the rare leucistic variant can be seen. In the England, the Oxfordshire part of the Chilterns has many red kites, especially near Henley-on-Thames and Watlington, where they were introduced on John Paul Getty's estate. They can also be seen around Harewood near Leeds where they were re-introduced in 1999. - extracted from Wikipedia.

 

This captive bird was displayed in the wild meadow at the Hawk Conservancy near Andover, Hants.

The Oz (Oscar Diggs) 12'' doll has been deboxed. He is posed free standing, both with and without his accessories, which include his top hat, his traveling bag, and the China Girl 4'' mini doll.

 

The Oscar Diggs doll is a 12'' tall posable fashion doll, with a removable outfit. It consists of a black faux wool coat with black satin lining, a black satin vest, dark gray pinstriped pants, a black bow tie, and white satin dress shirt. His vest is actually only a front panel sewn onto his shirt. He also has ankle high black boots, and a black top hat. His outfit looks well tailored, and fits him well.

 

His face is a decent facimile of the Oscar Diggs movie character. His skin tone is a medium tan. He has dark brown facial hair, with thick eyebrows, mustache and goatee. He has small, narrow dark brown eyes staring straight ahead. His nose is medium sized and straight. He has short rooted hair that is a mixture of dark brown and black strands. His sideburns are black. His hair is slicked back, but doesn't have a lot of hair product, so is still soft and resilient, even over his forehead, and stays pretty neat. I groom his hair just using my fingers.

 

His body is well proportioned, with his head, hands, feet looking to be realistic sizes. His articulation consists of neck, shoulder, elbow and hip joints. His neck is a ball joint allowing 360 rotation and tilting up about 20 degrees. His shoulder ball joint allowing 360 rotation about a vertical plane, and tilting about 45 degrees from the vertical. His elbows are ball joints allowing 360 degress rotation, and tilting about 45 degrees. Finally his hips allow 360 rotation (constrained by his pants), and tilting about 20 degrees away from the vertical. He can sit with his legs together. Since he cannot bend his knees, he has to sit with his legs straight.

 

I think that this doll is a great bargain for the $20 price. He looks good, has rooted hair, has a good looking outfit, with many accessories, including the 4'' China Girl mini doll. The mini doll seems to be identical to the Disney Store mini doll, that is sold separately for $9.50. I can't be absolutely sure of that until I get the DS mini doll, which should happen by Tuesday, February 19.

 

Oz (Oscar Diggs) 12'' Fashion Doll With China Girl 4'' Mini Doll

By Tollytots, a division of Jakks Pacific

Based on a character in Disney's Oz The Great and Powerful

Released by Target online February 5, 2013

Purchased from Target online on February 6, 2013

Received on February 14, 2013

First Look

 

Following product information from the US Target website

 

Oz the Great and Powerful Oz and China Fashion Dolls

$19.99

 

This Oz doll is inspired by James Franco's character in the movie Oz the Great and Powerful. Oz is dressed for adventure in his coat, vest and top hat. This articulated doll comes with a mini China Doll and a travel bag, so your little one can reenact all her favorite scenes from the movie.

 

Includes all Winter Village sets.

The tradition behind the annual Army-Air Force Week includes more than a football game. There’s spirit videos and spirit missions, a bonfire and rally, and a series of competitions between the U.S. Military Academy and U.S. Air Force Academy in corps squad, club and company athletics. This year, the Men’s and Women’s Army Rugby teams bested Air Force, the Army Sprint Football team and the Women’s Soccer team lost in corps squad action. In club sports, the West Point Men’s Team Handball won both of its matches against Air Force and the West Point Men’s Boxing team beat Air Force. In company athletics, the All-Star teams in basketball, soccer and flag football fell to the Air Force. Photo by Mike Strasser/USMA PAO

BLM's Cebolla Wilderness, located within the El Malpais National Conservation Area, includes 61,600 acres of rimrock country east of NM 117. Sanstone mesas, canyons and grassy valleys characterize the area. The Mesas and canyons are clad with juniper, piñon, and ponderosa pine. Vertical escarpments provide excellent nesting habitat for golden eagles, prairie falcons, red-tail hawks, and great horned owls.

 

The Cebolla Wilderness is rich in prehistoric archaeological sites, petroglyphs and historic homesteads. One such archaeological site is the Dittert Site (Download Brochure). Sometime between A.D. 1000 and1300, the Dittert Site was built and occupied by the Anasazi people, who were the ancestors of modern Pueblo Indian people. Cebolla Wilderness also contains La Ventana Natural Arch, a dramatic arch sculpted through wind and water erosion in the sandstone cliffs located about ¼ mile inside the wilderness.

 

Recreation activities include primitive types, such as hiking, backpacking, camping, wildlife viewing and horseback riding.

 

Learn more: on.doi.gov/1eYnhHW

 

Photo: Bob Wick, BLM California

The C. S. Mendenhall Company of Cincinnati produced this pocket Indiana road map in 1901.¹ The size is approximately 4 inches by 7 inches and the price was 25 cents. It includes a foldout map showing the entire state with an inset map of Marion County. The state map is titled, “Mendenhall’s Road Map and Route Book of Indiana, showing Pikes, Roads & Bicycle Routes, the locations of towns, post offices, railroads, &c.” The “Main Touring Routes” were shown on the map with red lines alongside the black road lines. The guide also included pages with route descriptions and mileage information. Here are two examples.

 

16. FORT WAYNE TO LIMA, IND.—Wallen 6, gravel, Huntertown 11, gravel, La Otto 15, gravel, Swan 17, Avilla 20, gravel, Kendallville 26, gravel, Wolcottville 33, clay, dirt, La Grange 42, clay, dirt, Lima 47, dirt, fair. (Lima was the former name of the Town of Howe in Lagrange County.)

 

33. LEBANON TO INDIANAPOLIS—Westfield 18, Carmel 23, Nora 25, Broad Ripple 29, Indianapolis 37, gravel.

 

The Marion County inset map shows the major roads and streets as well as parks. Bicycle routes are marked in red. All appear to follow major streets, but some are not identified on the map. For example, on the northeast side, the routes include College Avenue, the Westfield Road and the White River and Fall Creek Pike (known as Keystone Avenue today). Noblesville Road (Allisonville Pike) and Millersville Road are also identified as bicycle routes. Broad Ripple Park is shown on the map, but the street that passes Broad Ripple Park is not identified as a bicycle route. The park was located along the north side of Shelby Street (unnamed on the map) and that street is shown extending from The Westfield Road past the park to an unnamed minor street east of the Allisonville Road. Today, that east-west street is known as Broad Ripple Avenue and 62nd Street.

 

1. Mendenhall’s Road Map of Indiana (Cincinnati, OH: C. S. Mendenhall, 1901).

 

The full map sheet can be viewed here.

 

www.flickr.com/photos/hoosier_recollections/15696906808/

 

The sample route pages can be viewed here.

 

www.flickr.com/photos/hoosier_recollections/15882433071/

 

Copyright 2010-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.

The full title of this 360/720 panorama includes the above phrase, but is prefaced with: In the manner of Robbert Frick.

  

Robbert Frick is a Los Angeles-based artist. He attached a camera to his car and drove around, generating pictures that way. This method is both relevant to LA and elegantly minimal.

  

My friend, Paul Zelevansky suggested I do something similar with the equipment I use to generate 360/720 spherical panoramas. At first, I didn’t think this would work. Then, I became intrigued. It might generate really different kinds of images.

  

So…I got a tripod out, mounted theVRkit rotator on it, and put all this on the floor of the passenger side of my Subaru Forester Sport. I put my iPhone 11 with my Sandmarc fisheye lens in the Rotator clamp, and set off.

  

I didn’t have to go very far before I had my first pano. You have to know my neighborhood in West Des Moines to understand how really smashed up this picture is.

  

1. My house is sizable, but it doesn’t have 3 garages on the first floor. It doesn’t even have two garages.

2. I appear to be going east, to the right of my house, but the picture has moved everything that actually is west of my house to the east.

3. Not to mention my left arm has taken the place of my right arm in the first reflection and then moves back to its proper place in the next reflection.

  

There are many more instances in this image of fractured duplications and reflections. Enjoy!

  

This image is a 360/720 spherical panorama. It is best viewed in a VR headset such as the Oculus Quest 2, but can also be viewed happily just as it is.

 

The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.

 

The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.

 

The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.

 

The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.

 

HISTORY

Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.

 

The caves are generally agreed to have been made in two distinct periods, separated by several centuries.

 

CAVES OF THE FIRST (SATAVAHANA) PERIOD

The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.

 

Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu

 

CAVES OF THE LATER OR VAKATAKA PERIOD

The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.

 

The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.

 

Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.

 

According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.

 

REDISCOVERY

On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.

 

Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.

 

PAINTINGS

Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".

 

Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.

 

All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.

 

In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.

 

COPIES

The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.

 

Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.

 

A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.

 

Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).

 

ARCHITECTURE

The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.

 

The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.

 

The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.

 

The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.

 

The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.

 

The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.

 

The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.

 

A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.

 

ICONOGRAPHY OF THE CAVES

In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).

 

The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.

 

The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.

 

CAVES

CAVE 1

Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.

 

The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.

 

This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.

 

Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.

 

CAVE 2

Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.

 

Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.

 

The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.

 

The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.

 

Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.

 

CAVE 4

The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".

 

The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.

 

CAVES 9-10

Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.

 

The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.

 

OTHER CAVES

Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.

 

Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.

 

SPINK´S DETAILED CHRONOLOGY

Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.

 

According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.

 

Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.

 

Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".

 

IMPACT ON MODERN INDIAN PAINTINGS

The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.

 

The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.

 

WIKIPEDIA

This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.

 

Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.

 

Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.

 

This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.

  

We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/

 

Tell me more about the East of Ireland Marathon Series

This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.

  

Viewing this on a smartphone device?

If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: 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 Internet links

East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)

East of Ireland Marathons Website: www.eastofirelandmarathons.com/

Race Website with Route Description: www.peterm7.com/longwood/

Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615

East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/

 

We use Creative Commons Licensing

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.

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/

 

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.

 

How can I 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.

 

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

     

This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.

 

Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.

 

Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.

 

This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.

  

We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/

 

Tell me more about the East of Ireland Marathon Series

This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.

  

Viewing this on a smartphone device?

If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: 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 Internet links

East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)

East of Ireland Marathons Website: www.eastofirelandmarathons.com/

Race Website with Route Description: www.peterm7.com/longwood/

Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615

East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/

 

We use Creative Commons Licensing

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.

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/

 

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.

 

How can I 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.

 

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

     

This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.

 

Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.

 

Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.

 

This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.

  

We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/

 

Tell me more about the East of Ireland Marathon Series

This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.

  

Viewing this on a smartphone device?

If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: 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 Internet links

East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)

East of Ireland Marathons Website: www.eastofirelandmarathons.com/

Race Website with Route Description: www.peterm7.com/longwood/

Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615

East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/

 

We use Creative Commons Licensing

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.

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/

 

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.

 

How can I 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.

 

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

 

This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.

 

Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.

 

Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.

 

This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.

  

We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/

 

Tell me more about the East of Ireland Marathon Series

This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.

  

Viewing this on a smartphone device?

If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: 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 Internet links

East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)

East of Ireland Marathons Website: www.eastofirelandmarathons.com/

Race Website with Route Description: www.peterm7.com/longwood/

Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615

East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/

 

We use Creative Commons Licensing

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.

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/

 

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.

 

How can I 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.

 

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

E.K.Yap, the MPA & MPAS multi-award winning photographer, has created many iconic masterpieces and photographed covers & campaigns for influential publications & luxury brands. His projects include Patek Philippe, Breguet, Chopard, Bvlgari, Cartier, Chanel & Franck Muller to name a few.

 

With his wide-ranging experience in art as a creative director in the advertising & publishing industry, he consistently achieves the best results with his precision skill, specialising in luxury projects particularly jewellery, timepiece, product, interior, portrait & fashion.

 

PHILOSOPHY

“I'm passionate in capturing more than just a beautiful image, I like to craft an inspiring masterpiece with soul & meaning”

 

AWARD

Advertising/Advertorial/ Editorial - MPA Far East

Architecture/ Cityscape/ Interior - MPA Far East

Illustrative & Creative - MPA Far East

Fashion - MPA Far East

Still Life - MPA Far East

Best Cover - MPAS

 

PROJECT

A. Lange & Söhne/ Audemars Piguet/ Azimuth/ Aston Martin/ ABN Ambro/ Arium Collection/ Arcatel/ Anlene/ Aqua Culture/ Adidas/ Aries Gold/ Bvlgari/ Breguet/ Bottega Veneta/ Boucheron/ Blancpain/ Breitling/ Baker Furniture/ BBDO/ Borobudur/ Bonhams/ Berggren Jewellery/ Cartier/ Chanel/ Chopard/ CitiGold/ Carat Club/ CapitaLand/ CLIO/ CEL Development/ Coty/ Confetti by Mui/ Canon/ Dolce & Gabbana/ Distillery/ D Editors/ Dell/ Franck Muller/ Flower Diamonds/ Fujitsu/ Fuchsia Lane/ Farm Best/ Ferrari/ Girard-Perregaux/ Genting/ Green Chapter/ Gucci/ Geyer/ Harry Winston/ Hassell Studio/ Hilton Hotel/ Heeton/ Hublot/ Hassell Studio/ HDB/ Hermès/ I.D.Department/ IWC/ Image Bank/ ICI Duluxe/ Inoue Japan/ Jobstreet/ Jaeger-LeCoultre/ Johnny Walker/ JOID/ Kwanpen/ Krieit Associate/ KrisShop/ KFC/ K-Suites/ Louis Moinet/ Levi’s/ Lalique/ Luminox/ Lloyd’s Asia/ Ladurée/ Lush Radio/ Louis Vuitton/ Leonard Drake/ Livita/ Lifelink/ Manolo Blahnik/ Montblanc/ Mediacorp/ MCL Land/ Mirinda/ Marc Anthony/ Maxis Mobile/ Novetel Hotel/ NTU/ National Geographic/ Omega/ Patek Philippe/ Piaget/ Philips/ Playboy/ Prada/ Pepsi/ Pure Earth/ Richard Mille/ Rolex/ Roger Dubuis/ Resort World Sentosa/ Richemont/ Reebonz/ SkysShop/ Singland/ Splendor/ Sarcar/ Sinn/ Shangri-La Hotel/ SIA/ Shelton/ Sally Hansen/ Skin Science/ StarAsia/ Skin79/ Sally Hansen/ Sports Toto/ Spritzer/ 7-Up/ The Mill/ Tag Heuer/ Tiffany/ Transware/ The Hour Glass/ Tudor/ TV3/ Universal Studio/ Ulysse Nardin/ UOI/ UOB/ Vihari Jewels/ Vacheron Constantin/ Van Cleef & Arpels/ Wild Rice/ Zenith

 

EDITORIAL

August Man/ Affluent/August Women/ Appetite/ Adore/ Awesome/ Business Time/ Baccarat/ Business Craft/ Crown/ CitaBella/ Esquire/ ELLE/ Fiori/ Golf Vacations/ Harper’s Bazaar/ Inspire Travel/ Jewels & Time/ Jewellery Craft/ L’Official/ Luxury Guide/ Luxury Insider/ Luxx Jewellery/ Legacy of Singapore/ Men’s Folio/ Man Stuff/ OASiS/ Prestige/ Prestige Lifestyle/ Pen Craft/ PC World/ PC Magazine/ Robb Report/ RWS Invites/ Solitaire/ Style/ Tatler/ Tatler Wedding/ Tatler Home/ Time Craft/ TiCTalk/ World of Watches

The North Fruita desert recreation area includes over 250 miles of designated recreation routes. Much of the area is desert valley floor with washes and sharp ridges. With close proximity to Fruita and Grand Junction, this area is popular for mountain bikers as it provides a close to home riding opportunities. The 18 road trails provide options for riders to experience some of the most playful mountain bike trails in the State of Colorado. The area is characterized by flow, providing mountain bike optimized features including rollers, berms and table top jumps.

 

Photos by Leslie Kehmeier, Mapping Manager, International Mountain Bicycling Association.

The Kerala backwaters are a chain of brackish lagoons and lakes lying parallel to the Arabian Sea coast (known as the Malabar Coast) of Kerala state in southern India. The network includes five large lakes linked by canals, both manmade and natural, fed by 38 rivers, and extending virtually half the length of Kerala state. The backwaters were formed by the action of waves and shore currents creating low barrier islands across the mouths of the many rivers flowing down from the Western Ghats range.

 

The Kerala Backwaters are a network of interconnected canals, rivers, lakes and inlets, a labyrinthine system formed by more than 900 km of waterways, and sometimes compared to the American Bayou. In the midst of this landscape there are a number of towns and cities, which serve as the starting and end points of backwater cruises. National Waterway No. 3 from Kollam to Kottapuram, covers a distance of 205 km and runs almost parallel to the coast line of southern Kerala facilitating both cargo movement and backwater tourism.

 

The backwaters have a unique ecosystem - freshwater from the rivers meets the seawater from the Arabian Sea. In certain areas, such as the Vembanad Kayal, where a barrage has been built near Kumarakom, salt water from the sea is prevented from entering the deep inside, keeping the fresh water intact. Such fresh water is extensively used for irrigation purposes.

 

Many unique species of aquatic life including crabs, frogs and mudskippers, water birds such as terns, kingfishers, darters and cormorants, and animals such as otters and turtles live in and alongside the backwaters. Palm trees, pandanus shrubs, various leafy plants and bushes grow alongside the backwaters, providing a green hue to the surrounding landscape.

 

Vembanad Kayal is the largest of the lakes, covering an area of 200 km², and bordered by Alappuzha (Alleppey), Kottayam, and Ernakulam districts. The port of Kochi (Cochin) is located at the lake's outlet to the Arabian Sea. Alleppey, "Venice of the East", has a large network of canals that meander through the town. Vembanad is India’s longest lake.

 

HOUSE BOATS

The kettuvallams (Kerala houseboats) in the backwaters are one of the prominent tourist attractions in Kerala. More than 2000 kettuvallams ply the backwaters, 120 of them in Alappuzha. Kerala government has classified the tourist houseboats as Platinum, Gold and silver.

 

The kettuvallams were traditionally used as grain barges, to transport the rice harvested in the fertile fields alongside the backwaters. Thatched roof covers over wooden hulls, 30 m in length, provided protection from the elements. At some point in time the boats were used as living quarters by the royalty. Converted to accommodate tourists, the houseboats have become floating cottages having a sleeping area, with western-style toilets, a dining area and a sit out on the deck. Most tourists spend the night on a house boat. Food is cooked on board by the accompanying staff – mostly having a flavour of Kerala. The houseboats are of various patterns and can be hired as per the size of the family or visiting group. The living-dining room is usually open on at least three sides providing a grand view of the surroundings, including other boats, throughout the day when it is on the move. It is brought to a standstill at times of taking food and at night. After sunset, the boat crew provide burning coils to drive away mosquitoes. Ketuvallams are motorised but generally proceed at a slow speed for smooth travel. All ketuvallams have a generator and most bedrooms are air-conditioned. At times, as per demand of customers, electricity is switched off and lanterns are provided to create a rural setting.

 

While many ketuvalloms take tourists from a particular point and bring them back to around the same point next morning there are some specific cruises mostly in the Alappuzha area, such as the one night cruise from Alappuzha to Thotapally via Punnamada Lake two nights cruise from Alappuzha to Alumkavadi,[8] one night cruise from Alappuzha to Kidangara, and one night cruise from Alappuzha to Mankotta. There are numerous such cruises.

 

Beypore, located 10 km south of Kozhikode at the mouth of the Chaliyar River, is a famous fishing harbour, port and boat building centre. Beypore has a 1,500 year-tradition of boatbuilding. The skill of the local shipwrights and boat builders are widely sought after. There is a houseboat-building yard at Alumkadavu, in Ashtamudi Kayal near Kollam.

 

FERRY SERVICES

Regular ferry services connect most locations on both banks of the backwaters. The Kerala State Water Transport Department operates ferries for passengers as well as tourists. It is the cheapest mode of transport through the backwaters.

 

ECONOMIC SIGNIFICANCE

Connected by artificial canals, the backwaters form an economical means of transport, and a large local trade is carried on by inland navigation. Fishing, along with fish curing is an important industry.

 

Kerala backwaters have been used for centuries by the local people for transportation, fishing and agriculture. It has supported the efforts of the local people to earn a livelihood. In more recent times, agricultural efforts have been strengthened with reclamation of some backwater lands for rice growing, particularly in the Kuttanad area. Boat making has been a traditional craft, so has been the coir industry.

 

Kuttanad is crisscrossed with waterways that run alongside extensive paddy fields, as well as fields of cassava, banana and yam. A unique feature of Kuttanad is that many of these fields are below sea level and are surrounded by earthen embankments. The crops are grown on the low-lying ground and irrigated with fresh water from canal and waterways connected to Vembanad lake. The area is similar to the dikes of the Netherlands where land has been reclaimed from the sea and crops are grown.

 

WIKIPEDIA

  

Pickering Castle is situated on the southern edge of the North York Moors on a limestone bluff which formerly overlooked the meeting point of two of the main highways through the north of England: the east-west route along the Vale of Pickering and the north-south route through Newton Dale to Malton. The monument consists of a single area which includes the site of the 11th century motte and bailey castle and the 13th century shell keep castle. The former was built by William the Conqueror either during or shortly after the 'harrying of the north' in 1069-70. It consisted of an earth motte crowned by a timber palisade, flanked on the north-west side by a crescent-shaped inner bailey and, on the south-east side, by a contemporary or slightly later outer bailey. The inner bailey measured c.120m by c.35m and was bounded to the north by a steep natural slope surmounted by a palisade and to the south by deep 15m wide ditches linked to the ditch encircling the motte. The outer bailey, which measured c.185m by c.25m, was protected on the north side by these same ditches and, on the south side, by a 5-8m high palisaded bank with an outer ditch. To the immediate east of the outer bailey ditch a further earthwork bank may have provided additional defence on this side; alternatively it may be part of a medieval defence system associated with the adjacent settlement. The motte is c.20m high and has a base diameter of c.60m. It is not yet clear whether this is the original 11th century motte or a later medieval reconstruction. In the latter case, the earlier motte will have been preserved inside the later while, in addition, the buried remains of a wide range of domestic and service buildings will survive within the open areas of the baileys.

 

The reconstruction of the castle in stone largely took place between 1180 and 1236. There were three main phases to the work at this time, the earliest involving the late 12th century replacement of the palisade round the inner bailey with a curtain wall and also the probable construction of the first shell keep on the motte. In its present form the shell keep dates to the early 13th century but the foundations of the earlier wall will survive underneath. The remains of the early curtain wall still stand round the inner bailey, surviving best where the curtain was incorporated into later buildings. The earliest buildings so far identified are the early or mid- 12th century Old Hall, a free-standing residence whose surviving foundations show it to have been half-timbered, and the Coleman Tower, constructed at the same time as the inner curtain and an integral part of it. The Coleman Tower guarded the entry across the inner bailey ditch and was also a prison; hence its earlier name, the King's Prison. It was square in plan and had its entrance on the first floor, the level underneath being where the prisoners were kept. On the east side are the remains of a small building and also a stairway leading onto an adjacent wall. This wall, built across the motte ditch in the late 12th century, replaced an earlier palisade and provided access to the summit of the motte. A similar and contemporary length survives on the opposite side of the motte, crossing the ditch and joining the curtain alongside the later Rosamund's Tower. The keep consisted of a rubble wall enclosing a roughly circular area 20m wide. A wall walk would have lined the inside of the wall above a series of garrison buildings. The foundations of some of these buildings survive but it is not certain whether they date to the 13th or the 14th century. In some cases they will have replaced earlier timber structures whose buried remains will also survive. Also of uncertain date are the foundations of a number of buildings in the inner bailey, including a service range to the south-west and a group of buildings referred to as the Constable's Place in the accounts of the years 1441-43. The latter were half-timbered and some sections predate the inner curtain though others were clearly added later. A survey of 1537 lists a number of distinct structures, including the Constable's hall, a kitchen, buttery and pantry, and quarters for staff and servants. At the southern end of the group were a number of storage buildings, one of which is believed to have been the wool house. Two additional service buildings lay adjacent to the Old Hall and are thought, originally, to have been contemporary with it. To the south of these is the chantry-chapel which dates from c.1227 and is still complete though in a much altered state.

 

To the west of this is the early 14th century New Hall, initially built as a residence for Countess Alice, wife of Earl Thomas of Lancaster. This was later used as a courthouse which gave rise to it being named King's Hall or Motte (moot) Hall in later surveys. It was a penticed or lean-to building of two storeys which utilised the inner curtain for its outer wall. The inner walls were timber-framed and, as much of the surviving stonework is late 12th or early 13th century, it clearly replaced an earlier building. The upper chamber or solar of the 14th century hall was an elaborate plastered room with a decorated fireplace. The last major programme of building dates to 1324-26 when Edward II ordered extensive works to be carried out which included replacing the whole of the timber palisade round the outer bailey with a stone wall. This outer curtain included three projecting towers, a gatehouse with a drawbridge over the outer ditch and a postern gate which led from the north-east arm of the inner bailey ditch, underneath Rosamund's Tower and out onto the rampart. A second gate and drawbridge, built at this time alongside the Coleman Tower, had fallen out of use by the 16th century and can now no longer be seen. The three projecting towers, named from north-east to south-west, Rosamund's Tower, Diate Hill Tower and Mill Tower, are all square in plan and all would have led out onto the wall-walk along the inside of the curtain though, in the case of the Mill Tower, the curtain to either side has not survived sufficiently well to demonstrate this. The ground-floor entrance to the Mill Tower consisted of two doors linked by a short passage, in which the first door opened inwards and the second outwards indicating that the tower was built as a prison, a role it took over from the Coleman Tower. North of the Mill Tower, the outer curtain crossed the inner bailey ditch which can also be seen outside the castle walls on the west and north sides. This section of the ditch was part of the original 11th century defences and was quarried out of the rock on which the castle was built.

 

A levelled area alongside the inner edge indicates that quarrying of the rock-face continued after the ditch was cut. The quarried stone would have gone towards the construction of at least some of the castle buildings. Aside from its strategic and administrative roles, Pickering Castle had two other functions: to guard and manage the large forest which lay adjacent and to provide a court and place of detention for those found guilty of offences against it, such as poaching, unauthorised clearance and the theft of timber. The forest was an extremely important economic resource during the Middle Ages and its particular importance at Pickering can be seen in the great use made of wood in the castle buildings and also, most significantly, its continuous use in the defences down to the 14th century. Also important to the castle economy during the 14th century was the sale of wool, and it also had responsibility for managing the royal stud created by Edward II in c.1322. Possibly the stables known to have been located against the outer curtain at this time, between the gatehouse and Diate Hill tower, were connected with this. According to the Domesday Book, in 1086 the manor of Pickering was held by the king, that is, William the Conqueror. The castle established at this time as part of the subjugation of the rebellious North remained in royal hands until 1267 when it was conferred with the title Earl of Lancaster on Edmund Crouchback, younger son of Henry III. Edmund's son Thomas succeeded to both title and estates in 1296 but was executed for treason by Edward II in 1322, whereupon his estates reverted to the king. Following the unsuccessful Scottish campaign of the same year, and the ensuing retaliatory attacks on the north of England by Robert the Bruce, Edward ordered the building works noted above, clearly intending to keep Pickering a royal castle. However, in 1326 his son Edward III confirmed Henry, the younger brother of Thomas, Earl of Lancaster, in his brother's titles and estates, and, in 1351, the castle became part of the Duchy of Lancaster when that title was created. Upon the elevation of the House of Lancaster to the throne in 1399, and in 1413, the succession of Henry V, the Duchy reverted to the Crown and Pickering became a royal castle once again. It has been in State care since 1926. A number of features within the protected area are excluded from the scheduling. These include the ticket office/sales point and its paved base and steps, all English Heritage fixtures and fittings such as bins, bridges, safety grilles, signs, railings and interpretation boards, the surfaces of all modern steps and paths inside and outside the castle walls, lighting and the modern walls and fences round the outside edge of the protected area but the ground beneath all these features is included.

Includes planter and window box in fully 3D mesh with box textures and UV maps included for easy customisation. Available as full perm or copy/mod. See themeshcloud.com/2017/02/daisy-and-marigold-mesh-planterw... for more details.

Includes a promo for her new movie, “Niagara” (20th Century-Fox, 1953).

 

Movie trailer: www.youtube.com/watch?v=xvGdBoFzjAo

 

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Homo neanderthalensis

 

Male Neanderthal Reconstruction Based on Shanidar 1 by John Gurche

 

•Nickname: Neanderthal

•Where Lived: Europe and southwestern to central Asia

•When Lived: About 400,000 – 40,000 years ago

 

Neanderthals (the ‘th’ pronounced as ‘t’) are our closest extinct human relative. Some defining features of their skulls include the large middle part of the face, angled cheek bones, and a huge nose for humidifying and warming cold, dry air. Their bodies were shorter and stockier than ours, another adaptation to living in cold environments. But their brains were just as large as ours and often larger—proportional to their brawnier bodies.

 

Neanderthals made and used a diverse set of sophisticated tools, controlled fire, lived in shelters, made and wore clothing, were skilled hunters of large animals and also ate plant foods, and occasionally made symbolic or ornamental objects. There is evidence that Neanderthals deliberately buried their dead and occasionally even marked their graves with offerings, such as flowers. No other primates, and no earlier human species, had ever practiced this sophisticated and symbolic behavior.

 

DNA has been recovered from more than a dozen Neanderthal fossils, all from Europe; the Neanderthal Genome Project is one of the exciting new areas of human origins research.

 

•Year of Discovery: 1829

 

History of Discovery:

 

Neanderthal 1 was the first specimen to be recognized as an early human fossil. When it was discovered in 1856 in Germany, scientists had never seen a specimen like it: the oval shaped skull with a low, receding forehead and distinct browridges, the thick, strong bones. In 1864, it became the first fossil hominin species to be named. Geologist William King suggested the name Homo neanderthalensis (Johanson and Edgar, 2006), after these fossils found in the Feldhofer Cave of the Neander Valley in Germany (tal—a modern form of thal—means “valley” in German). Several years after Neanderthal 1 was discovered, scientists realized that prior fossil discoveries—in 1829 at Engis, Belgium, and in 1848 at Forbes Quarry, Gibraltar—were also Neanderthals. Even though they weren’t recognized at the time, these two earlier discoveries were actually the first early human fossils ever found.

 

•Height:

oMales: average 5 ft 5 in (164 cm)

oFemales: average 5 ft 1 in (155 cm)

•Weight:

oMales: average 143 lbs (65 kg)

oFemales: average 119 lbs (54 kg)

 

We don’t know everything about our early ancestors. But scientists are constantly in the field and the laboratory, excavating new areas and conducting analyses with groundbreaking technology, continually filling in some of the gaps about our understanding of human evolution.

 

Below are some of the still unanswered questions about H. neanderthalensis that may be better answered with future discoveries:

 

1.Will more studies of Neanderthal DNA help us identify what is unique about the modern human genome compared with our closest extinct relatives, the Neanderthals?

2.Is there a close correlation between climate change and the extinction of the Neanderthals, or was competition with modern humans the most important factor?

3.What was the relative contribution of animal and plant sources to the average Neanderthal’s diet?

4.Were Neanderthals routinely symbolic (e.g. making ornamental or decorative objects, burying the dead), or did this just occur in specific populations? If the latter is the case, why did those populations exhibit these behaviors?

5.What was the relationship between Neanderthals and the “Denisovans”, a population of early humans known mainly from DNA, which overlapped with Neanderthals in time and space in Asia?

 

First Paper:

 

•King, W., 1864. The reputed fossil man of the Neanderthal. Quarterly Review of Science 1, 88-97.

 

Other Recommended Readings:

 

•Trinkhaus, E., 1985. Pathology and the posture of the La Chappelle-aux-Saints Neanderthal. American Journal of Physical Anthropology 67, 19-41.

•Trinkaus, E., Shipman, P., 1993. The Neanderthals: Changing the Image of Mankind. Knopf: New York.

•Berger, T., Trinkaus, E., 1995. Patterns of trauma among the Neandertals. Journal of Archaeological Science 22, 841-852.

•Schmitt, D., Churchill, S., 2003. Experimental evidence concerning spear use in Neandertals and early modern humans. Journal of Archaeological Science 30, 103-114.

•Delson, E., Harvati, K., 2006. Return of the last Neanderthal. Nature 443, 762-763.

•Lalueza-Fox, C., Römpler, H., Caramelli, D., Stäubert, C., Catalano, G., Hughes, D., Rohland, N., Pilli, E., Longo, L., Condemi, S., de la Rasilla, M., Fortea, J., Rosas, A., Stoneking, M., Schöneberg, T., Bertranpetit, J., Hofreiter, M., 2007. A Melanocortin 1 Receptor Allele Suggests Varying Pigmentation Among Neanderthals. Science 318, 1453-1455.

•Stringer, C.B., Finlayson, J.C., Barton, R.N.E, Fernández-Jalvo, Y., Cáceres, I., Sabin, R.C., Rhodes, E.J., Currant, A.P., Rodríguez-Vidal, J., Giles-Pacheco, F., Riquelme-Cantal, J.A., 2008. Neanderthal exploitation of marine mammals in Gibraltar. Proceedings of the National Academy of Sciences USA 105, 14319–14324.

•Shipman, P., 2008. Separating “us” from "them": Neanderthal and modern human behavior. Proceedings of the National Academy of Sciences USA 105, 14241-14242.

 

How They Survived:

 

Compared to early humans living in tropical Africa, with more abundant edible plant foods available year-round, the number of plant foods Neanderthals could eat would have dropped significantly during the winter of colder climates, forcing Neanderthals to exploit other food options like meat more heavily. There is evidence that Neanderthals were specialized seasonal hunters, eating animals were available at the time (i.e. reindeer in the winter and red deer in the summer). Scientists have clear evidence of Neanderthal hunting from uncovering sharp wooden spears and large numbers of big game animal remains were hunted and butchered by Neanderthals. There is also evidence from Gibraltar that when they lived in coastal areas, they exploited marine resources such as mollusks, seals, dolphins and fish. Isotopic chemical analyses of Neanderthal bones also tell scientists the average Neanderthal’s diet consisted of a lot of meat. Scientists have also found plaque on the remains of molar teeth containing starch grains—concrete evidence that Neanderthals ate plants.

 

The Mousterian stone tool industry of Neanderthals is characterized by sophisticated flake tools that were detached from a prepared stone core. This innovative technique allowed flakes of predetermined shape to be removed and fashioned into tools from a single suitable stone. This technology differs from earlier ‘core tool’ traditions, such as the Acheulean tradition of Homo erectus. Acheulean tools worked from a suitable stone that was chipped down to tool form by the removal of flakes off the surface.

 

Neanderthals used tools for activities like hunting and sewing. Left-right arm asymmetry indicates that they hunted with thrusting (rather than throwing) spears that allowed them to kill large animals from a safe distance. Neanderthal bones have a high frequency of fractures, which (along with their distribution) are similar to injuries among professional rodeo riders who regularly interact with large, dangerous animals. Scientists have also recovered scrapers and awls (larger stone or bone versions of the sewing needle that modern humans use today) associated with animal bones at Neanderthal sites. A Neanderthal would probably have used a scraper to first clean the animal hide, and then used an awl to poke holes in it, and finally use strips of animal tissue to lace together a loose-fitting garment. Neanderthals were the first early humans to wear clothing, but it is only with modern humans that scientists find evidence of the manufacture and use of bone sewing needles to sew together tighter fitting clothing.

 

Neanderthals also controlled fire, lived in shelters, and occasionally made symbolic or ornamental objects. There is evidence that Neanderthals deliberately buried their dead and occasionally even marked their graves with offerings, such as flowers. No other primates, and no earlier human species, had ever practiced this sophisticated and symbolic behavior. This may be one of the reasons that the Neanderthal fossil record is so rich compared to some earlier human species; being buried greatly increases the chance of becoming a fossil!

 

Evolutionary Tree Information:

 

Both fossil and genetic evidence indicate that Neanderthals and modern humans (Homo sapiens) evolved from a common ancestor between 500,000 and 200,000 years ago. Neanderthals and modern humans belong to the same genus (Homo) and inhabited the same geographic areas in Asia for 30,000–50,000 years; genetic evidence indicate while they may have interbred with non-African modern humans, they are separate branches of the human family tree (separate species).

 

In fact, Neanderthals and modern humans may have had little direct interaction for tens of thousands of years until during one very cold period, modern humans spread across Europe. Their presence may have prevented Neanderthals from expanding back into areas they once favored and served as a catalyst for the Neanderthal’s impending extinction. Over just a few thousand years after modern humans moved into Europe, Neanderthal numbers dwindled to the point of extinction. All traces of Neanderthals disappeared by about 40,000 years ago. The most recently dated Neanderthal fossils come from western Europe, which was likely where the last population of this early human species existed.

Custom ordered gender neutral gift set - includes bib, 2 burp cloths and a pacifier clip.

Bib & Pacifier Clip Fabrics include Happy Drawing Elephants by Ed Emberly for Cloud 9 - Diddly Dot in Sky by Michael Miller & Beans in Navy from the Gabbie line by Maude Asbury for Blend, Stitch Square by Michael Miller - Navy, Orange, Mint, Olive & Mustard. Purchased from CityCraft - www.citycraft.com/

Burp Cloths are made from the Riley Blake Flannel Basics line. They include Medium Chevron & Pop Dots in Lime, Honeycomb Dot in Yellow & Hexi Print in Girl. They were purchased from Hawthorne Threads www.hawthornethreads.com/

Bib pattern is from One Yard Wonders.

Burp Cloths have 4 layers of flannel for extra absorbency (2 plain layers between the pretty exterior layers). They were made using Cloud 9's Contoured Burp cloth tutorial cloud9fabrics.blogspot.com/2010/12/tutorial-contoured-bur...

Pacifier Clip made using this tutorial fro Make It & Love It - www.makeit-loveit.com/2014/08/diy-pacifier-clips-no-more-...

Linked to:

Sew Cute Tuesdat - www.blossomheartquilts.com/ - 3/16/15

Fabric Tuesday - quiltstory.blogspot.com/ - 3/16/15

WIP Wednesday - www.freshlypieced.com/ - 3/18/15

 

Movie #17, WINTER 1969-70 – RARE AUTEURIST CINEMA MAGAZINE - Oshima, Sam Fuller

 

#17 includes …

RARE INTERVIEWS with Nagisa Oshima, Sam Fuller

 

Movie was a London-based film magazine edited by Ian Cameron. The fabled film magazine published from the 1960s through the current cineaste present. Contributors incuded, Peter Bogdanovich, Robin Wood, Ian Cameron and Charles Barr.

 

Movie Issue No. 17 Winter, 1969 - '70

 

(slick cover, center stapled, with book bond interior pages)

 

Theme: Oshima.

 

Table of Contents:

"In Memoriam: Michael Reeves," Robin Wood, pages 2 - 6.

 

"Nagisa Oshima Introduction," Ian Cameron, pages 7 - 8.

 

"Nagisa Oshima Interview," Ian Cameron, pages 8 - 14.

 

"Nagisa Oshima Filmography," Ian Cameron, pages 15 - x.

 

"Chabrol and Truffaut," Robin Wood, pages 16 - 24.

 

"Samuel Fuller: Two Interviews [Paris 1965; California, 1969]," Stig Bjorkman; Mark Shivas, pages 25 - x.

 

"Ingmar Bergman's Shame," Michael Walker, pages 32 - 34.

 

"The Party," Charles Barr, pages 34 - 35.

 

"Festival Films [Adalen '31, Benito Cereno, The Bookseller Who Gave Up Bathing, Breve Storia di un Piccolo Racconto, Cardillac, Dillinger e morto, Duet for Cannibals, Fellini Satyricon, La Fiancee du pirate, Hunting Scenes from Bavaria, Like Night and Day, Ma nuit chez Maud, Porcile, Prologue, Le Samourai, Un soir, un train, Sotto il segno dello scorpione, Sweet Hunters, The White Game, Z,]," Ian Cameron, pages 36 - 37.

 

"Letter From Hollywood," Peter Bogdanovich, page 38.

 

"New Films [Alice's Restaurant, Michael Walker, The Arrangement, Bob and Carol and Ted and Alice, Butch Cassidy and the Sundance Kid, Che!, Easy Rider, Goodbye Mr. Chips, The Good Guys and the Bad Guys, John and Mary, Justine, Midnight Cowboy, The Model Shop, The Secret of Santa Vittoria, The Sterile Cuckoo, Tell Them Willie Boy is Here, Topaz, True Grit, Sweet Hunters, The White Game, Z, La voie lactee, The Wild Bunch, Winning, Women in Love,]," otherwise unsigned, but presumably Ian Cameron, pages 38 - 40.

--------------------------

The Kerala backwaters are a chain of brackish lagoons and lakes lying parallel to the Arabian Sea coast (known as the Malabar Coast) of Kerala state in southern India. The network includes five large lakes linked by canals, both manmade and natural, fed by 38 rivers, and extending virtually half the length of Kerala state. The backwaters were formed by the action of waves and shore currents creating low barrier islands across the mouths of the many rivers flowing down from the Western Ghats range.

 

The Kerala Backwaters are a network of interconnected canals, rivers, lakes and inlets, a labyrinthine system formed by more than 900 km of waterways, and sometimes compared to the American Bayou. In the midst of this landscape there are a number of towns and cities, which serve as the starting and end points of backwater cruises. National Waterway No. 3 from Kollam to Kottapuram, covers a distance of 205 km and runs almost parallel to the coast line of southern Kerala facilitating both cargo movement and backwater tourism.

 

The backwaters have a unique ecosystem - freshwater from the rivers meets the seawater from the Arabian Sea. In certain areas, such as the Vembanad Kayal, where a barrage has been built near Kumarakom, salt water from the sea is prevented from entering the deep inside, keeping the fresh water intact. Such fresh water is extensively used for irrigation purposes.

 

Many unique species of aquatic life including crabs, frogs and mudskippers, water birds such as terns, kingfishers, darters and cormorants, and animals such as otters and turtles live in and alongside the backwaters. Palm trees, pandanus shrubs, various leafy plants and bushes grow alongside the backwaters, providing a green hue to the surrounding landscape.

 

Vembanad Kayal is the largest of the lakes, covering an area of 200 km², and bordered by Alappuzha (Alleppey), Kottayam, and Ernakulam districts. The port of Kochi (Cochin) is located at the lake's outlet to the Arabian Sea. Alleppey, "Venice of the East", has a large network of canals that meander through the town. Vembanad is India’s longest lake.

 

HOUSE BOATS

The kettuvallams (Kerala houseboats) in the backwaters are one of the prominent tourist attractions in Kerala. More than 2000 kettuvallams ply the backwaters, 120 of them in Alappuzha. Kerala government has classified the tourist houseboats as Platinum, Gold and silver.

 

The kettuvallams were traditionally used as grain barges, to transport the rice harvested in the fertile fields alongside the backwaters. Thatched roof covers over wooden hulls, 30 m in length, provided protection from the elements. At some point in time the boats were used as living quarters by the royalty. Converted to accommodate tourists, the houseboats have become floating cottages having a sleeping area, with western-style toilets, a dining area and a sit out on the deck. Most tourists spend the night on a house boat. Food is cooked on board by the accompanying staff – mostly having a flavour of Kerala. The houseboats are of various patterns and can be hired as per the size of the family or visiting group. The living-dining room is usually open on at least three sides providing a grand view of the surroundings, including other boats, throughout the day when it is on the move. It is brought to a standstill at times of taking food and at night. After sunset, the boat crew provide burning coils to drive away mosquitoes. Ketuvallams are motorised but generally proceed at a slow speed for smooth travel. All ketuvallams have a generator and most bedrooms are air-conditioned. At times, as per demand of customers, electricity is switched off and lanterns are provided to create a rural setting.

 

While many ketuvalloms take tourists from a particular point and bring them back to around the same point next morning there are some specific cruises mostly in the Alappuzha area, such as the one night cruise from Alappuzha to Thotapally via Punnamada Lake two nights cruise from Alappuzha to Alumkavadi, one night cruise from Alappuzha to Kidangara, and one night cruise from Alappuzha to Mankotta. There are numerous such cruises.

 

Beypore, located 10 km south of Kozhikode at the mouth of the Chaliyar River, is a famous fishing harbour, port and boat building centre. Beypore has a 1,500 year-tradition of boatbuilding. The skill of the local shipwrights and boat builders are widely sought after. There is a houseboat-building yard at Alumkadavu, in Ashtamudi Kayal near Kollam.

 

FERRY SERVICES

Regular ferry services connect most locations on both banks of the backwaters. The Kerala State Water Transport Department operates ferries for passengers as well as tourists. It is the cheapest mode of transport through the backwaters.

 

ECONOMIC SIGNIFICANCE

Connected by artificial canals, the backwaters form an economical means of transport, and a large local trade is carried on by inland navigation. Fishing, along with fish curing is an important industry.

 

Kerala backwaters have been used for centuries by the local people for transportation, fishing and agriculture. It has supported the efforts of the local people to earn a livelihood. In more recent times, agricultural efforts have been strengthened with reclamation of some backwater lands for rice growing, particularly in the Kuttanad area. Boat making has been a traditional craft, so has been the coir industry.

 

Kuttanad is crisscrossed with waterways that run alongside extensive paddy fields, as well as fields of cassava, banana and yam. A unique feature of Kuttanad is that many of these fields are below sea level and are surrounded by earthen embankments. The crops are grown on the low-lying ground and irrigated with fresh water from canal and waterways connected to Vembanad lake. The area is similar to the dikes of the Netherlands where land has been reclaimed from the sea and crops are grown.

 

WIKIPEDIA

As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.

 

Plastique Fantastique (UK)

 

A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.

 

David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.

  

Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)

 

9 channel video installation, live score performed by musician ‘U’

 

The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.

 

Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)

 

Fallopé & The Tubes (UK)

 

A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!

 

Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.

 

The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records

 

DJ RHL (UK)

 

Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.

 

Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.

 

For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “

 

AGK Booth

 

Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.

 

About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.

 

Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.

 

WEST WARD WORKS

Guthrie Street

DD1 5BR

 

Images: Kathryn Rattray Photography

The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.

 

Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]

 

Overall Race Summary

Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.

Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races

Course: This is an undulating course with some good flat stretches on the Curragh.

  

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

GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313

Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html

Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare

Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306

Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/

Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/

A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)

 

Can I use the photograph with the watermark?

Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.

 

How can I get a full resolution, no watermark, copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. 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, web multimedia, commercial/promotional material that you 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.

 

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 - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

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

Some people offer payment for our photographs. 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 pay for their purchase from other photographic providers 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.

 

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 www.flickr.com/peterm7/sets

   

Pages from 'The Haworth Water-Wolf and other Yorkshire Stories' by Ian Dewhirst, published by The Ridings Publishing Company in 1967. These pages include 'Keighley War Hospitals' about the roles Morton Banks, Victoria Hospital and Fell Lane Infirmary played during the First World War.

 

Ian Dewhirst (1936-2019) was an acclaimed local historian. He made an invaluable contribution to preserving, cataloguing and recounting the history of the town. During his life he wrote many articles and books on the town, and gave thousands of talks and tours to various societies and groups, including the History Society. He was born in Keighley in 1936. He went to Keighley Boys’ Grammar School where his talent for poetry flourished and saw various poems published in the school magazine ‘The Keighlian’. He graduated from the University of Manchester in 1958 with a degree in English. He did his National Service as a Sergeant-Instructor in the Royal Army Educational Corps from 1958 to 1960.

 

He started working at Keighley Library in 1960 and was promoted to Reference Librarian in 1967, a role he fulfilled until retirement in 1991. During that time he wrote ‘A History of Keighley’, published by the Keighley Corporation in 1974, and reprinted several times since. Other publications included ‘The Handloom Weaver and other poems’ (1965), ‘The Haworth Water-Wolf and other Yorkshire stories’ (1967), ‘Scar Top and other poems’ (1968), ‘Gleanings from Victorian Yorkshire’ (1972), ‘Old Keighley in Photographs’ (1972), ‘More Old Keighley in Photographs’ (1973), ‘Gleanings from Edwardian Yorkshire’ (1975), ‘Yorkshire Through the Years’ (1975), ‘The Story of a Nobody: a Working Class Life 1880-1939’ (1980), ‘You Don’t Remember Bananas… A Pennine Half-Century’ (1985), ‘Keighley in Old Picture Postcards’ (1987), ‘Keighley in the 1930s & 40s’ (1989), ‘Victorian Keighley Characters’ (1990), ‘In the Reign of the Peacemaker: Keighley and District in Edwardian Photographs’ (1993), ‘Down Memory Lane’ (1993), ‘A Century of Yorkshire Dialect’ (with Arnold Kellett, 1997), ‘Keighley in the Second World War’ (2005), and ‘Nah Then! A Treasury of Yorkshire Dialect Quotations’ (2010).

 

Ian began writing the popular ‘Memory Lane’ column for the Keighley News in 1992 and carried on doing so right up until his death. In 1996, he was made an Honorary Doctor of Letters by the University of Bradford. And in February 1999, he was awarded an MBE by the Queen for his services to local history, at a ceremony held at Buckingham Palace. In 2009 he had a Northern Rail 158 diesel train named after him. In 2018, the Dalesman awarded him the W. R. Mitchell Lifetime Achievement Award in recognition of his prolific work as a local historian and public speaker.

 

He spent almost his whole life in Keighley, living in his parents’ former home on Raglan Avenue, off Fell Lane. He served on the Council of the Yorkshire Dialect Society and spent time as secretary of the Friends of Cliffe Castle Museum and Art Gallery. He died on 20th January 2019 and his funeral service was held at Trinity Church, Fell Lane, on 15th February, followed by a private cremation.

 

The publication was donated to Keighley and District Local History Society by Andrew Jackson in December 2020. It is held in the History Society's physical archive.

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

 

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

 

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

 

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

London architecture - from a recent walk around the river bank near Tower Bridge

International student orientation includes members of the Class of 2018, international transfer students, and international exchange students. Part of their orientation includes a tour of the libraries and an ice cream social. (Photo by Josh Renaud '17)

 

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Dec 10, 2010 Speak Truth to Power webinar held at Chestnut Ridge Middle School. Speakers include NYSUT officers Lee Cutler and Kathleen Donahue; teachers Diane Gonzalez [violet] and Irene Bielski; Kerry Kennedy [red over T shirt]; former Mexican laborer Lucas Benitez [gray suit]; Roberto (Robin) Romano [documented the Dark Side of Chocolate; grren sweater; turtleneck]; Supt of East Ramapo Schools Dr. Ira Oustatcher; principal Maria Vergez. Also present: Maureen Casey [NYSUT, mosaic flowers]; Leslie Duncan Fottrell [white turtleneck]; Ann Kelly, NYS Labor-Relations Coalition [scarf]; John Heffernan [blue shirt;Director of Speak Truth To Power at the Robert F. Kennedy Center for Justice and Human Rights]; Visuality video crew incl: director Christine Punzel [blond, gray sweater]; Jay Sapiro, pres, Visuality..

NOTE: All photos require the written permission of copyright holder Maria R. Bastone for usage. NO MODEL RELEASES; NO SALES; NO TRANSFER OF RIGHTS TO THIRD PARTY.

Presidential Suite Bedroom

The luxurious Presidential Suites include complete entertainment center, large dining room table and a small wet bar. The living area is highlighted by a conversation circle containing a plush couch and two easy chairs. These suites feature one powder room and a marble master bathroom with separate showers and jetted tubs. Wooden floors and luxurious furnishings are featured throughout. The master bedroom features a king Westin Heavenly Bed®, and these suites can open to a connecting bedroom with two queen beds for larger groups.

Suite

 

The Westin Mission Hills Golf Resort & Spa

71333 Dinah Shore Drive

Rancho Mirage, California (CA), 92270

United States

 

www.starwoodhotels.com/westin/property/overview/index.htm...

 

ranch@westin.com

 

760-328-5955

 

Map Locations Include:

 

Apple Valley Farm

Aztec Motorcoach Resort

Bayley's Camping Resort

Bella Terra RV Resort

Blue Ridge Mountains MotorCoach Resort

Blue Water Key - A Luxury RV Resort

Buckhorn Lake RV Resort

Cane Creek RV Reosrt and Marina

Cherry Hill Park

Citrus Valley RV Resort

Coastal GA RV Resort

Deercreek RV Resort

Dunedin RV Resort

Elite Resorts

Elkhorn Ridge RV Resort

Emerald Desert RV Resort

Everglades Isle Motorcoach Resort

Gilgal Oasis Campground and RV Resort

Heathside Grove RV Resort

Heritage Orange Beach Motor Coach Resort & Marina

Horseshoe Cove RV Resort

Indigo Bluffs RV Resort

Lake Placid KOA

Lakeview RV Park

Las Vegas Motor Coach Resort

Majestic Oaks RV Resort

McCall RV Resort

Motor Coach County Club

Nevada Treasure RV Resort

Pacific Shores Motorcoach Resort

Pelican Lake Motorcoach Resort

Rayford Crossing RV Resort

Red Oaks Rv Resort

River Bend RV Resort

River Plantation RV Resort

River Vista Mountain Villiage RV Resort

Signature Motorcoach Resorts

St. Lucie West Motorcoach Resort

Sunny Brook RV Resort

The Dell RV Resort

Traverse Bay RV Resort

Virginia Beach RV Resort

Willow Tree Resort

The Eagle is a three-masted sailing barque with 21,350 square feet of sail. It is home ported at the CG Academy, New London, Connecticut. It is the only active commissioned sailing vessel in the U.S. maritime services. She is one of five such training barques in world. Remarkably, her surviving sister ships include the Mircea of Romania, Sagres II of Portugal, Gorch Fock of Germany, and Tovarich of Russia.

 

Today's Eagle, the seventh in a long line of proud cutters to bear the name, was built in 1936 by the Blohm & Voss Shipyard, Hamburg, Germany, as a training vessel for German Navy cadets. It was commissioned Horst Wessel and served as a training ship for the Kriegsmarine throughout World War II. Click here to read a translated-diary from a German naval cadet who trained aboard the Horst Wessel in 1937.

 

Following World War II, the Horst Wessel, in the age-old custom of capture and seizure, was taken as a war prize by the United States. Initially, the Soviet Union selected Horst Wessel during the division of Nazi vessels by the victorious Allies. The four available sailing ships had been divided into three lots--two large merchant ships being grouped together. The Soviets drew number 1, Great Britain number 2, and the U.S. number 3. Before the results of the draw were officially announced, the U.S representative, through quiet diplomacy, convinced the Soviets to trade draws.

 

And so, on May 15, 1946, the German barque was commissioned into U.S. Coast Guard service as the Eagle and sailed from Bremerhaven, Germany to New London, Connecticut. On her voyage to the United States she followed Columbus's route across the mid-Atlantic. She rode out a hurricane during her trip and arrived in New London safely. She weathered another hurricane in September 1954 while enroute to Bermuda. She hosted OpSail in New York as part of the World's Fair in 1964. She again hosted OpSail in 1976 during the United States' Bicentennial celebration. She hosted the centennial celebration for the Statue of Liberty in 1986 as well.

 

One of the major controversies regarding the cutter was generated when the Coast Guard decided to add the "racing stripe" to her otherwise unadorned hull in mid-1976. She was the last cutter so painted and many in the sailing community decried the new paint job.

 

Eagle serves as a seagoing classroom for approximately 175 cadets and instructors from the U.S. Coast Guard Academy. Sailing in Eagle, cadets handle more than 20,000 square feet of sail and 5 miles of rigging. Over 200 lines must be coordinated during a major ship maneuver. The sails can provide the equivalent of several thousand through-shaft horsepower. The ship readily takes to the task for which it was designed. Eagle's hull is built of steel, four-tenths of an inch thick. It has two full length steel decks with a platform deck below and a raised forecastle and quarterdeck. The weather decks are three-inch-thick teak over steel.

 

Builder: Blohm & Voss Shipyards, Hamburg, Germany

 

Commissioned: 1936 (German Navy); 15 May 1946 (U.S. Coast Guard)

 

Length: 295'

 

Beam: 39' 1"

 

Draft: 17' 6" full load

 

Displacement: 1,784 tons full load

 

Powerplant: 1 x Maschinenfabrik-Augsburg-Nurnberg diesel direct reversible with reduction gear producing 750 horsepower (1965); 1 Caterpillar diesel engine (1980)

 

Top speed: 17 knots (under sail) maximum

10 knots (diesel engine only) maximum; 7.5 knots cruising with 5,450 mile range under diesel

power only.

 

Complement: 19 officers, 46 crew, 175 cadets and instructors

 

Radar: 1 x AN/SPS-23; AN/SPA-4 (1965)

 

Sonar: 1 x AN/UQN-1D

 

Armament: None

 

The Eagle is a three-masted sailing barque with 21,350 square feet of sail. It is home ported at the CG Academy, New London, Connecticut. It is the only active commissioned sailing vessel in the U.S. maritime services. She is one of five such training barques in world. Remarkably, her surviving sister ships include the Mircea of Romania, Sagres II of Portugal, Gorch Fock of Germany, and Tovarich of Russia.

 

Today's Eagle, the seventh in a long line of proud cutters to bear the name, was built in 1936 by the Blohm & Voss Shipyard, Hamburg, Germany, as a training vessel for German Navy cadets. It was commissioned Horst Wessel and served as a training ship for the Kriegsmarine throughout World War II. Click here to read a translated-diary from a German naval cadet who trained aboard the Horst Wessel in 1937.

 

Following World War II, the Horst Wessel, in the age-old custom of capture and seizure, was taken as a war prize by the United States. Initially, the Soviet Union selected Horst Wessel during the division of Nazi vessels by the victorious Allies. The four available sailing ships had been divided into three lots--two large merchant ships being grouped together. The Soviets drew number 1, Great Britain number 2, and the U.S. number 3. Before the results of the draw were officially announced, the U.S representative, through quiet diplomacy, convinced the Soviets to trade draws.

 

And so, on May 15, 1946, the German barque was commissioned into U.S. Coast Guard service as the Eagle and sailed from Bremerhaven, Germany to New London, Connecticut. On her voyage to the United States she followed Columbus's route across the mid-Atlantic. She rode out a hurricane during her trip and arrived in New London safely. She weathered another hurricane in September 1954 while enroute to Bermuda. She hosted OpSail in New York as part of the World's Fair in 1964. She again hosted OpSail in 1976 during the United States' Bicentennial celebration. She hosted the centennial celebration for the Statue of Liberty in 1986 as well.

 

One of the major controversies regarding the cutter was generated when the Coast Guard decided to add the "racing stripe" to her otherwise unadorned hull in mid-1976. She was the last cutter so painted and many in the sailing community decried the new paint job.

 

Eagle serves as a seagoing classroom for approximately 175 cadets and instructors from the U.S. Coast Guard Academy. Sailing in Eagle, cadets handle more than 20,000 square feet of sail and 5 miles of rigging. Over 200 lines must be coordinated during a major ship maneuver. The sails can provide the equivalent of several thousand through-shaft horsepower. The ship readily takes to the task for which it was designed. Eagle's hull is built of steel, four-tenths of an inch thick. It has two full length steel decks with a platform deck below and a raised forecastle and quarterdeck. The weather decks are three-inch-thick teak over steel.

 

Builder: Blohm & Voss Shipyards, Hamburg, Germany

 

Commissioned: 1936 (German Navy); 15 May 1946 (U.S. Coast Guard)

 

Length: 295'

 

Beam: 39' 1"

 

Draft: 17' 6" full load

 

Displacement: 1,784 tons full load

 

Powerplant: 1 x Maschinenfabrik-Augsburg-Nurnberg diesel direct reversible with reduction gear producing 750 horsepower (1965); 1 Caterpillar diesel engine (1980)

 

Top speed: 17 knots (under sail) maximum

10 knots (diesel engine only) maximum; 7.5 knots cruising with 5,450 mile range under diesel

power only.

 

Complement: 19 officers, 46 crew, 175 cadets and instructors

 

Radar: 1 x AN/SPS-23; AN/SPA-4 (1965)

 

Sonar: 1 x AN/UQN-1D

 

Armament: None

For Aesthetic Bias 1, I chose to focus on the Attractiveness Bias.

 

I chose this cover of Self magazine which includes a picture of Vanessa Hudgens. The magazine is trying to show how a woman can "stretch [her] way slim and strong" and by including this picture of Vanessa Hudgens, Self magazine is appealing towards the tendency of people to view attractive people as more intelligent, competent, moral and sociable than unattractive people.

 

The irony in this example is that although Vanessa is very attractive, it doesn't mean she's necessarily Ms. Moral-Goody-Two-Shoes. If we recall, she is the one who has sent nude pictures of herself to her boyfriend, which were leaked to the internet....

 

Despite her actions, the picture of her on Self magazine, with her showing skin, decently in shape, and wearing decently fashionable clothing, exaggerates her features to seem attractive to both men and women alike. Women would be envious of her beauty and men would be admirable of her beauty. We might almost forget about her exhibition on the internet by just looking at this picture.

An airport crash tender is a fire engine designed for use at aerodromes in aircraft accidents. The features include a good acceleration, ability to move on rough terrain outside the runway and airport area, large water capacity, a foam tank, a high-capacity pump, and water/foam monitors with a good throw distance. Newer AR-FF vehicles also incorporate twin agent nozzles/injection systems to inject a stream of Purple-K dry chemical into the AFFF Aqueous Film Forming Fluroprotein foam stream "knocking-down" the fire faster. Some also have Halotron tanks with handlines for situations that require a clean agent to be utilized. These features give the airport crash tenders a capability to reach an airplane rapidly, and rapidly extinguish large fires with jet fuel involved.

 

Some tenders have an elevated extended extinguishing arm called a Snozzle, giving a possibility to raise a water/foam cannon into the height of approximately 10–20 metres (33–66 ft). Some arms have reinforced nozzles that can puncture through superficial structures of an aeroplane to fight a fire inside the fuselage.[16]

 

The International Civil Aviation Organization (ICAO) has given standards and recommended practices on rescue firefighting categories of civil aerodromes.[17][18] National aviation authorities may have given even further requirements on aerodrome rescue and fire services.

 

The rescue fire services are based on a statistical analysis of movements (take-offs and landings) on the airport. The aerodrome category is based on the size of the biggest aircraft taking a movement on the aerodrome. In addition, the number of movements of the critical aircraft is calculated, and the category can be decreased by one if the number of movements is lower than the standard describes. There are also minimum category levels based on, for example, the number of seats in the critical aircraft.

 

Depending on the airport category, the standards determine the minimum number of rescue firefighting vehicles. In addition, requirements are given on the water and foam capacities, discharge rates for foam solutions, and minimum dry chemical powder (complementary agent) amounts, reserve stocks of fire fighting agents, ability to operate on rough terrain, and acceleration of the air crash tenders. The end of each runway must be reached in a response time of two minutes, and any part of the movement area has to be achieved in a response time not exceeding three minutes.

Glacier National Park is a national park located in the U.S. state of Montana, on the Canada–United States border with the Canadian provinces of Alberta and British Columbia. The park encompasses over 1 million acres (4,000 km2) and includes parts of two mountain ranges (sub-ranges of the Rocky Mountains), over 130 named lakes, more than 1,000 different species of plants, and hundreds of species of animals. This vast pristine ecosystem is the centerpiece of what has been referred to as the "Crown of the Continent Ecosystem", a region of protected land encompassing 16,000 square miles (41,000 km2).

 

The region that became Glacier National Park was first inhabited by Native Americans. Upon the arrival of European explorers, it was dominated by the Blackfeet in the east and the Flathead in the western regions. Soon after the establishment of the park on May 11, 1910, a number of hotels and chalets were constructed by the Great Northern Railway. These historic hotels and chalets are listed as National Historic Landmarks and a total of 350 locations are on the National Register of Historic Places. By 1932 work was completed on the Going-to-the-Sun Road, later designated a National Historic Civil Engineering Landmark, which provided greater accessibility for automobiles into the heart of the park.

 

The mountains of Glacier National Park began forming 170 million years ago when ancient rocks were forced eastward up and over much younger rock strata. Known as the Lewis Overthrust, these sedimentary rocks are considered to have some of the finest fossilized examples of extremely early life found anywhere on Earth. The current shapes of the Lewis and Livingston mountain ranges and positioning and size of the lakes show the telltale evidence of massive glacial action, which carved U-shaped valleys and left behind moraines which impounded water, creating lakes. Of the estimated 150 glaciers which existed in the park in the mid-19th century, only 25 active glaciers remained by 2010. Scientists studying the glaciers in the park have estimated that all the glaciers may disappear by 2020 if the current climate patterns persist.

 

Glacier National Park has almost all its original native plant and animal species. Large mammals such as the grizzly, moose, and mountain goat, as well as rare or endangered species like the wolverine and Canadian lynx, inhabit the park. Hundreds of species of birds, more than a dozen fish species, and a few reptile and amphibian species have been documented. The park has numerous ecosystems ranging from prairie to tundra. Notably, the easternmost forests of western redcedar and hemlock grow in the southwest portion of the park. Large forest fires are uncommon in the park. However, in 2003 over 13% of the park burned.

 

Glacier National Park borders Waterton Lakes National Park in Canada—the two parks are known as the Waterton-Glacier International Peace Park and were designated as the world's first International Peace Park in 1932. Both parks were designated by the United Nations as Biosphere Reserves in 1976, and in 1995 as World Heritage sites.

 

en.wikipedia.org/wiki/Glacier_National_Park_(U.S.)

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

*Includes two versions the shoes:

 

- for the feet of the second life avatar

- for the slink Flat feet Man.

 

Seoul – officially the Seoul Special City – is the capital and largest metropolis of the Republic of Korea (commonly known as South Korea), forming the heart of the Seoul Capital Area, which includes the surrounding Incheon metropolis and Gyeonggi province, the world's 16th largest city. It is home to over half of all South Koreans along with 678,102 international residents.

 

Situated on the Han River, Seoul's history stretches back more than two thousand years when it was founded in 18 BCE by Baekje, one of the Three Kingdoms of Korea. It continued as the capital of Korea under the Joseon Dynasty. The Seoul Capital Area contains five UNESCO World Heritage Sites: Changdeok Palace, Hwaseong Fortress, Jongmyo Shrine, Namhansanseong and the Royal Tombs of the Joseon Dynasty. Seoul is surrounded by mountains, the tallest being Mt. Bukhan, the world's most visited national park per square foot. Modern landmarks include the iconic N Seoul Tower, the gold-clad 63 Building, the neofuturistic Dongdaemun Design Plaza, Lotte World, the world's second largest indoor theme park, Moonlight Rainbow Fountain, the world's longest bridge fountain and the Sevit Floating Islands. The birthplace of K-pop and the Korean Wave, Seoul received over 10 million international visitors in 2014, making it the world's 9th most visited city and 4th largest earner in tourism.

 

Today, Seoul is considered a leading and rising global city, resulting from an economic boom called the Miracle on the Han River which transformed it to the world's 4th largest metropolitan economy with a GDP of US$845.9 billion in 2014 after Tokyo, New York City and Los Angeles. In 2015, it was rated Asia's most livable city with the second highest quality of life globally by Arcadis. A world leading technology hub centered on Gangnam and Digital Media City, the Seoul Capital Area boasts 15 Fortune Global 500 companies such as Samsung, the world's largest technology company, as well as LG and Hyundai-Kia. In 2014, the city's GDP per capita (PPP) of $39,786 was comparable to that of France and Finland. Ranked sixth in the Global Power City Index and Global Financial Centres Index, the metropolis exerts a major influence in global affairs as one of the five leading hosts of global conferences.

 

Seoul is the world's most wired city and ranked first in technology readiness by PwC's Cities of Opportunity report. It is served by the KTX high-speed rail and the Seoul Subway, providing 4G LTE, WiFi and DMB inside subway cars. Seoul is connected via AREX to Incheon International Airport, rated the world's best airport nine years in a row (2005–2013) by Airports Council International. Lotte World Tower, a 556-metre supertall skyscraper with 123 floors, has been built in Seoul and become the OECD's tallest in 2016, with the world's tallest art gallery. Its Lotte Cinema houses the world's largest cinema screen. Seoul's COEX Mall is the world's largest underground shopping mall.

 

Seoul hosted the 1986 Asian Games, 1988 Summer Olympics, 2002 FIFA World Cup, the Miss Universe 1980 pageant, and the 2010 G-20 Seoul summit. A UNESCO City of Design, Seoul was named the 2010 World Design Capital.

 

ETYMOLOGY

The city has been known in the past by the names Wirye-seong (Hangul: 위례성; Hanja: 慰禮城, during the Baekje era), Hanju (Hangul: 한주; Hanja: 漢州, during the Silla era), Namgyeong (Hangul: 남경; Hanja: 南京, during the Goryeo era), Hanseong (Hangul: 한성; Hanja: 漢城, during both the Baekje and Joseon eras), Hanyang (Hangul: 한양; Hanja: 漢陽, during the Joseon era), Gyeongseong (京城, during the colonial era).

 

During Japan's annexation in Korea, "Hanseong" (Hangul: 한성; Hanja: 漢城) was renamed to "Keijō" (京城, or Template:Korean 한국, Gyeongseong) by the Imperial authorities to prevent confusion with the hanja '漢', as it also refers to the Han Chinese. In reality, the ancient name of Seoul, Hanseong (Hangul: 한성; Hanja: 漢城), originally had the meaning of "big" or "vast".

 

Its current name originated from the Korean word meaning "capital city," which is believed to be derived from the word Seorabeol (Hangul: 서라벌; Hanja: 徐羅伐), which originally referred to Gyeongju, the capital of Silla.

 

Unlike most place names in Korea, "Seoul" has no corresponding hanja (Chinese characters used in the Korean language). On January 18, 2005, Seoul government officially changed its official Chinese language name to Shou'er (simplified Chinese: 首尔; traditional Chinese: 首爾; pinyin: Shǒu'ěr) from the historic Hancheng (simplified Chinese: 汉城; traditional Chinese: 漢城; pinyin: Hànchéng), of which use is becoming less common.

 

HISTOY

Settlement of the Han River area, where present-day Seoul is located, began around 4000 BC.

 

Seoul is first recorded as Wiryeseong, the capital of Baekje (founded in 18 BC) in the northeastern Seoul area. There are several city walls remaining in the area that date from this time. Pungnaptoseong, an earthen wall just outside Seoul, is widely believed to have been at the main Wiryeseong site. As the Three Kingdoms competed for this strategic region, control passed from Baekje to Goguryeo in the 5th century, and from Goguryeo to Silla in the 6th century.

 

In the 11th century Goryeo, which succeeded Unified Silla, built a summer palace in Seoul, which was referred to as the "Southern Capital". It was only from this period that Seoul became a larger settlement. When Joseon replaced Goryeo, the capital was moved to Seoul (also known as Hanyang and later as Hanseong), where it remained until the fall of the dynasty. The Gyeongbok Palace, built in the 14th century, served as the royal residence until 1592. The other large palace, Changdeokgung, constructed in 1405, served as the main royal palace from 1611 to 1872.

 

Originally, the city was entirely surrounded by a massive circular stone wall to provide its citizens security from wild animals, thieves and attacks. The city has grown beyond those walls and although the wall no longer stands (except along Bugaksan Mountain (Hangul: 북악산; Hanja: 北岳山), north of the downtown area), the gates remain near the downtown district of Seoul, including most notably Sungnyemun (commonly known as Namdaemun) and Heunginjimun (commonly known as Dongdaemun). During the Joseon dynasty, the gates were opened and closed each day, accompanied by the ringing of large bells at the Bosingak belfry. In the late 19th century, after hundreds of years of isolation, Seoul opened its gates to foreigners and began to modernize. Seoul became the first city in East Asia to introduce electricity in the royal palace, built by the Edison Illuminating Company and a decade later Seoul also implemented electrical street lights.

 

Much of the development was due to trade with foreign countries like France and United States. For example, the Seoul Electric Company, Seoul Electric Trolley Company, and Seoul Fresh Spring Water Company were all joint Korean–American owned enterprises. In 1904, an American by the name of Angus Hamilton visited the city and said, "The streets of Seoul are magnificent, spacious, clean, admirably made and well-drained. The narrow, dirty lanes have been widened, gutters have been covered, roadways broadened. Seoul is within measurable distance of becoming the highest, most interesting and cleanest city in the East.

"After the annexation treaty in 1910, the Empire of Japan annexed Korea and renamed the city Gyeongseong ("Kyongsong" in Korean and "Keijo" in Japanese). Japanese technology was imported, the city walls were removed, some of the gates demolished. Roads became paved and Western-style buildings were constructed. The city was liberated at the end of World War II.

 

In 1945, the city was officially named Seoul, and was designated as a special city in 1949.

 

During the Korean War, Seoul changed hands between the Russian/Chinese-backed North Korean forces and the American-backed South Korean forces several times, leaving the city heavily damaged after the war. The capital was temporarily relocated to Busan. One estimate of the extensive damage states that after the war, at least 191,000 buildings, 55,000 houses, and 1,000 factories lay in ruins. In addition, a flood of refugees had entered Seoul during the war, swelling the population of the city and its metropolitan area to an estimated 1.5 million by 1955.

 

Following the war, Seoul began to focus on reconstruction and modernization. As Korea's economy started to grow rapidly from the 1960s, urbanization also accelerated and workers began to move to Seoul and other larger cities. From the 1970s, the size of Seoul administrative area greatly expanded as it annexed a number of towns and villages from several surrounding counties.

 

According to 2012 census data, the population of the Seoul area makes up around 20% of the total population of South Korea, Seoul has become the economic, political and cultural hub of the country, with several Fortune Global 500 companies, including Samsung, SK Holdings, Hyundai, POSCO and LG Group headquartered there.

 

Seoul was the host city of the 1986 Asian Games and 1988 Summer Olympics as well as one of the venues of the Football World Cup 2002.

 

GEOGRAPHY

Seoul is in the northwest of South Korea. Seoul proper comprises 605.25 km2, with a radius of approximately 15 km, roughly bisected into northern and southern halves by the Han River. The Han River and its surrounding area played an important role in Korean history. The Three Kingdoms of Korea strove to take control of this land, where the river was used as a trade route to China (via the Yellow Sea). The river is no longer actively used for navigation, because its estuary is located at the borders of the two Koreas, with civilian entry barred. Historically, the city was during the Joseon Dynasty bounded by the Seoul Fortress Wall, which stretched between the four main mountains in central Seoul: Namsan, Naksan, Bukaksan and Inwangsan. The city is bordered by eight mountains, as well as the more level lands of the Han River plain and western areas. Due to its geography and to economic development policies, Seoul is a very polycentric city. The area that was the old capital in the Joseon Dynasty, and mostly comprises Jongno District and Jung District, constitutes the historical and political center of the city. However, for example, the city's financial capital is widely considered to be in Yeouido, while its economic capital is Gangnam District.

 

CLIMATE

Seoul is either classified as a humid subtropical climate (Köppen Cwa), using the −3 °C isotherm of the original Köppen scheme, or a humid continental climate (Köppen Dwa), using the 0 °C isotherm preferred by some climatologists. Summers are generally hot and humid, with the East Asian monsoon taking place from June until September. August, the warmest month, has average high and low temperatures of 29.6 and 22.4 °C with higher temperatures possible. Winters are often cold to freezing with average January high and low temperatures of 1.5 and −5.9 °C and are generally much drier than summers, with an average of 28 days of snow annually. Sometimes, temperatures do drop dramatically to below −10.0 °C, in odd occasions rarely as low as −15.0 °C in the mid winter period between January and February.

  

ADMINISTRATIVE DISTRICTS

Seoul is divided into 25 gu (Hangul: 구; Hanja: 區) (district). The gu vary greatly in area (from 10 to 47 km2) and population (from fewer than 140,000 to 630,000). Songpa has the most people, while Seocho has the largest area. The government of each gu handles many of the functions that are handled by city governments in other jurisdictions. Each gu is divided into "dong" (Hangul: 동; Hanja: 洞) or neighbourhoods. Some gu have only a few dong while others like Jongno District have a very large number of distinct neighbourhoods. Gu of Seoul consist of 423 administrative dongs (Hangul: 행정동) in total. Dong are also sub-divided into 13,787 tong (Hangul: 통; Hanja: 統), which are further divided into 102,796 ban in total.

 

DEMOGRAPHICS

Seoul proper is noted for its population density, which is almost twice that of New York and eight times greater than Rome. Its metropolitan area was the most densely populated in the OECD in Asia in 2012, and second worldwide after that of Paris. As of December 2013, the population was 10.14 million, in 2012, it was 10,442,426. As of the end of June 2011, 10.29 million Republic of Korea citizens lived in the city. This was a 24% decrease from the end of 2010. The population of Seoul has been dropping since the early 1990s, the reasons being the high costs of living and an aging population.

 

The number of foreigners living in Seoul is 255,501 in 2010 according to Seoul officials.[58] As of June 2011, 281,780 foreigners were located in Seoul. Of them, 186,631 foreigners (66%) were Chinese citizens of Korean ancestry. This was an 8.84% increase from the end of 2010 and a 12.85% increase from June 2010. The next largest group was Chinese citizens who are not of Korean ethnicity; 29,901 of them resided in Seoul. The next highest group consisted of the 9,999 United States citizens who were not of Korean ancestry. The next highest group were the Republic of China (Taiwan) citizens, at 8,717.

 

The two major religions in Seoul are Christianity and Buddhism. Other religions include Muism (indigenous religion) and Confucianism. Seoul is home to one of the world's largest Christians congregations, Yoido Full Gospel Church , which has around 830,000 members. Seoul is home to the world's largest modern university founded by a Buddhist Order, Dongguk University. Other Christian faiths like The Church of Jesus Christ of Latter-day Saints (Mormons) maintains a presence in the city.

 

ECONOMY

Seoul is the business and financial hub of South Korea. Although it accounts for only 0.6 percent of the nation's land area, 48.3 percent of South Korea's bank deposits were held in Seoul in 2003, and the city generated 23 percent of the country's GDP overall in 2012. In 2008 the Worldwide Centers of Commerce Index ranked Seoul No.9. The Global Financial Centres Index in 2015 listed Seoul as the 6th financially most competitive city in the world. The Economist Intelligence Unit ranked Seoul 15th in the list of "Overall 2025 City Competitiveness" regarding future competitiveness of cities.

 

MANUFACTURING

The traditional, labour-intensive manufacturing industries have been continuously replaced by information technology, electronics and assembly-type of industries; however, food and beverage production, as well as printing and publishing remained among the core industries. Major manufacturers are headquartered in the city, including Samsung, LG, Hyundai, Kia and SK. Notable food and beverage companies include Jinro, whose soju is the most sold alcoholic drink in the world, beating out Smirnoff vodka; top selling beer producers Hite (merged with Jinro) and Oriental Brewery. It also hosts food giants like Seoul Dairy Cooperative, Nongshim Group, Ottogi, CJ, Orion, Maeil Dairy, Namyang dairy and Lotte.

 

FINANCE

Seoul hosts large concentration of headquarters of International companies and banks, including 15 companies on fortune 500 list such as Samsung, LG and Hyundai. Most bank headquarters and the Korea Exchange are located in Yeouido (Yeoui island), which is often called "Korea's Wall Street" and has been serving as the financial center of the city since the 1980s. The Seoul international finance center & SIFC MALL, Hanhwa 63 building, the Hanhwa insurance company head office. Hanhwa is one of the three largest Korean insurance companies, along with Samsung Life and Gangnam & Kyob life insurance group.

 

COMMERCE

The largest wholesale and retail market in South Korea, the Dongdaemun Market, is located in Seoul. Myeongdong is a shopping and entertainment area in downtown Seoul with mid- to high-end stores, fashion boutiques and international brand outlets. The nearby Namdaemun Market, named after the Namdaemun Gate, is the oldest continually running market in Seoul.

 

Insadong is the cultural art market of Seoul, where traditional and modern Korean artworks, such as paintings, sculptures and calligraphy are sold. Hwanghak-dong Flea Market and Janganpyeong Antique Market also offer antique products. Some shops for local designers have opened in Samcheong-dong, where numerous small art galleries are located. Itaewon caters mainly to foreign tourists and American soldiers based in the city. The Gangnam district is one of the most affluent areas in Seoul and is noted for the fashionable and upscale Apgujeong-dong and Cheongdam-dong areas and the COEX Mall. Wholesale markets include Noryangjin Fisheries Wholesale Market and Garak Market.

 

The Yongsan Electronics Market is the largest electronics market in Asia. Electronics markets are Gangbyeon station metro line 2 Techno mart, ENTER6 MALL & Shindorim station Technomart mall complex.

 

Times Square is one of Seoul's largest shopping malls featuring the CGV Starium, the world's largest permanent 35 mm cinema screen.

 

KOREA WORLD TRADE CENTER COMPLEX which comprises COEX mall, congress center, 3 Inter-continental hotels, Business tower (Asem tower), Residence hotel,Casino and City airport terminal was established in 1988 Seoul Olympic . 2nd World trade trade center is planning at Seoul Olympic stadium complex as MICE HUB by Seoul city. Ex-Kepco head office building was purchased by Hyundai motor group with 9billion USD to build 115-storey Hyundai GBC & hotel complex until 2021. Now ex-kepco 25-storey building is under demolition.

 

ARCHITECTURE

The traditional heart of Seoul is the old Joseon Dynasty city, now the downtown area, where most palaces, government offices, corporate headquarters, hotels, and traditional markets are located. Cheonggyecheon, a stream that runs from west to east through the valley before emptying into the Han River, was for many years covered with concrete, but was recently restored by an urban revival project in 2005. Jongno street, meaning "Bell Street," has been a principal street and one of the earliest commercial steets of the city, on which one can find Bosingak, a pavilion containing a large bell. The bell signaled the different times of the day and controlled the four major gates to the city. North of downtown is Bukhan Mountain, and to the south is the smaller Namsan. Further south are the old suburbs, Yongsan District and Mapo District. Across the Han River are the newer and wealthier areas of Gangnam District, Seocho District and surrounding neighborhoods.

 

HISTORICAL ARCHITECTURE

Seoul has many historical and cultural landmarks. In Amsa-dong Prehistoric Settlement Site, Gangdong District, neolithic remains were excavated and accidentally discovered by a flood in 1925.

 

Urban and civil planning was a key concept when Seoul was first designed to serve as a capital in the late 14th century. The Joseon Dynasty built the "Five Grand Palaces" in Seoul – Changdeokgung, Changgyeonggung, Deoksugung, Gyeongbokgung and Gyeonghuigung – all of which are located in the district of Jongno District and Jung District. Among them, Changdeokgung was added to the UNESCO World Heritage List in 1997 as an "outstanding example of Far Eastern palace architecture and garden design". The main palace, Gyeongbokgung, underwent a large-scale restoration project. The palaces are considered exemplary architecture of the Joseon period. Beside the palaces, Unhyeongung is known for being the royal residence of Regent Daewongun, the father of Emperor Gojong at the end of the Joseon Dynasty.

 

Seoul has been surrounded by walls that were built to regulate visitors from other regions and protect the city in case of an invasion. Pungnap Toseong is a flat earthen wall built at the edge of the Han River which is widely believed to be the site of Wiryeseong. Mongchon Toseong (Hangul: 몽촌토성; Hanja: 蒙村土城) is another earthen wall built during the Baekje period which is now located inside the Olympic Park. The Fortress Wall of Seoul was built early in the Joseon Dynasty for protection of the city. After many centuries of destruction and rebuilding, approximately ⅔ of the wall remains, as well as six of the original eight gates. These gates include Sungnyemun and Heunginjimun, commonly known as Namdaemun (South Great Gate) and Dongdaemun (East Great Gate). Namdaemun was the oldest wooden gate until a 2008 arson attack, and was re-opened after complete restoration in 2013. Situated near the gates are the traditional markets and largest shopping center, Namdaemun Market and Dongdaemun Market.

 

There are also many buildings constructed with international styles in the late 19th and early 20th centuries. The Independence Gate was built in 1897 to inspire an independent spirit. Seoul Station was opened in 1900 as Gyeongseong Station.

 

MODERN ARCHITECTURE

Various high-rise office buildings and residential buildings, like the Gangnam Finance Center, the Tower Palace, N Seoul Tower and Jongno Tower, dominate the city's skyline. A series of new high rises are under construction, including the Lotte World Tower, scheduled to be completed by 2016. As of July 2016, and excluding the still unopened Lotte World Tower, the tallest building in the city is the 279-metre-high Three International Finance Center.

 

The World Trade Center Seoul, located in Gangnam District, hosts various expositions and conferences. Also in Gangnam District is the COEX Mall, a large indoor shopping and entertainment complex. Downstream from Gangnam District is Yeouido, an island that is home to the National Assembly, major broadcasting studios, and a number of large office buildings, as well as the Korea Finance Building and the Yoido Full Gospel Church. The Olympic Stadium, Olympic Park, and Lotte World are located in Songpa District, on the south side of the Han River, upstream from Gangnam District. Two new modern landmarks of Seoul are Dongdaemun Design Plaza & Park, designed by Zaha Hadid, and the new wave-shaped Seoul City Hall, by Yoo Kerl of iArc.

 

In 2010 Seoul was designated the World Design Capital for the year.

 

CULTURE

TECHNOLOGY

Seoul has a very technologically advanced infrastructure. It has the world's highest fibre-optic broadband penetration, resulting in the world's fastest internet connections with speeds up to 1 Gbps. Seoul provides free Wi-Fi access in outdoor spaces. This 47.7 billion won ($44 million) project will give residents and visitors Internet access at 10,430 parks, streets and other public places by 2015.

 

MUSEUMS

Seoul is home to 115 museums, including four national and nine official municipal museums. Amongst the city's national museum, The National Museum of Korea is the most representative of museums in not only Seoul but all of South Korea. Since its establishment in 1945, the museum has built a collection of 220,000 artifacts. In October 2005, the museum moved to a new building in Yongsan Family Park. The National Folk Museum is situated on the grounds of the Gyeongbokgung Palace in the district of Jongno District and uses replicas of historical objects to illustrate the folk history of the Korean people. The National Palace Museum of Korea is also located on the grounds of the Gyeongbokgung Palace. Finally, the Seoul branch of the National Museum of Modern and Contemporary Art, whose main museum is located in Gwacheon, opened in 2013, in Sogyeok-dong.

 

Bukchon Hanok Village and Namsangol Hanok Village are old residential districts consisting of hanok Korean traditional houses, parks, and museums that allows visitors to experience traditional Korean culture.

 

The War Memorial, one of nine municipal museums in Seoul, offers visitors an educational and emotional experience of various wars in which Korea was involved, including Korean War themes. The Seodaemun Prison is a former prison built during the Japanese occupation, and is currently used as a historic museum.The Seoul Museum of Art and Ilmin Museum of Art have preserved the appearance of the old building that is visually unique from the neighboring tall, modern buildings. The former is operated by Seoul City Council and sits adjacent to Gyeonghuigung Palace, a Joseon dynasty royal palace. Leeum, Samsung Museum of Art, is widely regarded as one of Seoul's largest private museum. For many Korean film lovers from all over the world, the Korean Film Archive is running the Korean Film Museum and Cinematheque KOFA in its main center located in Digital Media City (DMC), Sangam-dong. The Tteok & Kitchen Utensil Museum and Kimchi Field Museum provide information regarding Korean culinary history.

 

RELIGIOUS MONUMENTS

There are also religious buildings that take important roles in Korean society and politics. The Wongudan altar was a sacrificial place where Korean rulers held heavenly rituals since the Three Kingdoms period. Since the Joseon Dynasty adopted Confucianism as its national ideology in the 14th century, the state built many Confucian shrines. The descendants of the Joseon royal family still continue to hold ceremonies to commemorate ancestors at Jongmyo. It is the oldest royal Confucian shrine preserved and the ritual ceremonies continue a tradition established in the 14th century. Munmyo and Dongmyo were built during the same period. Although Buddhism was suppressed by the Joseon state, it has continued its existence. Jogyesa is the headquarters of the Jogye Order of Korean Buddhism. Hwagyesa and Bongeunsa are also major Buddhist temples in Seoul.

 

The Myeongdong Cathedral is a landmark of the Myeongdong, Jung District and the biggest Catholic church established in 1883. It is a symbol of Catholicism in Korea. It was also a focus for political dissent in the 1980s. In this way the Roman Catholic Church has a very strong influence in Korean society.

 

There are many Protestant churches in Seoul. The most numerous are Presbyterian, but there are also many Methodist, Baptist, and Lutheran churches. Yoido Full Gospel Church is a Pentecostal church affiliated with the Assemblies of God on Yeouido in Seoul. With approximately 830,000 members (2007), it is the largest Pentecostal Christian congregation in the world, which has been recognized by the Guinness Book of World Records.

 

FESTIVALS

In October 2012 KBS Hall in Seoul hosted major international music festivals – First ABU TV and Radio Song Festivals within frameworks of Asia-Pacific Broadcasting Union 49th General Assembly. Hi! Seoul Festival is a seasonal cultural festival held four times a year every spring, summer, autumn, and winter in Seoul, South Korea since 2003. It is based on the "Seoul Citizens' Day" held on every October since 1994 to commemorate the 600 years history of Seoul as the capital of the country. The festival is arranged under the Seoul Metropolitan Government. As of 2012, Seoul has hosted Ultra Music Festival Korea, an annual dance music festival that takes place on the 2nd weekend of June.

 

TRANSPORTATION

Seoul features one of the world's most advanced transportation infrastructures that is constantly under expansion. Its system dates back to the era of the Korean Empire, when the first streetcar lines were laid and a railroad linking Seoul and Incheon was completed. Seoul's most important streetcar line ran along Jongno until it was replaced by Line 1 of the subway system in the early 1970s. Other notable streets in downtown Seoul include Euljiro, Teheranno, Sejongno, Chungmuro, Yulgongno, and Toegyero. There are nine major subway lines stretching for more than 250 km, with one additional line planned. As of 2010, 25% of the population has a commute time of an hour or more.

 

BUS

Seoul's bus system is operated by the Seoul Metropolitan Government (S.M.G.), with four primary bus configurations available servicing most of the city. Seoul has many large intercity/express bus terminals. These buses connect Seoul with cities throughout South Korea. The Seoul Express Bus Terminal, Central City Terminal and Seoul Nambu Terminal are located in the district of Seocho District. In addition, East Seoul Bus Terminal in Gwangjin District and Sangbong Terminal in Jungnang District operate in the east of the city.

 

SUBWAY

Seoul has a comprehensive urban railway network that interconnects every district of the city and the surrounding areas. With more than 8 million passengers per day, Seoul has one of the busiest subway systems in the world. The Seoul Metropolitan Subway has 19 total lines which serve Seoul, Incheon, Gyeonggi province, western Gangwon province, and northern Chungnam province. In addition, in order to cope with the various modes of transport, Seoul's metropolitan government employs several mathematicians to coordinate the subway, bus, and traffic schedules into one timetable. The various lines are run by Korail, Seoul Metro, Seoul Metropolitan Rapid Transit Corporation, NeoTrans Co. Ltd., AREX, and Seoul Metro Line 9 Corporation.

 

TRAIN

Seoul is connected to every major city in South Korea by rail. Seoul is also linked to most major South Korean cities by the KTX high-speed train, which has a normal operation speed of more than 300 km/h. Major railroad stations include:

 

Seoul Station, Yongsan District: Gyeongbu line (KTX/Saemaul/Mugunghwa-ho), Gyeongui line (Saemaul/Commuter)

Yongsan Station, Yongsan District: Honam line (KTX/Saemaul/Mugunghwa), Jeolla/Janghang lines (Saemaul/Mugunghwa)

Yeongdeungpo Station, Yeongdeungpo District: Gyeongbu/Honam/Janghang lines (Saemaul/Mugunghwa)

Cheongnyangni Station, Dongdaemun District: Gyeongchun/Jungang/Yeongdong/Taebaek lines (Mugunghwa)

 

In addition, Suseo Station,in Gangnam District, is scheduled to open in late 2016, and offer KTX service on the newly built Suseo High Speed Railway.

 

AIRPORTS

Two international airports serve Seoul. Gimpo International Airport, formerly in Gimpo but annexed to Seoul in 1963, was for many years (since its original construction during the Korean War) the only international airport serving Seoul. Other domestic airports were also built around the time of the war, including Yeouido.

 

When it opened in March 2001, Incheon International Airport on Yeongjong island in Incheon changed the role of Gimpo Airport significantly. Incheon is now responsible for almost all international flights and some domestic flights, while Gimpo serves only domestic flights with the exception of flights to Haneda Airport in Tokyo, Osaka Kansai International Airport, Taipei Songshan Airport in Taipei, Hongqiao Airport in Shanghai, and Beijing Capital International Airport in Beijing. This has led to a significant drop in flights from Gimpo Airport, though it remains one of South Korea's busiest airports.

 

Meanwhile, Incheon International Airport has become, along with Hong Kong, a major transportation center for East Asia.

 

Incheon and Gimpo are linked to Seoul by highways, and to each other by the Incheon International Airport Railroad, which is also linked to Incheon line #1. Gimpo is also linked by subway (line No. 5 and #9). The Incheon International Airport Railroad, connecting the airport directly to Seoul Station in central Seoul, was recently opened. Shuttle buses also transfer passengers between Incheon and Gimpo airports.

 

CYCLING

Cycling is becoming increasingly popular in Seoul and in the entire country. Both banks of the Han River have cycling paths that run all the way across the city along the river. In addition, Seoul introduced in 2015 a bicycle-sharing system named Ddareungi.

 

EDUCATION

UNICERSITIES

Seoul is home to the majority of South Korea's most prestigious universities, including Seoul National University, Yonsei University, Korea University, Sungkyunkwan University, Sogang University, Hanyang University, Chung-Ang University, Ewha Womans University, Hankuk University of Foreign Studies, Hongik University, Kyung Hee University, Soongsil University, Sookmyung Women's University, Korea Military Academy, and the University of Seoul.

 

SECONDARY EDUCATION

Education from grades 1–12 is compulsory. Students spend six years in elementary school, three years in middle school, and three years in high school. Secondary schools generally require that the students wear uniforms. There is an exit exam for graduating from high school and many students proceeding to the university level are required to take the College Scholastic Ability Test that is held every November. Although there is a test for non-high school graduates, called school qualification exam, most of Koreans take the test

 

Seoul is home to various specialized schools, including three science high schools (Hansung Science High School, Sejong Science High School and Seoul Science High School), and six foreign language High Schools (Daewon Foreign Language High School, Daeil Foreign Language High School, Ewha Girls' Foreign Language High School, Hanyoung Foreign Language High School, Myungduk Foreign Language High School and Seoul Foreign Language High School). Seoul Metropolitan Office of Education comprises 235 College-Preparatory High Schools, 80 Vocational Schools, 377 Middle Schools, and 33 Special Education Schools as of 2009.

 

INTERNATIONAL RELATIONS

Seoul is a member of the Asian Network of Major Cities 21 and the C40 Cities Climate Leadership Group.

 

WIKIPEDIA

More from last weekend's Bonfire celebrations in Lewes

This Honour Roll was donated by Kimba Racing Club, Kimba District Council and Anzac Day Commemoration Fund: and includes a tribute to those who served in Vietnam.

 

Located in the main street near the Kimba Soldiers' Memorial Institute.

 

*By 1918, due to the increase in Kimba’s population, the need for a public hall became a priority.

A timber framed, corrugated iron building with pitched roof was purchased for £100 from Cowell. This building was dismantled and transported to Kimba by settlers using horse-teams.

The hall was used as the School, Town Hall, and Picture Theatre with films shown every month. It was used for Dances and Balls, Church, as a Polling Booth and for travelling salesmen to display and sell their wares.

 

*A foundation stone was laid in 1929, in memory of those who served in the Great War 1914–1918 and the new Institute was officially opened in the same year.

 

*In 1958 a new front was added with a Library and Council Office. [Ref: Story Board]

*A plaque to the memory of those from the Kimba District who made the supreme sacrifice in World War One 1914–1918 and World War Two 1939–1945 was unveiled on the day the additions were officially opened by Sir Lyell McEwin on 23 February 1958.

 

*Kimba Memorial Institute

The first step in the most progressive move that has taken place in Kimba, occurred on Saturday, when the foundation stone of the new Soldiers Memorial Institute was laid by Miss Mary Haskett, daughter of Mr and Mrs I S Haskett, and the first white child born in the district.

One of the largest crowds seen in Kimba assembled to witness this important ceremony.

 

Mr F R Ferry, President of the Kimba Institute, and the Building Committee, presided, and seated on the platform with him were Mesdames O M Eatts, G J Chenoweth, Reiss (wife of contractor), and Messrs J Tippett, Andrew Ramsey, O E Carlaw, F J Newman, Reiss (contractor) and F I Kestel (architect).

 

Mr Ferry gave a very interesting resume of details leading up to the occasion, and then presented Miss Haskett with a silver trowel, suitably inscribed, and asked her to perform the ceremony of laying the stone.

Miss Haskett, in a neat little speech declared the stone well and truly laid.

Mr Andrew Ramsey, in moving a vote of thanks to Miss Haskett, said that we all admitted and admired the bravery of such pioneer families as the Hasketts.

 

The chairman then appealed for donations for the hall to be placed on the stone, and Mrs O M Eatts, on behalf of the Kimba Ladies' Social Club, led the way with their cheque for £1,116 10/0, followed by others of smaller denomination.

 

After the ceremony, a football match was held on the recreation ground between the Kelly and Kimba teams, resulting in a win for Kelly, who have not been defeated for the season.

A cycle race for boys was run during the intervals of the football match, and resulted in a win for J Brewster. Mr Chenoweth also conducted a putting and mashie competition for golf enthusiasts, the whole proceeds going towards the institute funds. [Ref: Eyre’s Peninsula Tribune 11-7-1929]

 

*Kimba Institute - Official Opening

Kimba will be en fete on Saturday December 7th, when the long-looked for event of the opening of the large new hall will take place.

For many years the public have suffered the inconvenience of a cramped wood and iron structure which could not nearly cope with the crowd at public functions. As a form of Soldiers’ Memorial it was decided to build an institute large enough to satisfy the requirements of a rapidly growing district, and despite the lean years that the district has recently experienced, a very handsome structure is the result. In conjunction with the opening of the hall on December 7th, the local branch of the RSA will hold their annual sports on the show grounds, the total proceeds of the day will go towards the hall funds. The hall will be opened by Lieutenant-Colonel W F J McCann DSO, MC, at 10am.

 

Special arrangements are being made to provide a sparkling entertainment for the evening which will be followed by a dance. [Ref: Eyre’s Peninsula Tribune 28-11-1929]

   

Charlottenburg Palace (German: Schloss Charlottenburg) is the largest palace in Berlin, Germany. It is in the Charlottenburg district of the Charlottenburg-Wilmersdorf borough.

 

The palace was built at the end of the 17th century and was greatly expanded during the 18th century. It includes much lavish internal decoration in baroque and rococo styles. A large formal garden surrounded by woodland was added behind the palace, including a belvedere, a mausoleum, a theatre and a pavilion. During the Second World War, the palace was badly damaged but has since been reconstructed. The palace with its gardens are a major tourist attraction.

 

HISTORY

PALACE

The original palace was commissioned by Sophie Charlotte, the wife of Friedrich I, Elector of Brandenburg in what was then the village of Lietzow. Named Lietzenburg, the palace was designed by Johann Arnold Nering in baroque style. It consisted of one wing and was built in ​2 1⁄2 storeys with a central cupola. The façade was decorated with Corinthian pilasters. On the top was a cornice on which were statues. At the rear in the centre of the palace were two oval halls, the upper one being a ceremonial hall and the lower giving access to the gardens. Nering died during the construction of the palace and the work was completed by Martin Grünberg and Andreas Schlüter. The inauguration of the palace was celebrated on 11 July 1699, Frederick's 42nd birthday.

 

Friedrich crowned himself as King Friedrich I in Prussia in 1701 (Friedrich II, known as Frederick the Great, would later achieve the title King of Prussia). Two years previously, he had appointed Johann Friedrich von Eosander (also known as Eosander von Göthe) as the royal architect and sent him to study architectural developments in Italy and France, particularly the Palace of Versailles. On his return in 1702, Eosander began to extend the palace, starting with two side wings to enclose a large courtyard, and the main palace was extended on both sides. Sophie Charlotte died in 1705 and Friedrich named the palace and its estate Charlottenburg in her memory. In the following years, the Orangery was built on the west of the palace and the central area was extended with a large domed tower and a larger vestibule. On top of the dome is a wind vane in the form of a gilded statue representing Fortune designed by Andreas Heidt. The Orangery was originally used to overwinter rare plants. During the summer months, when over 500 orange, citrus and sour orange trees decorated the baroque garden, the Orangery regularly was the gorgeous scene of courtly festivities.

 

Various artists were invited to decorate the interior of the palace. As the court painter of Friedrich I, the Flemish artist Jan Anthonie Coxie was commissioned to paint the walls and ceilings in various rooms of the palace. Coxie painted between 1701 and 1713 frescos and an altarpiece in the Palace Chapel and frescos in the Gobelin Gallery and Porcelain Room. The frescos in the Porcelain Room were blatant propaganda for the glorious rule of Friedrich I. They

represent Aurora, the Goddess of Dawn, in her seven-horsed chariot chasing away Night and clearing the way for the Sun-God Apollo, who approaches in his chariot in a blaze of light. Hovering overhead, Mercury heralds the arrival of the life-giving god and Saturn ushers in the Golden Age with his scythe. Coxie also included images of the Four Continents as well as the Four Seasons, which are familiar allusions to political power and thus affirm the greatness of Friedrich I.

 

Inside the palace, was a room described as "the eighth wonder of the world", the Amber Room (Bernsteinzimmer), a room with its walls surfaced in decorative amber. It was designed by Andreas Schlüter and its construction by the Danish amber craftsman Gottfried Wolfram started in 1701. Friedrich Wilhelm I gave the Amber Room to Tsar Peter the Great as a present in 1716.

 

When Friedrich I died in 1713, he was succeeded by his son, Friedrich Wilhelm I whose building plans were less ambitious, although he did ensure that the building was properly maintained. Building was resumed after his son Friedrich II (Frederick the Great) came to the throne in 1740. During that year, stables for his personal guard regiment were completed to the south of the Orangery wing and work was started on the east wing. The building of the new wing was supervised by Georg Wenzeslaus von Knobelsdorff, the Superintendent of all the Royal Palaces, who largely followed Eosander's design. The decoration of the exterior was relatively simple but the interior furnishings were rich with painting and sculpture,textiles and mirror. The ground floor was intended for Frederick's wife Elisabeth Christine, who, preferring Schönhausen Palace however, was only an occasional visitor. The especially splendid decoration of the upper floor, which included the White Hall, the Banqueting Hall, the Throne Room and the Golden Gallery, was designed mainly by Johann August Nahl. In 1747, a second apartment for the king was prepared in the distant eastern part of the wing. During this time, Sanssouci was being built at Potsdam, and once this was completed Frederick was only an occasional visitor to Charlottenburg.

 

In 1786, Frederick was succeeded by his nephew Friedrich Wilhelm II who transformed five rooms on the ground floor of the east wing into his summer quarters and part of the upper floor into Winter Chambers, although he did not live long enough to use them. His son, Friedrich Wilhelm III came to the throne in 1797 and reigned with his wife, Queen Luise for 43 years. They spent much of this time living in the east wing of Charlottenburg. Their eldest son, Friedrich Wilhelm IV, who reigned from 1840 to 1861, lived in the upper storey of the central palace building. After Friedrich Wilhelm IV died, the only other royal resident of the palace was Friedrich III who reigned for 99 days in 1888.

 

The palace was badly damaged in 1943 during the Second World War. In 1951, the war-damaged Stadtschloss in East Berlin was demolished and, as the damage to Charlottenburg was at least as serious, it was feared that it would also be demolished. However, following the efforts of Margarete Kühn, the Director of the State Palaces and Gardens, it was rebuilt to its former condition, with gigantic modern ceiling paintings by Hann Trier. From 2004 till early 2006, Charlottenburg Palace was the seat of the President of Germany, whilst Schloss Bellevue was being renovated.

 

GROUNDS

The garden was designed in 1697 in baroque style by Simeon Godeau who had been influenced by André Le Nôtre, designer of the gardens at Versailles. Godeau's design consisted of geometric patterns, with avenues and moats, which separated the garden from its natural surroundings. Beyond the formal gardens was the Carp Pond. Towards the end of the 18th century, a less formal, more natural-looking garden design became fashionable. In 1787 the Royal Gardener Georg Steiner redesigned the garden in the English landscape style for Friedrich Wilhelm II, the work being directed by Peter Joseph Lenné. After the Second World War, the centre of the garden was restored to its previous baroque style.

 

In 1788, Friedrich Wilhelm II arranged for the building of the Belvedere, designed by Carl Gotthard Langhans, in the grounds beyond the Carp Pond. The building was used as a teahouse and as a viewing-tower.

 

Langhans also designed the Palace Theatre, which was built between 1788 and 1791 to the west of the Orangery wing. The Mausoleum was built as a tomb for Queen Luise between 1810 and 1812 in neoclassical style to a design by Heinrich Gentz. After the death of Friedrich Wilhelm III, it was extended; this design being by Karl Friedrich Schinkel. It was extended again in 1890–91 by Albert Geyer to accommodate the graves of Wilhelm I and his wife Augusta. In 1825, Friedrich Wilhelm III added the Neuer Pavilion, an Italianate villa designed by Schinkel, to the north of the palace. This was damaged in the war in 1943 and was reconstructed between 1957 and 1970.

 

BURIALS

Louise of Mecklenburg-Strelitz

Frederick William III of Prussia

Wilhelm I, German Emperor

Prince Albert of Prussia (1809–1872)

Augusta of Saxe-Weimar

 

TODAY

The palace and grounds are a major visitor attraction.

 

For an admission charge, parts of the interior of the palace are open to visitors, including the Old Palace (Alte Schloss) and the New Wing (Neuer Flügel). The Old Palace contains many rooms with baroque decoration, and includes a room called the Porcelain Cabinet, which holds thousands of porcelain objects. On special display are the crown jewels and the royal silver and fine porcelain tableware. The New Wing includes the opulent rococo State Apartments of Frederick the Great and the more modest Winter Chambers of Friedrich Wilhelm II. The formal and informal gardens are freely open to the public.

 

For an admission charge, the Mausoleum, the Belvedere and the Neue Pavilion are open to visitors. The Mausoleum contains the graves of, and memorials to, members of the Hohenzollern family. The memorial to Queen Luise includes her reclining effigy, which is made from Carrara marble and was designed by Christian Daniel Rauch.

 

Also open to the public are the Belvedere, which contains a collection of Berlin porcelain, and the Neue Pavilion, which houses a collection of arts and crafts of the period when Schinkel was active.

 

The former Orangery houses a restaurant and café. Destroyed during World War II, the Great Orangery was reconstructed on the model of the baroque building. Today, it shines in its old brilliance again. The light-flooded festival room provides a pleasant framework for cultural events, concerts and banquets.

 

In addition, a large equestrian statue of Friedrich Wilhelm I is the focus of the palace courtyard. This was designed by Andreas Schlüter and made between 1696 and 1700. From 1703, it stood on the Langen Brücke (now the Rathausbrücke) but was moved to a place of safety in the Second World War. On its return after the war, the barge carrying it sank and it was not salvaged until 1949. In 1952, it was erected on its present site. Across the street of the palace are two more museums, the Bröhan Museum, which contains art nouveau and art deco articles, and the Berggruen Museum, which houses modern art, in particular works by Picasso and Klee. On the left you can find the Scharf-Gerstenberg Collection. Its collection of paintings, graphics and sculptures, spanning the period from French Romanticism to Surrealism.

 

WIKIPEDIA

As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.

 

Plastique Fantastique (UK)

 

A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.

 

David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.

  

Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)

 

9 channel video installation, live score performed by musician ‘U’

 

The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.

 

Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)

 

Fallopé & The Tubes (UK)

 

A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!

 

Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.

 

The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records

 

DJ RHL (UK)

 

Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.

 

Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.

 

For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “

 

AGK Booth

 

Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.

 

About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.

 

Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.

 

WEST WARD WORKS

Guthrie Street

DD1 5BR

 

Images: Kathryn Rattray Photography

A chance encounter with a Torrent in a fast flowing river close to Grey Lake, Patagonia, Chile Viewed from a very wobbly bridge rendered from wood and string.

For your convenience, E. Hoffmann Price's Jade Pagoda Part 3_Barsoom Badigian, by E. Hoffmann Price, may also be downloaded as a single pdf file from the following link:

 

cthulhuwho1.files.wordpress.com/2012/04/e-hoffmann-prices...

Hong Kong Government Department

 

The Hong Kong Police Force | HKP

 

Police Vehicles, Police Officers, Marine Police, Traffic Police, Police Stations. All Districts, Hong Kong

 

Special Units & Divisions include Counter Terrorism, Police Tactical Unit (PTU), National Security Bureau, Diplomatic Protection & Security, Commercial Crime, CID, Dog Unit, Wanted & Missing Persons, Cyber Security & Technology Crime Bureau, Organised Crime and Triad Bureau, Narcotics Bureau, Criminal Intelligence, The Bomb Squad (EOD), Public Relations, Criminal Records, Police Training College and the Auxiliary Police etc.

 

All relevant and extensive information about the Hong Kong Police Force is available on their website

 

www.police.gov.hk/ppp_en/

 

It is very comprehensive, the Hong Kong Police Force has a highly organised structure.

 

All Hong Kong Police Vehicles use the AM licence plate ie 2 digits and up to 4 numbers | Police vehicles have different colours, normal Police vehicles are white with red and blue stripes, the Police Traffic Division vehicles are white with yellow and blue checkerboard design.

 

Amazingly the Police Force have their own superstitions as well, the majority of the licence plates on Police Vehicles have lucky number combinations involving the numbers 6,8, and 9 ! Basically 6 means easy life, 8 means wealth and 9 means long life - this is very much Hong Kong Culture. The Police also use unmarked vehicles extensively which are NOT identified by the AM mark.

 

The Police Museum at 27 Coombe Road at the Peak is also worth a visit, see details on the website listed above.

 

☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below

 

✚ www.j3consultantshongkong.com/j3c-blog

 

☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!

Florenz - Kathedrale

 

seen from Piazzale Michelangelo

 

gesehen vom seen Piazzale Michelangelo

 

Florence Cathedral (Italian: Duomo di Firenze), formally the Cathedral of Saint Mary of the Flower (Italian: Cattedrale di Santa Maria del Fiore [katteˈdraːle di ˈsanta maˈriːa del ˈfjoːre]), is the cathedral of Florence, Italy. It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink, bordered by white, and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.

 

The cathedral complex, in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. These three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major tourist attraction of Tuscany. The basilica is one of Italy's largest churches, and until the development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.

 

The cathedral is the mother church of the Archdiocese of Florence, whose archbishop is Giuseppe Betori.

 

History

 

Santa Maria del Fiore was built on the site of Florence's second cathedral dedicated to Saint Reparata; the first was the Basilica di San Lorenzo di Firenze, the first building of which was consecrated as a church in 393 by St. Ambrose of Milan.The ancient structure, founded in the early 5th century and having undergone many repairs, was crumbling with age, according to the 14th-century Nuova Cronica of Giovanni Villani, and was no longer large enough to serve the growing population of the city. Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, such as Pisa and particularly Siena where the enormous proposed extensions were never completed.

 

City council approved the design of Arnolfo di Cambio for the new church in 1294. Di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio. He designed three wide naves ending under the octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on 9 September 1296, by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 140 years; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.

 

After Arnolfo died in 1302, work on the cathedral slowed for almost 50 years. When the relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a new impetus. In 1331, the Arte della Lana, the guild of wool merchants, took over patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died on 8 January 1337, Andrea Pisano continued the building until work was halted due to the Black Death in 1348.

  

In 1349, work resumed on the cathedral under a series of architects, starting with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359, Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the centre nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravanti and Andrea Orcagna. By 1375, the old church Santa Reparata was pulled down. The nave was finished by 1380, and only the dome remained incomplete until 1418.

 

On 19 August 1418, the Arte della Lana announced an architectural design competition for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, the latter of whom was supported by Cosimo de Medici. Ghiberti had been the winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two remained sharp. Brunelleschi won and received the commission.

 

Ghiberti, appointed coadjutor, drew a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, was promised equal credit, although he spent most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423, Brunelleschi was back in charge and took over sole responsibility.

 

Work on the dome began in 1420 and finished in 1436. The cathedral was consecrated by Pope Eugene IV on 25 March 1436, (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame. It was one of the most impressive projects of the Renaissance. During the consecration in 1436, Guillaume Dufay's motet Nuper rosarum flores was performed.

 

The decoration of the exterior of the cathedral, begun in the 14th century, was not completed until 1887, when the polychrome marble façade was completed with the design of Emilio De Fabris. The floor of the church was relaid in marble tiles in the 16th century.

 

The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent baptistery the Battistero di San Giovanni and Giotto's Bell Tower. There are two side doors: the Doors of the Canonici (south side) and the Door of the Mandorla (north side) with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia. The six side windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common feature in Italian Gothic.

 

Exterior

 

Plan and structure

 

The cathedral of Florence is built as a basilica, having a wide central nave of four square bays, with an aisle on either side. The chancel and transepts are of identical polygonal plan, separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and aisles are separated by wide pointed Gothic arches resting on composite piers.

 

The dimensions of the building are enormous: building area 8,300 m2 (89,340 sq ft), length 153 m (502 ft), width 38 m (125 ft), width at the crossing 90 m (300 ft). The height of the arches in the aisles is 23 m (75 ft). The height of the dome is 114.5 m (375.7 ft). It has the fifth tallest dome in the world.

 

Planned sculpture for the exterior

 

The Overseers of the Office of Works of Florence Cathedral the Arte della Lana, had plans to commission a series of twelve large Old Testament sculptures for the buttresses of the cathedral. Donatello, then in his early twenties, was commissioned to carve a statue of David in 1408, to top one of the buttresses of Florence Cathedral, though it was never placed there. Nanni di Banco was commissioned to carve a marble statue of Isaiah, at the same scale, in the same year. One of the statues was lifted into place in 1409, but was found to be too small to be easily visible from the ground and was taken down; both statues then languished in the workshop of the opera for several years. In 1410 Donatello made the first of the statues, a figure of Joshua in terracotta. In 1409–1411 Donatello made a statue of Saint John the Evangelist which until 1588 was in a niche of the old cathedral façade. Between 1415 and 1426, Donatello created five statues for the campanile of Santa Maria del Fiore in Florence, also known as the Duomo. These works are the Beardless Prophet; Bearded Prophet (both from 1415); the Sacrifice of Isaac (1421); Habbakuk (1423–25); and Jeremiah (1423–26); which follow the classical models for orators and are characterized by strong portrait details. A figure of Hercules, also in terracotta, was commissioned from the Florentine sculptor Agostino di Duccio in 1463 and was made perhaps under Donatello's direction. A statue of David by Michelangelo was completed 1501–1504 although it could not be placed on the buttress because of its six-ton weight. In 2010 a fiberglass replica of "David" was placed for one day on the Florence cathedral.

 

Dome

 

After a hundred years of construction and by the beginning of the 15th century, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 m (15.1 ft) high, 9.2 m (30.2 ft) long, was standing in a side aisle of the unfinished building, and had long been sacrosanct. It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.

 

The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravanti's model was chosen over a competing one by Giovanni di Lapo Ghini. That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts. Furthermore, the use of buttresses was forbidden in Florence, as the style was favored by central Italy's traditional enemies to the north. Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, partly supported by the inner dome, but enclosed in a thinner outer shell, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.

 

The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. The Pantheon had employed structural centring to support the concrete dome while it cured. This could not be the solution in the case of a dome this size and would put the church out of use. For the height and breadth of the dome designed by Neri, starting 52 m (171 ft) above the floor and spanning 44 m (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms. Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of brick, due to its light weight compared to stone and being easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco, a model which is still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.

 

Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one at the top, one at the bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.

 

Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 cm (17 in) in diameter and no more than 2.3 m (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. Brunelleschi also included vertical "ribs" set on the corners of the octagon, curving towards the center point. The ribs, 4 m (13 ft) deep, are supported by 16 concealed ribs radiating from center.The ribs had slits to take beams that supported platforms, thus allowing the work to progress upward without the need for scaffolding.

 

A circular masonry dome can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.

 

The outer dome was not thick enough to contain embedded horizontal circles, being only 60 cm (2 ft) thick at the base and 30 cm (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome and has no embedded chains.

 

A modern understanding of physical laws and the mathematical tools for calculating stresses were centuries in the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.

 

Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition, even though there had been evidence that Brunelleschi had been working on a design for a lantern for the upper part of the dome. The evidence is shown in the curvature, which was made steeper than the original model. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design (now on display in the Museum Opera del Duomo) was for an octagonal lantern with eight radiating buttresses and eight high arched windows. Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 m (376 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.

 

The commission for this gilt copper ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.

 

Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".

 

The decorations of the drum gallery by Baccio d'Agnolo were never finished after being disapproved by no one less than Michelangelo.

 

A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.

 

The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the 19th century.

 

Facade

 

The original façade, designed by Arnolfo di Cambio and usually attributed to Giotto, was actually begun twenty years after Giotto's death. A mid-15th-century pen-and-ink drawing of this so-called Giotto's façade is visible in the Codex Rustici, and in the drawing of Bernardino Poccetti in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them Andrea Orcagna and Taddeo Gaddi. This original façade was completed in only its lower portion and then left unfinished. It was dismantled in 1587–1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. Some of the original sculptures are on display in the Museum Opera del Duomo, behind the cathedral. Others are now in the Berlin Museum and in the Louvre.

 

The competition for a new façade turned into a huge corruption scandal. The wooden model for the façade of Buontalenti is on display in the Museum Opera del Duomo. A few new designs had been proposed in later years, but the models (of Giovanni Antonio Dosio, Giovanni de' Medici with Alessandro Pieroni and Giambologna) were not accepted. The façade was then left bare until the 19th century.

 

In 1864, a competition held to design a new façade was won by Emilio De Fabris (1808–1883) in 1871. Work began in 1876 and was completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's bell tower and the Baptistery, but some think it is excessively decorated.

 

The whole façade is dedicated to the Mother of Christ.

 

Cracking of the dome

 

The unreinforced masonry that Brunelleschi used to construct the dome is weak in tension which leads to cracking when tensile stresses exceed the limited masonry tensile strength. The material is especially susceptible to damage from seismic loading due to its heterogeneity and many surfaces between different materials (stones to mortar connection).

 

Cracking of the dome was observed even before its construction was completed. It is possible that the first cracks were caused by a strong earthquake in 1453.[

 

The first written evidence about the presence of cracks appears in a report by Gherardo Silvani report dated 18 September 1639 which refers to "peli" ("hairs"). In 1694 Gianbattista Nelli and Vincenzo Viviani surveyed the cracks with Nelli recording that there were two major cracks with a maximum width of 29 mm (1.1 in). They believed that the cracks were caused by the weight of the dome, and the resulting the horizontal thrusts on the pillars. A commission, headed by Vincenzo Viviani carried out investigations in 1695 and came to the conclusion that the cracking was due to the dead weight of the buildings, it was proposed that the dome be strengthened by installing four large iron belts; three on the outside of the dome between the bugling area of the dome and the circular windows, while the fourth would be installed internally in the second walkway between the two shells. This was similar to what had been done on the dome of St. Peter's in Rome. After a long debate, a decision was made to leave the dome as it was.

 

The first most complete survey of the cracks was published in 1757 by the Jesuit Leonardo Ximenes (1716–1786). In his document he described 13 different crack typologies. In 1934, Pier Luigi Nervi, who was head of a special commission established by the Opera del Duomo to study the cracking observed that the cracks opened and closed with the seasons. In the winter, the dome's stone and bricks would contract causing the cracks to widen while over the summer the materials would expand and the cracks would close up. While modern buildings by design incorporate expansion joints, the cathedral's dome does not include any and so subsequently developed its own expansion joints in the form of these cracks which allowed the structure to "breathe". To date they have not caused any catastrophic damage to the dome.

 

In 1955 the Opera del Duomo installed 22 mechanical deformometers, which were read four times a year to record the variations in the width of the major cracks in the inner dome. At the same time the dome's internal and external temperatures were also recorded. This remained in service until 2009.

 

In 1975 a commission was appointed by the Italian government to safeguard the dome. In 1978 a government culture agency decided to restore the frescoes. Brunelleschi left forty eight 600 mm (24 in) holes in the base of the dome. They are open on the inside and covered by the outer skin of the dome. It has long been assumed that the holes simply served as mounts for the scaffold used when frescoes were painted on the inside of the dome. While the holes had been able to support the scaffolding used for the creation of the frescos on the interior of the dome they were not strong enough for the network of modern metal scaffolding necessary to provide access for the restoration work undertaken on the frescos between 1979 and 1995. To strengthen the scaffolding, the private company contracted to build scaffolding for the work was allowed in 1982 to fill the holes with concrete so that steel beams could be anchored in them.

 

In 1985 local architect Lando Bartoli noticed that additional cracks were forming around the sealed holes. It was theorized at the time that in summer the four major masses separated by the "A" cracks expanded into the fissures, but now, at the base of the dome, the masses come up against the unyielding concrete that now fills the 48 holes acts as a fulcrum which causes the energy that was once dissipated with the closing of the fissures and into the holes to be transferred into the upper areas of the dome. However analysis by Andrea Chiarugi, Michele Fanelli and Giuseppetti (published in 1983) found that the principal source of the cracks was a dead-weight effect due to the geometry of the dome, its weight (estimated to be 25,000 tons) and the insufficient resistance of the ring beam, while thermal variations, has caused fatigue loading and thus expanding of the structure. This is a well-known collapse mechanism typical of domed structures: a lowering of the top of the structure under its own weight with significant horizontal thrusts on the bearing elements.

 

In 1985 a commission established by the Italian Ministry of Cultural and Monumental Heritage accepted this theory. The debate about the filling of the scaffolding holes was finally settled in 1987 when it was demonstrated that closing the 48 holes had had no impact on the expansion and contraction of the dome. A survey completed in 1984 counted a total of 493 cracks of various sizes, sorted into categories identified by the letters "A" through "D". These are as follows:

 

Type A. These are sub-vertical major cracks that start from the ring beam and continue upwards for approximately two-thirds of the height of the dome; they pass through both the internal and external layer of the even webs and their range in thickness from 55 mm (2.2 in) to 60 mm (2.4 in) (webs 4 and 6) and 25 mm (0.98 in) to 30 mm (1.2 in) (webs 2 and 8). The dome has eight webs numbered counter clockwise from 1, which faces the main nave of the cathedral. These effectively divide the dome into quarters and never completely close in summer. There is a theory that the plaster used to patch the cracks over the years and crumbling building materials have jammed the fissures.

Type B. These sub-vertical minor cracks are located near the circular windows.

Type C. These are sub-vertical minor cracks that are present around the eight edges of the dome.

Type D. These are four sub-vertical minor cracks in the internal part of the odd webs. They do not pass through the width of the dome.

All have formed in a symmetrical pattern.

 

The development of the Type "A" cracks means that the dome now permanently behaves as four drifting half-arches linked below the upper oculus. The abutments of these half-arches are constituted by the pillars, the chapels and the nave of the church. The differences in the cracking patterns between even and odd webs is believed to be due to variations in the stiffness of the supporting ring beam structure under the dome as it is supported by four heavy pillars which line up with the even webs while the odd webs are located over four arches which connect the pillars.

 

In 1987 a second and more comprehensive digital system (which automatically collects data every six hours) was installed by ISMES (in cooperation with the "Soprintendenza", the local branch of the Ministry of Culture, which is responsible for the conservation of all historical monuments in Florence) in 1987. It consists of 166 instruments, among which are 60 thermometers measuring the masonry and air temperature at various locations, 72 inductive type displacement transducers (deformometers) at various levels on the main cracks of the inner and outer domes; eight plumb-lines at the centre of each web, which measure the relative displacements between pillars and tambour; eight livellometers and two piezometers, one near the web 4 and the other below the nave which register the variation of the underground water level. A linear regression analysis of the recorded data has shown that the major cracks are widening by approximately 3 mm (0.12 in) per century. Another source quotes a movement of 5.5mm.

 

Using software that had been used to model the structures of large dam a computer model of the dome was developed in 1980 in a collaboration between Italian National Agency for Electric Power and Structural and Hydraulic Research Centre (CRIS) by a group of researcher leaded by Michele Fanelli and Gabriella Giuseppetti in cooperation with the Department of Civil Engineering of the University of Florence, under the supervision of Andrea Chiarugi. Because of limited computational resources and for reasons of symmetry only a quarter of the dome was modelled. The resulting finite elements analysis confirmed that the main cracks was essentially being created by self-weight of the dome. Since then series of numerical models of increasing complexity have been developed. To assist in monitoring of the dome an extensive photogrammetric and topographical survey of the entire dome was commissioned in 1992 by the "Soprintendenza". The results of this survey were then used to further develop the finite elements model of the dome.

 

(Wikipedia)

 

Die Kathedrale Santa Maria del Fiore (italienisch Cattedrale metropolitana di Santa Maria del Fiore) in Florenz ist die Bischofskirche des Erzbistums Florenz und somit Metropolitankirche der Kirchenprovinz Florenz. Sie wurde von Papst Eugen IV. am 24. März 1436 geweiht und trägt den Titel einer Basilica minor. Das Kirchenschiff fasst circa 4.000–5.000 Personen. Ihre gewaltige Kuppel, das Hauptwerk Brunelleschis, gilt als technische Meisterleistung der frühen Renaissance.

 

Dimensionen

 

Der Florentiner Dom ist, bezogen auf die Länge des Längsschiffs, nach dem Petersdom im Vatikan, St Paul’s Cathedral in London und dem Mailänder Dom die viertgrößte Kirche in Europa (nach der bebauten Fläche rangiert allerdings noch die Kathedrale von Sevilla in Spanien an dritter Stelle). Seine Abmessungen: 153 m Länge, 38 m Breite, Breite des Kuppelfundaments 90 m. Die Seitenschiffe haben eine Gewölbehöhe von 23 m, das Mittelschiff ist um etwa 12 Meter höher. Die lichte Höhe der Kuppel beträgt vom Boden bis zur Laterne 90 m. Außen ist die Kuppel mit Laterne mehr als 114 m hoch.

 

Baugeschichte

 

Bis ins 13. Jahrhundert hatten den Bewohnern der Stadt das Baptisterium San Giovanni sowie einige kleine Kirchen zur Repräsentation genügt. Erst 1296 entschloss man sich zum Bau eines Doms nach Plänen von Arnolfo di Cambio. Der Bau sollte Ausmaße haben, wie sie die Toskana nie zuvor gesehen hatte. Der Entschluss kam nicht aus einem religiösen Impuls, sondern aus dem Wunsch nach einem weithin sichtbaren Monument, nicht zuletzt in Konkurrenz zu Venedig, Pisa und zum 1229 begonnenen Dombau in Siena.

 

Baubeginn

 

Noch im gleichen Jahre wurde mit der Errichtung der Westfassade begonnen. Die ursprüngliche Bischofskirche, Santa Reparata, wurde dabei zunächst von dem Neubau umgeben und weiter liturgisch genutzt. Nach dem Tod Arnolfos kamen die Arbeiten zum Erliegen, da die Ressourcen zum Bau der dritten Stadtmauer und zur Errichtung des Palazzo della Signoria genutzt wurden. Von der Fassade war nach Arnolfos Entwürfen bis dahin nur der untere Teil vollendet.

 

Der Campanile Giottos

 

Erst die spätere Berufung Giottos brachte neue Impulse. Doch Giotto, schon 68 Jahre alt, richtete seine ganze Energie auf den Campanile, der in kürzerer Zeit zu vollenden war. So wollte er Florenz wenigstens mit dem Campanile ein alles überragendes Wahrzeichen schenken.

 

Die Turmfundamente waren bereits 1298 zu Beginn der Bauarbeiten an der neuen Kathedrale unter Arnolfo di Cambio gelegt worden. Die für die italienische Gotik ungewöhnliche Position des Glockenturms – in einer Linie mit der Westfassade – wird zum einen als Indiz für die besondere Betonung der Vertikalen als Zentrum der Bischöflichen Insel gewertet, andererseits wollte man die Sichtachse auf die geplante große Kuppel freihalten.

 

Giotto di Bondone entwarf einen Campanile, der eine pyramidenförmige Spitze mit einer Höhe von 50 florentinischen Braccia (Armlängen), also etwa 30 Metern gehabt hätte; insgesamt wäre er 110–115 Meter hoch geworden. Bei Giottos Tod im Jahr 1337 war erst das erste Geschoss fertiggestellt. Andrea Pisano und Francesco Talenti beendeten den Bau 1359 mit einigen Änderungen. Der Turm bekam ein niedriges Pyramidendach und wurde nur 85 m hoch.

 

Im Turm sind insgesamt zwölf Kirchenglocken untergebracht. Eine Glocke befindet sich abgestellt auf dem Boden des Glockengeschosses. Sie ist die 1516 von Lodovico di Guglielmo gegossene 2500 Kilogramm schwere Apostolica. Zudem hängen auf allen vier Seiten, jeweils zwischen Glockenstube und Fenster vier kleinere Glocken (Beona, Maria Anna, Campana Piccola, Campana Più Piccola), die nicht geläutet werden können. Die übrigen sieben Glocken bilden das Hauptgeläut, das seit 2000/2001 über einen neuen elektrischen Läuteantrieb verfügt.

 

Wiederaufnahme der Bauarbeiten am Dom

 

Ab 1330 übernahm die Wollweberzunft die Verantwortung für den Dombau. Neue Baumeister modifizierten die Pläne immer wieder, bis sie 1368 gebilligt und das danach entstandene Ziegelmodell (Maßstab 1:10) für verbindlich erklärt wurden. Der Bau konnte nun schneller vorangetrieben werden. Schon 1379 wurde das Langhaus für den Gottesdienst in Gebrauch genommen.

 

Fassade

 

Die unter Arnolfo di Cambio begonnene Fassade wurde schon 1588 als unzeitgemäß empfunden und abgerissen, um Platz für eine neue Fassadengestaltung zu schaffen, für die die Mittel dann allerdings nicht ausreichten. Die heutige Westfassade ist eine neogotische Vervollständigung des späten 19. Jahrhunderts, die den Stil des Langhauses, die Gestaltung in dreifarbigem Marmor, fortsetzt. Sie wurde nach Entwürfen von Emilio de Fabris und Guglielmo Calderini (Obergeschoss) bis 1887 vollendet.

 

Kuppel

 

Brunelleschis Kuppel

 

1417 legte Brunelleschi sein erstes Kuppelmodell vor, nachdem vorher beschlossen worden war, eine noch prächtigere und größere Kuppel zu erstellen, als das erste Modell vorgesehen hatte. Der Bau der 107 Meter hohen Kuppel mit einem Durchmesser von 45 Metern dauerte 16 Jahre (1418 bis 1434). Von Anfang an trug die aus zwei Schalen bestehende Konstruktion sich selbst und wurde ohne Lehrgerüst errichtet. Aufgrund ihrer Einzigartigkeit wird sie noch heute als Höhepunkt der Renaissance gesehen. Der Dom wurde nach der Fertigstellung der Kuppel am 25. März 1436 in Anwesenheit von Donatello, Brunelleschi, Ghiberti, Michelozzo und Alberti durch Papst Eugen IV. geweiht. Für die Ausführung der Glasfenster wurde 1436 der Glasmaler Francesco Livi aus Lübeck nach Florenz berufen. Die Laterne wurde nach einem Entwurf Brunelleschis von 1446 bis 1461, zuletzt unter der Aufsicht von Michelozzo, erbaut. Bis zum Ende des 16. Jahrhunderts gab es immer wieder kleinere Arbeiten am Dom.

 

Ausmalung der Kuppel

 

Die Innenbemalung der Kuppel war nach früherer einhelliger Meinung der Kunsthistoriker missglückt. Kein Geringerer als Giorgio Vasari, der Vater der Kunstgeschichtsschreibung und der Schöpfer des gleichnamigen Korridors über den Ponte Vecchio, hatte 1572 dieses Fresko begonnen, das 1579 von Federico Zuccari vollendet wurde. Es ist in seinen Ausmaßen riesig und gilt nach der Fläche als der größte Fresken-Zyklus zu einem christlichen Thema. Hunderte von Kolossalfiguren gruppieren sich auf insgesamt 4000 m² um den Weltenrichter, den man in der unteren Mitte mühsam erkennen kann. Vasaris Traum soll es gewesen sein, Michelangelos Jüngstes Gericht in der Sixtinischen Kapelle zu übertreffen.

 

Das Riesenwerk ist nicht unproblematisch. Denn es ist so weit vom Boden entfernt, dass man kaum ein Detail hinreichend erkennen kann – der Kuppelraum ist normalerweise dunkler als auf den Fotos –, und vor allem: Das Fresko Vasaris lässt die Kuppel nicht höher erscheinen, sondern niedriger. Das Kuppelfresko wurde seit 1979 restauriert und ist 1994 wieder enthüllt worden, wobei die beiden Kunsthistorikerinnen Cristina Acidini und Cristina Danti bisher ungewürdigte künstlerische Qualitäten dokumentiert haben.

 

Vasari war schon krank, als er 1572 im Alter von 61 Jahren das Gerüst zur Ausmalung der Kuppel bestieg und starb bereits zwei Jahre danach 1574 lange vor der Vollendung des Freskos. Federico Zuccari übermalte und modernisierte teilweise Vasaris Malerei. Dabei unterliefen ihm auch einige Fehler. So bekam beispielsweise ein Esel die massigen Beine eines Bären, der seinerseits mit Hufen ausgestattet wurde, was vom Boden der Kathedrale aus jedoch nicht sichtbar ist.

 

Einzelne Aspekte zum Florentiner Kuppelbau

 

Vorgeschichte

 

Die Kuppel des Domes von Florenz ist nicht die Bekrönung der Vierung eines lateinischen Kreuzes, also einer Kreuzung von Langhaus und Querhaus, sondern einer Drei-Konchen-Anlage, somit also ein Zentralbau, der erste der Renaissance. Zumindest hieß es so lange Zeit in der Fachliteratur. Aber dieser Zentralbau ist eine Idee der Gotik und seine Durchführung wurde mit gotischen Mitteln erreicht. Man sagt also besser: Dieser gotische Plan kam den Tendenzen der Renaissance entgegen.

 

Die Bewunderung für das antike römische Pantheon und die architektonische Tradition hatten sich vereint, um die Kuppel zum idealen und zentralen Bestandteil der Kirche zu machen. Es scheint, dass man auch in jenen Fällen, in denen man keinen Zentralbau durchführen konnte, weil – wie hier am Florentiner Dom – ein Langhaus bereits vorgegeben war, sich als Ersatz dafür im Ostbau wenigstens die Illusion eines Zentralbaus mit der Kuppel als wichtigstem Bestandteil hat verschaffen wollen.

 

Dabei gab es eine prinzipielle Schwierigkeit in der Renaissance bei der Verbindung des Zentralbauideals mit rein liturgischen Erfordernissen. Sollte ein Zentralbau eine Kuppel erhalten, dann konnte er nicht allzu groß werden, weil die Konstruktion der Kuppel das schwierigste von allem war. Deshalb wurde das Ideal des reinen Zentralbaus meistens bei kleineren Kirchen erfüllt.

 

In großen Kirchen sollten aber auch viele Menschen zusammenkommen, und das widersprach den technischen Grenzen des Zentralbaus. Deshalb wurden häufig Kompromisse gebildet, indem man an einen zentralbauähnlichen Ostteil ein Langhaus anschloss. Jetzt konnten zwar viele Gläubige im Innenraum zusammengefasst werden, aber ein idealer Zentralbau war das nicht, wie man am Grundriss sehen kann.

 

Besonders dramatisch waren später diese Auseinandersetzungen beim Neubau von St. Peter in Rom. Auch hier siegte im Endeffekt die politische Wirkung eines solchen bedeutenden Baues über das architektonische Ideal Michelangelos. Und die Politik spielte auch hier in Florenz eine Rolle.

 

Die Kuppel als Träger der Staatsidee

 

Von jeher war Architektur in den italienischen Stadtstaaten dazu ausersehen, Träger der Staatsideen zu werden. Und die Kuppel des Florentiner Doms hier war der deutlich sichtbare Ausdruck eines neuen Machtanspruchs einer Stadt, die mit 50.000 Einwohnern so viele Bewohner hatte wie London. Durch Brunelleschi wurde die Kuppel zu einer neuen Pathosformel erhoben – und das merkt man bis hin zum Kapitol in Washington von 1857. Im Mittelalter war der Turm oder die Turmgruppe das höchste architektonische Zeichen städtischer Majestät. Jetzt in der Neuzeit, in der Renaissance, wurde die Kuppel das Symbol staatlicher Macht.

 

Hier spielt sicher auch eine Rolle, dass zur damaligen Zeit Florenz mit Kunstwerken deutlich weniger ausgestattet war als seine italienischen Konkurrenten. Nach den Zeiten der Protorenaissance im 11. Jahrhundert gab es seltsamerweise eine lange Pause in der Entwicklung der Kunst. Erst 1246 mit der Dominikanerkirche Santa Maria Novella wurde wieder eine neue Periode in der Kunstgeschichte der Stadt eröffnet.

 

Im ganzen 12. Jahrhundert und noch im frühen 13. Jahrhundert, als in Pisa bereits der Dom erweitert wurde, der Campanile, das Baptisterium und der Camposanto erbaut wurden, als man in Lucca, in Pistoia, in Prato und später auch in Arezzo und Siena Dome und Kirchen errichtete, entstand in Florenz kein Bauwerk gleichen Ranges. Während sich Pisa und Lucca zu Zentren der Bildhauerkunst und der Malerei entfalteten, ist für Florenz kaum eine Skulptur und kein Gemälde bezeugt. In dieser fast 150 Jahre dauernden Pause schuf Florenz stattdessen die wirtschaftlichen und politischen Voraussetzungen für seine spätere Vormachtstellung, die dann durch den Bau des Domes und vor allem durch die dominierende Kuppel neuen, majestätischen Ausdruck erhalten sollte. Also: Die Kuppel des Doms hatte für Florenz wortwörtlich überragende Bedeutung. Hier musste mit einem Schlag ein langer künstlerischer Rückstand übersprungen werden. Florenz hatte gleichsam keine Wahl. Die Kuppel musste gelingen.

 

Das Interessante daran ist, dass möglicherweise bereits Arnolfo di Cambio, der 1296 mit dem Bau begonnen hatte, eine solche Kuppel vorgesehen hatte. Inspiriert war diese Idee sicher damals schon vom Baptisterium und von den gigantischen Kuppelbauten der römischen Antike, vor allem auch hier vom Pantheon in Rom und von der Hagia Sophia in Byzanz. Als weiteres Vorbild darf sicher die Kuppel des Pisaner Domes angenommen werden und die des Doms von Siena, einer Stadt, zu der Florenz in besonderer Konkurrenz stand. Aber die Verbindung dieser Idee einer so gigantischen Kuppel mit einem gotischen Langhaus war neu.

 

Die Probleme eines Kuppelbaus

 

Der Plan zu einer riesigen Kuppel war auch 1367 vorherrschend, als nach langer Bauunterbrechung eine Kommission der Baumeister und Maler die Ausdehnung der Vierung selbstbewusst auf 42 Meter erhöhte und eine Gewölbehöhe der noch zu bauenden Kuppel von 83 Metern vorsah] Damit sollte die Florentiner Kuppel nicht nur die breiteste, sondern auch die höchste jemals errichtete Kuppel werden. Man hatte dabei sicher das Pantheon in Rom vor Augen, dessen Kuppeldurchmesser 42,70 Meter beträgt, also fast identisch mit den Florentiner Plänen.

 

Die aus diesen gewaltigen Ausmaßen resultierenden Schwierigkeiten erkannte man erst später. Denn man wusste nicht, wie man ein solch riesiges Gewölbe von 42 Metern Durchmesser über dem achteckigen Grundriss errichten konnte. Es erwies sich nämlich beispielsweise als unmöglich, die Gerüstbalken zu beschaffen, die für den Bau einer solchen Wölbung benötigt wurden. Denn man war zuvor – 1410–1413 – auf die kühne Idee gekommen, auf das 42 Meter hohe oktogonale Grundgeschoss noch ein Tambourgeschoß von knapp zehn Metern Höhe und 4½ Metern Dicke aufzusetzen, so dass die Kuppel erst in der unglaublichen Höhe von 52 Metern ansetzte, also in einer Höhe, die über den höchsten Gewölben der französischen gotischen Kathedralen lag – das höchste gotische Gewölbe hat die Kathedrale von Beauvais mit 48 Metern.

 

Übrigens erhielt die Kirche erst jetzt ihren heutigen Namen Santa Maria del Fiore. Bis dahin hieß sie wie die Vorgängerkirche Santa Reparata.

 

Und damit niemand auf die Idee kam, diesen neuen, kühnen Plan von 1367 zugunsten älterer, einfacherer Lösungen zu verlassen und damit den neuen Machtanspruch von Florenz zu reduzieren, vernichtete man alle älteren Dokumente, die sich mit dem Dombau befassten. Man hat also gleichsam alle Brücken hinter sich abgebrochen. Entweder diese neue Kuppel mit bisher noch nie erreichter Höhe – oder gar keine. Daher ist nur unzulänglich bekannt, wie sich Arnolfo di Cambio und seine frühen Nachfolger den Dom eigentlich vorgestellt hatten.

 

Die Konkurrenzsituation

 

Damals, in der 2. Hälfte des 14. Jahrhunderts herrschte eine scharfe Konkurrenz zwischen den großen norditalienischen Städten in Bezug auf ihre zentralen großen Kirchenbauten. In Florenz wurden teilweise über acht Prozent der gesamten Staatseinkünfte für den Bau des Domes aufgewandt.

 

1388 wurde in Bologna der Dom San Petronio begonnen, der den im Bau befindlichen Florentiner Dom noch übertreffen sollte, aber nie vollendet wurde. Zwei Jahre zuvor, 1386, war der Mailänder Dom begonnen worden, der nicht nur die italienischen, sondern alle Kathedralen des Abendlandes übertreffen sollte – allerdings ohne große Türme und ohne Kuppel. Die Kuppelwölbung war das große Problem und sie blieb es bis in unsere Zeit hinein, daher auch ihre große Bedeutung für die Repräsentation. Noch in der Nikolaikirche in Potsdam in der Mitte des 19. Jahrhunderts, im Kapitol von Washington 1857 und in den Großmacht-Fantasien des NS-Architekten Albert Speer für das Neue Berlin der 40er Jahre des 20. Jahrhunderts wirkte diese Idee nach.

 

1414 war in Florenz der Bau wieder ins Stocken geraten. Als vorerst letztes Glied wurde der zehn Meter hohe achteckige Tambour mit seinen runden Lichtöffnungen von 3,5 Meter Durchmesser errichtet. Die oktogonale Basis als Auflager für die Dachkonstruktion war damit vorgegeben.

 

Der Wettbewerb

 

Das Problem wurde über einen Wettbewerb im Jahr 1418 gelöst. Man schrieb am 19. August einen Wettbewerb aus, den Brunelleschi nach diversen Widerständen mit einem Rohentwurf gewann.

 

Die revolutionäre Idee Brunelleschis bestand darin, das Baugerüst gar nicht auf dem Boden aufsetzen zu lassen, sondern als Klettergerüst innerhalb der noch zu bauenden Kuppel zu verankern. Die Gutachterkommission lehnte seinen Vorschlag zunächst mehrmals ab. Brunelleschi bestand aber auf seinem Plan, teilweise so beharrlich, dass man ihn mehrmals aus den Sitzungen der Gutachterkommission hinaustragen musste. Außerdem war Brunelleschi nicht bei einem Baumeister in die Lehre gegangen, sondern bei einem Goldschmied, gehörte also nicht zur Gilde der Steinmetze, sondern derjenigen der Seidenweber an, die sich mit den Goldschmieden zusammengeschlossen hatten.

 

Erst als auf Seiten der Stadt keine brauchbare Alternative zu Brunelleschis Plan gefunden wurde, ließ man sich doch auf dessen Idee ein. Brunelleschi wurde nach der Annahme seines Rohentwurfes gebeten, einen genauen Plan auszuarbeiten. Ihm wurde zwar die Bauleitung übertragen, aber als unerfahrenem Baumeister wurde ihm – zur Vorsicht – Lorenzo Ghiberti an die Seite gestellt, was ihn sehr geärgert haben muss. Beide sollen sich zeitlebens wenig verstanden haben, nachdem 1401 Brunelleschi im Wettbewerb um die zweite Bronzetür des Baptisteriums Ghiberti unterlegen war. Trotzdem arbeiteten sie 18 Jahre lang an der Kuppel des Florentiner Domes zusammen, anfangs mit gleichem Gehalt. Um Ghibertis Inkompetenz bloßzustellen, soll Brunelleschi eine Krankheit fingiert haben, deretwegen die Bauarbeiten ins Stocken kamen.

 

Der Baubeginn der Kuppel

 

Der Baubeginn der Kuppel fand am 7. August 1420 in 52 Metern Höhe statt. Im gleichen Jahr war Brunelleschi mit einer weiteren genialen Idee aufgetreten. Er übernahm ein Bauprinzip aus der nordeuropäischen Gotik, die Rippenwölbung. Er verlegte Rippen an jeder Ecke des Oktogons und jeweils zwei zusätzliche im Innern jeder Gewölbekappe, also insgesamt 24, die miteinander durch waagerechte Querbalken verbunden waren. Die äußeren sind die weithin sichtbaren acht großen Marmorrippen mit einem Maß von 4,4 × 3,5 Metern. Jedes der acht Segmente der Kuppelschale ist an seiner Basis 17 Meter breit, 3,50 Meter dick und vollwandig aus massivem Kalksandstein geschichtet.

 

Durch diese insgesamt 24 Rippen entstand ein Skelettsystem, das mit zwei Ziegelschalen, einer inneren und einer äußeren, ausgefugt wurde. Die Schalen aus Ziegeln wurden in einzelnen Ringen von unten nach oben aufgemauert; die Kuppel wurde ohne Lehrgerüst errichtet. Das Deckenloch wurde zuerst wie im Pantheon in Rom offen gelassen. Später wurde die Laterne aufgesetzt.

 

Um einen Begriff davon zu bekommen, um welche Dimensionen an Hölzern es sich hier handelte: Für die Halbkuppel der südlichen Apsis, die im Jahr 1418 mit einem solchen Lehrgerüst konstruiert wurde, benötigte man 32 Baumstämme, die in Bohlen von insgesamt 280 Metern Länge und 135 Balken zersägt wurden. Die Halbkuppel ist aber weitaus kleiner im Vergleich zur Vierungskuppel, für die nach einer Schätzung zwanzig Mal so viel Holz benötigt wurde.

 

Das waren bis dahin kaum vorstellbare und schwerlich finanzierbare Dimensionen, und auch die technische Realisierbarkeit blieb weiterhin fraglich. Brunelleschi, der sich in antiker Architektur auskannte, nahm die alte Idee der Doppelschaligkeit auf und erfand ganz neue Techniken für die einzelnen Arbeitsschritte.

 

Zugringe aus Stein

 

Eine doppelschalige Kuppelkonstruktion entsprach der antiken Tradition. Auch das Baptisterium besitzt in Ansätzen eine solche doppelte Schale. Die Idee stammt aus dem mittelalterlichen Persien und stellte das typische Merkmal islamischer Moscheen dar. Trotz der Doppelschaligkeit blieben bauliche Schwierigkeiten.

 

Die Kuppel musste – auch als Rippenkonstruktion – zusätzlich abgestützt werden, genauso wie in der gotischen Architektur Nordeuropas, wo diese Idee herkam. Aber in Italien gibt es außer beim Mailänder Dom kein äußeres, stützendes Strebewerk wie in Frankreich oder Deutschland. Die riesige Kuppel in Florenz kann seitlich nicht abgestützt werden, da sie in zu großer Höhe thront. Um den horizontalen Schub des Gewölbes zu neutralisieren und nur noch Vertikalkräfte in die Tambourwände einzuleiten, erfand Brunelleschi „ein System so genannter Steinketten, um die beiden Gewölbeschalen zusammenzuhalten. Sie setzen an den Rippen an und sind durch Metallklammern verbunden, so dass sie Zugspannung aufnehmen können. Ohne sie würden die Rippen unter der Gesteinslast nach außen gedrückt“ und bersten.

 

Die Kuppel: Gotik oder Renaissance?

 

Die Kuppelkonstruktion hatte nachhaltige Konsequenzen für die Architektur der gesamten Renaissance. Deswegen setzte die Kunstgeschichte den Beginn der Renaissance lange Zeit auf diesen Kuppelbau von 1420 bis 1436.

 

Gegen diese Sichtweise ist aber einiges einzuwenden. Die Kuppel war unzweifelhaft eine Glanzleistung, die von niemandem übertroffen worden ist, auch nicht von Michelangelo später am Petersdom in Rom. Aber in diesem Fall war Brunelleschi in erster Linie als Ingenieur gefordert, die in der Planung bereits festgelegte Vierungskuppel zu erbauen. „Das ganze Werk hat bezeichnenderweise ein spitzbogiges, gotisches Profil, denn es ist nach dem gotischen Prinzip der tragenden Rippen erbaut. Selbst wenn Brunelleschi die Kuppel des Pantheon studiert hat, um seine Technik zu vervollkommnen, haben die beiden Werke doch nichts miteinander gemein: die Kuppel des Pantheon ist eine echte Halbkugel, […], die von den riesigen Mauern getragen wird. […] Die Florentiner Kuppel ist ein ins Gigantische gesteigertes Spitzbogengewölbe, das als Kuppel getarnt ist. Nur in den untergeordneten Bauelementen erscheint der Stil Brunelleschis – und damit Renaissancekunst.“ Auch das Motiv des Kapellenkranzes, der sich um die Vierung herumlegt, kommt aus der nordeuropäischen Architektur, ist also Gotik (oder sogar Romanik) und keine Renaissance.

 

Das erste wirkliche Renaissance-Bauwerk Brunelleschis ist die nicht weit entfernte Kirche von San Lorenzo.

 

Es ist wahrscheinlich nicht so, dass sich Brunelleschi von Anfang an über alle Details der Konstruktion im Klaren war. Auf viele Ideen kam er erst während der 16-jährigen Bauzeit. Und der obere spätere Teil der Kuppel war der schwierigere, weil hier die Wölbung wesentlich stärker ist. Genaue Informationen über Brunelleschis Pläne und Phantasien sind nicht bekannt, weil er in dieser Hinsicht schweigsam war. Er befürchtete, dass andere ihm seine Ideen stehlen könnten. Deshalb informierte er nur seine nächsten Mitarbeiter über seine Pläne – und das auch nur spät. Brunelleschi ist in Sichtweite des Domes aufgewachsen, kannte von Kindesbeinen an die Probleme, die seine Vorgänger mit der Wölbung hatten, informierte sich jahrelang auch in Rom über antike Architektur und hatte mit Sicherheit diverse Pläne im Kopf, wie eine solche Kuppel zu konstruieren sei. Aber er wusste, dass er der einzige war, der so etwas konnte, und behielt sein Wissen möglichst bei sich. Wenn er für sich selbst Pläne aufzeichnete, bediente er sich einer Geheimschrift, die niemand anderer lesen konnte.

 

Eisenkette

 

So gibt es beispielsweise seit ewigen Zeiten Gerüchte über eine Eisenkette, die Brunelleschi angeblich zusätzlich zu den bekannten Steinketten um den Sockel der Kuppel hat legen lassen. Eine magnetische Untersuchung, die in den 1970er Jahren durchgeführt wurde, erbrachte keinen Beweis, dass diese Ketten tatsächlich existieren.

 

Holzkette

 

Was es aber außer den vier Steinketten wirklich gibt, ist eine 1424 hinzugefügte Holzkette 7½ Meter über der untersten Steinkette – bestehend aus Balken aus Kastanienholz von sechs Metern Länge und einem Querschnitt von 30 × 30 Zentimetern. Dieses Holz musste gefunden und sorgfältig mit einem speziellen Verfahren verarbeitet werden, was mehrere Jahre in Anspruch nahm. Dass man außer an Stein- auch an Holzketten dachte, hat damit zu tun, dass man eine solche Holzkonstruktion für widerstandsfähiger bei Erdbeben hielt. Bei der Hagia Sophia in Konstantinopel war man so vorgegangen und bei einigen anderen Bauten in den gefährdeten Gebieten beispielsweise in Persien. Und tatsächlich erlitt die cupola bei den Erdbeben von 1510, 1675 und 1895 keine Schäden. Die Holzkette musste übrigens im 18. Jahrhundert ausgetauscht werden, weil das Holz zu verrotten begann.

 

Baumaschinen

 

Zu Brunelleschis Glanzleistungen zählen unter anderem auch die Maschinen, die er entworfen hat, um mit ihnen die Steine in die Höhe zu ziehen. Hier waren Konstruktionen notwendig, die zur damaligen Zeit noch nicht existierten. Die Materialaufzüge und Kräne, die Filippo entwarf, wurden zu den meistbewunderten mechanischen Geräten der Renaissance. Das Seil für den Lastenaufzug wurde in Pisa bestellt, einer Hochburg des Schiffbaus. Aber auch die dortigen Fachleute sahen sich einer neuen Aufgabe gegenüber, denn es wurde das längste und schwerste Seil benötigt, das jemals angefertigt worden war: 180 Meter lang, mehr als sieben Zentimeter dick und mit einem Gewicht von nahezu einer halben Tonne. Dieser Aufzug bewegte täglich ca. 50 Mal die Steine in die Höhe, also ungefähr eine Fuhre alle zehn Minuten.

 

Bevor die einzelnen Steine in der Kuppel eingesetzt wurden, mussten sie natürlich genau zugehauen werden. Die Schablonen dafür wurden auf einem Grundstück hergestellt, das Brunelleschi im Sommer 1420 flussabwärts auf einem Uferbereich des Arno auf einer Fläche von 800 m² präpariert hatte. Dort wurde ein Plan der Kuppel im Verhältnis 1:1 in den Sand geritzt. Bei den gotischen Kathedralen Nordeuropas war man ähnlich vorgegangen. Diese Schablonen von über 2½ Metern Größe wurden anschließend am Mauerwerk der inneren Kuppelschale befestigt und dienten als Richtmaß.

 

Ziegel

 

Bei der Herstellung der Ziegel ging man ebenfalls von Schablonen aus, da nicht nur einheitliche Maße benutzt wurden, sondern auch außergewöhnliche – dreieckige Formen, Ziegel mit Verzahnungen oder mit hervorstehendem Rand, Ziegel, die genau in die Ecken passten etc. Aber bis es überhaupt so weit war, musste ein langer Weg zurückgelegt werden.

 

Die Brennöfen befanden sich nicht in der Stadt, sondern auf dem Land in der Nähe der Tongruben. Es war natürlich etwas anderes, ob man Ziegel brauchte für ein kleines Haus, die man im Bedarfsfalle leicht ersetzen konnte, oder ob es sich um Ziegel handelte für die Riesenkuppel von Florenz, wo ein kleiner Fehler massive Konsequenzen haben könnte. Jedenfalls gab es umfangreiche Regeln dafür, wie und wo und wann der Ton gewonnen werden sollte, wie lange er vor dem Brennen trocknen sollte – das konnte bis zu zwei Jahren dauern –, wie der Mörtel beschaffen sein sollte usw.

 

Der geknetete Ton wurde in entsprechenden Holzformen an der Luft getrocknet und vorgehärtet. Danach erfolgte das Brennen, das mehrere Tage dauerte. Da die Temperatur im Ofen um 1000 Grad Celsius betrug, ließ man die Ziegel zwei Wochen abkühlen, damit sie bruchfester wurden, bevor man sie zur Baustelle transportierte. Ein Brennofen konnte im Durchschnitt 20.000 Ziegel aufnehmen; wurde er alle drei Wochen befeuert, ergab dies eine jährliche Kapazität von mehr als 300.000 Ziegeln. Doch selbst bei dieser Leistung hätte es mit nur einem Brennofen mehr als 13 Jahre gedauert, die für den Bau der Kuppel erforderlichen vier Millionen Ziegel herzustellen.

 

Das Tempo der acht Maurermannschaften wurde durch das Abbinden des Mörtels im zuletzt gemauerten Horizontalring auf weniger als einen Ring pro Woche begrenzt. Die Kuppel wuchs somit jeden Monat um ungefähr 30 Zentimeter in die Höhe.

 

Trotz der schwierigen Arbeitsbedingungen soll während der 16-jährigen Bauzeit der Kuppel nur ein einziger Arbeiter ums Leben gekommen sein.

 

Loggia

 

Am Ansatz der Kuppel wurde 1508–12 versucht, eine Loggia anzubringen, die den gesamten Ostbau plastisch aufgelockert hätte und die auch zu Brunelleschis Plan gehörte. Aber deren Gestaltung ist zu zierlich geraten und – der Überlieferung nach – soll Michelangelo sich sehr abschätzig über diese Idee geäußert haben – sie sehe aus „wie ein Grillenkäfig“ –, weshalb der Plan nicht vollendet wurde.Quelle?

 

Risse

 

Insgesamt wiegt allein die Kuppel ca. 37.000 Tonnen und hat bis heute gehalten, trotz der insgesamt 1.500 Haarrisse, die mittlerweile aufgetreten sind. Das Phänomen der Risse ist an sich nicht neu. Angeblich sollen schon um 1500, also kurz nach Fertigstellung des Bauwerks, solche Risse aufgetreten sein. Jetzt scheinen die Risse so zahlreich zu werden, dass man überlegt, Maßnahmen zu ihrer Beseitigung zu ergreifen.

 

Man weiß nicht, wie Brunelleschi selber dieses Problem gesehen hat, denn er hat keinerlei Aufzeichnungen hinterlassen. Michelangelo hat bei der Konstruktion der Kuppel des Petersdomes in Rom eine schwere Eisenkette um deren Sockelzone vorgesehen. Als Grund für die jetzt zunehmend auftretenden Risse in Florenz werden von fachlicher Seite die normalen Temperaturschwankungen angegeben, die im Laufe der Jahrhunderte dem Mauerwerk langsam zugesetzt hätten. Eine Lösung des Problems ist trotz zahlreicher Kommissionen offenbar noch nicht in Sicht, deren erste bereits 1934 angetreten war. Aktuell wird die Kuppel durch ständiges Deformationsmonitoring überwacht, um kleinste Veränderungen sofort nachvollziehen zu können.

 

Andererseits gilt: „Da in der Regel schon beim Ausschalen des Gewölbes solche Spannungen auftreten und erste Risse provozieren, ist der gerissene Zustand als der normale anzusehen und das jeweilige Rißbild im Gewölbe Zeichen einer letztlich individuellen Statik.“

 

Treppensystem

 

Brunelleschi baute die Kuppel auf einem hohen Tambour in den besagten zwei Schalen, wobei die innere Schale die dickere ist. Die äußere dient lediglich der Bedachung. Zwischen beiden Schalen liegt ein Treppensystem, das über 463 Stufen begehbar ist und auf die Laterne an der Kuppelspitze in 106 Meter Höhe führt.

 

Nachwirkungen des Florentiner Kuppelbaus

 

Dieser gewaltige Kirchenbau, dessen Konzeption bereits 1367 festgelegt war, sollte Ausdruck des Stolzes einer Stadt sein, die damals ein außerordentliches Maß an Macht und Reichtum erworben hatte. Florenz zählte gegen Ende des 13. Jahrhunderts mit ungefähr 100.000 Einwohnern zu den größten Städten der damaligen Welt.

 

Von vergleichbarer Größe ist die ebenfalls doppelschalige Kuppel des Petersdoms (1590) mit 42,3 Metern Durchmesser, das größte freitragende Ziegelbauwerk der Erde, und das Pantheon (118) mit der größten in unbewehrtem Beton gegossenen Kuppel von 43,2 Metern, beide in Rom. Einen größeren Durchmesser hatte mit 108 Metern erst die zur Weltausstellung 1873 gebaute Rotunde in Wien aus Stahl, die 1937 einem Brand zum Opfer fiel.

 

(Wikipedia)

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