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"Every block in New York City that had three or more foreclosure filings on 1-4 family houses in 2008 has been marked with a fluorescent triangle."
An intervention by Damon Rich using the Panorama of the City of New York.
The Panorama of the City of New York:
Scale model commissioned by Robert Moses for the 1964 World's Fair.
Designed and executed by Raymond Lester Associates.
Sporadically updated since.
"9,335 square foot architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures."
"The Panorama was built by a team of 100 people working for the great architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. In planning the model, Lester Associates referred to aerial photographs, insurance maps, and a range of other City material; the Panorama had to be accurate, indeed the initial contract demanded less than one percent margin of error between reality and the model. The Panorama was one of the most successful attractions at the ‘64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City."
"Until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates changed over 60,000 structures to bring it up-to-date. In the Spring of 2009 the Museum launched its Adopt-A-Building program with the installation of the Panorama’s newest addition, Citi Field, to continue for the ongoing care and maintenance of this beloved treasure."
www.queensmuseum.org/exhibitions/visitpanorama
www.queensmuseum.org/visi/donate/adopt-a-building
www.nytimes.com/2007/02/02/arts/design/02pano.html
www.flickr.com/groups/1025012@N21/
Red Lines Housing Crisis Learning Center:
2009 exhibition by Damon Rich of the Center for Urban Pedagogy, hosted by the Queens Museum of Art
Larissa Harris, Commissioning curator; Project Coordinator for Queens Museum Installation: Rana Amirtahmasebi
Museum Director: Tom Finkelpearl
"The Neighborhood Economic Development Advocacy Project collected the foreclosure information. . . . The Regional Plan Association, an independent planning group, then crunched the numbers using the Geographic Information System — a mapping program — to create maps of every inch of the city indicating where there had been foreclosures of single- to four-family homes in 2008."
"Red Lines Housing Crisis Learning Center is funded by grants from The Andy Warhol Foundation for the Visual Arts and Artists & Communities, a program of Mid Atlantic Arts Foundation, which is made possible by major funding from Johnson & Johnson, the New Jersey State Council on the Arts, and the JPMorgan Chase Foundation. A publication funded by The Graham Foundation for Advanced Studies in the Fine Arts will be available during the exhibition. Additional support provided by the New York City Department of Cultural Affairs and New York State Council on the Arts."
www.queensmuseum.org/2632/red-lines-housing-crisis-learni...
community.queensmuseum.org/lang/en/blog/corona-plaza/redl...
www.nytimes.com/2009/07/08/arts/design/08panorama.html?_r=0
www.cjr.org/the_audit/go_to_queens_museum_get_mad.php
www.flickr.com/photos/panoramaqueensmuseum/sets/721576210...
www.pbs.org/newshour/video/module.html?mod=0&pkg=1510...
www.citylimits.org/news/articles/3789/on-exhibit-housing
video.foxbusiness.com/v/3894109/ny-panorama-highlights-fo...
video.corriere.it/?vxSiteId=404a0ad6-6216-4e10-abfe-f4f69... (in Italian)
www.clairebarliant.com/artwriting/adaptive-reuse/
www.tandfonline.com/doi/abs/10.1080/08935691003625372
www.businessinsider.com/irvington-new-jersey-sub-prime-pr...
www.nytimes.com/2009/05/17/nyregion/new-jersey/17newarknj...
Queens Museum of Art:
Architect: Aymar Embury II
Opened: 1939
Renovated 1964 by Daniel Chait.
Renovated in 1994 by Rafael Viñoly.
Expansion scheduled in 2013, under the helm of Grimshaw Architects with Ammann & Whitney as engineers.
"Built to house the New York City Pavilion at the 1939 World’s Fair, where it housed displays about municipal agencies. . . . It is now the only surviving building from the 1939/40 Fair. After the World’s Fair, the building became a recreation center for the newly created Flushing Meadows Corona Park. The north side of the building, now the Queens Museum, housed a roller rink and the south side offered an ice rink. . . . From 1946 to 1950 . . . it housed the General Assembly of the newly formed United Nations. . . . In 1972 the north side of the New York City Building was handed to the Queens Museum of Art (or as it was then known, the Queens Center for Art and Culture)."
The other half of the building was an ice-skating rink from 1939–2009.
www.queensmuseum.org/about/aboutbuilding-history
en.wikipedia.org/wiki/Queens_Museum_of_Art
en.wikipedia.org/wiki/Aymar_Embury_II
en.wikipedia.org/wiki/Ammann_%26_Whitney
artsengaged.com/bcnasamples/chapter-fifteen-being-good-ne...
Fence
The fence in its red-and-gold color scheme
At the time of establishment of the New Castle, several cast iron works have been commissioned. These include the long and high fence enclosing and protecting the entire area. The fence begins at the Palm House in the Castle garden (Burggarten) and encloses the Castle garden toward Goethegasse along the ring road passing the Corps de Logis, until the Castle gate and then along the Ring road around the People's garden (Volksgarten) to the Burgtheater. There it stretches along the Löwelstraße eastwards where it separates the People's garden from the Heroes Square and closing it. Thus, the public parks of the Castle garden, Heroes' Square and People's garden are directly related to the ensemble of the Hofburg. The decorated fence in the style of Neo-Baroque was originally painted red and partly gilded. The lanterns are decorated with the imperial crown. Over time the fence was completely painted black. The original color scheme reappeared in the course of restoration work in the 1990s. In doing so, the fence was up till the foundations completely disassembled and the sandstone base (Mannersdorfer stone) repaired. Rust damages were removed and replaced missing parts. After long investigations the fence could at least in the area of the Castle gate again shine in its original red-and-gold color scheme, the remaining portion, however, was again kept in black.
(further pictures and information are available by clicking on the link at the end of page!)
History of the Vienna Hofburg
First residence
With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.
As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.
Imperial residence
Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.
First major extensions of the residence
In the area of "desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .
Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.
In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of today's Redoutensäle (1629-1631).
Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.
In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).
After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.
Baroque redesign of the Hofburg
In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.
After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.
Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .
Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.
Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).
Extensions in the 19th Century and early 20th century
Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.
1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.
1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.
1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.
In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).
At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.
After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.
On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.
1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.
1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.
The Imperial Palace in the 20th century
The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.
1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.
During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).
During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.
1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.
1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.
1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.
1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.
From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.
Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.
In 2006, additional rooms for the convention center were created by the boiler house yard.
(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)
www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am...
Chevrolet Cobalt LS
Honorary Consular Officers
Includes Canadian citizens, level foreign representatives or a Consular Post where headed by Honorary Consular.
The Chevrolet Cobalt is a compact car initially introduced by Chevrolet in 2004 for the 2005 model year. The Cobalt replaced both the Cavalier and the Toyota-based Geo Prizm/Chevrolet Prizm as Chevrolet's compact car. The Cobalt was available as both a coupe and sedan, and is based on the GM Delta platform also shared with the Chevrolet HHR and the Saturn ION. Also available was a high performance, Chevrolet Cobalt SS.
A Pontiac version was sold primarily as the Pontiac G5 in Canada for its entire run
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
Snowdonia, or Eryri is a mountainous region and national park in North Wales. It contains all 15 mountains in Wales over 3000 feet high, including the country's highest, Snowdon (Yr Wyddfa), which is 1,085 metres (3,560 ft) tall. These peaks are all part of the Snowdon, Glyderau, and Carneddau ranges in the north of the region. The shorter Moelwynion and Moel Hebog ranges lie immediately to the south.
The national park has an area of 823 square miles (2,130 km2) (the fourth-largest in the UK), and covers most of central and southern Gwynedd and the western part of Conwy County Borough. This is much larger than the area traditionally considered Snowdonia, and in addition to the five ranges above includes the Rhinogydd, Cadair Idris, and Aran ranges and the Dyfi Hills. It also includes most of the coast between Porthmadog and Aberdyfi. The park was the first of the three national parks of Wales to be designated, in October 1951, and the third in the UK after the Peak District and Lake District, which were established in April and May 1951 respectively. The park received 3.89 million visitors in 2015.
The name Snowdon means 'snow hill' and is derived from the Old English elements snāw and dūn, the latter meaning 'hill'. Snowdonia is simply taken from the name of the mountain.
The origins of Eryri are less clear. Two popular interpretations are that the name is related to eryr, 'eagle', and that it means 'highlands' and is related to the Latin oriri ('to rise'). Although eryri is not any direct form of the word eryr in the meaning 'eagle', it is a plural form of eryr in the meaning 'upland'.
Before the boundaries of the national park were designated, "Snowdonia" was generally used to refer to a smaller upland area of northern Gwynedd centred on the Snowdon massif. The national park covers an area more than twice that size, extending south into the Meirionnydd area.
This difference is apparent in books published before 1951. In George Borrow's 1907 Wild Wales he states that "Snowdon or Eryri is no single hill, but a mountainous region, the loftiest part of which is called Y Wyddfa", making a distinction between the summit of the mountain and the surrounding massif. The Mountains of Snowdonia by H. Carr & G. Lister (1925) defines "Eryri" as "composed of the two cantrefs of Arfon and Arllechwedd, and the two commotes of Nant Conwy and Eifionydd", which corresponds to Caernarfonshire with the exception of southwest Llŷn and the Creuddyn Peninsula. In Snowdonia: The National Park of North Wales (1949), F. J. North states that "When the Committee delineated provisional boundaries, they included areas some distance beyond Snowdonia proper".
Snowdonia National Park, also known as Eryri National Park in English and Parc Cenedlaethol Eryri in Welsh, was established in October 1951. It was the third national park in the United Kingdom, following the Peak District and Lake District in April and May of the same year. It covers 827 square miles (2,140 km2) in the counties of Gwynedd and Conwy, and has 37 miles (60 km) of coastline.
The park is governed by the Snowdonia National Park Authority, which has 18 members: 9 appointed by Gwynedd, 3 by Conwy, and 6 by the Welsh Government to represent the national interest. The authority's main offices are at Penrhyndeudraeth.
The park authority used Snowdonia and Snowdon when referring to the national park and mountain in English until February 2023, when it resolved to primarily use the Welsh names, Eryri and Yr Wyddfa. There will be a transitional period of approximately two years in which the authority will continue to use the English names in parentheses — for example "Yr Wyddfa (Snowdon)" — where the context requires.
Unlike national parks in other countries, national parks in the UK are made up of both public and private lands under a central planning authority. The makeup of land ownership in the national park is as follows:
More than 26,000 people live within the park, of whom 58.6% could speak Welsh in 2011. While most of the land is either open or mountainous land, there is a significant amount of agricultural activity within the park.
The national park does not include the town of Blaenau Ffestiniog, which forms a unique non-designated enclave within the park boundaries. The town was deliberately excluded from the park when it was established because of its slate quarrying industry. The boundaries of the Peak District National Park exclude the town of Buxton and its adjacent limestone quarries for a similar reason.
The geology of Snowdonia is key to the area's character. Glaciation during a succession of ice ages, has carved from a heavily faulted and folded succession of sedimentary and igneous rocks, a distinctive rocky landscape. The last ice age ended only just over 11,500 years ago, leaving a legacy of features attractive to visitors but which have also played a part in the development of geological science and continue to provide a focus for educational visits. Visiting Cwm Idwal in 1841 Charles Darwin realised that the landscape was the product of glaciation. The bedrock dates largely from the Cambrian and Ordovician periods with intrusions of Ordovician and Silurian age associated with the Caledonian Orogeny. There are smaller areas of Silurian age sedimentary rocks in the south and northeast and of Cenozoic era strata on the Cardigan Bay coast though the latter are concealed by more recent deposits. Low grade metamorphism of Cambrian and Ordovician mudstones has resulted in the slates, the extraction of which once formed the mainstay of the area's economy.
The principal ranges of the traditional Snowdonia are the Snowdon massif itself, the Glyderau, the Carneddau, the Moelwynion and the Moel Hebog range. All of Wales' 3000ft mountains are to be found within the first three of these massifs and are most popular with visitors. To their south within the wider national park are the Rhinogydd and the Cadair Idris and Aran Fawddwy ranges. Besides these well-defined areas are a host of mountains which are less readily grouped though various guidebook writers have assigned them into groups such as the 'Arenigs', the 'Tarrens' and the 'Dyfi hills'.
Snowdon's summit at 1085 metres (3560 feet) is the highest in Wales and the highest in Britain south of the Scottish Highlands. At 905 metres (2970 feet) Aran Fawddwy is the highest in Wales outside of northern Snowdonia; Cadair Idris, at 893 metres (2930 feet), is next in line.
Rivers draining the area empty directly into Cardigan Bay are typically short and steep. From north to south they include the Glaslyn and Dwyryd which share a common estuary, the Mawddach and its tributaries the Wnion and the Eden, the smaller Dysynni and on the park's southern margin the Dyfi. A series of rivers drain to the north coast. Largest of these is the Conwy on the park's eastern margin which along with the Ogwen drains into Conwy Bay. Further west the Seiont and Gwyrfai empty into the western end of the Menai Strait. A part of the east of the national park is within the upper Dee (Dyfrydwy) catchment and includes Bala Lake, the largest natural waterbody in Wales. A fuller list of the rivers and tributaries within the area is found at List of rivers of Wales.
There are few natural waterbodies of any size in Wales; Snowdonia is home to most. Besides Bala Lake, a few lakes occupy glacial troughs including Llyn Padarn and Llyn Peris at Llanberis and Tal-y-llyn Lake south of Cadair Idris. Llyn Dinas, Llyn Gwynant, and Llyn Cwellyn to the south and west of Snowdon feature in this category as do Llyn Cowlyd and Llyn Ogwen on the margins of the Carneddau. There are numerous small lakes occupying glacial cirques owing to the former intensity of glacial action in Snowdonia. Known generically as tarns, examples include Llyn Llydaw, Glaslyn and Llyn Du'r Arddu on Snowdon, Llyn Idwal within the Glyderau and Llyn Cau on Cadair Idris.
There are two large wholly man-made bodies of water in the area, Llyn Celyn and Llyn Trawsfynydd whilst numerous of the natural lakes have had their levels artificially raised to different degrees. Marchlyn Mawr reservoir and Ffestiniog Power Station's Llyn Stwlan are two cases where natural tarns have been dammed as part of pumped storage hydro-electric schemes. A fuller list of the lakes within the area is found at List of lakes of Wales. In 2023, the park standardised its Welsh language lake names, to be also used in English.
The national park meets the Irish Sea coast within Cardigan Bay between the Dovey estuary in the south and the Dwyryd estuary. The larger part of that frontage is characterised by dune systems, the largest of which are Morfa Dyffryn and Morfa Harlech. These two locations have two of the largest sand/shingle spits in Wales. The major indentations of the Dovey, the Mawddach and Dwyryd estuaries, have large expanses of intertidal sands and coastal marsh which are especially important for wildlife: see #Natural history. The northern tip of the national park extends to the north coast of Wales at Penmaen-bach Point, west of Conwy, where precipitous cliffs have led to the road and railway negotiating the spot in tunnels.
There are only three towns within the park boundary, though there are several more immediately beyond it. Dolgellau is the most populous followed by Bala on the eastern boundary and then Harlech overlooking Tremadog Bay. More populous than these is the town of Blaenau Ffestiniog, which is within an exclave, that is to say it is surrounded by the national park but excluded from it, whilst the towns of Tywyn and Barmouth on the Cardigan Bay coast are within coastal exclaves. Llanrwst in the east, Machynlleth in the south and Porthmadog and Penrhyndeudraeth in the west are immediately beyond the boundary but still identified with the park; indeed the last of these hosts the headquarters of the Snowdonia National Park Authority. Similarly the local economies of the towns of Conwy, Bethesda, and Llanberis in the north are inseparably linked to the national park as they provide multiple visitor services. The lower terminus of the Snowdon Mountain Railway is at Llanberis. Though adjacent to it, Llanfairfechan and Penmaenmawr are less obviously linked to the park.
There are numerous smaller settlements within the national park: prominent amongst these are the eastern 'gateway' village of Betws-y-Coed, Aberdyfi on the Dovey (Dyfi) estuary and the small village of Beddgelert each of which attract large numbers of visitors. Other sizeable villages are Llanuwchllyn at the southwest end of Bala Lake (Llyn Tegid), Dyffryn Ardudwy, Corris, Trawsfynydd, Llanbedr, Trefriw and Dolwyddelan.
Six primary routes serve Snowdonia, the busiest of which is the A55, a dual carriageway which runs along the north coast and provides strategic road access to the northern part of the national park. The most important north–south route within the park is the A470 running from the A55 south past Betws-y-Coed to Blaenau Ffestiniog to Dolgellau. It exits the park a few miles to the southeast near Mallwyd. From Dolgellau, the A494 runs to Bala whilst the A487 connects with Machynlleth. The A487 loops around the northwest of the park from Bangor via Caernarfon to Porthmadog before turning in land to meet the A470 east of Maentwrog. The A5 was built as a mail coach road by Thomas Telford between London and Holyhead; it enters the park near Pentrefoelas and leaves it near Bethesda. Other A class roads provide more local links; the A493 down the Dovey valley from Machynlleth and up the coast to Tywyn then back up the Mawddach valley to Dolgellau, the A496 from Dolgellau down the north side of the Mawddach to Barmouth then north up the coast via Harlech to Maentwrog. The A4212 connecting Bala with Trawsfynydd is relatively modern having been laid out in the 1960s in connection with the construction of Llyn Celyn. Three further roads thread their often twisting and narrow way through the northern mountains; A4085 links Penrhyndeudraeth with Caernarfon, the A4086 links Capel Curig with Caernarfon via Llanberis and the A498 links Tremadog with the A4086 at Pen-y-Gwryd. Other roads of note include that from Llanuwchllyn up Cwm Cynllwyd to Dinas Mawddwy via the 545 metre (1788') high pass of Bwlch y Groes, the second highest tarmacked public road in Wales and the minor road running northwest and west from Llanuwchllyn towards Bronaber via the 531 metre (1742') high pass of Bwlch Pen-feidiog.
The double track North Wales Coast Line passes along the northern boundary of the park between Conwy and Bangor briefly entering it at Penmaen-bach Point where it is in tunnel. Stations serve the communities of Conwy, Penmaenmawr, Llanfairfechan and Bangor. The single-track Conwy Valley Line runs south from Llandudno Junction, entering the park north of Betws-y-coed which is served by a station then west up the Lledr valley by way of further stations at Pont-y-pant, Dolwyddelan and Roman Bridge. After passing through a tunnel the passenger line now terminates at Blaenau Ffestiniog railway station. Prior to 1961 the route continued as the Bala and Ffestiniog Railway via Trawsfynydd to Bala joining another former route along the Dee valley which ran southwest via Dolgellau to join the still extant coastal Cambrian Line south of Barmouth. The Pwllheli branch of the Cambrian Line splits from the Aberystwyth branch at Dovey Junction and continues via stations at Aberdovey, Tywyn, Tonfanau, Llwyngwril, Fairbourne and Morfa Mawddach to Barmouth where it crosses the Mawddach estuary by the Grade II* listed wooden Barmouth Bridge, a structure which also provides for walkers and cyclists. Further stations serve Llanaber, Tal-y-bont, Dyffryn Ardudwy, Llanbedr, Pensarn and Llandanwg before reaching Harlech. Tygwyn, Talsarnau and Llandecwyn stations are the last before the line exits the park as it crosses the Dwyryd estuary via Pont Briwet and turns westwards bound for Pwllheli via Penrhyndeudraeth, Porthmadog and Criccieth.
Many sections of dismantled railway are now used by walking and cycling routes and are described elsewhere. The Bala Lake Railway is a heritage railway which has been established along a section of the former mainline route between Bala and Llanuwchllyn. Other heritage railways occupy sections of former mineral lines, often narrow gauge and are described in a separate section.
The national park is served by a growing bus network, branded Sherpa'r Wyddfa (formerly Snowdon Sherpa). Together with the TrawsCymru network of buses this provides a car-free option to tourists and locals wishing to travel across the National Park.
The network was relaunched in July 2022 with a new brand, Sherpa'r Wyddfa, to reflect the National Park's new push for the promotion of Welsh place names. As such the publicity and websites for the newly branded service only use these Welsh names, even for English language users.
Snowdonia is one of the wettest parts of the United Kingdom; Crib Goch in Snowdonia is the wettest spot in the United Kingdom, with an average rainfall of 4,473 millimetres (176.1 in) a year over the 30-year period prior to the mid-2000s. (There is a rainfall gauge at 713 metres, 2340' on the slopes below Crib Goch.)
The earliest evidence for human occupation of the area dates from around 4000–3000 BCE with extensive traces of prehistoric field systems evident in the landscape. Within these are traces of irregular enclosures and hut circles. There are burial chambers of Neolithic and Bronze Age such as Bryn Cader Faner and Iron Age hillforts such as Bryn y Castell near Ffestiniog.
The region was finally conquered by the Romans by AD 77–78. Remains of Roman marching camps and practice camps are evident. There was a Roman fort and amphitheatre at Tomen y Mur. Roads are known to have connected with Segontium (Caernarfon) and Deva Victrix (Chester) and include the northern reaches of Sarn Helen.
There are numerous memorial stones of Early Christian affinity dating from the post-Roman period. The post-Roman hillfort of Dinas Emrys also dates to this time. Churches were introduced to the region in the 5th and 6th centuries. Llywelyn the Great and Llywelyn ap Gruffudd had various stone castles constructed to protect their borders and trade routes. Edward I built several castles around the margins including those at Harlech and Conwy for military and administrative reasons. Most are now protected within a World Heritage Site. Some of Snowdonia's many stone walls date back to this period too. In the Middle Ages, the title Prince of Wales and Lord of Snowdonia (Tywysog Cymru ac Arglwydd Eryri) was used by Llywelyn ap Gruffudd; his grandfather Llywelyn Fawr used the title Prince of north Wales and Lord of Snowdonia.
The 18th century saw the start of industrial exploitation of the area's resources, assisted by the appearance in the late part of the century of turnpike trusts making it more accessible. The engineer Thomas Telford left a legacy of road and railway construction in and around Snowdonia. A new harbour at Porthmadog linked to slate quarries at Ffestiniog via a narrow gauge railway. At its peak in the 19th century the slate industry employed around 12,000 men. A further 1000 were employed in stone quarrying at Graiglwyd and Penmaenmawr. Mining for copper, iron and gold was undertaken during the 18th and 19th centuries, leaving a legacy of mine and mill ruins today. Ruins of the gold industry are found at Cefn Coch on the Dolmelynllyn estate.
The Snowdonia Society is a registered charity formed in 1967; it is a voluntary group of people with an interest in the area and its protection.
Amory Lovins led the successful 1970s opposition to stop Rio Tinto digging up the area for a massive mine.
The park's entire coastline is a Special Area of Conservation, which runs from the Llŷn Peninsula down the mid-Wales coast, the latter containing valuable sand dune systems.
The park's natural forests are of the mixed deciduous type, the commonest tree being the Welsh oak. Birch, ash, mountain-ash and hazel are also common. The park also contains some large (planted) coniferous forested areas such as Gwydir Forest near Betws-y-Coed, although some areas, once harvested, are now increasingly being allowed to regrow naturally.
Northern Snowdonia is the only place in Britain where the Snowdon lily (Gagea serotina), an arctic–alpine plant, is found and the only place in the world where the Snowdonia hawkweed Hieracium snowdoniense grows.
One of the major problems facing the park in recent years has been the growth of Rhododendron ponticum. This fast-growing invasive species has a tendency to take over and stifle native species. It can form massive towering growths and has a companion fungus that grows on its roots producing toxins that are poisonous to any local flora and fauna for a seven-year period after the Rhododendron infestations have been eradicated. As a result, there are a number of desolate landscapes.
Mammals in the park include otters, polecats, feral goats, and pine martens. Birds include raven, red-billed chough, peregrine, osprey, merlin and the red kite. The rainbow-coloured Snowdon beetle (Chrysolina cerealis) is only found in northern Snowdonia.
Snowdonia has a particularly high number of protected sites in respect of its diverse ecology; nearly 20% of its total area is protected by UK and European law. Half of that area was set aside by the government under the European Habitats Directive as a Special Area of Conservation. There are a large number of Sites of special scientific interest (or 'SSSIs'), designated both for fauna and flora but also in some cases for geology. Nineteen of these sites are managed as national nature reserves by Natural Resources Wales. The park also contains twelve Special Areas of Conservation (or 'SACs'), three Special Protection Areas (or 'SPAs') and three Ramsar sites. Some are wholly within the park boundaries, others straddle it to various degrees.
There are numerous SSSIs within the park, the most extensive of which are Snowdonia, Migneint-Arenig-Dduallt, Morfa Harlech, Rhinog, Berwyn, Cadair Idris, Llyn Tegid, Aber Mawddach / Mawddach Estuary, Dyfi, Morfa Dyffryn, Moel Hebog, Coedydd Dyffryn Ffestiniog and Coedydd Nanmor.
The following NNRs are either wholly or partly within the park: Allt y Benglog, Y Berwyn (in multiple parts), Cader Idris, Ceunant Llennyrch, Coed Camlyn, Coed Cymerau, Coed Dolgarrog, Coed Ganllwyd, Coed Gorswen, Coed Tremadog, Coedydd Aber, Coedydd Maentwrog (in 2 parts), Coed y Rhygen, Cwm Glas Crafnant, Cwm Idwal, Hafod Garregog, Morfa Harlech, Rhinog and Snowdon.
The twelve SACs are as follows: Snowdonia SAC which covers much of the Carneddau, Glyderau, and the Snowdon massif, Afon Gwyrfai a Llyn Cwellyn, Corsydd Eifionydd / Eifionydd Fens (north of Garndolbenmaen), the Coedydd Derw a Safleoedd Ystlumod Meirion / Meirionydd Oakwoods and Bat Sites - a series of sites between Tremadog, Trawsfynydd, and Ffestiniog and Beddgelert and extending up the Gwynant. It also includes many of the oakwoods of the Mawddach and its tributaries. Afon Eden – Cors Goch Trawsfynydd, Rhinog, Cadair Idris (in 2 parts), Migneint-Arenig-Dduallt, River Dee and Afon Dyfrdwy a Llyn Tegid (Wales), Mwyngloddiau Fforest Gwydir / Gwydyr Forest Mines (north of Betws-y-Coed) and a part of the Berwyn a Mynyddoedd De Clwyd / Berwyn and South Clwyd Mountains SAC. The Pen Llyn a'r Sarnau / Lleyn Peninsula and the Sarnau SAC covers the entire Cardigan Bay coastline of the park and the sea area and extends above the high water mark at Morfa Harlech, Mochras and around the Dovey and Mawddach estuaries.
The three SPAs are Dovey Estuary / Aber Dyfi (of which a part is within the park), Berwyn (of which a part is within the park) and Migneint-Arenig-Dduallt.
The three designated Ramsar sites are the Dyfi Biosphere (Cors Fochno and Dyfi), Cwm Idwal and Llyn Tegid (Bala Lake).
The area's economy was traditionally centred upon farming and from the early 19th century increasingly on mining and quarrying. Tourism has become an increasingly significant part of Snowdonia's economy during the 20th and 21st centuries.
The extensive farming of sheep remains central to Snowdonia's farming economy.
Significant sections of the park were afforested during the 20th century for timber production. Major conifer plantations include Dyfi Forest, Coed y Brenin Forest between Dolgellau and Trawsfynydd, Penllyn Forest south of Bala, Beddgelert Forest and Gwydyr (or Gwydir) Forest near Betws-y-Coed which is managed as a forest park by Natural Resources Wales.
The region was once the most important producer of slate in the world. Some production continues but at a much reduced level from its peak. The park boundaries are drawn such that much of the landscape affected by slate quarrying and mining lies immediately outside of the designated area.
Construction of a nuclear power station beside Llyn Trawsfynydd began in 1959 with the first power produced in 1965. The site was operational until 1991 though it continues as an employer during its decommissioning phase. Pumped storage hydroelectric schemes are in operation at Llanberis and Ffestiniog.
Research indicates that there were 3.67 million visitors to Snowdonia National Park in 2013, with approximately 9.74 million tourist days spent in the park during that year. Total tourist expenditure was £433.6 million in 2013.
Many of the hikers in the area concentrate on Snowdon itself. It is regarded as a fine mountain, but at times gets very crowded; in addition the Snowdon Mountain Railway runs to the summit.
The other high mountains with their boulder-strewn summits as well as Tryfan, one of the few mountains in the UK south of Scotland whose ascent needs hands as well as feet are also very popular. However, there are also some spectacular walks in Snowdonia on the lower mountains, and they tend to be relatively unfrequented. Among hikers' favourites are Y Garn (east of Llanberis) along the ridge to Elidir Fawr; Mynydd Tal-y-Mignedd (west of Snowdon) along the Nantlle Ridge to Mynydd Drws-y-Coed; Moelwyn Mawr (west of Blaenau Ffestiniog); and Pen Llithrig y Wrach north of Capel Curig. Further south are Y Llethr in the Rhinogydd, and Cadair Idris near Dolgellau.
The park has 1,479 miles (2,380 km) of public footpaths, 164 miles (264 km) of public bridleways, and 46 miles (74 km) of other public rights of way. A large part of the park is also covered by right to roam laws.
The Wales Coast Path runs within the park between Machynlleth and Penrhyndeudraeth, save for short sections of coast in the vicinity of Tywyn and Barmouth which are excluded from the park. It touches the park boundary again at Penmaen-bach Point on the north coast. An inland alternative exists between Llanfairfechan and Conwy, wholly within the park. The North Wales Path, which predates the WCP, enters the park north of Bethesda and follows a route broadly parallel to the north coast visiting Aber Falls and the Sychnant Pass before exiting the park on the descent from Conwy Mountain. The Cambrian Way is a long-distance trail between Cardiff and Conwy that stays almost entirely within the national park from Mallwyd northwards. It was officially recognised in 2019, and is now depicted on Ordnance Survey maps.
The use of the English names for the area has been divisive, with an increase in protests against their use since 2020; these led to the national park authority deciding to use Welsh names as far as legally possible in November 2022. An early example of pressure to deprecate Snowdon and Snowdonia was a 2003 campaign by Cymuned, inspired by campaigns to refer to Ayers Rock as Uluru and Mount Everest as Qomolangma.
In 2020 an e-petition calling for the removal of the English names was put forward to the Senedd, but rejected as responsibility lies with the national park authority. In 2021 an e-petition on the same topic attracted more than 5,300 signatures and was presented to the national park authority.
On 28 April 2021 Gwynedd councillor John Pughe Roberts put forward a motion to use the Welsh names exclusively, calling this a "question of respect for the Welsh language". The motion was not considered and delayed, as the national park authority already appointed a "Welsh Place Names Task and Finish Group" to investigate the issue. The park authority however cannot compel other bodies and/or individuals to stop using the English names, with the proposals facing some criticism.
In May 2021, following the dismissal of the motion, YouGov conducted a poll on Snowdon's name. 60% of Welsh adults supported the English name Snowdon, compared to 30% wanting the Welsh name Yr Wyddfa. Separating by language, 59% of Welsh speakers preferred the Welsh name, but 37% of these still wanted Snowdon to be used as well. 69% of non-Welsh speakers firmly supported Snowdon as the Mountain's name. The proposals to rename Snowdon are usually accompanied with proposals to rename Snowdonia.
On 16 November 2022, Members of the Snowdonia National Park Authority committee voted to use the Welsh names Yr Wyddfa and Eryri to refer to the mountain and the national park, rather than the English names, in materials produced by the authority. The national park authority described the decision as "decisive action" and the authority's head of culture heritage stated that Welsh place names were part of the area's "special qualities" and that other public bodies, English-language press and filming companies have used the Welsh-language names. Before the decision the park had already prioritised the Welsh names by using them first and giving the English names in parentheses. The name "Snowdonia" cannot be abandoned entirely, as it is set in law and so must be used in statutory documents. The authority announced a review of the authority's branding in 2023 to adapt to the new approach to Welsh place names.
Gwynedd is a county in the north-west of Wales. It borders Anglesey across the Menai Strait to the north, Conwy, Denbighshire, and Powys to the east, Ceredigion over the Dyfi estuary to the south, and the Irish Sea to the west. The city of Bangor is the largest settlement, and the administrative centre is Caernarfon. The preserved county of Gwynedd, which is used for ceremonial purposes, includes the Isle of Anglesey.
Gwynedd is the second largest county in Wales but sparsely populated, with an area of 979 square miles (2,540 km2) and a population of 117,400. After Bangor (18,322), the largest settlements are Caernarfon (9,852), Bethesda (4,735), and Pwllheli (4,076). The county has the highest percentage of Welsh speakers in Wales, at 64.4%, and is considered a heartland of the language.
The geography of Gwynedd is mountainous, with a long coastline to the west. Much of the county is covered by Snowdonia National Park (Eryri), which contains Wales's highest mountain, Snowdon (Yr Wyddfa; 3,560 feet, 1,090 m). To the west, the Llŷn Peninsula is flatter and renowned for its scenic coastline, part of which is protected by the Llŷn AONB. Gwynedd also contains several of Wales's largest lakes and reservoirs, including the largest, Bala Lake (Llyn Tegid).
The area which is now the county has played a prominent part in the history of Wales. It formed part of the core of the Kingdom of Gwynedd and the native Principality of Wales, which under the House of Aberffraw remained independent from the Kingdom of England until Edward I's conquest between 1277 and 1283. Edward built the castles at Caernarfon and Harlech, which form part of the Castles and Town Walls of King Edward in Gwynedd World Heritage Site. During the Industrial Revolution the slate industry rapidly developed; in the late nineteenth century the neighbouring Penrhyn and Dinorwic quarries were the largest in the world, and the Slate Landscape of Northwest Wales is now a World Heritage Site. Gwynedd covers the majority of the historic counties of Caernarfonshire and Merionethshire.
In the past, historians such as J. E. Lloyd assumed that the Celtic source of the word Gwynedd meant 'collection of tribes' – the same root as the Irish fine, meaning 'tribe'. Further, a connection is recognised between the name and the Irish Féni, an early ethnonym for the Irish themselves, related to fían, 'company of hunting and fighting men, company of warriors under a leader'. Perhaps *u̯en-, u̯enə ('strive, hope, wish') is the Indo-European stem. The Irish settled in NW Wales, and in Dyfed, at the end of the Roman era. Venedotia was the Latin form, and in Penmachno there is a memorial stone from c. AD 500 which reads: Cantiori Hic Iacit Venedotis ('Here lies Cantiorix, citizen of Gwynedd'). The name was retained by the Brythons when the kingdom of Gwynedd was formed in the 5th century, and it remained until the invasion of Edward I. This historical name was revived when the new county was formed in 1974.
Gwynedd was an independent kingdom from the end of the Roman period until the 13th century, when it was conquered by England. The modern Gwynedd was one of eight Welsh counties created on 1 April 1974 under the Local Government Act 1972. It covered the entirety of the historic counties of Anglesey and Caernarfonshire, and all of Merionethshire apart from Edeirnion Rural District (which went to Clwyd); and also a few parishes of Denbighshire: Llanrwst, Llansanffraid Glan Conwy, Eglwysbach, Llanddoged, Llanrwst and Tir Ifan.
The county was divided into five districts: Aberconwy, Arfon, Dwyfor, Meirionnydd and Anglesey.
The Local Government (Wales) Act 1994 abolished the 1974 county (and the five districts) on 1 April 1996, and its area was divided: the Isle of Anglesey became an independent unitary authority, and Aberconwy (which included the former Denbighshire parishes) passed to the new Conwy County Borough. The remainder of the county was constituted as a principal area, with the name Caernarfonshire and Merionethshire, as it covers most of the areas of those two historic counties. As one of its first actions, the Council renamed itself Gwynedd on 2 April 1996. The present Gwynedd local government area is governed by Gwynedd Council. As a unitary authority, the modern entity no longer has any districts, but Arfon, Dwyfor and Meirionnydd remain as area committees.
The pre-1996 boundaries were retained as a preserved county for a few purposes such as the Lieutenancy. In 2003, the boundary with Clwyd was adjusted to match the modern local government boundary, so that the preserved county now covers the two local government areas of Gwynedd and Anglesey. Conwy county borough is now entirely within Clwyd.
A Gwynedd Constabulary was formed in 1950 by the merger of the Anglesey, Caernarfonshire and Merionethshire forces. A further amalgamation took place in the 1960s when Gwynedd Constabulary was merged with the Flintshire and Denbighshire county forces, retaining the name Gwynedd. In one proposal for local government reform in Wales, Gwynedd had been proposed as a name for a local authority covering all of north Wales, but the scheme as enacted divided this area between Gwynedd and Clwyd. To prevent confusion, the Gwynedd Constabulary was therefore renamed the North Wales Police.
The Snowdonia National Park was formed in 1951. After the 1974 local authority reorganisation, the park fell entirely within the boundaries of Gwynedd, and was run as a department of Gwynedd County Council. After the 1996 local government reorganisation, part of the park fell under Conwy County Borough, and the park's administration separated from the Gwynedd council. Gwynedd Council still appoints nine of the eighteen members of the Snowdonia National Park Authority; Conwy County Borough Council appoints three; and the Welsh Government appoints the remaining six.
There has been considerable inwards migration to Gwynedd, particularly from England. According to the 2021 census, 66.6% of residents had been born in Wales whilst 27.1% were born in England.
The county has a mixed economy. An important part of the economy is based on tourism: many visitors are attracted by the many beaches and the mountains. A significant part of the county lies within the Snowdonia National Park, which extends from the north coast down to the district of Meirionnydd in the south. But tourism provides seasonal employment and thus there is a shortage of jobs in the winter.
Agriculture is less important than in the past, especially in terms of the number of people who earn their living on the land, but it remains an important element of the economy.
The most important of the traditional industries is the slate industry, but these days only a small percentage of workers earn their living in the slate quarries.
Industries which have developed more recently include TV and sound studios: the record company Sain has its HQ in the county.
The education sector is also very important for the local economy, including Bangor University and Further Education colleges, Coleg Meirion-Dwyfor and Coleg Menai, both now part of Grŵp Llandrillo Menai.
The proportion of respondents in the 2011 census who said they could speak Welsh.
Gwynedd has the highest proportion of people in Wales who can speak Welsh. According to the 2021 census, 64.4% of the population aged three and over stated that they could speak Welsh,[7] while 64.4% noted that they could speak Welsh in the 2011 census.
It is estimated that 83% of the county's Welsh-speakers are fluent, the highest percentage of all counties in Wales.[9] The age group with the highest proportion of Welsh speakers in Gwynedd were those between ages 5–15, of whom 92.3% stated that they could speak Welsh in 2011.
The proportion of Welsh speakers in Gwynedd declined between 1991 and 2001,[10] from 72.1% to 68.7%, even though the proportion of Welsh speakers in Wales as a whole increased during that decade to 20.5%.
The Annual Population Survey estimated that as of March 2023, 77.0% of those in Gwynedd aged three years and above could speak Welsh.
Notable people
Leslie Bonnet (1902–1985), RAF officer, writer; originated the Welsh Harlequin duck in Criccieth
Sir Dave Brailsford (born 1964), cycling coach; grew up in Deiniolen, near Caernarfon
Duffy (born 1984), singer, songwriter and actress; born in Bangor, Gwynedd
Edward II of England (1284–1327), born in Caernarfon Castle
Elin Fflur (born 1984), singer-songwriter, TV and radio presenter; went to Bangor University
Bryn Fôn (born 1954), actor and singer-songwriter; born in Llanllyfni, Caernarfonshire.
Wayne Hennessey (born 1987), football goalkeeper with 108 caps for Wales; born in Bangor, Gwynedd
John Jones (c. 1530 – 1598), a Franciscan friar, Roman Catholic priest and martyr; born at Clynnog
Sir Love Jones-Parry, 1st Baronet (1832–1891), landowner and politician, co-founder of the Y Wladfa settlement in Patagonia
T. E. Lawrence (1888–1935), archaeologist, army officer and inspiration for Lawrence of Arabia, born in Tremadog
David Lloyd George (1863–1945), statesman and Prime Minister; lived in Llanystumdwy from infancy
Sasha (born 1969), disc jockey, born in Bangor, Gwynedd
Sir Bryn Terfel (born 1965), bass-baritone opera and concert singer from Pant Glas
Sir Clough Williams-Ellis (1883–1978), architect of Portmeirion
Owain Fôn Williams, (born 1987), footballer with 443 club caps; born and raised in Penygroes, Gwynedd.
Hedd Wyn (1887–1917), poet from the village of Trawsfynydd; killed in WWI
Current setup includes these vinyl bags from France. They are wonderful and do the job well. Rear rack is for the little one's child seat. BB dynamo is a terrible idea. Automn color amazing at one of my recent projects.
A blog post that includes these photos lives here: likeafishinwater.com/2016/04/29/pilgrimage-to-uji-for-hib...
My company: www.thirdplacemedia.com - Research, content development and communications strategy focused on transit, walkability, placemaking and environment issues
My blog: likeafishinwater.com
I set off on a road trip that would include driving Shafer Trail and Potash Road through Canyonlands National Park. When I made it back to pavement I raced over to the southern entrance to take in the Needles District and go to the end of the road, with a quick stop at Newspaper Rock.
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Canyonlands National Park is an American national park located in southeastern Utah near the town of Moab. The park preserves a colorful landscape eroded into numerous canyons, mesas, and buttes by the Colorado River, the Green River, and their respective tributaries. Legislation creating the park was signed into law by President Lyndon Johnson on September 12, 1964.
The park is divided into four districts: the Island in the Sky, the Needles, the Maze, and the combined rivers—the Green and Colorado—which carved two large canyons into the Colorado Plateau. While these areas share a primitive desert atmosphere, each retains its own character. Author Edward Abbey, a frequent visitor, described the Canyonlands as "the most weird, wonderful, magical place on earth—there is nothing else like it anywhere."
Source: 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
We had a 3 hour guided tour of The Alhambra in Granada.
The site includes the Nasrite palaces and the Generalife pleasure palace. Also here is the Alcazaba, gardens and the Palace of Charles V.
It is a World Heritage Site. Alhambra, Generalife and Albayzín, Granada.
The Palace of Charles V, in Granada, Spain, is a Renacentist construction, located on the top of the hill of the Assabica, inside the Nasrid fortification of the Alhambra. It was commanded by Charles V, Holy Roman Emperor, in order to establish his residence close to the Alhambra palaces. The Catholic Monarchs had already reformed some rooms after the conquest of the city in 1492, but Charles V intended to construct a stable residence that would fit to an Emperor. The project was commanded to Pedro Machuca, an inscrutable figure whose biography and influences are not already clear. At his time, Spain was inmersed in Plateresque style, still with traces of Gothic origin. Machuca built a palace corresponding to the Mannerism, a still beginning style in Italy. Even if we accept the versions that place Machuca in the atelier of Michelangelo, at the time of the construction of the palace (1527) the Tuscan architect hadn´t designed the majority of his architectural works.
The origin of Charles V Palace (Palacio de Carlos V) was the need for a place that would include all the comforts of the time for the Emperor and his family, as the palaces, which were their summer residence, did not cover their needs. The Emperor ordered the construction of the palace next to the Alhambra in order to enjoy its wonders. The architect in charge of the works was Pedro Machuca, an experienced architect in love with the Renaissance. The works started in 1527 and were totally finished in 1957. The construction went through several stages, the lack of financing resources, revolts that stopped the works, etc. The building was sometimes neglected to such an extent that the ceilings collapsed. The palace is square and its main façade is 63 meters wide and 17 meters high. Its circular patio is unique and it is the most important building of Renaissance style in Spain. Only the southern and western façades are completely decorated. The northern and southern sides are not because they are connected to the palaces of the Alhambra.
The bottom level was completed during the reign of Charles I & V. The first floor under Philip II. And the roof in the time of Franco!
Words cannot express to these people that have hacked in here to read things that are none of there business, but for some un-beknown reason they seem to want to make other people's lives apart of there daily intake of well i can include that part of her life into my life, them the perpetrator getting their utmost statisfaction out of this.
Stalking under any sense of the LAW is a federal offence both in real lofe and over the internet, and how many of you that are reading this now have said well it's not me only to have Internet Law specialists proving that it was you all the long.
How many have logged into here and used info for you own gain, it was a set up it was all a lie. How many took it upon yourself to put on EBAY items for SALE THAT WERE NOT YOUR'S IN THE FIRST PLACE TO BE SOLD, quiet few from what we have gathered, and so what we have seen and located, i believe it's called IN POSSESSION OF STOLEN PROPERTY, SELLING STOLEN PROPERTY, THEFT, OBTAINING GOODS BY MISCONSEPTION. OBTAINING GOODS NY FALSE INFORMATION i bet there are heaps that went down and did just that, DIDN'T YOU REYNA, LOGAN, RYAN. LINDA, PAUL, ROBERT, PETER, DARREN, JAMES, AMANDA.
How you all believed in her and drove all the way back with stolen items in your possession or items that were obtained by misconseption
Then what did you do with it all SELL IT, KEEP IT FOR YOURSELF, GAVE IT AWAY, THREW IT OUT, do tell the net would like to know. How you REYNA blamed others for your slutty behaviour, how you used couldn't help but pout the blame on the real one not realising that your plan was slowly back firing, how YOU also was being set up just to see how much of a slut you were, how you would blantly hit on men in front of there partners not giving a toss for the feelings of those that you were hurting.
What we all would like to know , YOU CLAIM TO HAVE BEEN WITH NIKKI SIXX AND THE REAL ONE AT THAT, TELL US ALL WHERE DID YOU TWO FIRST MEET, AND HOW OLD WHERE YOU, AND WHAT PACT DID YOU TWO MAKE TO ONE ANOTHER.
WHAT DOES THE TATTOO'S 1958 AND THE STARS MEAN, AND SOME OTHER TATTOOS THAT ARE ON HIM.
WHAOSE DOING TO TELL HIM THE TRUTH THE ONE THAT HE MET WHEN HE WAS A KID OR THE FAKE THAT HAS TOTALLY BEEN A BITCH TO GET WHAT SHE WANTED.
YEAH YOU DID SAY REYNA YOU ONLY WANTED MEN FOR THEIR MONEY, AND THEN AFTER 13 MONTHS YOU WERE INTITLED TO HALF OF EVERYTHING.
YES MONEY IS YOUR FORTE, however the one is not that way inclinde we guess it's because no amount of money on this planet can buy her love and her heart she will give it to you un-conditionally, for that man to treasure til his dying days, how ironic is that and the real one is going does that make your going to also.
I really hope your reading this cause the real 6 is an AMERICAN not a POMMIE, AND HE'S ITALIAN ALSO, we will ask him if you know LEMMY FROM MOTORHEAD seeing you have claimed to know all these people, and what's AFRICA LIKE BEEN THERE LATELY, SEEING YOU HAVE NEVER BEEN THERE BEFORE.
My family have have enough of your lying cheating ways, and all the other shit that you seem to have created, PEOPLE INCLUDING MYSELF HAVE HAD ENOUGH OF YOU, AND YOUR I AM BETTER THAN YOU OUTLOOK ON PEOPLE, IT HAS SADDEN US ALL THAT YOU WILL DELIBERATLEY SABOTAGE SOMETHING THAT YOUR SO JEALOUS OF A LOVE SO STRONG BY THE REAL SIXX AND TAYLOR THAT NO BOUNDAREIS WOULD STOP IT.
ALL THE ENDLESS WIGS THAT YOU HIDE UNDER THE STALKING OF ENDLESS MEN BUT NO IT'S NOT YOU IT'S SOMEONE ELSE.
Don't say you haven't we have caught you, many times.
Yes she is dying and NOT ONE PERSON CHOSE TO HELP HER NOT EVEN YOU, YOU WERE TO BUSY TRYING TO GET YOU ASS FUCKED, IT'S WEIRD SEEING YOU ON THE NET MARRIED TO ROBERT WITH ANOTHER MANS DICK IN YOUR HAND, OR BEING FUCKED BY ANOTHER MAN AND IT ISN'T ROBBIE.
LIKE THE SAYING GOES WHAT GOES ROUND COMES ROUND, AND PLEASE DON'T SAY IT WAS TAYLOR AS SHE HASN'T EVEN BEEN CLOSE TO A MALE IN 4YRS., SO DON'T GO BLAMING HER FOR ALL THE MEN THAT YOU HAVE FUCKED USED HER NAME TO GET AWAY WITH IT ANYMORE CAUSE IT WASN'T HER, SHE ISN'T LIKE THAT, YEAH SURE SHE WILL PAY A GUY A COMPLIMENT BUT THAT'S HER LIMIT YOU FUCK EM AND USE ANOTHER WOMENS NAME SO YOU DON'T GET CAUGHT, TAMMY IN ON IT ALSO. WE BELEIVE SO.
THERE IS NOTHING LOWER THAN SHARK SHIT AND YOU AND YOUR WELL WE DON'T KNOW ARE LOWER THAN THAT, SO THAT'S PRETTY DAMN LOW.
TAYLOR IS HOLDING HER OWN LUCKY TO SEE 52 AT THIS RATE YEAH A LITTLE OVER 1 YR LEFT, THANKS ALOT WHO NEEDS FRIENDS WHEN THEY HAVE ENEMIES LIKE YOU.
SORRY SIXX FOR THIS BUT THERE IS A TIME WE NEED TO FIGHT BACK, NOW WHEN ARE YOU COMING FOR TAYLOR, PLEASE LET HER KNOW.
OH bugger it here an AUSTRALIAN HUG AND KISS TO YOU AND THE BAND.
XOXOXOXOX
Niederlande - Haarlem
Grote Kerk
St.-Bavo-Kirche
Haarlem (Dutch: [ˈɦaːrlɛm] predecessor of Harlem in English) is a city and municipality in the Netherlands. It is the capital of the province of North Holland. Haarlem is situated at the northern edge of the Randstad, one of the most populated metropolitan areas in Europe; it is also part of the Amsterdam metropolitan area. Haarlem had a population of 162,543 in 2021.
Haarlem was granted city status or stadsrechten in 1245, although the first city walls were not built until 1270. The modern city encompasses the former municipality of Schoten as well as parts that previously belonged to Bloemendaal and Heemstede. Apart from the city, the municipality of Haarlem also includes the western part of the village of Spaarndam. Newer sections of Spaarndam lie within the neighbouring municipality of Haarlemmermeer.
Geography
Haarlem is located on the river Spaarne, giving it its nickname Spaarnestad (Spaarne city). It is situated about 20 km (12 mi) west of Amsterdam and near the coastal dunes. Haarlem has been the historical centre of the tulip bulb-growing district for centuries and bears its other nickname Bloemenstad (flower city) for this reason.
History
Haarlem has a rich history dating back to pre-medieval times, as it lies on a thin strip of land above sea level known as the strandwal (beach ridge), which connects Leiden to Alkmaar. The people on this narrow strip of land struggled against the waters of the North Sea from the west, and the waters of the IJ and the Haarlem Lake from the east. Haarlem became wealthy with toll revenues that it collected from ships and travellers moving on this busy north–south route.
As shipping became increasingly important economically, the city of Amsterdam became the main Dutch city of North Holland during the Dutch Golden Age. The town of Halfweg became a suburb, and Haarlem became a quiet bedroom community, and for this reason Haarlem still has many of its central medieval buildings intact. Many of them are now on the Dutch Heritage register known as Rijksmonuments. The list of Rijksmonuments in Haarlem gives an overview of these per neighbourhood, with the majority in the old city centre.
Middle Ages
The oldest mention of Haarlem dates from the 10th century. The name probably comes from "Haarlo-heim". This name is composed of three elements: haar, lo and heim. In Old Dutch toponyms lo always refers to 'forest' and heim (heem, em or um) to 'home' or 'house'. Haar, however, has several meanings, one of them corresponding with the location of Haarlem on a sand dune: 'elevated place'. The name Haarlem or Haarloheim would therefore mean 'home on a forested dune'.
There was a stream called "De Beek", dug from the peat grounds west of the river Spaarne as a drainage canal. Over the centuries the Beek was turned into an underground canal, as the city grew larger and the space was needed for construction. Over time it began to silt up and in the 19th century it was filled in. The village had a good location: by the river Spaarne, and by a major road going south to north. By the 12th century it was a fortified town, and Haarlem became the residence of the Counts of Holland.
In 1219 the knights of Haarlem were laurelled by Count Willem I, because they had conquered the Egyptian port of Damietta (or Damiate in Dutch, present-day Dimyat) in the fifth crusade. Haarlem received the right to bear the Count's sword and cross in its coat of arms. On 23 November 1245 Count Willem II granted Haarlem city rights. This implied a number of privileges, among which the right for the sheriff and magistrates to administer justice, instead of the Count. This allowed for a quicker and more efficient judiciary system, more suited to the needs of the growing city.
After a siege from the surrounding area of Kennemerland in 1270 a defensive wall was built around the city. Most likely this was an earthen wall with wooden gates. Originally the city started out between Spaarne, Oudegracht, Ridderstraat, Bakenessergracht and Nassaustraat. In the 14th century the city expanded, and the Burgwalbuurt, Bakenes and the area around the Oudegracht became part of the city. The old defenses proved not to be sufficiently strong for the expanded city, and at the end of the 14th century a 16½-metre high wall was built, complete with a 15-metre wide canal circling the city. In 1304 the Flemish threatened the city, but they were defeated by Witte van Haemstede at Manpad.
The City Hall on the Grote Markt, built in the 14th century, replacing the Count's castle after it partially burnt down. The remains were given to the city.
All the city's buildings were made of wood, and fire was a great risk. In 1328 nearly the whole city burnt down. The Sint-Bavokerk was severely damaged, and rebuilding it would take more than 150 years. Again on 12 June 1347 there was a fire in the city. A third large fire, in 1351, destroyed many buildings including the Count's castle and the city hall. The Count did not need a castle in Haarlem because his castle in The Hague (Den Haag) had taken over all functions.
The count donated the ground to the city and later a new city hall was built there. The shape of the old city was square—this was inspired by the shape of ancient Jerusalem. After every fire the city was rebuilt quickly, an indication of the wealth of the city in those years. The Black Death came to the city in 1381. According to an estimate by a priest from Leiden the disease killed 5,000 people, about half the population at that time.
In the 14th century, Haarlem was a major city. It was the second largest city in historical Holland after Dordrecht and before Delft, Leiden, Amsterdam, Gouda and Rotterdam. In 1429 the city gained the right to collect tolls, including ships passing the city on the Spaarne river. At the end of the Middle Ages, Haarlem was a flourishing city with a large textile industry, shipyards and beer breweries. Around 1428, the city was put under siege by the army of Jacqueline, Countess of Hainaut. Haarlem had taken side with the Cods in the Hook and Cod wars and thus against Jacoba of Bavaria. The entire Haarlemmerhout wood was burnt down by the enemy.
Spanish siege
When the city of Brielle was conquered by the Geuzen revolutionary army, the municipality of Haarlem started supporting the Geuzen. King Philip II of Spain was not pleased, and sent an army north under the command of Don Fadrique (Don Frederick in Dutch), son of Fernando Álvarez de Toledo, 3rd Duke of Alba. On 17 November 1572 all citizens of the city of Zutphen were killed by the Spanish army, and on 1 December the city of Naarden suffered the same fate.
On 11 December 1572 the Spanish army besieged Haarlem; the city's defenses were commanded by city-governor Wigbolt Ripperda. Kenau Simonsdochter Hasselaer, a powerful widow, helped defend the city together with some three hundred other women.
During the first two months of the siege, the situation was in balance. The Spanish army was digging tunnels to reach the city walls and blow them up; the defenders dug in turn and undermined the Spaniards' tunnels. The situation worsened on 29 March 1573: the Amsterdam army, faithful to the Spanish king, controlled Haarlemmermeer lake, effectively blocking Haarlem from the outside world. An attempt by the Prince of Orange to destroy the Spanish navy on the Haarlemmermeer had failed. Hunger in the city grew, and the situation became so tense that on 27 May many (Spanish-loyal) prisoners were taken from the prison and murdered; the Spaniards had previously gibbeted their own prisoners of war.
In the beginning of July the Prince of Orange assembled an army of 5,000 soldiers near Leiden to free Haarlem. However, he was prevented from accompanying them in person and the Spanish forces trapped them at the Manpad where they were decisively defeated. On 13 July 1573, after seven months of siege, the city surrendered. Many defenders were slaughtered; some were drowned in the Spaarne river. Governor Ripperda and his lieutenant were beheaded. The citizens were allowed to buy freedom for themselves and the city for 240,000 guilders and the city was required to host a Spanish garrison. Don Fadrique thanked God for his victory in the Sint-Bavo Church. However, the terms of the treaty were not kept, with the Spanish soldiery plundering the townspeople's property.
Despite Haarlem's ultimate fall, the fact that the Haarlemers had been able to stand for seven months against the whole Spanish array inspired the rest of Holland to resist the invaders, and their prolonged resistance allowed the Prince of Orange to prepare and arm the rest of the country for war. Some 12,000 of the Spanish army had fallen during the siege.
Great fire
The city suffered a large fire in the night from 22 to 23 October 1576. The fire started in brewery het Ankertje, near the weighhouse at the Spaarne, which was used by mercenaries as a guarding place. When they were warming themselves at a fire it got out of control. The fire was spotted by farmers, who sailed their ships on the river. However, the soldiers turned down all help, saying that they would put out the fire themselves.
This failed, and the fire destroyed almost 500 buildings, among them St-Gangolf's church and St-Elisabeth's hospital. Most of the mercenaries were later arrested, and one of them was hanged on the Grote Markt in front of a large audience. Maps from that era clearly show the damage done by the fire: a wide strip through the city was destroyed. The combined result of the siege and the fire was that about a third of the city was destroyed.
Golden age
The fire and the long siege had taken their toll on the city. The Spanish left in 1577 and under the Agreement of Veere, Protestants and Catholics were given equal rights, though in government the Protestants clearly had the upper hand and Catholic possessions once seized were never returned. To restore the economy and attract workers for the brewing and bleaching businesses (Haarlem was known for these, thanks to the clean water from the dunes), the Haarlem council decided to promote the pursuit of arts and history, showing tolerance for diversity among religious beliefs.
This attracted a large influx of Flemish and French immigrants (Catholics and Huguenots alike) who were fleeing the Spanish occupation of their own cities. Expansion plans soon replaced plans of rebuilding the destroyed city walls. Just like the rest of the country, the Golden Age in the United Provinces had started.
Linen and silk
The new citizens had a lot of expertise in linen and silk manufacture and trading, and the city's population grew from 18,000 in 1573 to around 40,000 in 1622. At one point, in 1621, over 50% of the population was Flemish-born. Haarlem's linen became notable and the city flourished. Today an impression of some of those original textile tradesmen can be had from the Book of Trades document created by Jan Luyken and his son.
Infrastructure
In 1632 a tow canal between Haarlem and Amsterdam, the Haarlemmertrekvaart was opened, the first tow canal in the country. The empty areas in the city that were a result of the fire of 1576 were filled with new houses and buildings. Even outside the city wall buildings were constructed—in 1643 about 400 houses were counted outside the wall.
Having buildings outside the city walls was not a desirable situation to the city administration. Not only because these buildings would be vulnerable in case of an attack on the city, but there was also less control over taxes and city regulations outside the walls. Therefore, a major project was initiated in 1671: expanding the city northwards.
Two new canals were dug, and a new defensive wall was constructed (the current Staten en Prinsenbolwerk). Two old city gates, the Janspoort and Kruispoort, were demolished. The idea that a city had to be square-shaped was abandoned.
Cultural life
After the fall of Antwerp, many artists and craftsmen migrated to Haarlem and received commissions from the Haarlem council to decorate the city hall. The paintings commissioned were meant to show Haarlem's glorious history as well as Haarlem's glorious products. Haarlem's cultural life prospered, with painters like Frans Hals and Jacob van Ruisdael, the architect Lieven de Key and Jan Steen who made many paintings in Haarlem.
The Haarlem councilmen became quite creative in their propaganda promoting their city. On the Grote Markt, the central market square, there's a statue of Laurens Janszoon Coster who is allegedly the inventor of the printing press. This is the second and larger statue to him on the square. The original stands behind the city hall in the little garden known as the Hortus (where today the Stedelijk Gymnasium school is located).
Most scholars agree that the scarce evidence seems to point to Johann Gutenberg as the first European inventor of the printing press, but Haarlem children were taught about "Lau", as he is known, well into the 20th century. This legend served the printers of Haarlem well, however, and it is probably for that reason the most notable Dutch history books from the Dutch Golden Age period were published in Haarlem; by Hadrianus Junius (Batavia), Dirck Volkertszoon Coornhert (Works), Karel van Mander (Schilderboeck), Samuel Ampzing (Description and Ode to Haarlem), Petrus Scriverius (Batavia Illustrata), and Pieter Christiaenszoon Bor (Origin of the Dutch wars).
Beer brewing
Beer brewing was a very important industry in Haarlem. Until the 16th century, the water for the beer was taken from the canals in the city. These canals were connected to seawater, via the Spaarne and the IJ. However, the canal water was getting more and more polluted and less suitable for brewing beer. A place 1.5 km (0.9 mi) south-west of the city was then used to take fresh water in.
However, the quality of that water was not good enough either. From the 17th century, a canal (Santvaert) was used to transport water from the dunes to the city. The water was transported in barrels on ships. The location where the water was taken is called the Brouwerskolkje, and the canal to there still exists, and is now called the Brewers' Canal (Brouwersvaart).
Haarlem was a major beer producer in the Netherlands. The majority of the beer it produced was consumed in North Holland. During the Spanish siege, there were about 50 breweries in the city. In 1620, the city had about one hundred breweries.
There was another epidemic of the Black Death in 1657, which took a heavy toll in the six months it ravaged the city. From the end of the 17th century, the economy in the city worsened for a long time. In 1752, only seven breweries remained, and by 1820 no breweries were registered in the city. In the 1990s, the Stichting Haarlems Biergenootschap revived some old recipes under the Jopen beer brand that is marketed as a "Haarlem bier." In 2010, Jopen opened a brewery in a former church in central Haarlem called the Jopenkerk. In 2012, Haarlem gained another local brewery with Uiltje Brewing in the Zijlstraat, which specializes in craft beer.
Tulip centre
Since the 1630s, Haarlem has been a major trading centre for tulips, and it was at the epicentre during tulip mania, when outrageous prices were paid for tulip bulbs. From the opening of the Leiden-Haarlem canal Leidsevaart in 1656, it became popular to travel from Rotterdam to Amsterdam by passenger boat rather than by coach. The canals were dug for passenger service only, and were comfortable though slow. The towpath led these passengers through the bulb fields south of Haarlem.
Haarlem was an important stopover for passengers from the last half of the 17th century and through the 18th century until the building of the first rail tracks along the routes of former passenger canal systems. As Haarlem slowly expanded southwards, so did the bulb fields. Today, rail passengers between Rotterdam and Amsterdam in spring can see blooming bulb fields on the route between Leiden and Haarlem.
18th century
As the centre of trade gravitated towards Amsterdam, Haarlem declined in the 18th century. The Golden Age had created a large upper middle class of merchants and well-to-do small business owners. Taking advantage of the reliability of the trekschuit connection between Amsterdam and Haarlem, many people had a business address in Amsterdam and a weekend or summer home in Haarlem.
Haarlem became more and more a bedroom community as the increasingly dense population of Amsterdam caused the canals to smell in the summer. Many well-to-do gentlemen moved their families to summer homes in the Spring and commuted between addresses. Popular places for summer homes were along the Spaarne in southern Haarlem. Pieter Teyler van der Hulst and Henry Hope built summer homes there, as well as many Amsterdam merchants and councilmen. Today, boat travel along the Spaarne is still possible and has become a popular form of tourism in the summer. In the 18th century, Haarlem became the seat of a suffragan diocese of the Old Catholic Church of Utrecht.
French rule
At the end of the 18th century, a number of anti-Orange commissions were founded. On 18 January 1795 the "Staatse" army was defeated near Woerden. During the night preceding 19 January, the same night that stadtholder William V of Orange fled the country, the various commissions gathered and implemented a revolution. The commissions changed the city's administrators in a bloodless revolution, and the next morning the city was "liberated" of the tyranny of the House of Orange. The revolution was peaceful, and the Orange-loyal people were not harmed. The Batavian Republic was then proclaimed.
The French army entered the liberated city two days later, on 20 January. An army of 1,500 soldiers was provided with food and clothing by the citizens. The new national government was strongly centralised, and the role and influence of the cities was reduced. The Batavian Republic signed a mutual defense pact with France and was thus automatically at war with England. The strong English presence at sea severely reduced trading opportunities, and the Dutch economy suffered accordingly.
19th century
The textile industry, which had always been an important pillar of Haarlem's economy, was suffering at the beginning of the 19th century. Strong international competition and revolutionary new production methods based on steam engines already in use in England dealt a striking blow to Haarlem's industry. In 1815, the city's population was about 17,000 people, many of whom were poor. The foundation of the United Kingdom of the Netherlands in that year gave hope to many who believed that under a new government, the economy would improve and that export-oriented economic activities, such as the textile industry, would recover.
In the beginning of the 19th century, the defense walls had lost their function, and architect Zocher Jr. planned a park on the location of the former defense line. The city walls and gates were demolished, and the bricks were reused for construction of factories and workers' homes . Haarlem became the provincial capital of North Holland province in the early 19th century.
In the mid-19th century, the city's economy slowly started to improve. New factories opened, and a number of large industrial companies were founded in Haarlem by Thomas Wilson, Guillaume Jean Poelman, J.B.T. Prévinaire, J.J. Beijnes, Hendrik Figee, Gerardus Johannes Droste, and G.P.J. Beccari.
Cotton mills
The Nederlandsche Handel-Maatschappij (NHM or Dutch Trade Company) was founded by King Willem I to create employment opportunities. As one of the cities in the western part of the Netherlands with the worst economic situation, three cotton mills were created in Haarlem under the NHM-program in the 1830s. These were run by experts from the Southern Netherlands, whom the NHM considered better at mechanical weaving through the local expertise of Lieven Bauwens.
The contract winners were Thomas Wilson, whose factory was situated north of what is today the Wilsonplein, Guillaume Jean Poelman, who was in business with his nephew Charles Vervaecke from Ghent and had a factory on what today is the Phoenixstraat, and Jean Baptiste Theodore Prévinaire, who had a factory on the Garenkokerskade and whose son Marie Prosper Theodore Prévinaire created the Haarlemsche Katoenmaatschappij in 1875.
These cotton factories produced goods for export, and because the Dutch government levied heavy taxes on foreign cotton producers this was a profitable business for the NHM-factories, especially for export to the Dutch East Indies. The programme started in the 1830s, and was initially successful. However, after 1839 when Belgium split away from the United Kingdom of the Netherlands, the protectionist measures for the Dutch East Indian market were removed, and the business began to flounder. When the American Civil War reduced the import of raw cotton significantly after 1863, the business went sour. Only Prévinaire was able to survive through specialisation with his "Turkish Red" dye. The Prévinaire "toile Adrinople" was popular.[ Prévinaire's son went on to create the Haarlemsche Katoenmaatschappij, which made a kind of imitation batik cloth called "La Javanaise" that became popular in Belgian Congo.
Train and tram
In England in 1804, Richard Trevithick designed the first locomotive. The government of the Netherlands was relatively slow to catch up, even though the king feared competition from newly established Belgium if it would construct a railway between Antwerp and other cities. The Dutch parliament balked at the high level of investment needed, but a group of private investors started the Hollandsche IJzeren Spoorweg-Maatschappij on 1 June 1836.
It took three years to build the first track on the railway, between Haarlem and Amsterdam along the old tow canal called the Haarlemmertrekvaart. The ground there was wet and muddy. On 20 September 1839, the first train service in the Netherlands started. The train had a speed of about 40 km/h (25 mph). The train service gave the Beijnes company, and indirectly the whole economy of Haarlem, a strong boost, and the effects of this can be seen in the Haarlem railway station, now a rijksmonument. Instead of more than two hours, Amsterdam was now only 30 minutes away.
The old passenger service by trekschuit along the Haarlemmertrekvaart was quickly taken out of service in favour of the train service, which was quicker and more reliable. In 1878, a Beijnes-made horse tram started servicing passengers from the railway station to the Haarlemmerhout woodland park, and in 1894, the Eerste Nederlandsche Electrische Tram Maatschappij (ENET) was founded with cars built by Beijnes and became the first Dutch electric tram, which ran in Haarlem from 1899 onwards.
Water management
Though the old trekvaart was closed for water traffic after railway development, it is still possible to travel by boat from Amsterdam to Haarlem, via the ringvaart or the North Sea Canal. Pleasure boating in the summer has become an important Haarlem tourist attraction, though it is not possible to travel all of the original canals as in Amsterdam. The creation of new land in the Haarlemmermeer polder from 1852 onwards meant that the city could no longer refresh the water in its canals from the Spaarne river. The increase in industry worsened water quality. In 1859, the Oude Gracht canal stank so badly in the summer that it not only forced visitors away, but posed a public health threat due to cholera outbreaks. It was filled in to create a new street called the Gedempte Oude Gracht.[11] The periodic cholera outbreaks had not been new, but they had been increasing. In 1591, the city fathers had ordered excavation to build the Verwulft, a wide bridge over the Oude Gracht connecting the north and south portions of the Grote Houtstraat. Such "overclosures" can still be seen in other Dutch cities, such as the Nieuwmarkt in Amsterdam.
Expanding borders
From 1879, the population of the city almost doubled in thirty years, from 36,976 to 69,410 in 1909. Not only did the population grow, but the city was expanding rapidly, too. The Leidsebuurt district was incorporated into Haarlem in the 1880s. A small part of the (now defunct) municipality of Schoten was incorporated in 1884 because the council of Haarlem wanted to have the hospital (Het Dolhuys) inside the municipal borders. This hospital was situated at "het bolwerk" on Schoten's territory.
Early 20th century
In the beginning of the 20th century, the city expanded north. As early as 1905, an official plan was presented by the Haarlem municipality for expansion. However, the surrounding municipalities did not agree, and it would take 25 years to come to an agreement. On 1 May 1927, the municipality of Schoten became part of Haarlem, as well as part of Spaarndam, Bloemendaal and Heemstede. The population increased at once with 31,184 citizens.
In 1908, a renewed railway station was opened. The tracks were elevated, so traffic in the city was no longer hampered by railway crossings. In 1911, Anthony Fokker showed his plane de Spin to the audience in Haarlem by flying around the Sint-Bavokerk on Queen's Day.
Later the expansion of the city went southwards (Schalkwijk) and eastwards (Waarderpolder). In 1932, Vroom & Dreesmann, a Dutch retailer built a department store at Verwulft. Many buildings were demolished, except one small chemist's shop on the corner, "Van der Pigge", who refused to be bought out and which is now encapsulated by the V&D building. They are therefore also called "David and Goliath" by locals.
Haarlem in World War II
From 17 to 21 September 1944, parts of Haarlem-Noord (north of the Jan Gijzenvaart) were evacuated by the Germans to make way for a defensive line. The stadium of HFC Haarlem, the football club, was demolished. Hundreds of people had to leave their homes and were forced to stay with other citizens.
From 22 September 1944 to the end of the war, there was gas available only two hours per day. Electricity stopped on 9 October. The German occupiers built a thick, black wall through the Haarlemmerhout (in the south of the city), as well as at the Jan Gijzenvaart in the evacuated area. The wall was called Mauer-muur and was meant to help defend the city.
In February 1944, the family of Corrie ten Boom was arrested by the Nazis; they had been hiding Jews and Dutch resistance workers from the German occupier throughout the war.
During World War II, the Dutch heroine Hannie Schaft, who worked for a Dutch resistance group, was captured and executed by the German occupation just before the end of the war in 1945. Despite her efforts and those of her colleagues and private families such as the Ten Booms, most Haarlem Jews were deported, the Haarlem Synagogue was demolished, and the Jewish hospital was annexed by the St. Elisabeth Gasthuis. Several Haarlem families, whether they were politically active in the NSB or not, suffered from random attacks, as the Haarlem writer Harry Mulisch described in his book De Aanslag. Haarlemmers survived during the Hunger Winter by eating tulip bulbs stored in sheds in the sandy fields around the city.
Post-World War II
After the war, much of the large industry left the city, such as the banknote printing firm of Joh. Enschedé. The centre of industry and shipping shifted towards Amsterdam. Though the population had been decimated by starvation, a new wave of immigrants came to the city from the Dutch former colonies in Indonesia. This brought some government funding for building projects. In 1963, a large number of houses was built in Schalkwijk.
Miscellaneous
Local beer
Beer brewing has been a very important industry for Haarlem going back to the 15th century, when there were no fewer than 100 breweries in the city. When the town's 750th anniversary was celebrated in 1995 a group of enthusiasts re-created an original Haarlem beer and brewed it again. The beer is called Jopenbier, or Jopen for short, named after an old type of beer barrel.[
Harlem, Manhattan
In 1658, Peter Stuyvesant, the Director-General of the Dutch colony of Nieuw Nederland (New Netherland), founded the settlement of Nieuw Haarlem in the northern part of Manhattan Island as an outpost of Nieuw Amsterdam (New Amsterdam) at the southern tip of the island. After the English capture of New Netherland in 1664, the new English colonial administration renamed both the colony and its principal city "New York," but left the name of Haarlem more or less unchanged. The spelling changed to Harlem in keeping with contemporary English usage, and the district grew (as part of the borough of Manhattan) into the vibrant centre of African American culture in New York City and the United States generally by the 20th century.
Lautje, statue on the Grote Markt
On the main square, the Grote Markt, stands a statue of Laurens Janszoon Coster, nicknamed 'Lautje' by locals. Laurens Janszoon Coster is credited with being the inventor of a printing press using movable type, since he's said to have invented it simultaneously with Johannes Gutenberg, but only some people believe this. In the past, the statue was moved a couple of times. It once stood at the other side of the square and even perched at the Riviervismarkt, near the Philharmonie.
Universities
The group of universities SRH opened a campus in Haarlem in 2022 on the site of the former Cupola prison.
Meat advertisement ban
In September 2022, the Haarlem municipal council adopted an ordinance prohibiting advertisements for meat and fossil fuels in public spaces because of their climate impact. The ordinance took effect in 2024, making Haarlem the first city in the world to ban such advertisements.
(Wikipedia)
The Grote Kerk or St.-Bavokerk is a Reformed Protestant church located on the central market square (Grote Markt) in the Dutch city of Haarlem.
The church was built in 1307. Prior to the Reformation, Grote Kerk was a Catholic cathedral after which it adopted the Reformed faith; at present, another Haarlem church called the Cathedral of Saint Bavo now serves as the main cathedral for the Roman Catholic Diocese of Haarlem-Amsterdam.
History
This church is an important landmark for the city of Haarlem and has dominated the city skyline for centuries. It is built in the Gothic style of architecture, and it became the main church of Haarlem after renovations in the 15th century made it significantly larger than the Janskerk (Haarlem). First mention of a church on this spot was made in 1307, but the wooden structure burned in the 14th century. The church was rebuilt and promoted to chapter church in 1479 and only became a cathedral in 1559. The main architects were Godevaert de Bosscher and Steven van Afflighem (nave), and Evert van Antwerpen (transept). The term "cathedral" was never really associated with this church, since it was only consecrated as a cathedral in 1559, which was already in the middle of the period known as the Protestant Reformation. The church was confiscated only 19 years later during the Haarlemse noon in 1578, when it was converted to Protestantism. It was dedicated to Saint Bavo at some time before 1500, though there exists a curious painting in the collection of the Catholic Cathedral of St. Bavo illustrating the miracle of St. Bavo saving Haarlem from the Kennemers in a scene from the 13th century. This painting was painted a century after the Catholics were banned from their church, and may have been a commemorative painting referring to the defense of the Church and the Catholic faith as well as the defense of the city.
Christianity in Haarlem
Haarlem has had a Christian parish church since the 9th century. This first church was a "daughter church" of Velsen, which itself was founded in 695 by St. Willibrord. This early first church was a wooden church on the same site of the current Sint-Bavokerk. Extensions and expansions over the centuries led to its formal consecration in 1559 when the first bishop Nicolaas van Nieuwland was appointed. Only 19 years later, after the Spanish occupation ended (they won the Siege of Haarlem) and Haarlem reverted to the Protestant House of Orange, the church was confiscated during the episode known as the Haarlemse noon and converted to Protestantism as part of the Protestant Reformation.
At this time most of the art and silver artefacts were also seized and what was not sold or destroyed has survived in the Haarlem municipal collection, which is now in the collection of the Frans Hals Museum. The Haarlem Catholics took what they could carry with them and went underground, meeting thereafter in various schuilkerken, the most prominent ones known as the St. Franciscus statie and the St. Josephs statie. Eventually, the St. Josephstatie built a new church across from the Janskerk called the St. Josephkerk, and this church, after growing and becoming a cathedral again, built a new cathedral on the Leidsevaart in the 19th century. Since the building of this new Cathedral of St. Bavo, there has been much confusion about the name of the Bavochurch, since as a Protestant church it is not even dedicated to Saint Bavo. For this reason it is officially called Grote Kerk, which just means "Big Church".
Fires
On 22 May 1801 there was a fire caused by lightning which struck the tower. Another disaster was prevented in 1839 by Martijn Hendrik Kretschman, the guard of the tower. He stopped Jan Drost who worked for the church. Drost had tried to set fire to the pipe organ and piano by throwing hot coals on top of it. Drost committed suicide and he was buried in the tower.
In the church was a high sentry box reserved for fire-watchers. If they saw a fire in the city then they would signal using red flags so that the guards in the main guard house opposite could react. This sentry position was still in use in 1919.
In the renovation of the 1930s an automatic sprinkler system was installed in the tower, that could extinguish a fire 70m high in the tower.
Exterior
Though the exterior of the church seems timeless, it changed twice in the past 500 years; once when all statuary was removed from the outer niches during the Haarlemse Noon, and the second time in the late 19th century when a "more Gothic look" was given to the church by adding some fake ramparts to the roof edge. This can be seen easily when comparing pictures made before and afterwards.
Around the church various low buildings have been built up against it, most notably the former fish market called De Vishal, which today is used for exhibiting modern art.[4] On the south side a series of low buildings used as shops are built up against various church buildings such as the former "librye" or library, and sacristy. In 1630 the architect Salomon de Bray designed and built the consistory which still exists today.
(Wikipedia)
Haarlem ist eine Stadt in der Region Kennemerland-Süd und die Hauptstadt der Provinz Nordholland, Niederlande. Die Stadt liegt am Fluss Spaarne, was ihr den Beinamen Spaarnestad eingebracht hat. Die Gemeinde Haarlem zählt 168.655 Einwohner (1. Januar 2025, CBS) und ist Sitz von zwei katholischen Bischöfen, einem des altkatholischen Bistums Haarlem und einem des römisch-katholischen Bistums Haarlem-Amsterdam.
Geografie
Haarlem liegt am nordwestlichen Rand der „Randstad“. Die Gemeinde grenzt im Uhrzeigersinn an die Gemeinden Velsen, Haarlemmermeer, Heemstede und Bloemendaal. Östlich liegen Amsterdam (19 km) und der Flughafen Schiphol (13 km). Die Häfen von IJmuiden liegen im Norden und die Nordseeküste ist ca. 7 km westlich von Haarlem.
Die Stadt hat eine wichtige regionale Funktion. Ihr primäres Versorgungsgebiet ist der nördliche Teil von Südholland, Bollenstreek, Zuid-Kennermerland, IJmond und ein Teil vom Haarlemmermeer.
Die Gemeinde Haarlem ist aufgeteilt in fünf Stadtteile, neun Viertel und vierzig sogenannte „buurten“, was so viel bedeutet wie Nachbarschaften.
Geschichte
Haarlem entstand als Geestsiedlung an der Spaarne und entwickelte sich auf dem Verbindungsweg von Süd nach Nord. Die Stadt wurde Residenz der Grafen von Holland. Graf Wilhelm II. von Holland verlieh Haarlem 1245 Stadtrechte. Ein Kontingent der Bürger von Haarlem hatte früher in diesem Jahrhundert, 1217–1219, unter Graf Wilhelm I. mit mehreren Schiffen am Fünften Kreuzzug teilgenommen. Daher findet sich bis heute ein Schwert und ein Kreuz im Stadtwappen, die an die legendenhaft verklärten Leistungen dieser Haarlemer Kreuzfahrer während der Belagerung von Damiette in Ägypten (1218) erinnern sollen.
m Jahr 1429 bekam die Stadt das Zollrecht. Das spätmittelalterliche Haarlem kannte Textilherstellung, Schiffbau und viele Bierbrauereien. Der Reichtum ging zu Ende durch einen etwa dem deutschen Bundschuh-Aufstand ähnelnden Bürgerkrieg namens „Hoeker und Kabeljau-Streit“ (Hoekse en Kabeljauwse Twisten) und den Aufstand der Käser und Bäcker (Kaas- en Broodvolk). Im Jahr 1573 fiel die Festung nach einer monatelangen spanischen Belagerung durch Don Fadrique (Sohn des bekannten Herzogs von Alba). Nach dem Vertrag von Veere zogen sich die Spanier 1577 zurück, nachdem Protestanten und Katholiken gleiche Rechte erhielten. Flämische und französische Immigranten brachten der Stadt eine neue Blütezeit (Leinenweberei, wie auch in Leiden).
1658 gründete der Holländer Petrus Stuyvesant Nieuw Haarlem an der Ostküste Nordamerikas. Später wurde Nieuw-Haarlem als Bezirk Harlem Teil der Stadt New York.
Im 19. Jahrhundert wurden die Stadtbefestigungen geschleift und als Park gestaltet. 1839 fuhr der erste niederländische Zug zwischen Haarlem und Amsterdam.
1927 wurde die Gemeinde Schoten eingemeindet. Teile der Gemeinden Bloemendaal, Haarlemmerliede en Spaarnwoude und Heemstede wurden ebenfalls eingemeindet. So wurde Haarlem zur fünftgrößten Stadt der Niederlande nach Amsterdam, Rotterdam, Den Haag und Utrecht.
Nach der Erfindung der Buchdruckerei, in deren Frühzeit der Haarlemer Laurens Janszoon Coster eine wichtige Rolle spielte, bekam Haarlem eine bleibende Reputation als Druckerstadt. Die älteste Tageszeitung wird noch immer in Haarlem gedruckt. Im Jahr 1656 erschien zum ersten Mal de Oprechte Haerlemse Courant, die heute unter dem Namen Haarlems Dagblad firmiert. Die Firma Johan Enschedé ist eine bekannte Spezialdruckerei, die auch für das Ausland u. a. Geldscheine und Ausweisdokumente herstellt. Hinzu kommt die Tradition als Stadt der Schriftsteller.
Religion
Das größte Gotteshaus der Stadt ist die Grote Kerk genannte St.-Bavo-Kirche. 1578 wurde an dieser Kirche die Reformation eingeführt, heute ist sie evangelisch-unierte Pfarrkirche.
Wenige Jahre nachdem das Utrechter Domkapitel aus eigenem Recht einen ersten Erzbischof der Alt-Katholischen Kirche gewählt hatte, wurde Hieronymus de Bock 1742 erster alt-katholischer Bischof von Haarlem. Seither ist das Bistum Haarlem eines der drei Bistümer der Alt-Katholischen Kirche der Niederlande. Kathedrale ist die Kirche St. Anna und Maria.
Das Bistum Haarlem der römisch-katholischen Kirche wurde am 5. März 1853 errichtet. Am 1. Januar 2009 erhielt es den neuen Namen Bistum Haarlem-Amsterdam. Bischofskirche ist die St.-Bavo-Kathedrale.
Sehenswürdigkeiten
Bakenesser Kirche
Große oder St.-Bavo-Kirche
St.-Bavo-Kathedrale
Großer Markt
Janskirche, ehemalige Klosterkirche des Johanniterordens, heute Archiv der Provinz Nordholland
Vleeshal (Fleischhalle, eine Markthalle aus der Renaissance)
Amsterdamse Poort, östliches, letztes erhaltenes Stadttor (Richtung Amsterdam), Teil der mittelalterlichen Befestigung, im 14. Jahrhundert erbaut
Philharmonie mit Cavaillé-Coll-Orgel (bis 2002 Concertgebouw Haarlem)
Haarlem ist bekannt für seine vielen malerischen Hofjes (von reichen Bürgern zur Versorgung älterer alleinstehender Frauen gestiftete Wohnhöfe) aus dem 17. und 18. Jahrhundert
Hauptwache Haarlem
Museen
Frans Hals Museum
Teylers Museum am Spaarne-Ufer (gegründet 1778) ist das älteste Museum der Niederlande. Es ist aus einer Privatsammlung entstanden und folgt dem Konzept einer Wunderkammer
Corrie-ten-Boom-Museum
(Wikipedia)
Die Große oder St.-Bavo-Kirche (niederländisch Grote of Sint-Bavokerk) ist eine dreischiffige Kreuzkirche, erbaut zwischen 1370 und 1520 im Stil der Gotik. Sie ist die größte Kirche der niederländischen Stadt Haarlem. Sie diente zwischen 1559 und 1578 als Kathedrale des kurzlebigen römisch-katholischen Bistums Haarlem. Namenspatron der Kirche ist der heilige Bavo. 1578 wurde an der Kirche die Reformation eingeführt, sie ist heute evangelisch-unierte Pfarrkirche und gehört zur Protestantischen Kirche in den Niederlanden. Das Gebäude wurde zum Rijksmonument erklärt.
Der Vierungsturm ist aus statischen Gründen ein mit Bleischindeln gedeckter Holzturm. Der wegen Überlastung der Vierungssäulen zwischen 1514 und 1517 abgetragene, sehr ähnliche Steinturm ziert heute die Bakenesser Kirche.
Bis zum Jahr 1831 wurden auch im Innern der Kirche Bestattungen abgehalten. Unter anderem liegt der bedeutende niederländische Maler Frans Hals hier begraben.
Abmessungen
Die Kathedrale ist etwa 108 Meter lang und hat eine Dachhöhe von 10 Metern. Das Schiff ist samt Seitenschiffen 31 Meter breit; die größte Breitenausdehnung beträgt 47 Meter. Der Turm ist 250 Tonnen schwer und erreicht eine Höhe von 76 Metern.
Trivia
1635 schuf Pieter Jansz. Saenredam das Gemälde Blick in den Chorumgang von St. Bavo in Haarlem sowie 1636 Inneres der St. Bavo-Kirche von Haarlem. Markant sticht die Kirche auf dem Gemälde Die Bleichen bei Haarlem (1670) von Jacob van Ruisdael hervor.
(Wikipedia)
THE BEATLES: TELECASTS 2022 VOL.5 REVOLVER DVD
September thru November, 2022 news, specials and interviews on John, Paul, George and Ringo - band and solo and more!
Includes the latest on the FABS! revolver ads, trailers, Giles Martin interview and all the promo videos - 14 plus! Love Me Do 6th,
Ringo tour news and covid reports, promo videos & more! Olivia Harrison, auction news and more! There is so much here! Amazing!
50 Chapters approx 110 minutes in excellent quality! 16.9 ratio!
01 220926 Revolver Coming in October ad
02 Ringo Interview - CBC Manitoba
03 BARDO Official Trailer - I Am The Walrus
04 220927 Liverpool Beatles Museum - NW Tonight
05 220928 Ringo arrives at Massey Hall, Toronto for Soundcheck
06 220929 Revolver Special Editions Ad
07 220930 Tomorrow Never Knows (Take 1) - Promo Video
08 221002 Ringo cancels two concerts for health reasons - A24com
09 221003 Beatles' Never Seen Before Footage In Japan - India Today
10 Ringo cancels 6 shows due to Covid - ABC
11 Ringo cancels 6 shows due to Covid - AOL
12 221003 Ringo cancels 6 shows due to Covid - Global News
13 Ringo cancels 6 shows due to Covid - KTLA
14 Ringo cancels 6 shows due to Covid
15 221005 Love Me Do is 60 Today - Euro News
16 Love Me Do is 60 Years Old - AP
17 Matchbox (Live) - Ringo Promo Video
18 221006 Olivia Harrison Instagram Post
19 Tablecloth, Decorated by the Beatles, Goes to Auction - NBC
20 221007 Klaus on Revolver Cover
21 Giles Martin on Revolver Remix
22 221009 Happy Birthday John - Beatles Post
23 Happy Birthday John - GH Post
24 Happy Socks x The Beatles
25 221012 Taxman video is premiering Friday
26 221013 Let There Be Drums! Official Trailer
27 221014 Taxman video premieres TODAY
28 Taxman - Promo Video
29 Ringo Cancels Tour Dates Due to COVID - HLN
30 221018 Revolver Deluxe in Vinyl Ad
31 221021 Yellow Submarine (Songwriting Work Tape Part 1) Ad
32 Got To Get You Into My Life (2nd Version) - Promo Video
33 Yellow Submarine (Songwriting Work Tape Part 1)
34 221027 George on Indian Music - Revolver Deluxe Ad
35 221027 Revolver Out Tomorrow Ad
36 221028 Revolver Special Editions Are OUT NOW - 2 ads
REVOLVER 2022 PROMO VIDEOS
01 Taxman
02 Eleanor Rigby
03 I'm Only Sleeping
04 Love You To
05 Here, There And Everywhere
06 Yellow Submarine
07 She Said She Said
08 Good Day Sunshine
09 And Your Bird Can Sing
10 For No One
11 Doctor Robert
12 I Want To Tell You
13 Got To Get You Into My Life
14 Tomorrow Never Knows
Geothermal areas of Yellowstone
The geothermal areas of Yellowstone include several geyser basins in Yellowstone National Park as well as other geothermal features such as hot springs, mud pots and fumaroles. In total, the number of thermal features in Yellowstone is estimated at 10,000 and 200 to 250 geysers erupt in Yellowstone each year, making it the the place with the highest concentration of active geysers in the world.[2] Many of these features build up sinter, geyserite or travertine deposits around and within them.
The various geyser basins are located where rainwater and snowmelt can easily percolate into the ground, get indirectly superheated by the underlying Yellowstone hotspot, and then easily erupt at the surface as geysers, hot springs, and fumaroles. Thus flat-bottomed valleys between ancient lava flows and glacial moraines are where most of the large geothermal areas are located. Smaller geothermal areas can be found where fault lines reach the surface, in places along the circular fracture zone around the caldera and at the base of slopes that collect excess groundwater. Due to high elevation of the Yellowstone Plateau, the average boiling temperature at Yellowstone's geyser basins is 199 °F (93 °C). When properly confined and close to the surface it can periodically release some of the built-up pressure in eruptions of hot water and steam that can reach up to 390 feet (120 m) into the air (see Steamboat Geyser, the world’s tallest geyser). Water erupting from Yellowstone's geysers is superheated above that boiling point to an average of 204 °F (95.5 °C) as it leaves the vent. The water cools significantly while airborne and is no longer scalding hot by the time it strikes the ground, nearby boardwalks, or even spectators. However, because of the high temperatures of the water in the features, it is important that spectators remain on the boardwalks and designated trails. Several deaths have occurred in the park as a result of falls into hot springs.
Prehistoric Native American artifacts has been found at Mammoth Hot Springs and other geothermal areas in Yellowstone. Some accounts state that they used hot water from the geothermal features for bathing and cooking. In the 19th century, Father Pierre-Jean De Smet reported that natives he interviewed thought that geyser eruptions were "the result of combat between the infernal spirits." The Lewis and Clark Expedition traveled north of the Yellowstone area in 1806. Local natives that they came upon seldom dared to enter what we now know is the caldera because of frequent loud noises that sounded like thunder and the belief that the spirits that possessed the area did not like human intrusion into their realm. The first Caucasian known to travel into the caldera and see the geothermal features was John Colter, who had left the Lewis and Clarke Expedition. He described what he saw as "hot spring brimstone." Beaver trapper Joseph Meek recounted in 1830 that the steam rising from the various geyser basins reminded him of smoke coming from industrial stacks on a cold winter morning in Pittsburgh, Pennsylvania. In the 1850s, famed trapper Jim Bridger called it "the place where Hell bubbled up."
From Wikipedia, the free encyclopedia
GOVERNOR ANNOUNCES STOP VIOLENCE AGAINST WOMEN ACT
PROGRAM GRANT AWARDS
CHARLESTON -- Governor Earl Ray Tomblin today, June 29, 2016, awarded $1,087,599.00 in STOP Violence Against Women Grant Program funds for twenty-eight (28) projects statewide. The purpose of these funds is to establish or enhance teams whose core members include victim service providers, law enforcement, and prosecution to improve the criminal justice system's response to violence against women. Grants provide personnel, equipment, training, technical assistance, and information systems for the establishment or enhancement of these teams. Additionally, statewide projects are funded to provide training and educational opportunities for all victim service providers, law enforcement, prosecution, and court personnel throughout the state.
STOP funds are awarded from the Office on Violence Against Women, Office of the U.S. Department of Justice. The funds are administered by the Division of Justice and Community Services.
Funds were awarded to the following:
CABELL
Branches Domestic Violence Shelter, Inc.$55,446.00
These funds provide for the enhancement and the continuation of the Cabell County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Cabell County Prosecutor's Office, Branches Domestic Violence Shelter, CONTACT of Huntington, and the Huntington Police Department.
Contact:Ms. Amanda McComas
Phone: (304) 529-2382
Email: mccomas@branchesdvs.org
CALHOUN
Family Crisis Intervention Center$19,799.00
These funds provide for the enhancement and the continuation of the Calhoun County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Calhoun County Prosecutor's Office, the Family Crisis Intervention Center, and the Calhoun County Sheriff's Department.
Contact:Ms Emly S. Larkins
Phone: (304) 428-2333
Email: eelarkins@suddenlink.net
FAYETTE
Comprehensive Women's Service Council$32,671.00
These funds provide for the enhancement and the continuation of the Fayette County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Fayette County Prosecutor's Office, the Comprehensive Women’s Service Council, and the Fayette County Sheriff’s Department.
Contact:Ms. Patricia M. Bailey
Phone: (304) 255-2559
Email: Pbailey@wrcwv.org
GRANT
Family Crisis Center, Inc.$17,683.00
These funds provide for the enhancement and the continuation of the Grant County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Grant County Prosecutor’s Office, the Family Crisis Center, and the Grant County Sheriff’s Department.
Contact:Ms. Sony Fazzalore
Phone: (304) 788-6061
Email: fcc911@frontier.com
GREENBRIER
Family Refuge Center$53,040.00
These funds provide for the enhancement and the continuation of the Greenbrier County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Greenbrier County Prosecutor's Office, the Family Refuge Center, the Lewisburg Police Department, and the Greenbrier County Sheriff’s Department.
Contact:Ms. Kenosha Davenport
Phone: (304) 645-6334
Email: kenoshad@familyrefugecenter.org
HARRISON
Task Force on Domestic Violence, "HOPE, Inc."$43,176.00
These funds provide for the enhancement and the continuation of the Harrison County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Harrison County Prosecutor's Office, the Task Force on Domestic Violence “HOPE, Inc.”, the Bridgeport Police Department and the Clarksburg Police Department.
Contact:Ms. Harriet Sutton
Phone: (304) 367-1100
Email: hmsutton@hopeincwv.org
KANAWHA
Kanawha County Commission$46,429.00
These funds provide for the enhancement and the continuation of the Kanawha County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Kanawha County Prosecutor's Office, the YWCA Resolve Family Abuse Program, the Family Counseling Connection – REACH Program, Beginning My Empowerment Thru Emmanuel's Kingdom (BEMEEK) Outreach Program, the Kanawha County Sheriff’s Department, and the Charleston Police Department.
Contact:Ms. Gale A. Teare
Phone: (304) 357-0499
Email: galeteare@kcso.us
MARION
Task Force on Domestic Violence, "HOPE, Inc."$51,078.00
These funds provide for the enhancement and the continuation of the Marion County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Marion County Prosecutor's Office, the Task Force on Domestic Violence, "HOPE, Inc.", the Marion County Sheriff's Department, and the Fairmont Police Department.
Contact:Ms. Harriet Sutton
Phone: (304) 367-1100
Email: hmsutton@hopeincwv.org
MARSHALL
Marshall County Commission$25,259.00
These funds provide for the enhancement and the continuation of the Marshall County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Marshall County Prosecutor's Office, the YWCA Family Violence Prevention Program, and the Marshall County Sheriff's Department.
Contact:Ms. Betsy Frohnapfel
Phone: (304) 845-0482
Email: bfrohnapfel@marshallcountywv.org
MINERAL
Family Crisis Center, Inc.$17,683.00
These funds provide for the enhancement and the continuation of the Mineral County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Mineral County Prosecutor's Office, the Family Crisis Center, and the Mineral County Sheriff’s Department.
Contact:Ms. Sonya Fazzalore
Phone: (304) 788-6061
Email: fcc911@frontier.com
MINGO
Tug Valley Recovery Shelter, Inc.$43,576.00
These funds provide for the enhancement and the continuation of the Mingo County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Mingo County Prosecutor's Office, the Tug Valley Recovery Shelter, and the Mingo County Sheriff's Department.
Contact:Ms. Kim Ryan
Phone: (304) 235-6121
Email: k.s.ryan@hotmail.com
MINGO, LOGAN
Tug Valley Recovery Shelter, Inc.$32,596.00
These funds provide for the enhancement and the continuation of the Logan County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Logan County Prosecutor's Office, the Tug Valley Recovery Shelter, and the Logan County Sheriff’s Department.
Contact:Ms. Kim Ryan
Phone: (304) 235-6121
Email: k.s.ryan@hotmail.com
MONONGALIA
The Rape & Domestic Violence Information Center, Inc.$54,599.00
These funds provide for the enhancement and the continuation of the Monongalia County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Monongalia County Prosecutor's Office, the Rape and Domestic Violence Information Center, the Morgantown Police Department, the Monongalia County Sheriff’s Department, and the Star City Police Department.
Contact:Ms. Judy King
Phone: (304) 292-5100
Email: rdvic99@earthlink.net
Monroe
Family Refuge Center$23,825.00
These funds provide for the enhancement and the continuation of the Monroe County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Monroe County Prosecutor's Office, the Family Refuge Center, and the Monroe County Sheriff's Department.
Contact:Ms. Kenosha Davenport
Phone: (304) 645-6334
Email: kenoshad@familyresourcecenter.org
NICHOLAS
Comprehensive Women's Service Council$36,904.00
These funds provide for the enhancement and the continuation of the Nicholas County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Nicholas County Prosecutor's Office, the Comprehensive Women’s Service Council and the Nicholas County Sheriff's Department.
Contact:Ms. Patricia M. Bailey
Phone: (304) 255-2559
Email: pbailey@wrcwv.org
OHIO
Ohio County Commission$87,614.00
These funds provide for the enhancement and the continuation of the Ohio County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Ohio County Prosecutor's Office, the YWCA Family Violence Prevention Program, the YWCA Cultural Diversity and Community Outreach Program, and the Ohio County Sheriff’s Department.
Contact:Mr. Scott R. Smith
Phone: (304) 234-3631
Email: ssmith@wvocpa.org
POCAHONTAS
Family Refuge Center $6,000.00
These funds provide for the enhancement of the Pocahontas County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Pocahontas County Prosecutor’s Office, the Family Refuge Center and the Pocahontas County Sheriff’s Department.
Contact:Ms. Kenosha Davenport
Phone: (304) 645-6334
Email: kenoshad@familyrefugecenter.org
PRESTON
The Rape & Domestic Violence Information Center, Inc.$35,643.00
These funds provide for the enhancement and the continuation of the Preston County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Preston County Prosecutor's Office, the Rape and Domestic Violence Information Center, and the Preston County Sheriff's Department.
Contact:Ms. Judy King
Phone: (304) 292-5100
Email: rdvic99@earthlink.net
PUTNAM
Putnam County Commission$25,421.00
These funds provide for the enhancement and the continuation of the Putnam County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Putnam County Prosecutor's Office, Branches Domestic Violence Shelter, the Family Counseling Connection - REACH Program, and the Putnam County Sheriff's Department.
Contact:Sheriff Steve Deweese
Phone: (304) 586-0256
Email: tcraigo@putnamwv.org
RALEIGH
Comprehensive Women's Service Council$60,535.00
These funds provide for the enhancement and the continuation of the Raleigh County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Raleigh County Prosecutor's Office, the Comprehensive Women’s Service Council, and the Beckley Police Department.
Contact:Ms. Patricia M. Bailey
Phone: (304) 255-2559
Email: pbailey@wrcwv.org
RANDOLPH
Women's Aid in Crisis$16,767.00
These funds provide for the enhancement and the continuation of the Randolph County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Randolph County Prosecutor's Office, Women's Aid in Crisis, and the Randolph County Sheriff’s Department.
Contact:Ms. Marcia R. Drake
Phone: (304) 626-8433
Email: mdrake@waicwv.org
ROANE
Family Crisis Intervention Center$17,398.00
These funds provide for the enhancement and the continuation of the Roane County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Roane County Prosecutor's Office, the Family Crisis Intervention Center, the Spencer Police Department, and the Roane County Sheriff's Department.
Contact:Ms. Emily S. Larkins
Phone: (304) 428-2333
Email: eelarkins@suddenlink.net
UPSHUR
Upshur County Commission$26,496.00
These funds provide for the enhancement and the continuation of the Upshur County STOP Team to improve the criminal justice system's response to victims of domestic violence, sexual assault, stalking and dating violence. The core Team includes the Upshur County Prosecutor's Office, Women's Aid in Crisis, and the Buckhannon Police Department.
Contact:Mr. David E. Godwin
Phone: (304) 472-9699
Email: degodwin@upshurcounty.org
STATEWIDE
West Virginia Prosecuting Attorneys Institute$39,284.00
These funds provide for the development and continuation of strengthening prosecution strategies and best practices as well as improve prosecution-based victim services in cases involving violence against women through training and the development of resources.
Contact:Ms. Sherry Eling
Phone: (304) 558-3348
Email: sherry.s.eling@wv.gov
West Virginia Foundation for Rape Information and Services$56,689.00
These funds provide for finalizing the development of an Advocate Guide and Protocol with participating correctional facilities in the state for service provision; convert training materials into e-learning resources; and work with Rape Crisis Centers on service implementation in order to work towards compliance with PREA requirements.
Contact:Ms. Nancy Hoffman
Phone: (304) 366-9500
Email: wvfris@frontier.com
West Virginia Supreme Court of Appeals$54,104.00
These funds provide for updating and printing the Domestic Violence Benchbook; to provide the salary of a DV Case Coordinator for the pilot program of the Kanawha County Domestic Violence Court; to maintain the Domestic Violence Registry back-up internet site; and to provide continued training for court personnel in the area of domestic violence, sexual assault, stalking and dating violence.
Contact:Ms. Angela Saunders
Phone: (304) 558-0145
Email: Angela.saunders@courtswv.gov
West Virginia Coalition Against Domestic Violence$43,763.00
These funds provide for the continued enhancement of the statewide domestic and sexual violence database; to provide training and technical assistance for STOP Teams and Domestic Violence Programs on cultural diversity and cultural competency; and to promote dating violence protocols.
Contact:Ms. Tonia Thomas
Phone: (304) 965-3552
Email: tthomas@wvcadv.org
West Virginia Foundation for Rape Information and Serivces$64,121.00
These funds provide for training activities, the on-going development and capacity building of service providers to victims of sexual assault, dating violence and stalking crimes, and to provide training and resources for these programs in order to provide services to sexual assault, dating violence, and stalking victims.
Contact:Ms. Nancy Hoffman
Phone: (304) 366-9500
Email: wvfris@frountier.com
Division of Justice & Community Services contact:
Sarah J. Brown
Senior Justice Programs Specialist
Division of Justice and Community Services
1204 Kanawha Boulevard, East
Charleston, West Virginia 25301
Phone: (304) 558-8814, Extension 53337
Email: Sarah.J.Brown@wv.gov
Photos available for media use. All photos should be attributed “Photo courtesy of Office of the Governor.”
The Qalawun complex is a massive complex in Cairo, Egypt that includes a madrasa, a hospital and a mausoleum. It was built by the Sultan Al-Nasir Muhammad Ibn Qalawun in the 1280s; some thirty surviving mosques were built during his time.
The Qalawun Complex was built over the ruins of the Fatimid Palace of Cairo, with several halls in the Palace. It was sold to several people until it was finally bought by the Sultan Qalawun in 1283 AD. The structure resides in the heart of Cairo, in the Bayn al-Qasrayn, and has been a center for important religious ceremonies and rituals of the Islamic faith for years, stretching from the Mamluk dynasty through the Ottoman Empire.
The Mausoleum of Sultan Qalawun in Cairo is considered by many to be the second most beautiful mausoleum, succeeded only by the Taj Mahal in India. Al-Nuwayri (an Arab Historian), has said in his book Nihayet al Irab (The Utmost Desire), that the Mausoleum was not intended to become a buriel site, but a Mosque and a school, and that it was first used as a tomb when he died, and hosted his body. His body was kept in the Cairo Citadel for two months until the tomb was ready to replace the Citadel's Burial location, later when Qalawun's son died, he too was buried in the Mausoleum. The mihrab of the mausoleum is often considered as the most lavish of its kind. This is in contrast to the mihrab of the madrasa, which is less grand in size and general esthetics. With a horse-shoe profile the mihrab is flanked by three columns made of marble. The Mausoleum later on, and under the mamluks included a Museum for Royal Cloths of those buried in it.
The Mausoleum of Qalawun is significant in that it’s dome served as a ceremonial center for the investing of new emirs. Indeed the dome was a symbol of new power, a changing of the guard, signifying a new center of Mamluk power, which enjoyed great prosperity at the time. The Mausoleum's Dome was demolished by the Ottoman Governor over Egypt Abdul-Rahman Katkhuda and was then rebuilt in Ottoman architecture, However the Comite for reservation of Arab monuments built another dome to replace that in 1908 [Wikipedia.org]
A series of exercises are now underway which include evacuations of trains and stations using thousands of staff volunteers as passengers. To ensure we have a fair representation of the future passengers who will use the Elizabeth line we include a mix of volunteers including people with disabilities and mobility impairments - from people requiring aids to walk, to wheelchair users, those with hidden disabilities and guide dog users. We also work with these users to capture their feedback after the trials
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.
Nikolai Church
The Roman Catholic Nikolai church in Villach is a neo-Gothic church which is looked after by the local Franciscan monastery. The parish also includes the affiliate churches of Oberwollanig and Sankt Magdalen.
History
In 1309, a parish of St. Nicholas is mentioned for the first time. This original church was located southeast of the present church in the Tratten alley. The parish, whose territory lies north of the river Drau, belonged from 1461 to 1751 to the Diocese of Ljubljana.
In 1627, Capuchins were called to Villach in the course of the Counter-Reformation, who built a church dedicated to St. Louis and a Capuchin monastery from 1629 to 1633 at the present location of the church of St. Nicholas. The founders were Anna Maria Proy and Countess Ursula von Thannhausen. The damage to the buildings by the earthquake of 1690 was repaired in 1691 again.
In a fire in 1786, the Capuchin Church, the library of the monastery and the lain southeast church of St. Nicholas suffered severe damage. In the same year, the Capuchin Church became the seat of the parish of St. Nicholas. The following year, the Capuchin monastery was abolished, then rebuilt the former Capuchin Church to the parish church. It was a three-storey west tower with onion dome added and the monastery partially removed.
In 1886, the parish was handed over to the Franciscans. Including the former vicarage of the Capuchins, a Franciscan monastery was built. In 1888 the old monastery was demolished and replaced by a new building. In 1892 the former Capuchin Church was demolished and in 1892-1893 a neo-Gothic church was built according to a design by Peter Hüter and Father Johann Maria Reiter from Tyrol and consecrated in 1896. In 1906, St. Nicholas was elevated to the city parish.
During the Second World War, the church suffered heavy bomb damage. Windows and roof had to be renewed in 1945. In the years 1967, 1984 and 1995 further restorations took place, in the year 1981 the crypt was adapted for the worship service.
Specifications
Main altar
The church is a neo-Gothic, pillared basilica with a transept and a two-bay chancel with a 3/8-extension. The exterior appearance is accentuated by a plastered ashlar on the buttresses, building edges and windows in otherwise quiet coarse grained plaster sand. In the gable area the main facade with triaxial loggia has an aedicula niche in which a Maria-Immaculata statue is under a pent roof and three-part tracery window. The four-storey tower in the southwest corner has diagonal buttresses and a steep pointed helmet. On the north side of the church is the Franciscan chapel with 5/8-extension attached. The monastery is adjoined by the choir.
The rib-vaulted nave has a two-storey vertical section structure without triforium. The crossing with chamfered arches is one meter higher than the central nave. The transept is the same height as the nave. The aisles are open to the nave and to the transepts with pointed arches. The recessed choir is raised by three levels. On the northern side of the choir is the chapel of Saint John with a ribbed vault. The six large murals over the segmental arched arcade in the nave show scenes from the childhood of Jesus and were painted in 1895 by Emanuel Walch in styles of the Nazarenes.
Equipments
The main altar and the two side altars were made in 1896 by Clemens Raffeiner based on designs by Father Johann Maria Reiter.
The high altar is a winged altar with a shrine containing the statue of St. Nicholas, as well as four relief plates depicting scenes from the life of St. Francis carved in 1896 by Josef Bachleitner. On the weekday side of the altar wings scenes from the life of St. Virgilius are shown on the left and the death of St. Rupertus on the right.
On the altar of Mary in the niche are the figure of Mary Immaculata and on the wings relief representations from the life of the Evangelist John and pastoral scenes to see. On the altar of Saint Joseph stands the statue of St. Joseph with Child between the sculptures of Saints Pascal and John Capistranus. The carved Way of the Cross from 1896 is a work of the Grödener (Val Gardena: Gherdëina (Val Gardena /val ɡarˈdeːna/; Gröden /ˈɡʁøːdn̩/) is a valley in the Dolomites of northern Italy) Franz Schmalz.
Nikolaikirche
Süd-Ost-Ansicht
Die römisch-katholische Nikolaikirche in Villach ist eine neugotische Kirche, die vom hiesigen Franziskanerkloster betreut wird. Zur Pfarre gehören auch die Filialkirchen vom Oberwollanig und Sankt Magdalen.
Geschichte
1309 wird eine Pfarre Sankt Nikolaus erstmals genannt. Diese ursprüngliche Kirche stand südöstlich der heutigen Kirche in der Trattengasse. Die Pfarre, deren Gebiet nördlich der Drau liegt, gehörte von 1461 bis 1751 zum Bistum Laibach.
1627 wurden im Zuge der Gegenreformation Kapuziner nach Villach berufen, die 1629–1633 an der heutigen Stelle der Nikolaikirche eine Kirche zum heiligen Ludwig und ein Kapuzinerkloster errichteten. Stifterinnen waren Anna Maria Proy und Gräfin Ursula von Thannhausen. Die Schäden an den Gebäuden durch das Erdbeben von 1690 wurden 1691 wieder ausgebessert.
Bei einem Brand 1786 erlitten die Kapuzinerkirche, die Bibliothek des Klosters und die südöstlich gelegene Kirche St. Nikolaus schwere Schäden. Im selben Jahr wurde die Kapuzinerkirche Sitz der Pfarre St. Nikolaus. Im folgenden Jahr wurde das Kapuzinerkloster aufgehoben, darauf die ehemalige Kapuzinerkirche zur Pfarrkirche umgebaut. Es wurde ein dreigeschossiger Westturm mit Zwiebelhaube angebaut und das Kloster teilweise abgetragen.
1886 wurde die Pfarre an die Franziskaner übergeben. Unter Einbeziehung des ehemaligen Pfarrhofs der Kapuziner wurde ein Franziskanerkloster errichtet. 1888 wurde das alte Kloster abgebrochen und durch einen Neubau ersetzt. 1892 wurde auch die ehemalige Kapuzinerkirche abgetragen und 1892–1893 eine neugotische Kirche nach einem Entwurf von Peter Hüter und Pater Johann Maria Reiter aus Tirol erbaut und 1896 geweiht. 1906 wurde St. Nikolai zur Stadtpfarre erhoben.
Im Zweiten Weltkrieg erlitt die Kirche schwere Bombenschäden. Fenster und Dach mussten 1945 erneuert werden. In den Jahren 1967, 1984 und 1995 erfolgten weitere Restaurierungen, im Jahre 1981 wurde die Krypta für den gottesdienstlichen Gebrauch adaptiert.
Baubeschreibung
Hauptaltar
Die Kirche ist eine neugotische Pfeilerbasilika mit Querschiff und zweijochigem Chor mit 3/8-Schluss. Die Außenerscheinung wird von einer geputzten Quaderung an den Strebepfeilern, Gebäudekanten und Fenstern in sonst ruhiger Rieselputzoberfläche akzentuiert. Die Hauptfassade mit dreiachsiger Loggia unter einem Pultdach und dreiteiligem Maßwerkfenster besitzt in der Giebelzohe eine Adikulanische, in der eine Maria-Immaculata-Statue steht. Der viergeschossige Turm in der Südwestecke hat diagonale Strebepfeiler und einen steilen Spitzhelm. An der Nordseite der Kirche ist die Franziskuskapelle mit 5/8-Schluss angebaut. Am Chor schließt das Kloster an.
Das kreuzrippengewölbte Mittelschiff hat eine zweigeschossige Aufrissgliederung ohne Triforium. Die Vierung mit abgefasten Spitzbögen liegt um einen Meter höher als das Mittelschiff. Das Querschiff hat dieselbe Höhe wie das Mittelschiff. Die Seitenschiffe sind zum Mittelschiff und zu den Querschiffen mit Spitzbogenarkaden geöffnet. Der eingezogene Chor ist um drei Stufen erhöht. An der Chornordseite befindet sich die Johanneskapelle mit einem Kreuzrippengewölbe. Die sechs großen Wandgemälde über den Stichbogenarkaden im Langhaus zeigen Szenen aus der Kindheit Jesu und wurden 1895 von Emanuel Walch in Stile der Nazarener gemalt.
Ausstattung
Der Hauptaltar und die beiden Seitenaltäre wurden 1896 von Clemens Raffeiner nach Entwürfen von Pater Johann Maria Reiter gefertigt.
Der Hochaltar ist ein Flügelaltar mit einem Schrein, der die Statue des heiligen Nikolaus birgt, sowie vier Relieftafeln mit Szenen aus dem Leben des heiligen Franziskus, die 1896 von Josef Bachleitner geschnitzt wurden. An der Werktagsseite der Altarflügeln sind links Szenen aus dem Leben des heiligen Virgilius und rechts der Tod des heiligen Rupertus dargestellt.
Am Marienaltar sind in der Nische die Figur der Maria Immaculata und auf den Flügeln Reliefdarstellungen aus dem Leben des Evangelisten Johannes und Hirtenszenen zu sehen. Am Josefsaltar steht die Statue des heiligen "Josef mit Kind" zwischen den Skulpturen der Heiligen Pascal und Johannes Capistranus. Der geschnitzte Kreuzweg von 1896 ist ein Werk des Grödener Franz Schmalz.
The perimeter wall of the Cemetery, and the connecting "bridge". A wider shot would havebeen better, but it would include a parked car, and a parking ticket machine! :-(
In 1233 AD a Dominican Friary was constructed in Inverness. It was located on the edge of the Town Centre, directly opposite St Michael’s Mound, where St Columba of Iona is said to have preached in 565 AD. (There has been a church on that site since Celtic times, where the Old High Church currently stands)
The Friary or Abbey (Blackfriars) was disbanded in 1556 at the time of the Reformation, and the building soon fell into disrepair. In 1567 Queen Mary (Mary Queen of Scots, mother of King James VI and I) awarded the lands and church buildings of the Dominicans to the Council and Community of Inverness. In 1653 the Town of Inverness sold the ruinous buildings to Oliver Cromwell's local representative for use in construction of the Citadel at Inverness Harbour (several other large disused church buildings in the area also suffered a similar fate, and what stone remained was later used in the construction of a Castle at Inverness. (It kept getting destroyed!)
In 1935 a smart new Telephone Exchange was constructed in Friars Lane, Inverness on the west extremity of the Town Centre proper. It was built of sandstone, and despite its modern look ,the colour of the stone makes it blend in. The land on which is was located was where the Abbey's School had stood and the Exchange backed on to the Blackfriars graveyard - now confusingly called Greyfriars! This graveyard would have been within the actual abbey building, and nowadays only a sandstone pillar and an effigy of a knight (now mounted on a wall) remain of the actual building. The gravestones still legible all appear to be more recent, mainly 18th century.
In the 1970s, as telecommunications became more prolific (but before miniaturisation took full hold) there was a need to extend the Telephone Exchange, but it was not possible due to the ancient graveyard, although other land further down Friars Street was available. A novel solution was adopted, with a "bridge" (and enclosed corridor at first floor level being used to provide access between the two buildings without disturbing those resting beneath.
In 1233 AD a Dominican Friary was constructed in Inverness. It was located on the edge of the Town Centre, directly opposite St Michael’s Mound, where St Columba of Iona is said to have preached in 565 AD. (There has been a church on that site since Celtic times, where the Old High Church currently stands)
The Friary or Abbey (Blackfriars) was disbanded in 1556 at the time of the Reformation, and the building soon fell into disrepair. In 1567 Queen Mary (Mary Queen of Scots, mother of King James VI and I) awarded the lands and church buildings of the Dominicans to the Council and Community of Inverness. In 1653 the Town of Inverness sold the ruinous buildings to Oliver Cromwell's local representative for use in construction of the Citadel at Inverness Harbour (several other large disused church buildings in the area also suffered a similar fate, and what stone remained was later used in the construction of a Castle at Inverness. (It kept getting destroyed!)
In 1935 a smart new Telephone Exchange was constructed in Friars Lane, Inverness on the west extremity of the Town Centre proper. It was built of sandstone, and despite its modern look ,the colour of the stone makes it blend in. The land on which is was located was where the Abbey's School had stood and the Exchange backed on to the Blackfriars graveyard - now confusingly called Greyfriars! This graveyard would have been within the actual abbey building, and nowadays only a sandstone pillar and an effigy of a knight (now mounted on a wall) remain of the actual building. The gravestones still legible all appear to be more recent, mainly 18th century.
In the 1970s, as telecommunications became more prolific (but before miniaturisation took full hold) there was a need to extend the Telephone Exchange, but it was not possible due to the ancient graveyard, although other land further down Friars Street was available. A novel solution was adopted, with a "bridge" (an enclosed corridor) at first floor level being used to provide access between the two buildings without disturbing those resting beneath.
The history of the Old High Church (including the Blackfriars Abbey):
docs.google.com/open?id=0B_A4H0VrUgZMOTQ0YjhiYzktYTQ4NC00...
The red deer (Cervus elaphus) is one of the largest deer species. A male red deer is called a stag or hart, and a female is called a hind. The red deer inhabits most of Europe, the Caucasus Mountains region, Anatolia, Iran, and parts of western Asia. It also inhabits the Atlas Mountains of Northern Africa; being the only living species of deer to inhabit Africa. Red deer have been introduced to other areas, including Australia, New Zealand, the United States, Canada, Peru, Uruguay, Chile and Argentina. In many parts of the world, the meat (venison) from red deer is used as a food source.
Red deer are ruminants, characterized by a four-chambered stomach. Genetic evidence indicates that the red deer, as traditionally defined, is a species group, rather than a single species, though exactly how many species the group includes remains disputed. The closely related and slightly larger American elk, or wapiti, native to North America and northeastern Asia, had been regarded as a subspecies of red deer, but recently it has been established as a distinct species. The ancestor of all red deer (and wapiti) probably originated in central Asia and resembled sika deer.
Although at one time red deer were rare in parts of Europe, they were never close to extinction. Reintroduction and conservation efforts, such as in the United Kingdom and Portugal, have resulted in an increase of red deer populations, while other areas, such as North Africa, have continued to show a population decline.
Description
The red deer is the fourth-largest extant deer species, behind the moose, elk, and sambar deer. It is a ruminant, eating its food in two stages and having an even number of toes on each hoof, like camels, goats, and cattle. European red deer have a relatively long tail compared with their Asian and North American relatives. Subtle differences in appearance are noted between the various subspecies of red deer, primarily in size and antlers, with the smallest being the Corsican red deer found on the islands of Corsica and Sardinia and the largest being the Caspian red deer (or maral) of Asia Minor and the Caucasus Region to the west of the Caspian Sea.
The deer of central and western Europe vary greatly in size, with some of the largest deer found in the Carpathian Mountains in Central Europe. Western European red deer, historically, grew to large size given ample food supply (including people's crops), and descendants of introduced populations living in New Zealand and Argentina have grown quite large in both body and antler size. Large red deer stags, like the Caspian red deer or those of the Carpathian Mountains, may rival North American elk in size. Female red deer are much smaller than their male counterparts.
Size
The male (stag) red deer is typically 175 to 250 cm (69 to 98 in) long from the nose to the base of the tail and typically weighs 160 to 240 kg (350 to 530 lb); the female (hind) is 160 to 210 cm (63 to 83 in) long and often weighs 120 to 170 kg (260 to 370 lb). The tail adds another 12 to 19 cm (4+1⁄2 to 7+1⁄2 in) and shoulder height is about 95 to 130 cm (37 to 51 in). In Scotland, stags average 201 cm (79 in) in head-and-body length and 122 cm (48 in) high at the shoulder and females average 180 cm (71 in) long and 114 cm (45 in) tall. Based on body mass, they are likely the fourth largest extant deer species on average, behind the moose, the elk and the sambar deer.
Size varies in different subspecies with the largest, the huge but small-antlered deer of the Carpathian Mountains (C. e. elaphus), weighing up to 500 kg (1,100 lb). At the other end of the scale, the Corsican red deer (C. e. corsicanus) weighs about 80 to 100 kg (180 to 220 lb), although red deer in poor habitats can weigh as little as 53 to 112 kg (120 to 250 lb).
Neck mane
The males of many subspecies also grow a short neck mane during the autumn. The male deer of the British Isles and Norway tend to have the thickest and most noticeable manes. Male Caspian red deer (C. e. maral) and Spanish red deer (C. e. hispanicus) do not carry neck manes. Male deer of all subspecies, however, tend to have stronger and thicker neck muscles than female deer, which may give them an appearance of having neck manes. Red deer hinds (females) do not have neck manes.
Antlers
Only the stags have antlers, which start growing in the spring and are shed each year, usually at the end of winter. Antlers typically measure 71 cm (28 in) in total length and weigh 1 kg (2.2 lb), although large ones can grow to 115 cm (45 in) and weigh 5 kg (11 lb). Antlers, which are made of bone, can grow at a rate of 2.5 cm (1 in) a day. While an antler is growing, it is covered with highly vascular skin called velvet, which supplies oxygen and nutrients to the growing bone.
The antlers are testosterone-driven and as the stag's testosterone levels drop in the autumn, the velvet is shed and the antlers stop growing. With the approach of autumn, the antlers begin to calcify and the stags' testosterone production builds for the approaching rut (mating season).
European red deer antlers are distinctive in being rather straight and rugose, with the fourth and fifth tines forming a "crown" or "cup" in larger males. Any tines in excess of the fourth and fifth tines grow radially from the cup, which are generally absent in the antlers of smaller red deer, such as Corsican red deer. Western European red deer antlers feature "bez" (second) tines that are either absent or smaller than the brow tines. However, bez tines occur frequently in Norwegian red deer. Antlers of Caspian red deer carry large bez tines and form less-developed cups than western European red deer, their antlers are thus more like the "throw back" top tines of the North American elk (C. canadensis), known as maraloid characteristics. A stag can (exceptionally) have antlers with no tines, and is then known as a switch. Similarly, a stag that does not grow antlers is a hummel.
Coat
European red deer tend to be reddish-brown in their summer coats, and some individuals may have a few spots on the backs of their summer coats. During the autumn, all red deer subspecies grow thicker coats of hair, which helps to insulate them during the winter. Autumn is also when some of the stags grow their neck manes. The autumn/winter coats of most subspecies are most distinct. The Caspian red deer's winter coat is greyer and has a larger and more distinguished light rump-patch (like wapiti and some central Asian red deer) compared with the Western European red deer, which has more of a greyish-brown coat with a darker yellowish rump patch in the winter.
By the time summer begins, the heavy winter coat has been shed; the animals are known to rub against trees and other objects to help remove hair from their bodies. Red deer have different colouration based on the seasons and types of habitats, with grey or lighter colouration prevalent in the winter and more reddish and darker coat colouration in the summer.
Distribution
Europe and North Africa
The European red deer is found in southwestern Asia (Asia Minor and Caucasus regions), North Africa, and Europe. The red deer is the largest nondomesticated land mammal still existing in Ireland. The Barbary stag (which resembles the western European red deer) is the only living member of the deer family native to Africa, with the population centred in the northwestern region of the continent in the Atlas Mountains. As of the mid-1990s, Morocco, Tunisia, and Algeria were the only African countries known to have red deer.
In the Netherlands, a large herd (about 3000 animals counted in late 2012) lives in the Oostvaardersplassen, a nature reserve. Ireland has its own unique subspecies. In France, the population is thriving, having multiplied five-fold in the last half-century, increasing from 30,000 in 1970 to around 160,000 in 2014. The deer has particularly expanded its footprint into forests at higher altitudes than before. In the UK, indigenous populations occur in Scotland, the Lake District, and the south west of England (principally on Exmoor).[18] Not all of these are of entirely pure bloodlines, as some of these populations have been supplemented with deliberate releases of deer from parks, such as Warnham or Woburn Abbey, in an attempt to increase antler sizes and body weights. The University of Edinburgh found that, in Scotland, extensive hybridisation with the closely related sika deer has occurred.
Several other populations have originated either with "carted" deer kept for stag hunts being left out at the end of the hunt, escapes from deer farms, or deliberate releases. Carted deer were kept by stag hunts with no wild red deer in the locality and were normally recaptured after the hunt and used again; although the hunts are called "stag hunts", the Norwich Staghounds only hunted hinds (female red deer), and in 1950, at least eight hinds (some of which may have been pregnant) were known to be at large near Kimberley and West Harling; they formed the basis of a new population based in Thetford Forest in Norfolk. Further substantial red deer herds originated from escapes or deliberate releases in the New Forest, the Peak District, Suffolk, Lancashire, Brecon Beacons, and North Yorkshire, as well as many other smaller populations scattered throughout England and Wales, and they are all generally increasing in numbers and range. A census of deer populations in 2007 and again in 2011 coordinated by the British Deer Society records the red deer as having continued to expand their range in England and Wales since 2000, with expansion most notable in the Midlands and East Anglia.
Iran
Caspian red deer are found in the Hyrcanian Forests.
New Zealand
In New Zealand, red deer were introduced by acclimatisation societies along with other deer and game species. The first red deer to reach New Zealand were a pair sent by Lord Petre in 1851 from his herd at Thorndon Park, Essex, to the South Island, but the hind was shot before they had a chance to breed. Lord Petre sent another stag and two hinds in 1861, and these were liberated near Nelson, from where they quickly spread. The first deer to reach the North Island were a gift to Sir Frederick Weld from Windsor Great Park and were released near Wellington; these were followed by further releases up to 1914. Between 1851 and 1926, 220 separate liberations of red deer involved over 800 deer. In 1927, the State Forest Service introduced a bounty for red deer shot on their land, and in 1931, government control operations were commenced. Between 1931 and March 1975, 1,124,297 deer were killed on official operations.
The introduced red deer have adapted well and are widely hunted on both islands; many of the 220 introductions used deer originating from Scotland (Invermark) or one of the major deer parks in England, principally Warnham, Woburn Abbey or Windsor Great Park. Some hybridisation happened with the closely related American elk (Cervus canadensis nelsoni) introduced in Fiordland in 1921. New Zealand red deer produce very large antlers and are regarded as amongst the best in the world by hunters. Along with the other introduced deer species, they are, however, officially regarded as a noxious pest and are still heavily culled using professional hunters working with helicopters, or even poisoned.[citation needed]
Australia
The first red deer to reach Australia were probably the six that Prince Albert sent in 1860 from Windsor Great Park to Thomas Chirnside, who was starting a herd at Werribee Park, south west of Melbourne in Victoria. Further introductions were made in New South Wales, Queensland, South Australia, and Western Australia. Today, red deer in Australia range from Queensland south through New South Wales into Victoria and across to South Australia, with the numbers increasing. The Queensland, Victorian and most New South Wales strains can still be traced to the early releases, but South Australia's population, along with all others, is now largely recent farm escapees. This is having adverse effects on the integrity of wild herds, as now more and larger herds are being grown due to the superior genetics that have been attained by selective breeding.
Wild red deer are a feral pest species in Australia, do considerable harm to the natural environment, and are a significant road traffic hazard.
Argentina and Chile
In Argentina and Chile, the red deer has had a potentially adverse impact on native animal species, such as the South Andean deer or huemul; the International Union for Conservation of Nature and Natural Resources has labelled the animal as one of the world's 100 worst invaders.
Migration
Red deer in Europe generally spend their winters at lower altitudes in more wooded terrain. During the summer, they migrate to higher elevations where food supplies are greater and better for the calving season.
Taxonomy and evolution
Until recently, biologists considered the red deer and elk or wapiti (C. canadensis) the same species, forming a continuous distribution throughout temperate Eurasia and North America. This belief was based largely on the fully fertile hybrids that can be produced under captive conditions.
Genetic evidence clearly shows the wapiti and red deer form two separate species.
Another member of the red deer group which may represent a separate species is C. corsicanus. If so, C. corsicanus includes the subspecies C. e. barbarus (perhaps a synonym of C. e. corsicanus), and is restricted to Maghreb in North Africa, Corsica, and Sardinia.
A 2014 mitochondrial DNA study showed the internal phylogeny of Cervus to be as follows:
Cervus
West Eurasian clade
C. elaphus (European red deer)
C. hanglu (Hangul)
East Eurasian clade
C. albirostris (Thorold's deer)
C. nippon (Sika deer)
C. canadensis (Wapiti)
Rusa (outgroup)
Cervus elaphus appeared in Europe by the beginning of the Middle Pleistocene around 800,000 years ago. These earliest forms belonged to the palaeosubspecies Cervus elaphus acoronatus. Other palaeosubspecies are known, including those belonging to C. elaphus rianensis from the Middle Pleistocene of Italy, C. elaphus siciliae from the late Middle and Late Pleistocene of Sicily.
The International Union for Conservation of Nature originally listed nine subspecies of red deer (Cervus elaphus): three as endangered, one as vulnerable, one as near threatened, and four without enough data to give a category (Data Deficient). The species as a whole, however, is listed as least concern. However, this was based on the traditional classification of red deer as one species (Cervus elaphus), including the wapiti. The common red deer is also known as simply red deer.
Behaviour
Mature red deer (C. elaphus) usually stay in single-sex groups for most of the year. During the mating season, called the rut, mature stags compete for the attentions of the hinds and will then try to defend the hinds they attract. Rival stags challenge opponents by belling and walking in parallel. This allows combatants to assess each other's antlers, body size and fighting prowess. If neither stag backs down, a clash of antlers can occur, and stags sometimes sustain serious injuries. Red deer are among the mammals exhibiting homosexual behavior.
Dominant stags follow groups of hinds during the rut, from August into early winter. The stags may have as many as 20 hinds to keep from other, less attractive males. Only mature stags hold harems (groups of hinds), and breeding success peaks at about eight years of age. Stags two to four years old rarely hold harems and spend most of the rut on the periphery of larger harems, as do stags over 11 years old. Young and old stags that do acquire a harem hold it later in the breeding season than those stags in their prime. Harem-holding stags rarely feed and lose up to 20% of their body weight. Stags that enter the rut in poor condition are less likely to make it through to the peak conception period.
Male European red deer have a distinctive roar during the rut, which is an adaptation to forested environments, in contrast to male American elk stags which "bugle" during the rut in adaptation to open environments. The male deer roars to keep his harem of females together. The females are initially attracted to those males that both roar most often and have the loudest roar call. Males also use the roar call when competing with other males for females during the rut, and along with other forms of posturing and antler fights, is a method used by the males to establish dominance. Roaring is most common during the early dawn and late evening, which is also when the crepuscular deer are most active in general.
Female red deer reach sexual maturity at 2 years of age. Red deer mating patterns usually involve a dozen or more mating attempts before the first successful one. There may be several more matings before the stag will seek out another mate in his harem. Females in their second autumn can produce one or very rarely two offspring per year. The gestation period is 240 to 262 days, and the offspring weigh about 15 kg (35 lb). After two weeks, calves are able to join the herd and are fully weaned after two months. The offspring will remain with their mothers for almost one full year, leaving around the time the next season's offspring are produced. The gestation period is the same for all subspecies.
All red deer calves are born spotted, as is common with many deer species, and lose their spots by the end of summer. However, as in many species of Old World deer, some adults do retain a few spots on the backs of their summer coats.
Red deer live over 20 years in captivity and in the wild they live 10 to 13 years, though some subspecies with less predation pressure average 15 years.
Protection from predators
Male red deer retain their antlers for more than half the year, and are less gregarious and less likely to group with other males when they have antlers. The antlers provide self-defence, as does a strong front-leg kicking action performed by both sexes when attacked. Once the antlers are shed, stags tend to form bachelor groups which allow them to cooperatively work together. Herds tend to have one or more members watching for potential danger, while the remaining members eat and rest.
After the rut, females form large herds of up to 50 individuals. The newborn calves are kept close to the hinds by a series of vocalizations between the two, and larger nurseries have an ongoing and constant chatter during the daytime hours. When approached by predators, the largest and most robust females may make a stand, using their front legs to kick at their attackers. Guttural grunts and posturing is used with all but the most determined of predators with great effectiveness. Aside from humans and domestic dogs, the grey wolf is probably the most dangerous predator European red deer encounter. Occasionally, the brown bear will prey on European red deer.
Red deer in folklore and art
Red deer are widely depicted in cave art found throughout European caves, with some of the artwork dating from as early as 40,000 years ago, during the Upper Paleolithic. Siberian cave art from the Neolithic of 7,000 years ago has abundant depictions of red deer, including what can be described as spiritual artwork, indicating the importance of this mammal to the peoples of that region (Note: these animals were most likely wapiti (C. canadensis) in Siberia, not red deer). Red deer are also often depicted on Pictish stones (circa 550–850 AD), from the early medieval period in Scotland, usually as prey animals for human or animal predators. In medieval hunting, the red deer was the most prestigious quarry, especially the mature stag, which in England was called a hart.
Red deer products
Red deer are held in captivity for a variety of reasons. The meat of the deer, called venison, was until recently[date missing] restricted in the United Kingdom to those with connections to the aristocratic or poaching communities, and a licence was needed to sell it legally, but it is now widely available in supermarkets, especially in the autumn. The Queen followed the custom of offering large pieces of venison to members of the Cabinet of the United Kingdom and others. Some estates in the Scottish Highlands still sell deer-stalking accompanied by a gillie in the traditional way, on unfenced land, while others operate more like farms for venison. Venison is widely considered to be both flavourful and nutritious. It is higher in protein and lower in fat than either beef or chicken.
The red deer can produce 10 to 15 kg (20 to 35 lb) of antler velvet annually.[citation needed] On ranches in New Zealand, China, Siberia, and elsewhere, this velvet is collected and sold to markets in East Asia, where it is used for holistic medicines, with South Korea being the primary consumer. In Russia, a medication produced from antler velvet is sold under the brand name Pantokrin (Russian: Пантокри́н; Latin: Pantocrinum). The antlers themselves are also believed by East Asians to have medicinal purposes and are often ground up and used in small quantities.
Historically, related deer species such as Central Asian red deer, wapiti, Thorold's deer, and sika deer have been reared on deer farms in Central and Eastern Asia by Han Chinese, Turkic peoples, Tungusic peoples, Mongolians, and Koreans.[citation needed] In modern times, western countries such as New Zealand and United States have taken to farming European red deer for similar purposes.
Deer antlers are also used for decorative purposes and have been used for artwork, furniture and other novelty items. Deer antlers were and still are the source material for horn furniture. Already in the 15th century trophies of case were used for clothes hook, storage racks and chandeliers, the so-called Lusterweibchen. In the 19th century the European nobility discovered red deer antlers as perfect decorations for their manors and hunting castles. This fashion trend splashes over to upper- and middle-class households in the mid of the 19th century.
At the increasingly popular World Expositions, producers of horn furniture, mainly in Germany, Austria and the United States, such as Heinrich Friedrich Christoph Rampendahl [de] and Friedrich Wenzel, showed their horn furniture and a kind of series manufacturing began. In recent times deer antler home decors can be found in home styling magazines
There are a number of factors, or stages, involved in the process of corrugated fiberboard box manufacturing.
Box design
Packaging engineers design cardboard boxes to meet the particular needs of the product being shipped, the hazards of the shipping environment, (shock, vibration, compression, moisture, etc.), and the needs of retailers and consumers.
The most common box style is the Regular Slotted Container (RSC). All flaps are the same length from the score to the edge. Typically, the longer major flaps meet in the middle and the minor flaps do not.
The manufacturer's joint is most often joined with adhesive but may also be taped or stitched. The box is shipped flat (knocked down) to the packager who sets up the box, fills it, and closes it for shipment. Box closure may be by tape, adhesive, staples, strapping, etc.
The size of a box can be measured for either internal (for product fit) or external (for handling machinery or palletizing) dimensions. Boxes are usually specified and ordered by the internal dimensions.
Box Maker's Certificate
A seal printed on an outside surface, typically the bottom of the box, that includes some information about how strong the box is. This is also known as the Box Maker's Certificate or Box Certificate. The certificate is not required, but it if is used that implies compliance with regulations relating to the certificate. Significant information includes: 1) Bursting Test or Edge Crush Test; 2) Size Limit (the maximum outside dimensions of a finished box when the length, width and depth of the box are added together); 3) Gross Weight Limit.
Manufacturing
Boxes can be formed in the same plant as the corrugator. Such plants are known as "integrated plants". Part of the scoring and cutting takes place in-line on the corrugator. Alternatively, sheets of corrugated board may be sent to a different manufacturing facility for box fabrication; these are sometimes called "sheet plants".
The corrugated board is creased or scored to provide controlled bending of the board. Most often, slots are cut to provide flaps on the box. Scoring and slotting can also be accomplished by die-cutting.
Single-face laminate
A limitation of common corrugated material has been the difficulty in applying fine graphic print for informative and marketing purposes. The reasons for this stem from the fact that prefabricated corrugated sheets are relatively thick and spongy, compared to the thin and incompressible nature of solid fibre paper such as paperboard. Due to these characteristics of corrugated, it has been mainly printed using a flexographic process, which is by nature a coarse application with loose registration properties.
A more recent development popular in usage is a hybrid product featuring the structural benefits of corrugated combined with the high-graphics print of lithography previously restricted to paperboard folding cartons. This application, generally referred to as 'Single-Face Laminate', begins its process as a traditional fluted medium adhered to a single linerboard (single-face), but in place of a second long-fibered liner, a pre-printed sheet of paperboard such as SBS (solid bleached sulfate) is laminated to the outer facing. The sheet can then be converted with the same processes used for other corrugated manufacturing into any desired form.
Specialized equipment is necessary for the material construction of SFL, so users may expect to pay a premium for these products. However, this cost is often offset by the savings over a separate paperboard sleeve and the labor necessary to assemble the completed package.
Arizona CBP Operations, to include aerials of CBP locations, canine inspections, ports of entry and exit, border patrols, OFO operations and inspections, apprehensions, drug seizures, and check points.
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
The Wigwam Motels, also known as the "Wigwam Villages," is a motel chain in the United States built during the 1930s and 1940s. The rooms are built in the form of tipis, mistakenly referred to as wigwams. It originally had seven different locations: two locations in Kentucky and one each in Alabama, Florida, Arizona, Louisiana, and California.
They are very distinctive historic landmarks. Two of the three surviving motels are located on historic U.S. Route 66: in Holbrook, Arizona, and in San Bernardino, California. All three of the surviving motels are listed on the National Register of Historic Places: the Wigwam Motel in Cave City, Kentucky, was listed in 1988 under the official designation of Wigwam Village #2; the Wigwam Motel in Arizona was listed as Wigwam Village #6 in 2002; and the Wigwam Motel in California was listed in 2012 as Wigwam Village #7.
Frank A. Redford developed the Village after adding tipi-shaped motel units around a museum-shop he had built to house his collection of Native American artifacts. He applied for a patent on the ornamental design of the buildings on December 17, 1935, and was granted Design Patent 98,617 on February 18, 1936. The original drawing includes the swastika, at the time a symbol associated with Native Americans or often worn as a good-luck charm.
Seven Wigwam Villages were built between 1933 and 1949.
Wigwam villages
Wigwam Village#1 in Horse Cave, Kentucky (1979)
The first Wigwam Village was built in 1933 by Frank A. Redford. It was located on the corner of US-31E and Hwy 218 in Horse Cave, Kentucky.
The central building and gas pumps are visible on undated postcards. Six more wigwams were built to be used as guest rooms.
Village #1 closed in 1935 when the nearby Wigwam Village #2 was opened, but operated under different names until it was eventually abandoned; it was razed in 1982.
Village #2: Cave City, Kentucky
Wigwam Village #2 was built in 1937 on U.S. Route 31W[6] in Cave City, Kentucky, close to Mammoth Cave National Park and a few miles south of the original Wigwam Village #1. The address is 601 North Dixie Hwy, Cave City, Kentucky. ( 37°08'43.0"N, 85°56'43.8"W )
It consists of 15 wigwams used as guest rooms that are arranged in a semicircle. In the center is a much bigger concrete and steel central structure that originally served as a restaurant, plus a common area with playground, recreation space, and pavilion. Each wigwam has a paved pad to accommodate one car. The restaurant is no longer in operation, but the motel is still open.
The diameter at the base of each tipi is 14 feet (4.3 m), and they are 32 feet (9.8 m) in height. Behind the main room of each unit is a small bathroom with sink, toilet, and shower. In 2008, the rooms contain the original restored hickory furniture and a window-mounted air conditioner. There are no telephones to maintain the original atmosphere of the motel, but the rooms do have cable TV and internet access.
Wigwam Village #2 is listed in the National Register of Historic Places. It achieved this status on March 16, 1988.
Village #3: New Orleans, Louisiana
This wigwam village was built in 1940, on U.S. Route 61 in Metairie, a suburb of New Orleans, Louisiana. It included a restaurant, cocktail bar, souvenir shop, and Esso service station. Village #3 went out of business in 1954, leaving little documentation behind.
Village #4: Orlando, Florida
Wigwam Village #4 was built in 1948, and was located at 700 S. Orange Blossom Trail. The builder, Jerry Kinsley, later served as mayor of Edgewood, Florida.
This relatively large wigwam village consisted of 27 guest rooms, each in a separate wigwam constructed to resemble a horseshoe shape, with four additional wigwams, likely housing offices and a restaurant. A pool was located in the middle of the lot. Village #4 claimed to be "Orlando's largest and finest Motel."
Village #4 was razed in 1974, and replaced with a Days Inn. The only part of the original design that survived was the swimming pool. An attempt to save some of the tipis by using a helicopter to airlift them to a YMCA Summer Camp failed, as they were too heavy to move. A 330-room Vacation Lodge now sits on the site.
Village #5: Bessemer, Alabama
The Wigwam Village #5 was built in 1940 in Bessemer, Alabama. It was located 4 miles (6.4 km) north of downtown Bessemer, on U.S. Route 11, and included 15 guest cabins, arranged in a semicircle around the restaurant, restrooms, and offices. Rather than the steel, lath, and plaster of Redford's original design, the Village #5 structures were made of steel, wood, and felt, then covered in canvas and treated with linseed oil.
Village #5 went out of business in 1964, and was demolished after falling into ruin, although the restaurant reportedly stood until 1970.
Village #6: Holbrook, Arizona
Arizona motel owner Chester E. Lewis built this Wigwam Village in 1950. It is located on the historic Route 66, at 811 West Hopi Drive in Holbrook, Arizona. Nearby places of interest include Petrified Forest National Park, Meteor Crater (Barringer Crater), and the Grand Canyon.
The plans for this motel were based on the original of Frank A. Redford. Lewis first became aware of the distinctive wigwam designs when passing through Cave City in 1938. He purchased the rights to Redford's design, as well as the right to use the name "Wigwam Village," in a novel royalty agreement: coin-operated radios would be installed in Lewis's Wigwam Village, and every dime inserted for 30 minutes of play would be sent to Redford as payment.
The motel is arranged as a square, with 15 concrete and steel wigwams on three sides and the main office on the fourth, flanked by two smaller sized wigwams; there was also originally a gas station on the complex. The individual units are called "wigwams," not "rooms" or "tepees" or "cabins." The units are numbered from 1 to 16, (there is no 13). The base diameter is 14 feet (4.3 m), with each unit 32 feet (9.8 m) in height. Behind the main room of each unit is a small bathroom with sink, toilet and shower. Current rooms contain the original restored hickory furniture, two double beds, satellite TV and a window-mounted air conditioner. In keeping with the authenticity of the restoration, there are no telephones or ice machine. Vintage restored automobiles from the 1960s and earlier are located throughout the parking area. Small green metal benches etched with the words "Wigwam Village #6" are scattered throughout the complex as well.
Lewis operated the motel until closing it in 1974 when Interstate 40 bypassed downtown Holbrook. Two years after his death in 1986, sons Clifton and Paul Lewis and daughter Elinor renovated the motel before reopening it in 1988.
The Lewis family continues to run and maintain Wigwam Village #6. Near the registration desk is a small room that contains much of Chester Lewis's memorabilia, including a collection of petrified wood.
Wigwam Village #6 has been listed in the National Register of Historic Places since May 2, 2002.
Village #7: Rialto/San Bernardino, California
Frank Redford built this complex for himself in 1947–49 and not as a franchise. The address of the motel is Rialto, California, but the motel is physically located in San Bernardino. It is on the boundary between the two cities on historic Route 66, with an address of 2728 East Foothill Boulevard, Rialto, California.
Unlike the one arch of wigwams in other surviving villages, Village #7 has a double row of wigwam guest rooms. They total 20 in number, as well as a base for what seems to be another never-completed wigwam in the back of the property. A central building is currently used as an office, with a lobby that is open 24 hours a day. There is also a swimming pool, a large grass front and palm trees surround the property.
The property had become very run down and rooms were rented by the hour, aggravated by a sign advertising "Do it in a Tee Pee" that is still on site in the back. The complex underwent renovation, for which the National Historic Route 66 Federation awarded the Cyrus Avery Award in 2005. Attention to detail was the main focus during renovation, as the wigwams lost their zigzag pattern.
Since 2012, the motel has been listed on the National Register of Historic Places.
The Tee Pee Motel in Wharton, Texas near Houston, which was built in 1942 by George and Toppie Belcher; George Belcher had the idea while on vacation in Wyoming. It is not of the same design nor heritage as the Wigwam Motels; each of the tipis at the Tee Pee Motel are of different shapes, and line up in a straight line. The Belchers sold the motel in 1955, and it had been in disrepair for decades. A man named Dan Ryan bought it in 1995, but subsequent attempts to locate him failed, and the taxes on the property weren't paid. Then, in July 2003, Bryon Woods, a diesel mechanic, won the Texas Lottery. At his wife's urging, Woods bought the property. Modern conveniences were added, and the Tee Pee Motel reopened for business in October 2006. In March 2012 the motel was the site of a large drugs seizure. It closed in 2017, due to flood damage from Hurricane Harvey.
Similar motels also stood in San Antonio, Port Neches, and Corsicana, Texas.
The motels and their imitators have been parodied many times. Rockstar's 2004 Grand Theft Auto: San Andreas game contains a Tee Pee Motel. In the 2006 Pixar film Cars, one of the characters Sally Carrera runs a "newly refurbished" neon-lit motel that is clearly inspired by Wigwam Village #6. The motel is called the Cozy Cone Motel, and each room is fashioned as a traffic cone.
In 2012 a digitally altered image of Wigwam Village #6 appeared in an advertisement for Microtel Inn and Suites.
Wigwam number 1 of the Holbrook, Arizona, Wigwam Village #6 was featured in the second episode of Oprah and Gayle's Big Adventures on The Oprah Winfrey Show.
Wigwam Village #6 is featured in the 1991 movie The Dark Wind, based on the 1982 Tony Hillerman novel of the same name.
Wigwam Village #7 is featured in Bobcat Goldthwait's 2011 black comedy film God Bless America. Joan Didion mentions #7 in her essay "Some Dreamers of the Golden Dream" in her book, Slouching Toward Bethlehem.
Arizona is a state in the Southwestern region of the United States. Arizona is part of the Four Corners region with Utah to the north, Colorado to the northeast, and New Mexico to the east; its other neighboring states are Nevada to the northwest, California to the west and the Mexican states of Sonora and Baja California to the south and southwest. It is the 6th-largest and the 14th-most-populous of the 50 states. Its capital and largest city is Phoenix.
Arizona is the 48th state and last of the contiguous states to be admitted to the Union, achieving statehood on February 14, 1912. Historically part of the territory of Alta California and Nuevo México in New Spain, it became part of independent Mexico in 1821. After being defeated in the Mexican–American War, Mexico ceded much of this territory to the United States in 1848, where the area became part of the territory of New Mexico. The southernmost portion of the state was acquired in 1853 through the Gadsden Purchase.
Southern Arizona is known for its desert climate, with very hot summers and mild winters. Northern Arizona features forests of pine, Douglas fir, and spruce trees; the Colorado Plateau; mountain ranges (such as the San Francisco Mountains); as well as large, deep canyons, with much more moderate summer temperatures and significant winter snowfalls. There are ski resorts in the areas of Flagstaff, Sunrise, and Tucson. In addition to the internationally known Grand Canyon National Park, which is one of the world's seven natural wonders, there are several national forests, national parks, and national monuments.
Arizona's population and economy have grown dramatically since the 1950s because of inward migration, and the state is now a major hub of the Sun Belt. Cities such as Phoenix and Tucson have developed large, sprawling suburban areas. Many large companies, such as PetSmart and Circle K, have headquarters in the state, and Arizona is home to major universities, including the University of Arizona and Arizona State University. The state is known for a history of conservative politicians such as Barry Goldwater and John McCain, though it has become a swing state since the 1990s.
Arizona is home to a diverse population. About one-quarter of the state is made up of Indian reservations that serve as the home of 27 federally recognized Native American tribes, including the Navajo Nation, the largest in the state and the United States, with more than 300,000 citizens. Since the 1980s, the proportion of Hispanics in the state's population has grown significantly owing to migration from Mexico. A substantial portion of the population are followers of the Roman Catholic Church and the Church of Jesus Christ of Latter-day Saints.
The history of Arizona encompasses the Paleo-Indian, Archaic, Post-Archaic, Spanish, Mexican, and American periods. About 10,000 to 12,000 years ago, Paleo-Indians settled in what is now Arizona. A few thousand years ago, the Ancestral Puebloan, the Hohokam, the Mogollon and the Sinagua cultures inhabited the state. However, all of these civilizations mysteriously disappeared from the region in the 15th and 16th centuries. Today, countless ancient ruins can be found in Arizona. Arizona was part of the state of Sonora, Mexico from 1822, but the settled population was small. In 1848, under the terms of the Mexican Cession the United States took possession of Arizona above the Gila River after the Mexican War, and became part of the Territory of New Mexico. By means of the Gadsden Purchase, the United States secured the northern part of the state of Sonora, which is now Arizona south of the Gila River in 1854.
In 1863, Arizona was split off from the Territory of New Mexico to form the Arizona Territory. The remoteness of the region was eased by the arrival of railroads in 1880. Arizona became a state in 1912 but was primarily rural with an economy based on cattle, cotton, citrus, and copper. Dramatic growth came after 1945, as retirees and young families who appreciated the warm weather and low costs emigrated from the Northeast and Midwest.
In the Mexican–American War, the garrison commander avoided conflict with Lieutenant Colonel Cooke and the Mormon Battalion, withdrawing while the Americans marched through the town on their way to California. In the Treaty of Guadalupe Hidalgo (1848), Mexico ceded to the U.S. the northern 70% of modern-day Arizona above the Sonora border along the Gila River. During the California Gold Rush, an upwards of 50,000 people traveled through on the Southern Emigrant Trail pioneered by Cooke, to reach the gold fields in 1849. The Pima Villages often sold fresh food and provided relief to distressed travelers among this throng and to others in subsequent years.
Paleo-Indians settled what is now Arizona around 10,000 to 12,000 years ago. According to most archaeologists, the Paleo-Indians initially followed herds of big game—megafauna such as mammoths, mastodons, and bison—into North America. The traveling groups also collected and utilized a wide variety of smaller game animals, fish, and a wide variety of plants. These people were likely characterized by highly mobile bands of approximately 20 or 50 members of an extended family, moving from place to place as resources were depleted and additional supplies needed. Paleoindian groups were efficient hunters and created and carried a variety of tools, some highly specialized, for hunting, butchering and hide processing. These paleolithic people utilized the environment that they lived in near water sources, including rivers, swamps and marshes, which had an abundance of fish, and drew birds and game animals. Big game, including bison, mammoths and ground sloths, also were attracted to these water sources. At the latest by 9500 BCE, bands of hunters wandered as far south as Arizona, where they found a desert grassland and hunted mule deer, antelope and other small mammals.
As populations of larger game began to diminish, possibly as a result of intense hunting and rapid environmental changes, Late Paleoindian groups would come to rely more on other facets of their subsistence pattern, including increased hunting of bison, mule deer and antelope. Nets and the atlatl to hunt water fowl, ducks, small animals and antelope. Hunting was especially important in winter and spring months when plant foods were scarce.
The Archaic time frame is defined culturally as a transition from a hunting/gathering lifestyle to one involving agriculture and permanent, if only seasonally occupied, settlements. In the Southwest, the Archaic is generally dated from 8000 years ago to approximately 1800 to 2000 years ago. During this time the people of the southwest developed a variety of subsistence strategies, all using their own specific techniques. The nutritive value of weed and grass seeds was discovered and flat rocks were used to grind flour to produce gruels and breads. This use of grinding slabs in about 7500 BCE marks the beginning of the Archaic tradition. Small bands of people traveled throughout the area, gathering plants such as cactus fruits, mesquite beans, acorns, and pine nuts and annually establishing camps at collection points.
Late in the Archaic Period, corn, probably introduced into the region from central Mexico, was planted near camps with permanent water access. Distinct types of corn have been identified in the more well-watered highlands and the desert areas, which may imply local mutation or successive introduction of differing species. Emerging domesticated crops also included beans and squash.
About 3,500 years ago, climate change led to changing patterns in water sources, leading to a dramatically decreased population. However, family-based groups took shelter in south facing caves and rock overhangs within canyon walls. Occasionally, these people lived in small semisedentary hamlets in open areas. Evidence of significant occupation has been found in the northern part of Arizona.
In the Post-Archaic period, the Ancestral Puebloan, the Hohokam, the Mogollon and Sinagua cultures inhabited what is now Arizona. These cultures built structures made out of stone. Some of the structures that these cultures built are called pueblos. Pueblos are monumental structures that housed dozens to thousands of people. In some Ancestral Puebloan towns and villages, Hohokam towns and villages, Mogollon towns and villages, and Sinagua towns and villages, the pueblo housed the entire town. Surrounding the pueblos were often farms where farmers would plant and harvest crops to feed the community. Sometimes, pueblos and other buildings were built in caves in cliffs.
The Ancestral Puebloans were an ancient Pre-Columbian Native American civilization that spanned the present-day Four Corners region of the United States, comprising southeastern Utah, northeastern Arizona, northwestern New Mexico, and southwestern Colorado. The Ancestral Puebloans are believed to have developed, at least in part, from the Oshara tradition, who developed from the Picosa culture.
They lived in a range of structures that included small family pit houses, larger structures to house clans, grand pueblos, and cliff-sited dwellings for defense. The Ancestral Puebloans possessed a complex network that stretched across the Colorado Plateau linking hundreds of communities and population centers. They held a distinct knowledge of celestial sciences that found form in their architecture. The kiva, a congregational space that was used chiefly for ceremonial purposes, was an integral part of this ancient people's community structure. Some of their most impressive structures were built in what is now Arizona.
Hohokam was a Pre-Columbian culture in the North American Southwest in what is now part of Arizona, United States, and Sonora, Mexico. Hohokam practiced a specific culture, sometimes referred to as Hohokam culture, which has been distinguished by archeologists. People who practiced the culture can be called Hohokam as well, but more often, they are distinguished as Hohokam people to avoid confusion.
Most archaeologists agree that the Hohokam culture existed between c. 300 and c. 1450 CE, but cultural precursors may have been in the area as early as 300 BC. Whether Hohokam culture was unified politically remains under controversy. Hohokam culture may have just given unrelated neighboring communities common ground to help them to work together to survive their harsh desert environment.
The Mogollon culture was an ancient Pre-Columbian culture of Native American peoples from Southern New Mexico and Arizona, Northern Sonora and Chihuahua, and Western Texas. The northern part of this region is Oasisamerica, while the southern span of the Mogollon culture is known as Aridoamerica.
The Mogollon culture was one of the major prehistoric Southwestern cultural divisions of the Southwestern United States and Northern Mexico. The culture flourished from c. 200 CE, to c. 1450 CE or 1540 CE, when the Spanish arrived.
The Sinagua culture was a Pre-Columbian culture that occupied a large area in central Arizona from the Little Colorado River, near Flagstaff, to the Verde River, near Sedona, including the Verde Valley, area around San Francisco Mountain, and significant portions of the Mogollon Rim country, between approximately 500 CE and 1425 CE. Besides ceremonial kivas, their pueblos had large "community rooms" and some featured ballcourts and walled courtyards, similar to those of the Hohokam culture. Since fully developed Sinagua sites emerged in central Arizona around 500 CE, it is believed they migrated from east-central Arizona, possibly emerging from the Mogollon culture.
The history of Arizona as recorded by Europeans began in 1539 with the first documented exploration of the area by Marcos de Niza, early work expanded the following year when Francisco Vásquez de Coronado entered the area as well.
The Spanish established a few missions in southern Arizona in the 1680s by Father Eusebio Francisco Kino along the Santa Cruz River, in what was then the Pimería Alta region of Sonora. The Spanish also established presidios in Tubac and Tucson in 1752 and 1775. The area north of the Gila River was governed by the Province of Las California under the Spanish until 1804, when the Californian portion of Arizona became part of Alta California under the Spanish and Mexican governments.
In 1849, the California Gold Rush led as many as 50,000 miners to travel across the region, leading to a boom in Arizona's population. In 1850, Arizona and New Mexico formed the New Mexico Territory.
In 1853, President Franklin Pierce sent James Gadsden to Mexico City to negotiate with Santa Anna, and the United States bought the remaining southern strip area of Arizona and New Mexico in the Gadsden Purchase. A treaty was signed in Mexico in December 1853, and then, with modifications, approved by the US Senate in June 1854, setting the southern boundary of Arizona and of New Mexico.
Before 1846 the Apache raiders expelled most Mexican ranchers. One result was that large herds of wild cattle roamed southeastern Arizona. By 1850, the herds were gone, killed by Apaches, American sportsmen, contract hunting for the towns of Fronteras and Santa Cruz, and roundups to sell to hungry Mexican War soldiers, and forty-niners en route to California.
During the Civil War, on March 16, 1861, citizens in southern New Mexico Territory around Mesilla (now in New Mexico) and Tucson invited take-over by the Confederacy. They especially wanted restoration of mail service. These secessionists hoped that a Confederate Territory of Arizona (CSA) would take control, but in March 1862, Union troops from California captured the Confederate Territory of Arizona and returned it to the New Mexico Territory.
The Battle of Picacho Pass, April 15, 1862, was a battle of the Civil War fought in the CSA and one of many battles to occur in Arizona during the war among three sides—Apaches, Confederates and Union forces. In 1863, the U.S. split up New Mexico along a north–south line to create the Arizona Territory. The first government officials to arrive established the territory capital in Prescott in 1864. The capital was later moved to Tucson, back to Prescott, and then to its final location in Phoenix in a series of controversial moves as different regions of the territory gained and lost political influence with the growth and development of the territory.
In the late 19th century the Army built a series of forts to encourage the Natives to stay in their territory and to act as a buffer from the settlers. The first was Fort Defiance. It was established on September 18, 1851, by Col. Edwin V. Sumner to create a military presence in Diné bikéyah (Navajo territory). Sumner broke up the fort at Santa Fe for this purpose, creating the first military post in what is now Arizona. He left Major Electus Backus in charge. Small skirmishes were common between raiding Navajo and counter raiding citizens. In April 1860 one thousand Navajo warriors under Manuelito attacked the fort and were beaten off.
The fort was abandoned at the start of the Civil War but was reoccupied in 1863 by Colonel Kit Carson and the 1st New Mexico Infantry. Carson was tasked by Brigadier-General James H. Carleton, Commander of the Federal District of New Mexico, to kill Navajo men, destroy crops, wells, houses and livestock. These tactics forced 9000 Navajos to take the Long Walk to a reservation at Bosque Redondo, New Mexico. The Bosque was a complete failure. In 1868 the Navajo signed another treaty and were allowed to go back to part of their former territory. The returning Navajo were restocked with sheep and other livestock. Fort Defiance was the agency for the new Navajo reservation until 1936; today it provides medical services to the region.
Fort Apache was built on the Fort Apache Indian Reservation by soldiers from the 1st Cavalry and 21st Infantry in 1870. Only one small battle took place, in September 1881, with three soldiers wounded. When the reservation Indians were granted U.S. citizenship in 1924, the fort was permanently closed down. Fort Huachuca, east of Tucson, was founded in 1877 as the base for operations against Apaches and raiders from Mexico. From 1913 to 1933 the fort was the base for the "Buffalo Soldiers" of the 10th Cavalry Regiment. During World War II, the fort expanded to 25,000 soldiers, mostly in segregated all-black units. Today the fort remains in operation and houses the U.S. Army Intelligence Center and the U.S. Army Network.
The Pueblos in Arizona were relatively peaceful through the Navajo and Apache Wars. However, in June 1891, the army had to bring in troops to stop Oraibi from preventing a school from being built on their mesa.
After the Civil War, Texans brought large-scale ranching to southern Arizona. They introduced their proven range methods to the new grass country. Texas rustlers also came, and brought lawlessness. Inexperienced ranchers brought poor management, resulting in overstocking, and introduced destructive diseases. Local cattleman organizations were formed to handle these problems. The Territory experienced a cattle boom in 1873–91, as the herds were expanded from 40,000 to 1.5 million head. However, the drought of 1891–93 killed off over half the cattle and produced severe overgrazing. Efforts to restore the rangeland between 1905 and 1934 had limited success, but ranching continued on a smaller scale.
Arizona's last major drought occurred during Dust Bowl years of 1933–34. This time Washington stepped in as the Agricultural Adjustment Administration spent $100 million to buy up the starving cattle. The Taylor Grazing Act placed federal and state agencies in control of livestock numbers on public lands. Most of the land in Arizona is owned by the federal government which leased grazing land to ranchers at low cost. Ranchers invested heavily in blooded stock and equipment. James Wilson states that after 1950, higher fees and restrictions in the name of land conservation caused a sizable reduction in available grazing land. The ranchers had installed three-fifths of the fences, dikes, diversion dams, cattleguards, and other improvements, but the new rules reduced the value of that investment. In the end, Wilson believes, sportsmen and environmentalists maintained a political advantage by denouncing the ranchers as political corrupted land-grabbers who exploited the publicly owned natural resources.
On February 23, 1883, United Verde Copper Company was incorporated under New York law. The small mining camp next to the mine was given a proper name, 'Jerome.' The town was named after the family which had invested a large amount of capital. In 1885 Lewis Williams opened a copper smelter in Bisbee and the copper boom began, as the nation turned to copper wires for electricity. The arrival of railroads in the 1880s made mining even more profitable, and national corporations bought control of the mines and invested in new equipment. Mining operations flourished in numerous boom towns, such as Bisbee, Jerome, Douglas, Ajo and Miami.
Arizona's "wild west" reputation was well deserved. Tombstone was a notorious mining town that flourished longer than most, from 1877 to 1929. Silver was discovered in 1877, and by 1881 the town had a population of over 10,000. Western story tellers and Hollywood film makers made as much money in Tombstone as anyone, thanks to the arrival of Wyatt Earp and his brothers in 1879. They bought shares in the Vizina mine, water rights, and gambling concessions, but Virgil, Morgan and Wyatt were soon appointed as federal and local marshals. They killed three outlaws in the Gunfight at the O.K. Corral, the most famous gunfight of the Old West.
In the aftermath, Virgil Earp was maimed in an ambush and Morgan Earp was assassinated while playing billiards. Walter Noble Burns's novel Tombstone (1927) made Earp famous. Hollywood celebrated Earp's Tombstone days with John Ford's My Darling Clementine (1946), John Sturges's Gunfight at the O.K. Corral (1957) and Hour of the Gun (1967), Frank Perry's Doc (1971), George Cosmatos's Tombstone (1993), and Lawrence Kasdan's Wyatt Earp (1994). They solidified Earp's modern reputation as the Old West's deadliest gunman.
Jennie Bauters (1862–1905) operated brothels in the Territory from 1896 to 1905. She was an astute businesswoman with an eye for real estate appreciation, and a way with the town fathers of Jerome regarding taxes and restrictive ordinances. She was not always sitting pretty; her brothels were burned in a series of major fires that swept the business district; her girls were often drug addicts. As respectability closed in on her, in 1903 she relocated to the mining camp of Acme. In 1905, she was murdered by a man who had posed as her husband.
By 1869 Americans were reading John Wesley Powell's reports of his explorations of the Colorado River. In 1901, the Santa Fe Railroad reached Grand Canyon's South Rim. With railroad, restaurant and hotel entrepreneur Fred Harvey leading the way, large-scale tourism began that has never abated. The Grand Canyon has become an iconic symbol of the West and the nation as a whole.
The Chinese came to Arizona with the construction of the Southern Pacific Railroad in 1880. Tucson was the main railroad center and soon had a Chinatown with laundries for the general population and a rich mix of restaurants, groceries, and services for the residents. Chinese and Mexican merchants and farmers transcended racial differences to form 'guanxi,' which were relations of friendship and trust. Chinese leased land from Mexicans, operated grocery stores, and aided compatriots attempting to enter the United States from Mexico after the Mexican Revolution in 1910. Chinese merchants helped supply General John Pershing's army in its expedition against Pancho Villa. Successful Chinese in Tucson led a viable community based on social integration, friendship, and kinship.
In February 1903, U.S. Senator Hamilton Kean spoke against Arizona's statehood. He said Mormons who fled from Idaho to Mexico would return to the U.S. and mix in the politics of Arizona.
In 1912, Arizona almost entered the Union as part of New Mexico in a Republican plan to keep control of the U.S. Senate. The plan, while accepted by most in New Mexico, was rejected by most Arizonans. Progressives in Arizona favored inclusion in the state constitution of the initiative, referendum, recall, direct election of senators, woman suffrage, and other reforms. Most of these proposals were included in the constitution that was rejected by Congress.
A new constitution was offered with the problematic provisions removed. Congress then voted to approve statehood, and President Taft signed the statehood bill on February 14, 1912. State residents promptly put the provisions back in. Hispanics had little voice or power. Only one of the 53 delegates at the constitutional convention was Hispanic, and he refused to sign. In 1912 women gained suffrage in the state, eight years before the country as a whole.
Arizona's first Congressman was Carl Hayden (1877–1972). He was the son of a Yankee merchant who had moved to Tempe because he needed dry heat for his bad lungs. Carl attended Stanford University and moved up the political ladder as town councilman, county treasurer, and Maricopa County sheriff, where he nabbed Arizona's last train robbers. He also started building a coalition to develop the state's water resources, a lifelong interest. A liberal Democrat his entire career, Hayden was elected to Congress in 1912 and moved to the Senate in 1926.
Reelection followed every six years as he advanced toward the chairmanship of the powerful Appropriations Committee, which he reached in 1955. His only difficult campaign came in 1962, at age 85, when he defeated a young conservative. He retired in 1968 after a record 56 years in Congress. His great achievement was his 41-year battle to enact the Central Arizona Project that would provide water for future growth.
The Great Depression of 1929–39 hit Arizona hard. At first local, state and private relief efforts focused on charity, especially by the Community Chest and Organized Charities programs. Federal money started arriving with the Federal Emergency Relief Committee in 1930. Different agencies promoted aid to the unemployed, tuberculosis patients, transients, and illegal immigrants. The money ran out by 1931 or 1932, and conditions were bad until New Deal relief operations began on a large scale in 1933.
Construction programs were important, especially the Hoover Dam (originally called Boulder Dam), begun by President Herbert Hoover. It is a concrete arch-gravity dam in the Black Canyon of the Colorado River, on the border with Nevada. It was constructed by the Federal Bureau of Reclamation between 1931 and 1936. It operationalized a schedule of water use set by the Colorado River Compact of 1922 that gave Arizona 19% of the river's water, with 25% to Nevada and the rest to California.
Construction of military bases in Arizona was a national priority because of the state's excellent flying weather and clear skies, large amounts of unoccupied land, good railroads, cheap labor, low taxes, and its proximity to California's aviation industry. Arizona was attractive to both the military and private firms and they stayed after the war.
Fort Huachuca became one of the largest nearly-all-black Army forts, with quarters for 1,300 officers and 24,000 enlisted soldiers. The 92nd and 93rd Infantry Divisions, composed of African-American troops, trained there.
During the war, Mexican-American community organizations were very active in patriotic efforts to support American troops abroad, and made efforts to support the war effort materially and to provide moral support for the American servicemen fighting the war, especially the Mexican-American servicemen from local communities. Some of the community projects were cooperative ventures in which members of both the Mexican-American and Anglo communities participated. Most efforts made in the Mexican-American community represented localized American home front activities that were separate from the activities of the Anglo community.
Mexican-American women organized to assist their servicemen and the war effort. An underlying goal of the Spanish-American Mothers and Wives Association was the reinforcement of the woman's role in Spanish-Mexican culture. The organization raised thousands of dollars, wrote letters, and joined in numerous celebrations of their culture and their support for Mexican-American servicemen. Membership reached over 300 during the war and eventually ended its existence in 1976.
Heavy government spending during World War II revitalized the Arizona economy, which was still based on copper mining, citrus and cotton crops and cattle ranching, with a growing tourist business.
Military installations peppered the state, such as Davis-Monthan Field in Tucson, the main training center for air force bomber pilots. Two relocation camps opened for Japanese and Japanese Americans brought in from the West Coast.
After World War II the population grew rapidly, increasing sevenfold between 1950 and 2000, from 700,000 to over 5 million. Most of the growth was in the Phoenix area, with Tucson a distant second. Urban growth doomed the state's citrus industry, as the groves were turned into housing developments.
The cost of water made growing cotton less profitable, and Arizona's production steadily declined. Manufacturing employment jumped from 49,000 in 1960 to 183,000 by 1985, with half the workers in well-paid positions. High-tech firms such as Motorola, Hughes Aircraft, Goodyear Aircraft, Honeywell, and IBM had offices in the Phoenix area. By 1959, Hughes Aircraft had built advanced missiles with 5,000 workers in Tucson.
Despite being a small state, Arizona produced several national leaders for both the Republican and Democratic parties. Two Republican Senators were presidential nominees: Barry Goldwater in 1964 and John McCain in 2008; both carried Arizona but lost the national election. Senator Ernest McFarland, a Democrat, was the Majority Leader of the U.S. Senate from 1951 to 1952, and Congressman John Rhodes was the Republican Minority Leader in the House from 1973 to 1981. Democrats Bruce Babbitt (Governor 1978–87) and Morris Udall (Congressman 1961–90) were contenders for their party's presidential nominations. In 1981 Sandra Day O'Connor became the first woman on the U.S. Supreme Court; she served until 2006.
Retirement communities
Warm winters and low cost of living attracted retirees from the so-called snowbelt, who moved permanently to Arizona after 1945, bringing their pensions, Social Security, and savings with them. Real estate entrepreneurs catered to them with new communities with amenities pitched to older people, and with few facilities for children. Typically they were gated communities with controlled access and had pools, recreation centers, and golf courses.
In 1954, two developers bought 320 acres (1.3 km2) of farmland near Phoenix and opened the nation's first planned community dedicated exclusively to retirees at Youngtown. In 1960, developer Del Webb, inspired by the amenities in Florida's trailer parks, added facilities for "active adults" in his new Sun City planned community near Phoenix. In 1962 Ross Cortese opened the first of his gated Leisure Worlds. Other developers copied the popular model, and by 2000 18% of the retirees in the state lived in such "lifestyle" communities.
The issues of the fragile natural environment, compounded by questions of water shortage and distribution, led to numerous debates. The debate crossed traditional lines, so that the leading conservative, Senator Barry Goldwater, was also keenly concerned. For example, Goldwater supported the controversial Colorado River Storage Project (CRSP). He wrote:
I feel very definitely that the [Nixon] administration is absolutely correct in cracking down on companies and corporations and municipalities that continue to pollute the nation's air and water. While I am a great believer in the free competitive enterprise system and all that it entails, I am an even stronger believer in the right of our people to live in a clean and pollution-free environment. To this end, it is my belief that when pollution is found, it should be halted at the source, even if this requires stringent government action against important segments of our national economy.
Water issues were central. Agriculture consumed 89% of the state's strictly limited water supply while generating only 3% of the state's income. The Groundwater Management Act of 1980, sponsored by Governor Bruce Babbitt, raised the price of water to farmers, while cities had to reach a "safe yield" so that the groundwater usage did not exceed natural replenishment. New housing developments had to prove they had enough water for the next hundred years. Desert foliage suitable for a dry region soon replaced grass.
Cotton acreage declined dramatically, freeing up land for suburban sprawl as well as releasing large amounts of water and ending the need for expensive specialized machinery. Cotton acreage plunged from 120,000 acres in 1997 to only 40,000 acres in 2005, even as the federal treasury gave the state's farmers over $678 million in cotton subsidies. Many farmers collect the subsidies but no longer grow cotton. About 80% of the state's cotton is exported to textile factories in China and (since the passage of NAFTA) to Mexico.
Super Bowl XXX was played in Tempe in 1996 and Super Bowl XLII was held in Glendale in 2008. Super Bowl XLIX was also held in Glendale in 2015.
Illegal immigration continued to be a prime concern within the state, and in April 2010, Arizona SB1070 was passed and signed into law by Governor Jan Brewer. The measure attracted national attention as the most thorough anti-illegal immigration measure in decades within the United States.
Congresswoman Gabrielle Giffords was shot in the head during a political event in Tucson on January 8, 2011. The shooting resulted in six deaths and several injuries. Giffords survived the attack and became an advocate for gun control.
On June 30, 2013, nineteen members of the Prescott Fire Department were killed fighting the Yarnell Hill Fire. The fatalities were members of the Granite Mountain Hotshots, a hotshot crew, of whom only one survived as he was working in another location.
Border crisis: by 2019 Arizona was one of the states most affected by the border crisis, with a high number of migrant crossings and detentions.
The badge of Queensland developed from the need to include a seal or badge in the design of the state flag.
The badge was adopted as part of the state flag on 29 November 1976. It is officially described as "On a Roundel Argent a Maltese Cross Azure surmounted with a Royal Crown".
It was designed by William Hemmant, the then Queensland Colonial Secretary and Treasurer. It is not known why this was chosen as a suitable badge.
However, it is interesting to note that a Maltese Cross is the final stop on the legend band around the Great Seal of Queensland (1859). The Royal Crown also appears on this seal.
It was last altered in 1963, after Queen Elizabeth II decided to reproduce the Crown during her reign.
Description source:
View the original record at the Queensland State Archives:
The ceiling of the Hypostyle Hall at Dendera Temple is enriched with an incredible amount of figurative detail carved in low relief and painted in subtle shades against a blue background. The subjects include numerous deities and hybrid figures (some familiar, others much less so) and even astrological elements, such as recognisable figures from the zodiac.
Over the centuries the ceiling had become so darkened by dirt and soot to become heavily obscured and hard to read, and this is how I saw it for the first time in the 1990s, when many visitors probably missed it altogether. Now it has been fully cleaned and restored it shines again not only as one of the glories of the temple but one of the most remarkable surviving decorative schemes of ancient Egypt. The contrast with its previous blackened, unrestored condition is dramatic, giving an entirely different impression from our previous visit.
The Temple of Hathor at Dendera is one of Egypt's best preserved and most beautiful ancient shrines. This magnificent edifice dates to the Ptolemaic period, late in Egyptian history, though the site long had been the cult centre for the goddess Hathor for centuries before (the earliest extant remains date to c360BC but a temple is recorded here as far back as c2250BC). Most of the main building dates to the reigns of the last Cleopatras and further decoration and building work within the complex continued in the Roman period up to the reign of Trajan.
The dominant structure in the complex is the Temple of Hathor, an enormous structure with a rectangular facade punctuated by the Hathor-headed columns of the hypostyle hall within. This hall is an architectural wonder, a masterpiece of ancient Egyptian design and decoration, which covers every surface and has been recently cleaned, revealing a superb astrological ceiling in all its original vibrant colours.
Sadly there was much iconoclasm here during the early Christian period and most of the reliefs of the walls and pillars have been defaced. Worse still is the damage to the 24 Hathor-head capitals: not one of the nearly a hundred huge faces of the goddess that once smiled down on this hall has been left unblemished, most with their features cruelly chiselled away.
The main temple building is otherwise structurally intact, and extends into further halls and chapels beyond, again with much relief decoration (much of which is again defaced). In one corner is an entrance to a crypt below, an unusual feature in Egyptian temple architecture consisting of several narrow passages adorned with carved relief decoration in good condition.
There are further sanctuaries and chapels above on the roof of the temple, accessed by a decorated staircase and including the room where the famous Dendera Zodiac was formerly located (today its place in the ceiling taken by a cast of the original, now displayed in Paris). The highest part of the roof complex is no longer accessible to tourists, but I can still recall making the ascent there on our first visit in 1992.
Several other buildings surround the main temple, the most impressive of which is the mammisi or 'birth-house'. This consists of a large rectangluar hall surrounded by a colonnade near the entrance to the site and has some well preserved relief decoration on its exterior. Most of this structure dates to the Roman period, but the ruins of its predecessor built under Nectanebo II (Egypt's last native pharoah) stand nearby.
Dendera temple is one of the most rewarding in Egypt and shouldn't be missed. It is one of the most complete and evocative ancient monuments in the country and its recent restoration has revealed a surprisingly extensive amount of colour surviving within (we were amazed by the dramatic contrast with the soot-blackened ceiling we'd beheld on our previous visit in the 1990s). Despite its relative youth (in Egyptian terms at least!) it is easily one of my favourite sites in Egypt.
Parlour room - includes Bessie Smith painting by Tomata du Plenty (top left corner), Drawing by Gary Panter (below Bessie Smith), Batman & Robin vintage wood & felt cutouts, a vintage Wonderland Park metal sign, and some various artists pictures of characters from Pee Wee's Playhouse & Big Adventure and Strangers with Candy (bottom center).
13th century abbey church. Later alterations include circa 1500 tower, 1642 Bruce Vault; 1824 modifications, William Stirling and extensive restoration, 1905-6, Sir Robert Rowand Anderson. Cruciform-plan church with Bruce Vault to NE; vault to E and walled remains to W. Crenellated 4-stage tower to W. Sandstone ashlar.
Interior: timber barrel vaulted roof; metal lamp holders hang from ceiling. Organ on W wall by Norman and Beard, installed 1909. Timber pews; brass plates on pews name former heritors. Large pointed arch to N transept; clustered columns; hoodmould; roll-moulding. Stained glass window in E gable wall by A Ballantine & Son, 1905. Window in memory of Christina Wilson Rennie depicts St Mungo with Glasgow arms, St Serf and arms of Royal Burgh of Culross and Biblical figures. Remains of painted decoration to left of window. 17th century pulpit and canopy; restored 1923. 2-bay arcade between S transept and E chapel; central chamfered column. Timber, barrel vaulted ceiling.
For 14 days, Paramahamsa Vishwananda led 70 of His Shree Peetha Nilaya residents on a pilgrimage through South India. The group travelled to nine cities to explore the roots of our Sri Sampradaya and some of the history of Lord Rama on His trek to rescue His beloved Sita. The group enjoyed more than 30 temples, many of which are Divya Desams: the 108 Vishnu temples that are mentioned in the poetic works of the Tamil Alvars (saints).
As always, traveling with the Master includes delights and surprises along the way. This time, the group was blessed to encounter three saints and enjoy the hospitality of several other gurus and acharyas. A highlight of the trip was a ritual bath in Adhi Setu (the ocean near Rameswara) and the blessing of being bathed by the sacred waters of 22 sacred tirthams (ponds) to absolve all sins. The group also enjoyed a swim in the sea where Lord Rama’s monkey army built the floating bridge to Lanka.
paramahamsavishwananda.com
bhaktimarga.org
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
This poster created in 2009 includes a print of the last map of Republic of Vietnam before the Vietnam War ended in 1975 and a portrait of the first president of the first Republic of Vietnam, NGO DINH DIEM.
With a reputation of honesty, integrity and as a patriot, his best effort and full support has lead to the successful settlement of more than one million Northern Vietnamese who have migrated to South Vietnam in 1954 to escape the Communist Regime. However, after 21 years living in South Vietnam with freedom and working hard for a prosperity life, they had to abandon everything to escape the second time with their children and grandchildren as Communists took control over S. Vietnam in 1975. They are now residing in several countries on all over the world such as the United States, Canada, Europe and Australia, etc… in remembrance of President NGO DINH DIEM as their savior.
(Please check on Ebay and select VNCH)
Includes a promo for her new movie, “Niagara” (20th Century-Fox, 1953).
Movie trailer: www.youtube.com/watch?v=xvGdBoFzjAo
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
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.
Also includes the forthcoming Fixtures for Manchester City, Salford & Broughton Rangers Rugby League Clubs. What is particularly interesting is the fact all the results from 1912-13 have been printed too.
The actual card measures just 6 x 11cm when closed.
Jack-O-Lantern Spectacular from Jackolantern Spectacular
“…one of the most brilliant displays of holiday artistry anywhere in the U.S.”
Presented by Citizens Bank ©
The acclaimed Jack-O-Lantern Spectacular presented by Citizens Bank will return this October 3 through November 3 with a breathtaking display of 5,000 illuminated jack-o-lanterns representing regions of the U.S.A.
Jack-O-Lantern Spectacular 2013: Pumpkinville USA
The 2013 presentation, titled Pumpkinville, USA, will delight new and repeat visitors alike. Intricate pumpkin art will represent regions of the country, highlighting their unique attributes and as well as historical and cultural landmarks of each of the states. Regions will include Heartland of America, Pacific Coast, Mid-Atlantic, New England, and Appalachian Highlands. One scene will commemorate the 150th anniversary of the Emancipation Proclamation and another will honor President Kennedy.
Show standards will return, such as the childhood favorites and Halloween scenes, and the show’s dazzling grand finale, the Laughing Tree. Hundreds of glowing jack-o-lanterns on the ground and high up in the trees surround carved giants (well over 1,000 pounds) amid spooky fog and music, punctuated by its iconic catchy beat and laughter.
Crews from Passion for Pumpkins, the show creators, will spend several weeks leading up to the event creating the magical display. Then, they will work nearly around the clock throughout the 32 night run to keep the show fresh for visitors.
The Details
When: October 3 - November 3, 6pm - 11pm, with the last admission at 10pm. On Saturdays, admission will be extended an hour, with the last admission at 11pm, and the trail closing at 12am.
Pricing: Monday - Thursday are $12 adults, $10 seniors and $9 for children ages 3 – 12, with children under three admitted for free. Admission prices on Friday - Sunday are $15 adults, $13 seniors and $12 children ages 3 – 12; children two and under are admitted for free.
In the Press:
The Jack-O-Lantern Spectacular has been featured in print, television, and digital media including the Travel Channel’s “Halloween Crazier” (2012), Martha Stewart Living (2012), Rachel Ray (2010), USA Today, CNN.com, National Geographic World, Yankee Magazine, and more. Selected by the U.S. Library of Congress as a national “local legacy,” it was also featured on abc.com as one of the “top 11 Spookiest Destinations” in the country, as well as billed as a “top 100 event” by the American Bus Association. The Boston Globe called the presentation “awe-inspiring.”
Info on the artists: www.facebook.com/pages/The-Pumpkin-Show/143830685658132
The Canyon Diablo meteorites include the many fragments of the asteroid that created the Barringer Crater (Meteor Crater), Arizona, USA. Meteorites have been found around the crater rim, and are named for nearby Canyon Diablo, which lies about three to four miles west of the crater.
The asteroid fell about 50,000 years ago. The meteorites have been known and collected since the mid-19th century and were known and used by pre-historic Native Americans. The Barringer Crater, from the late 19th to the mid-20th century, was the center of a long dispute over the origin of craters that showed little evidence of volcanism. That debate was settled in the 1950s thanks to Eugene Shoemaker's study of the crater.
In 1953, Clair Cameron Patterson measured ratios of the lead isotopes in samples of the meteorite. The result permitted a refinement of the estimate of the age of the Earth to 4.550 billion years (± 70 million years).
Pag island - Croatia.
We were staying in a house in the middle of nowhere between mountains and sheeps which includes no clubs.
A good thing after more than 4 months of night life and we knew it was going to start again for the last days.
But finally we decided to try one in Novelia, a few kilometers from the house. We were ready to sleep in the cars but we needed something for the before party.
Natalia had the idea to prepare a giant Caïpirinha for everyone.
We were carrying the precious liquid in a empty 5 liters bottle of water (and I was holding it in the street ...).
We drunk this and another things outside on a little square in the front of the club.
We finally entered, I went back a lot of time to go to the sandwich place next door to buy a bottle of Heineken each time.
Croatia is probably the place where I drunk the most of that beer. In France I considered it as a bad one but compared to the Croatian it's tasty.
it was easy the club was like a bar with a terasse, completly opened so I was coming back inside with my beer bought for a cheaper price.
After a few the waiter was not even asking about my order and was opening the fridge directly.
We had some fun there, running away from strange guys, something we did untill the end but not before extorting 2 cigarettes from a drunk Swiss guy.
The plan was to go to the cars to take the blankets and go to the beach to sleep before being able to drive.
On our way we found some mattress on the streets and thought that it was just a perfect gift, big mistake.
Going to the beach we met a police guy who asked for our ID's and if we were about to go sleeping on the beach ...
Nooo, I didn't have my ID, Caroline shew her student card and Renato saved us showing his passport and help us lying.
We had to split because we were 2 cars, we let the mattress next to the car (very smart) and slept inside. Paul in the trunk !
When I woke up I just saw the mountains, felt the sun and wondered where I was, Paul was driving and we were almost arrived ...
Later I learnt that the other group had to sleep outside for a moment because teh policemen were following them. Also the story tells that the Brasilians freaked out about the police that's why we came back so early on the morning !
News Release
For Immediate Release
Contact: Walter Gallas, 504-400-3017 or Sandra Stokes, 225-445-3800
41 ORGANIZATIONS CALL ON GOVERNOR AND CITY LEADERS FOR OPEN PROCESS IN DECISION-MAKING FOR MAJOR HOSPITALS
They ask Gov. Jindal for cost-benefit analysis of two competing LSU plans, and ask City Council and Planning Commission to include hospitals in the New Orleans master plan.
New Orleans, La. (Wednesday, March 25, 2009)—With the debate over locating new LSU and VA hospitals in Mid-City continuing, 41 local and national organizations—including a diverse range of community groups, professional organizations and planning associations—are asking state and city leaders to engage the public more directly in the search for a solution.
At a press conference held today, the organizations asked Gov. Jindal to commission an independent, third-party comprehensive cost-benefit analysis of the two LSU hospital plans--proposed new construction in Lower Mid-City and an alternative proposal to gut and rebuild a new 21st century hospital inside the shell of Charity Hospital. The organizations argue that a rigorous, side-by-side financial analysis will both clear up contradictory claims about construction costs of the two plans and will also measure the impact of different timelines on job creation, related economic development and health care delivery to the community.
In addition, the groups called on the City Council and the City Planning Commission to hold public hearings to receive information about the hospital designs and plans for a biomedical research district, and to give members of the public their first City-Hall-sponsored opportunity to respond to the plans. The groups want the hearings to be part of a process in which the council and planning commission take responsibility for making sure that the locations and designs for the huge hospital complex are best for the citizens, neighborhoods and the medical industry.
A third recommendation by the groups is to include the hospitals and the new biosciences economic development district in the city’s new master planning process. Goody Clancy, the city’s planning contractor, has stated that the Planning Commission excluded the hospitals and medical district from the scope of the master plan, which was released Friday in draft form.
“Despite the profound and lasting impact these projects will have on the city of New Orleans, the City Council and the City Planning Commission have been sitting on the sidelines of the debate, doing nothing, and the people of New Orleans have been kept largely in the dark,” said William Borah, New Orleans land use attorney. “This decision is far too important to be made in a backroom deal, without citizen input. This coalition is calling for a more transparent, open decision making process—one that has citizens at the table to help decide which hospital plan is in the best long-term interests of the people of New Orleans.”
Louisiana State University’s proposed $1.2 billion teaching hospital and medical center and a new $600-plus million hospital for the Department of Veterans Affairs constitute the largest single economic-development project in the city’s history. LSU and VA propose to locate the hospitals in a 70-acre section of the Mid-City neighborhood, after removing residents and small businesses from hundreds of buildings, many of them historic structures. The LSU plan for moving the hospitals to Mid-City would also affect the Central Business District, since the university proposes to abandon the landmark Charity Hospital building. A plan by RMJM Hillier proposes reusing the shell of the Charity building to house the state-of-the-art hospital that would serve as the core of LSU’s academic medical center, an approach the nationally-recognized architects say will produce a world-class hospital with savings of hundreds of millions of dollars over new construction and will be completed at least two years sooner.
Last week at the Senate District 9 Health Care Reform Forum, Louisiana Secretary of Health and Hospitals Alan Levine—the state’s point person on the hospital issue—said that no final decisions have been made and that both the LSU and the RMJM Hillier approaches are still on the table.
"Every neighborhood in New Orleans should be concerned that the plans for the replacement of Charity and the VA hospitals are not a part of the city's master planning process which is going on right now," said Charles E. Allen, III, president of the Holy Cross Neighborhood Association. "What is happening in Lower Mid-City could happen in any neighborhood of the city. We need to make sure that City Planning and the City Council insist that the process applies to our entire city. We can't leave anything out."
“Health care is in critical condition here in New Orleans,” said Dr. Sissy Sartor. “I am appealing to Governor Jindal to come forward and show the citizens of New Orleans and of the state that he is serious about returning health care to our city and that he will do it in a fiscally responsible way. The governor has it in his power to order a cost-benefit analysis that would answer the questions about alternative plans for rebuilding the LSU medical center.”
“At this point, what we need is a clear factual basis from which a decision can be reached,” said Sandra Stokes, Executive Vice Chair of the Foundation for Historical Louisiana “We need to move forward, and the best way to do that is for the state to conduct an independent, side-by-side analysis of the two plans. That process would provide answers to fundamental questions of time, efficiency and cost. Which plan would provide 21st century medical care faster? Which would cost less? We need an independent voice to provide answers to these basic questions.”
ORGANIZATIONS IN THE COALITION ARE CALLING FOR:
1.Governor Jindal to order an independent, comprehensive cost-benefit analysis of the two hospital plans.
2.The City Planning Commission and the City Council to hold public hearings on these critical planning issues.
3.The City Planning Commission and the City Council to include the hospitals in the current master-planning process.
●American Planning Association
●Broadmoor Improvement Association
●Charity Hospital School of Nursing Alumni Association
●Foundation for Historical Louisiana
●New Orleans Committee to Reopen Charity Hospital
●Coliseum Square Association
●Doctors for Charity Hospital
●National Trust for Historic Preservation
●Squandered Heritage
●Faubourg Marigny Improvement Association
●Smart Growth for Louisiana
●Preservation Resource Center
●Louisiana ACORN
●Faubourg St. John Neighborhood Association
●Louisiana Landmarks Society
●GNO Affordable Housing Action Center
●Holy Cross Neighborhood Association
●New Creation Christian Church
●Louisiana Trust for Historic Preservation
●Lower Mid-City Residents and Business Owners Affected by the LSU/VA Hospitals
●The Renaissance Project
●Vieux Carré Property Owners, Residents and Associates
●Southern Christian Leadership Conference Louisiana Women’s Division
●French Quarter Citizens, Inc.
●Lantern Light Inc.
●Irish Channel Neighborhood Association
●Louisiana Justice Institute
●Lafayette Square Association
●Lower Ninth Ward Center for Sustainable Engagement and Development
●Mid-City Neighborhood Organization
●New Orleans Pax Christi
●Partners for Livable Communities
●C3/Hands Off Iberville
●Phoenix of New Orleans
●Restaurant Opportunity Center of New Orleans
●Social Justice Committee of the First Unitarian Universalist Church
●The Townscape Institute
●The Urban Conservancy
●United Teachers of New Orleans
●Advocates for Environmental Human Rights
●Historic Faubourg Treme Association
Bedding to include sewing the brown floral comforter, duvet, & pillows. I also made the afghan throw blanket using a fuzzy knit neck scarf, and the bed using foam, fabric, a glue gun, wooden beads glued over toothpicks for the legs, 😊
Thursday at the Goodwood Festival of Speed. A flat display from the Red Arrows on Thursday. Friday's display was cancelled due to the rain/low cloud.
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.
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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)
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I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
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►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.
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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
U.S. Capitol rotunda restoration work includes removing hazardous materials (such as lead paint), restoring ironwork, upgrading electrical and mechanical systems, installing new lighting and repainting to historically appropriate colors will begin. Full project details are at www.aoc.gov/rotunda.
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This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.