Kochi is a city in the Indian state of Kerala. Kochi is located in the district of Ernakulam. Old Kochi loosely refers to a group of islands including Willingdon Island, Fort Kochi and Mattancherry. Today Kochi includes Ernakulam, old parts of Kochi, Kumbalangi, and outlying islands.

 

For many centuries up to and during the British Raj, the city of Kochi was the seat of the eponymous princely state. Kochi traces its history back many centuries, when it was the centre of Indian spice trade for hundreds of years, and was known to the Yavanas (Greeks and Romans), Jews, Arabs and Chinese since ancient times. Kochi earned a significant position on the world trading map after the port at Kodungallur (Cranganore) was destroyed by massive flooding of the river Periyar in 1341.

 

The earliest documented references to Kochi occur in the books written by Chinese voyager Ma Huan, during his visit to Kochi in the 15th century as part of the treasure fleet of Admiral Zheng He. There are also references to Kochi in accounts written by Italian traveller Niccolò Da Conti, who visited Cochin in 1440 . Today, Kochi is the commercial hub of Kerala, and one of the fastest growing second-tier metros in India.

 

PREHISTORY

Not much is known about the prehistory of Kochi. There has been no clear evidence of Stone Age inhabitation. Quite ironically, Kochi forms the central part of the Megalithic belt of Kerala. The only trace of prehistoric life in the region is the menhir found in Tripunithura.

Princely rule

 

PRINCELY RULE

The history of Kochi prior to the Portuguese is not well documented. Though places north and south of Kochi are mentioned in quite detail in many accounts by ancient travellers, even a mention of Kochi is absent prior to the arrival of the Portuguese. Kochi's prominence as a trading port grew after the collapse of the port at Kodungallur in 1341 AD.

 

The Cochin State came into existence in 1102 AD after the breaking up of the Kulasekhara empire.

 

FOREIGN RULE

Kochi was under the rule of many foreign empires, during which the Raja of Kochi still remained the titular head.

 

PORTUGUESE PERIOD (1503-1663)

Kochi was the scene of the first European settlement in India. In the year 1500, Portuguese Admiral Pedro Álvares Cabral, landed at Cochin after being repelled from Calicut. The King of rival Kochi welcomed his guests and a treaty of friendship was signed. Promising his support in the conquest of Calicut, the admiral coaxed the king into allowing them to build a factory at Cochin. Assured by the support, the king called war with the Zamorins of Calicut. However, the admiral retreated in panic on seeing the powers of the Zamorin. The Zamorins, on the other hand, eager to win the favor of the Portuguese, left without a war. Another captain, João da Nova was sent in place of Cabral. However, he too faltered at the sight of the Zamorin. The consecutive retreats made the King of Portugal indignant. The king sent Vasco Da Gama, who bombed Calicut and destroyed the Arab trading posts. This invited the anger of the Zamorin, who declared a war against the Kochi Raja.

 

The war between Calicut and Cochin began on 1 March 1503. However, the oncoming monsoons and the arrival of a small Portuguese fleet under Francisco and Afonso de Albuquerque alarmed the Zamorin, and he called back his army. The Zamorin resorted to a retreat also because the revered festival of Onam was near, and the Zamorin intended to keep the auspicious day holy. This led to a triumph for the king of Kochi, who was later re-established in the possession of his kingdom. However, much of the kingdom was burnt and destroyed by the Zamorins.

 

After securing the king in his throne, the Portuguese got permission to build a fort – Fort Kochi (Fort Emmanuel) (after the reigning king of Portugal) - surrounding the Portuguese factory, in order to protect it from any further attacks. The entire work was commissioned by the Cochin Raja, who supplied workers and material. The Raja continued to rule with the help of the Portuguese. Meanwhile, the Portuguese secretly tried to enter into an alliance with the Zamorins. A few later attempts by the Zamorin at conquering the Kochi port was thwarted by the Cochin Raja with the help of the Portuguese. Slowly, the Portuguese armory at Kochi was increased, with the presumed notion of helping the raja protect Kochi. However, the measured led to decrease in the power of the Cochin Raja, and an increase in the Portuguese influence. From 1503 to 1663, Kochi was ruled by Portugal through the namesake Cochin Raja. Kochi remained the capital of Portuguese India till 1510. In 1530, Saint Francis Xavier arrived and founded a Christian mission. This Portuguese period was difficult for the Jews installed in the region, since the Inquisition was active in Portuguese India. Kochi hosted the grave of Vasco da Gama, the Portuguese viceroy, who was buried at St. Francis Church until his remains were returned to Portugal in 1539. Soon after the time of Albuquerque, the Portuguese rule in Kerala declined. The failure is attributed to several factors like intermarriages, forcible conversions, religious persecution etc.

 

DUTCH PERIOD (1663-1773)

The Portuguese rule was followed by that of the Dutch, who had by then conquered Quilon, after various encounters with the Portuguese and their allies. Discontented members of the Cochin Royal family called on the assistance of the Dutch for help in overthrowing the Cochin Raja. The Dutch successfully landed at Njarakal and headed on to capture the fort at Pallippuram, which they handed over to the Zamorin.

 

MYSORE INVASION

The 1773 conquest of the Mysore King Hyder Ali in the Malabar region descended to Kochi. The Kochi Raja had to pay a subsidy of one hundred thousand of Ikkeri Pagodas (equalling 400,000 modern rupees). Later on, in 1776, Haider captured Trichur, which was under the Kingdom of Kochi. Thus, the Raja was forced to become a tributary of Mysore and to pay a nuzzar of 100,000 of pagodas and 4 elephants and annual tribute of 30,000 pagodas. The hereditary Prime Ministership of Cochin came to an end during this period.

 

BRITISH PERIOD (1814–1947)

In 1814 according to the Anglo-Dutch Treaty, the islands of Kochi, including Fort Kochi and its territory were ceded to the United Kingdom in exchange for the island of Banca. Even prior to the signing of the treaty, there are evidence of English residents in Kochi. Towards the early 20th century, trade at the port had increased substantially, and the need to develop the port was greatly felt. Harbour Engineer Robert Bristow, was thus brought to Cochin in 1920 under the direction of Lord Willingdon, then the Governor of Madras. In a span of 21 years, he had transformed Cochin as the safest harbour in the peninsula, where ships berthed alongside the newly reclaimed inner harbour equipped with a long array of steam cranes. Meanwhile, in 1866, Fort Cochin was made a municipality, and its first Municipal Council election to a board of 18 members was conducted in 1883. The Maharajah of Cochin, in 1896 initiated local administration, by forming town councils in Mattancherry and Ernakulam. In 1925, Kochi legislative assembly was constituted due to public pressure on the state. The assembly consisted of 45 members, 10 of who were officially nominated. Thottakkattu Madhaviamma became the first woman to be a member of any legislature in India.

 

POST INDEPENDENCE ERA

In 1947, India gained independence from the British colonial rule. Cochin was the first princely state to join the Indian Union willingly. Post independence, E. Ikkanda Warrier became the first Prime Minister of Kochi. K. P. Madhavan Nair, P.T Jacob, C. Achutha Menon, Panampilly Govinda Menon were few of the other stalwarts who were in the forefront of the democratic movements. Then in 1949, Travancore-Cochin state came into being by the merger of Cochin and Travancore, with Parur T. K. Narayana Pillai as the first chief minister. Travancore-Cochin, was in turn merged with the Malabar district of the Madras State. Finally, the Government of India's 1 November 1956 States Reorganisation Act inaugurated a new state – Kerala – incorporating Travancore-Cochin, Malabar District, and the taluk of Kasargod, South Kanara. On 9 July 1960, the Mattancherry council passed a resolution that was forwarded to the government, requesting the formation of a Municipal Corporation by combining the existing municipalities of Fort Kochi, Mattancherry and Ernakulam. The proposal was condemned by the Fort Kochi municipality. However, the Ernakulam municipality welcomed the proposal, suggesting the inclusion of more suburban areas in the amalgamated Corporation. Major Balagangadhara Menon, the then Director of Local Bodies was appointed by the government to study the feasibility of the suggested merger. And based on the report submitted by him, the Kerala Legislative Assembly approved the formation of the Corporation. Thus, on 1 November 1967, exactly 11 years since the conception of the state of Kerala, the corporation of Cochin came into existence, by the merger of the municipalities of Ernakulam, Mattancherry and Fort Kochi, along with that of the Willingdon Island and four panchayats viz. Palluruthy, Vennala, Vyttila and Edappally and the small islands of Gundu and Ramanthuruth.

 

WIKIPEDIA

Includes chairs with integrated plumber's crack!

The Dinaric Alps also Dinarides, are a mountain range in Southern and Southcentral Europe, separating the continental Balkan Peninsula from the Adriatic Sea. They stretch from Italy in the northwest through Slovenia, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, and Kosovo to Albania in the southeast.

 

The Dinaric Alps extend for approximately 645 kilometres (401 mi) along the western Balkan Peninsula from the Julian Alps of the northeast Italy, downwards to the Šar and Korab massif, where their direction changes. The Accursed Mountains are the highest section of the entire Dinaric Alps; this section stretches from Albania to Kosovo and eastern Montenegro. Maja Jezercë, standing at 2,694 metres (8,839 ft) above the Adriatic, is the highest peak and is located in Albania.

 

The Dinaric Alps are one of the most rugged and extensive mountainous areas of Europe, alongside the Caucasus Mountains, Alps, Pyrenees, Carpathian Mountains and Scandinavian Mountains.[citation needed] They are formed largely of Mesozoic and Cenozoic sedimentary rocks of dolomite, limestone, sandstone and conglomerates formed by seas and lakes that once covered the area. During the Alpine earth movements that occurred 50 to 100 million years ago, immense lateral pressures folded and overthrust the rocks in a great arc around the old rigid block of the northeast. The main tectonic phase of the orogenesis in the area of the Dinaric Karst took place in Cenozoic Era (Paleogene) as a result of the Adriatic Microplate (Adria) collision with Europe, and the process is still active. The Dinaric Alps were thrown up in more or less parallel ranges, stretching like necklaces from the Julian Alps as far as northern Albania and Kosovo, where the mountainous terrain subsides to make way for the waters of the Drin River and the plains of Kosovo.

Includes fender mount, and light mount underneath for a generator light, with internally routed wire.

Includes your beautiful unique stone, a couple of seats on the patio, the Japanese Maple 'autumn Moon' and a stepping stone path through the plant bed out to the lawn.

Every year Tewkesbury hosts Europe’s largest medieval festival which includes the re-enactment of the battle. We attended on the Saturday in July 2011, with mixed weather but some very fine displays. The battle of Tewkesbury took place on May 4th 1471 between the royal houses of York, The White Rose, and Lancaster, The Red Rose. It started because Henry VI was considered insane and the country was without a strong leader. Edward of York, the most able leader left, was declared King in 1461. He had Henry locked in the tower of London and his wife Margaret of Anjou fled to France with their son also called Edward. When he reached 18 she decided to return to England and re-claim the throne for him. She landed at Weymouth on April 14, 1471, and set off for Wales, where Jasper Tudor awaited with re-enforcements for her army. Gathering supporters as they went, they headed for Gloucester to cross the Severn, only to find the city locked against them, by King Edward's orders. They headed for the next crossing point, Tewkesbury, but found that Edward's army was so close behind they had to stand and fight, rather than cross. Exhausted and outnumbered battle ensued but they were easily defeated, and so many of them were killed trying to get to the river that the field they ran through is still known today as Bloody Meadow. Margaret fled the scene with some of her ladies and was later found in a priory at Little Malvern. Prince Edward was killed either during the battle or just afterwards and he is interned in Tewkesbury Abbey. A brass plaque in the choir marks his last resting place, directly beneath a ceiling boss depicting the Yorkist badge.

Rental includes a GPS guided voice narration. Also in San Francisco. Top Speed = 30 mph; Weight = 380 lbs.; Width = 51"; Length = 92"; Fuel Tank = 1.5 gallons; Motor = 49 cc, 2 stroke 2 HP; Body = Fiberglass / Gel Coat.

Hindu deities are the gods and goddesses in Hinduism. The terms and epithets found in Indian culture, that are translated as deity, varies with the text and diverse traditions within Hinduism, and include Deva, Devi, Ishvara, Bhagavan and Bhagavathi.[1][2][note 1]

 

The deities of Hinduism have evolved from Vedic era (2nd millennium BCE) through medieval era (1st millennium CE), regionally within India and in southeast Asia, and across Hinduism's diverse traditions.[3][4] The Hindu deity concept varies from a personal god as in Yoga school of Hindu philosophy,[5][6] to 33 Vedic deities,[7] to hundreds of Puranic deities, to millions of deities in Tantra traditions of Hinduism.[8] Illustrations of major deities include Vishnu, Sri (Lakshmi), Shiva, Parvati (Durga), Brahma and Saraswati. These deities have distinct and complex personalities, yet often viewed as aspects of the same Ultimate Reality called Brahman.[9][note 2] From ancient times, the idea of equivalence has been cherished in Hinduism, in its texts and in early 1st millennium sculpture with concepts such as Harihara (half Shiva, half Vishnu),[10] Ardhanarishvara (half Shiva, half Parvati) or Vaikuntha Kamalaja (half Vishnu, half Lakshmi),[11] with mythologies and temples that feature them together, declaring they are the same.[12][13][14] Major deities have inspired their own Hindu traditions, such as Vaishnavism, Shaivism and Shaktism, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[15][16][17] Some Hindu traditions such as Smartism from mid 1st millennium CE, have included multiple major deities as henotheistic manifestations of Saguna Brahman, and as a means to realizing Nirguna Brahman.[18][19][20]

 

Hindu deities are represented with various icons and anicons, in paintings and sculptures, called Murtis and Pratimas.[21][22][23] Some Hindu traditions, such as ancient Charvakas rejected all deities and concept of god or goddess,[24][25][26] while 19th-century British colonial era movements such as the Arya Samaj and Brahmo Samaj rejected deities and adopted monotheistic concepts similar to Abrahamic religions.[27][28] Hindu deities have been adopted in other religions such as Jainism,[29] and in regions outside India such as predominantly Buddhist Thailand and Japan where they continue to be revered in regional temples or arts.[30][31][32]

 

In ancient and medieval era texts of Hinduism, the human body is described as a temple,[33][34] and deities are described to be parts residing within it,[35][36] while the Brahman (Absolute Reality, God)[18][37] is described to be the same, or of similar nature, as the Atman (self, soul), which Hindus believe is eternal and within every living being.[38][39][40] Deities in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41][42][43]

Deities in Hinduism are referred to as Deva (masculine) and Devi (feminine).[44][45][46] The root of these terms mean "heavenly, divine, anything of excellence".[47] According to Douglas Harper, the etymological roots of Deva mean "a shining one," from *div- "to shine," and it is a cognate with Greek dios "divine" and Zeus, and Latin deus (Old Latin deivos).[48]

 

In the earliest Vedic literature, all supernatural beings are called Asuras.[49][50] By the late Vedic period (~500 BCE), benevolent supernatural beings are referred to as Deva-Asuras. In post-Vedic texts, such as the Puranas and the Itihasas of Hinduism, the Devas represent the good, and the Asuras the bad.[3][4] In some medieval Indian literature, Devas are also referred to as Suras and contrasted with their equally powerful, but malevolent half-brothers referred to as the Asuras.[51]

 

Hindu deities are part of Indian mythology, both Devas and Devis feature in one of many cosmological theories in Hinduism.[52][53]

 

Characteristics of Vedic era deities[edit]

In Vedic literature, Devas and Devis represent the forces of nature and some represent moral values (such as the Adityas, Varuna, and Mitra), each symbolizing the epitome of a specialized knowledge, creative energy, exalted and magical powers (Siddhis).[54][55]

The most referred to Devas in the Rig Veda are Indra, Agni (fire) and Soma, with "fire deity" called the friend of all humanity, it and Soma being the two celebrated in a yajna fire ritual that marks major Hindu ceremonies. Savitr, Vishnu, Rudra (later given the exclusive epithet of Shiva), and Prajapati (later Brahma) are gods and hence Devas.[30]

 

The Vedas describes a number of significant Devis such as Ushas (dawn), Prithvi (earth), Aditi (cosmic moral order), Saraswati (river, knowledge), Vāc (sound), Nirṛti (destruction), Ratri (night), Aranyani (forest), and bounty goddesses such as Dinsana, Raka, Puramdhi, Parendi, Bharati, Mahi among others are mentioned in the Rigveda.[58] Sri, also called Lakshmi, appears in late Vedic texts dated to be pre-Buddhist, but verses dedicated to her do not suggest that her characteristics were fully developed in the Vedic era.[59] All gods and goddesses are distinguished in the Vedic times, but in the post-Vedic texts (~500 BCE to 200 CE), and particularly in the early medieval era literature, they are ultimately seen as aspects or manifestations of one Brahman, the Supreme power.[59][60]

 

Ananda Coomaraswamy states that Devas and Asuras in the Vedic lore are similar to Angels-Theoi-Gods and Titans of Greek mythology, both are powerful but have different orientations and inclinations, the Devas representing the powers of Light and the Asuras representing the powers of Darkness in Hindu mythology.[61][62] According to Coomaraswamy's interpretation of Devas and Asuras, both these natures exist in each human being, the tyrant and the angel is within each being, the best and the worst within each person struggles before choices and one's own nature, and the Hindu formulation of Devas and Asuras is an eternal dance between these within each person.[63][64]

 

The Devas and Asuras, Angels and Titans, powers of Light and powers of Darkness in Rigveda, although distinct and opposite in operation, are in essence consubstantial, their distinction being a matter not of essence but of orientation, revolution or transformation. In this case, the Titan is potentially an Angel, the Angel still by nature a Titan; the Darkness in actu is Light, the Light in potentia Darkness; whence the designations Asura and Deva may be applied to one and the same Person according to the mode of operation, as in Rigveda 1.163.3, "Trita art thou (Agni) by interior operation".

 

— Ananda Coomaraswamy, Journal of the American Oriental Society[65]

Characteristics of medieval era deities[edit]

In the Puranas and the Itihasas with the embedded Bhagavad Gita, the Devas represent the good, and the Asuras the bad.[3][4] According to the Bhagavad Gita (16.6-16.7), all beings in the universe have both the divine qualities (daivi sampad) and the demonic qualities (asuri sampad) within each.[4][66] The sixteenth chapter of the Bhagavad Gita states that pure god-like saints are rare and pure demon-like evil are rare among human beings, and the bulk of humanity is multi-charactered with a few or many faults.[4] According to Jeaneane Fowler, the Gita states that desires, aversions, greed, needs, emotions in various forms "are facets of ordinary lives", and it is only when they turn to lust, hate, cravings, arrogance, conceit, anger, harshness, hypocrisy, violence, cruelty and such negativity- and destruction-inclined that natural human inclinations metamorphose into something demonic (Asura).[4][66]

The Epics and medieval era texts, particularly the Puranas, developed extensive and richly varying mythologies associated with Hindu deities, including their genealogies.[67][68][69] Several of the Purana texts are named after major Hindu deities such as Vishnu, Shiva and Devi.[67] Other texts and commentators such as Adi Shankara explain that Hindu deities live or rule over the cosmic body as well in the temple of human body.[33][70] They remark that the Sun deity is the giver of vision, the Vayu deity the nose, the Prajapati the sexual organs, the Lokapalas (directions) are the ears, moon deity the mind, Mitra deity is the inward breath, Varuna deity is the outward breath, Indra deity the arms, Brhaspati the speech, Vishnu whose stride is great is the feet, and Maya is the smile.[70]

 

Symbolism[edit]

Edelmann states that gods and anti-gods of Hinduism are symbolism for spiritual concepts. For example, god Indra (a Deva) and the antigod Virocana (an Asura) question a sage for insights into the knowledge of the self.[71] Virocana leaves with the first given answer, believing now he can use the knowledge as a weapon. In contrast, Indra keeps pressing the sage, churning the ideas, and learning about means to inner happiness and power. Edelmann suggests that the Deva-Asura dichotomies in Hindu mythology may be seen as "narrative depictions of tendencies within our selves".[71] Hindu deities in Vedic era, states Mahoney, are those artists with "powerfully inward transformative, effective and creative mental powers".[72]

 

In Hindu mythology, everyone starts as an Asura, born of the same father. "Asuras who remain Asura" share the character of powerful beings craving for more power, more wealth, ego, anger, unprincipled nature, force and violence.[73][74] The "Asuras who become Devas" in contrast are driven by an inner voice, seek understanding and meaning, prefer moderation, principled behavior, aligned with Ṛta and Dharma, knowledge and harmony.[73][74][75]

 

The god (Deva) and antigod (Asura), states Edelmann, are also symbolically the contradictory forces that motivate each individual and people, and thus Deva-Asura dichotomy is a spiritual concept rather than mere genealogical category or species of being.[76] In the Bhāgavata Purana, saints and gods are born in families of Asuras, such as Mahabali and Prahlada, conveying the symbolism that motivations, beliefs and actions rather than one's birth and family circumstances define whether one is Deva-like or Asura-like.[76]

Another Hindu term that is sometimes translated as deity is Ishvara, or alternatively various deities are described, state Sorajjakool et al., as "the personifications of various aspects of one and the same Ishvara".[77] The term Ishvara has a wide range of meanings that depend on the era and the school of Hinduism.[78][79][80] In ancient texts of Indian philosophy, Ishvara means supreme soul, Brahman (Highest Reality), ruler, king or husband depending on the context.[78] In medieval era texts, Ishvara means God, Supreme Being, personal god, or special Self depending on the school of Hinduism.[2][80][81]

 

Among the six systems of Hindu philosophy, Samkhya and Mimamsa do not consider the concept of Ishvara, i.e., a supreme being, relevant. Yoga, Vaisheshika, Vedanta and Nyaya schools of Hinduism discuss Ishvara, but assign different meanings.

 

Early Nyaya school scholars considered the hypothesis of a deity as a creator God with the power to grant blessings, boons and fruits; but these early Nyaya scholars then rejected this hypothesis, and were non-theistic or atheists.[25][82] Later scholars of Nyaya school reconsidered this question and offered counter arguments for what is Ishvara and various arguments to prove the existence of omniscient, omnipresent, omnipotent deity (God).[83]

 

Vaisheshika school of Hinduism, as founded by Kanada in 1st millennium BC, neither required nor relied on creator deity.[84][85] Later Vaisheshika school adopted the concept of Ishvara, states Klaus Klostermaier, but as an eternal God who co-exists in the universe with eternal substances and atoms, but He "winds up the clock, and lets it run its course".[84]

 

Ancient Mimamsa scholars of Hinduism questioned what is Ishvara (deity, God)?[86] They considered deity concept unnecessary for a consistent philosophy and moksha (soteriology).[86][87]

 

In Samkhya school of Hindu philosophy, Isvara is neither a creator-God, nor a savior-God.[88] This is called one of the several major atheistic schools of Hinduism by some scholars.[89][90][91] Others, such as Jacobsen, state that Samkhya is more accurately described as non-theistic.[92] Deity is considered an irrelevant concept, neither defined nor denied, in Samkhya school of Hindu philosophy.[93]

 

In Yoga school of Hinduism, it is any "personal deity" (Ishta Deva or Ishta Devata)[94] or "spiritual inspiration", but not a creator God.[81][89] Whicher explains that while Patanjali's terse verses in the Yogasutras can be interpreted both as theistic or non-theistic, Patanjali's concept of Isvara in Yoga philosophy functions as a "transformative catalyst or guide for aiding the yogin on the path to spiritual emancipation".[95]

 

The Advaita Vedanta school of Hinduism asserted that there is no dualistic existence of deity (or deities).[96][97] There is no otherness nor distinction between Jiva and Ishvara.[98][99] God (Ishvara, Brahman) is identical with the Atman (soul) within each human being in Advaita Vedanta school,[100] and there is a monistic Universal Absolute Oneness that connects everyone and everything, states this school of Hinduism.[39][99][101] This school, states Anantanand Rambachan, has "perhaps exerted the most widespread influence".[102]

 

The Dvaita sub-school of Vedanta Hinduism, founded in medieval era, Ishvara is defined as a creator God that is distinct from Jiva (individual souls in living beings).[40] In this school, God creates individual souls, but the individual soul never was and never will become one with God; the best it can do is to experience bliss by getting infinitely close to God.[20]

 

Number of deities[edit]

Yāska, the earliest known language scholar of India (~ 500 BCE), notes Wilkins, mentions that there are three deities (Devas) according to the Vedas, "Agni (fire), whose place is on the earth; Vayu (wind), whose place is the air; and Surya (sun), whose place is in the sky".[107] This principle of three worlds (or zones), and its multiples is found thereafter in many ancient texts. The Samhitas, which are the oldest layer of text in Vedas enumerate 33 devas,[note 3] either 11 each for the three worlds, or as 12 Adityas, 11 Rudras, 8 Vasus and 2 Ashvins in the Brahmanas layer of Vedic texts.[7][47]

 

The Rigveda states in hymn 1.139.11,

 

ये देवासो दिव्येकादश स्थ पृथिव्यामध्येकादश स्थ ।

अप्सुक्षितो महिनैकादश स्थ ते देवासो यज्ञमिमं जुषध्वम् ॥११॥[111]

 

O ye eleven gods whose home is heaven, O ye eleven who make earth your dwelling,

Ye who with might, eleven, live in waters, accept this sacrifice, O gods, with pleasure.

– Translated by Ralph T. H. Griffith[112]

 

Gods who are eleven in heaven; who are eleven on earth;

and who are eleven dwelling with glory in mid-air; may ye be pleased with this our sacrifice.

– Translated by HH Wilson[113]

 

— Rigveda 1.139.11

Millions, one or one-ness?[edit]

Thirty-three divinities are mentioned in other ancient texts, such as the Yajurveda,[114] however, there is no fixed "number of deities" in Hinduism any more than a standard representation of "deity".[115] There is, however, a popular perception stating that there are 330 million (or "33 crore") deities in Hinduism.[116] Most, by far, are goddesses, state Foulston and Abbott, suggesting "how important and popular goddesses are" in Hindu culture.[115] No one has a list of the 330 million goddesses and gods, but all deities, state scholars, are typically viewed in Hinduism as "emanations or manifestation of genderless principle called Brahman, representing the many facets of Ultimate Reality".[115][116][117]

 

This concept of Brahman is not the same as the monotheistic separate God found in Abrahamic religions, where God is considered, states Brodd, as "creator of the world, above and independent of human existence", while in Hinduism "God, the universe, human beings and all else is essentially one thing" and everything is connected oneness, the same god is in every human being as Atman, the eternal Self.[117][118]

Hinduism has an ancient and extensive iconography tradition, particularly in the form of Murti (Sanskrit: मूर्ति, IAST: Mūrti), or Vigraha or Pratima.[22] A Murti is itself not the god in Hinduism, but it is an image of god and represents emotional and religious value.[124] A literal translation of Murti as idol is incorrect, states Jeaneane Fowler, when idol is understood as superstitious end in itself.[124] Just like the photograph of a person is not the real person, a Murti is an image in Hinduism but not the real thing, but in both cases the image reminds of something of emotional and real value to the viewer.[124] When a person worships a Murti, it is assumed to be a manifestation of the essence or spirit of the deity, the worshipper's spiritual ideas and needs are meditated through it, yet the idea of ultimate reality or Brahman is not confined in it.[124]

 

A Murti of a Hindu deity is typically made by carving stone, wood working, metal casting or through pottery. Medieval era texts describing their proper proportions, positions and gestures include the Puranas, Agamas and Samhitas particularly the Shilpa Shastras.[21] The expressions in a Murti vary in diverse Hindu traditions, ranging from Ugra symbolism to express destruction, fear and violence (Durga, Kali), as well as Saumya symbolism to express joy, knowledge and harmony (Saraswati, Lakshmi). Saumya images are most common in Hindu temples.[125] Other Murti forms found in Hinduism include the Linga.[126]

 

A Murti is an embodiment of the divine, the Ultimate Reality or Brahman to some Hindus.[21] In religious context, they are found in Hindu temples or homes, where they may be treated as a beloved guest and serve as a participant of Puja rituals in Hinduism.[127] A murti is installed by priests, in Hindu temples, through the Prana Pratishtha ceremony,[128] whereby state Harold Coward and David Goa, the "divine vital energy of the cosmos is infused into the sculpture" and then the divine is welcomed as one would welcome a friend.[129] In other occasions, it serves as the center of attention in annual festive processions and these are called Utsava Murti.[130]

In Hinduism, deities and their icons may be hosted in a Hindu temple, within a home or as an amulet. The worship performed by Hindus is known by a number of regional names, such as Puja.[134] This practice in front of a murti may be elaborate in large temples, or be a simple song or mantra muttered in home, or offering made to sunrise or river or symbolic anicon of a deity.[135][136][137] Archaeological evidence of deity worship in Hindu temples trace Puja rituals to Gupta Empire era (~4th century CE).[138][139] In Hindu temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.[140][141]

 

The Puja practice is structured as an act of welcoming, hosting, honoring the deity of one's choice as one's honored guest,[142] and remembering the spiritual and emotional significance the deity represents the devotee.[124][134] Jan Gonda, as well as Diana L. Eck, states that a typical Puja involves one or more of 16 steps (Shodasha Upachara) traceable to ancient times: the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, praise (hymns) with Dhupa or Aarti along with food (Naivedhya) is offered to the deity, after an expression of love and respect the host takes leave, and with affection expresses good bye to the deity.[143][144] The worship practice may also involve reflecting on spiritual questions, with image serving as support for such meditation.[145]

 

Deity worship (Bhakti), visiting temples and Puja rituals are not mandatory and is optional in Hinduism; it is the choice of a Hindu, it may be a routine daily affair for some Hindus, periodic ritual or infrequent for some.[146][147] Worship practices in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41]

 

Examples[edit]

Main articles: List of Hindu deities and Rigvedic deities

Major deities have inspired a vast genre of literature such as the Puranas and Agama texts as well their own Hindu traditions, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[16][17] Vishnu and his avatars are at the foundation of Vaishnavism, Shiva for Shaivism, Devi for Shaktism, and some Hindu traditions such as Smarta traditions who revere multiple major deities (five) as henotheistic manifestations of Brahman (absolute metaphysical Reality).[116][148][149]

 

While there are diverse deities in Hinduism, states Lawrence, "Exclusivism – which maintains that only one's own deity is real" is rare in Hinduism.[116] Julius Lipner, and other scholars, state that pluralism and "polycentrism" – where other deities are recognized and revered by members of different "denominations", has been the Hindu ethos and way of life.[16][150]

 

Trimurti and Tridevi[edit]

The concept of Triad (or Trimurti, Trinity) makes a relatively late appearance in Hindu literature, or in the second half of 1st millennium BCE.[151] The idea of triad, playing three roles in the cosmic affairs, is typically associated with Brahma, Vishnu and Shiva (also called Mahesh); however, this is not the only triad in Hindu literature.[152] Other triads include Tridevi, of three goddesses – Lakshmi, Saraswati and Durga in the text Devi Mahatmya, in the Shakta tradition, who further assert that Devi is the Brahman (Ultimate Reality) and it is her energy that empowers Brahma, Vishnu and Shiva.[151] The other triads, formulated as deities in ancient Indian literature, include Sun (creator), Air (sustainer) and Fire (destroyer); Prana (creator), Food (sustainer) and Time (destroyer).[151] These triads, states Jan Gonda, are in some mythologies grouped together without forming a Trinity, and in other times represented as equal, a unity and manifestations of one Brahman.[151] In the Puranas, for example, this idea of threefold "hypostatization" is expressed as follows,

 

They [Brahma, Vishnu, Shiva] exist through each other, and uphold each other; they are parts of one another; they subsist through one another; they are not for a moment separated; they never abandon one another.

 

— Vayu Purana, 5.17, Translated by Jan Gonda[151]

The triad appears in Maitrayaniya Upanishad, for the first time in recognized roles known ever since, where they are deployed to present the concept of three Guṇa – the innate nature, tendencies and inner forces found within every being and everything, whose balance transform and keeps changing the individual and the world.[152][153] It is in the medieval Puranic texts, Trimurti concepts appears in various context, from rituals to spiritual concepts.[151] The Bhagavad Gita, in verses 9.18, 10.21-23 and 11.15, asserts that the triad or trinity is manifestation of one Brahman, which Krishna affirms himself to be.[154] However, suggests Bailey, the mythology of triad is "not the influence nor the most important one" in Hindu traditions, rather the ideologies and spiritual concepts develop on their own foundations.[152]

 

Avatars of Hindu deities[edit]

Hindu mythology has nurtured the concept of Avatar, which represents the descent of a deity on earth.[155][156] This concept is commonly translated as "incarnation",[155] and is an "appearance" or "manifestation".[157][158]

 

The concept of Avatar is most developed in Vaishnavism tradition, and associated with Vishnu, particularly with Rama and Krishna.[159][160] Vishnu takes numerous avatars in Hindu mythology. He becomes female, during the Samudra manthan, in the form of Mohini, to resolve a conflict between the Devas and Asuras. His male avatars include Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki.[160] Various texts, particularly the Bhagavad Gita, discuss the idea of Avatar of Vishnu appearing to restore the cosmic balance whenever the power of evil becomes excessive and causes persistent oppression in the world.[156]

 

In Shaktism traditions, the concept appears in its legends as the various manifestations of Devi, the Divine Mother principal in Hinduism.[161] The avatars of Devi or Parvati include Durga and Kali, who are particularly revered in eastern states of India, as well as Tantra traditions.[162][163][164] Twenty one avatars of Shiva are also described in Shaivism texts, but unlike Vaishnava traditions, Shaiva traditions have focussed directly on Shiva rather than the Avatar concept.[155]

 

The backlit, red tinged Autumn leaves were the obvious stars at Wakehurst Place this weekend

 

Magical #16 in 52 pictures

INCLUDES:

 

SNOW WHITE AND THE SEVEN DWARFS (Walt Disney Signature Collection):

Year Released: 1937

Studio: Disney

Aspect Ratio: 1.37:1

 

AUDIO & SUBTITLES:

- English (DTS-HD 7.1)

- English (Mono)

- French (2001) (Dolby 5.1)

- Spanish (2001) (Dolby 5.1)

  

DOCTOR STRANGE:

Year Released: 2016

Studio: Disney / Marvel

Aspect Ratio: 2.35:1 SCOPE

 

AUDIO & SUBTITLES:

- English (DTS-HD 7.1)

- French (Dolby 5.1)

- Spanish (Dolby 5.1)

  

GAME NIGHT:

Year Released: 2018

Studio: Warner Bros. / New Line Cinema

Aspect Ratio: 2.35:1 SCOPE

 

AUDIO & SUBTITLES:

- English (DTS-HD 5.1)

- French (Canadian) (Dolby 5.1)

- Spanish (Dolby 5.1)

The 3 Day Blinds Drapery Panel collection includes a hand-chosen assortment of solids, textures, prints, jacquards and stripes in styles ranging from traditional to modern.

 

3 decorative hardware kits are available to perfectly complement our exclusive color and style selection. Drapery Panels are a great addition to any room for adding color, interest and tying colors together. Functionally, they can hide light gaps and add additional protection from the sun. Light filtering and room darkening linings can be added to panels enhance light control, privacy and energy efficiency. Sheer fabrics can be coupled with opaque fabrics for a double layer treatment. Our luxurious fabric offering and comprehensive collection of styles make Drapery Panels an excellent choice for virtually any window.

   

Call Al @ 916.799.4376

Email @ Al.Turk@3Day.com

Action from a hot and dusty Arlington Stadium as the Eastbourne Elite Eagles took on Coventry. It was a comfortable win for the home team.

Balanced Budget 2014 includes forecast surpluses in all three years of the fiscal plan and modest investments in priority areas. While the fiscal plan shows continued spending discipline, modest surpluses allow government to make choices and ensure new spending is put into priority areas. Within the balanced budget, government is providing additional funding of $415 million to benefit BC families, help make life more affordable, and help stimulate economic growth and job creation.

 

Learn more: www.bcbudget.gov.bc.ca/2014/default.htm

A blog post that includes these photos lives here: likeafishinwater.com/2019/02/22/privately-owned-public-sp...

 

More photography and stories like this at: likeafishinwater.com

HUD include:

5 standard sizes

alpha layer

change 4 textures

 

marketplace.secondlife.com/p/BG-Mens-Mesh-Sweater-Danny-S...

 

maps.secondlife.com/secondlife/Saint%20Pengo/203/101/23

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

   

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

 

An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]

 

A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.

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

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

 

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

 

A quick, unrefined drawing may be called a sketch.

 

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

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

 

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

 

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

 

Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]

 

Notable draftsmen[edit]

Since the 14th century, each century has produced artists who have created great drawings.

 

Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.

Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.

Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.

Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.

Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.

The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.

 

Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.

 

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

 

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

 

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

Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]

 

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

 

The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]

 

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

 

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

 

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

 

Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]

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

 

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

 

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

 

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

 

When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]

 

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

 

Perspective[edit]

Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.

 

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

 

More from the Sex P*ssed Dolls at the Concorde 2, Brighton

"Èṣù (other names include Exu, Eshu Eleggua, Esu Elegbara, Eshu Elegbara, Elegba, Legba, Papa Legba and Eleda) is both an orisha and one of the most well-known deities of Yorùbá religion and related New World traditions.

 

He has a wide range of responsibilities: the protector of travelers, deity of roads, particularly crossroads, the deity with the power over fortune and misfortune, and the personification of death, a psychopomp. Èṣù is involved within the Orisha-Ifá system of Yorùbá religion as well as in African diasporic faiths like Santería/Lukumi and Candomblé developed by the descendants of enslaved West Africans in the Americas, where Èṣù was and is still sometimes identified with Anthony of Padua, Saint Michael[1] or Santo Niño de Atocha, depending on the situation or location. He is often identified by the number three, and the colours red & black or white & black, and his caminos or paths (compare: Avatar) are often represented carrying a cane or shepherd's crook, as well as smoking a pipe." in en.wikipedia.org/wiki/Exu

 

Alexander Hülsmann (Brand Manager - Product Unit Comfort Derby Cycle Werke GmbH) informiert im Interview. Zum Artikel: extraenergy.org/main.php?language=de&category=&su...

This scan includes my stocking pattern and the pattern that Fritz provided on the ED forum (for comparison). Fritz's pattern was meant for one way stretch fabric and I've only made mine with fabric that has stretch in both directions.

 

My pattern is very roughly based on the stockings that came with Alice. Both Alice and those stockings were made by Marina Bychkova.

 

This pattern is on 1/4 inch graph paper. I'm sorry the ruler's a bit hard to read. It was the only one I could find in my house that had both metric and inches on it.

 

My pattern is free to use for any non-commercial purpose. Fitz's pattern is not mine, so you'll need to ask for permission to use it for anything non-trivial.

 

If you make stockings from my pattern please send me a picture! :)

We have expanded the color range of PRECIOSA Rocailles for you to include new natural colors!

 

We offer you the PRECIOSA Traditional Czech Beads™ rocaille range in newly developed and unique shades of light lilac and pink. This involves an exceptional change in our standard extensive color range after many years.

 

Don't miss the opportunity to get your hands on the seed beads in these delicate tones. They are excellent in children's costume jewelry collections, hair decorations or various tassels. The time of brides is also fast approaching. Decorate and adorn your unforgettable day with seed beads in the new glass colors!

 

The shades of delicate pink and lilac in opaque colors and transparent lilac can also be beautified with the sfinx and rainbow surface finishes. See for yourself.

 

You will love the unique extended color range of these glass seed beads!

 

TECHNICAL DATA:

PRECIOSA Rocailles

 

Article number: 311 19 001

Size: 1/0, 6/0, 8/0, 10/0, 11/0 (opaque pink 73420 and opaque lilac 23420)

Size: 1/0, 6/0, 8/0 (transparent lilac 20420)

 

Article number: 331 19 001

Size: 6/0 (the sfinx and rainbow finishes)

 

The Sfinx Finish

78420 (on opaque pink)

28420 (on opaque lilac)

28420 (on opaque lilac)

 

The Rainbow Finish

74420 (on opaque pink)

24420 (on opaque lilac)

21420 (on transparent lilac)

 

Visit our website for more information about the PRECIOSA New Seed Beads Colors

 

WEBSITE | FACEBOOK | YOUTUBE | GOOGLE+ | PINTEREST

INSTAGRAM

ROCKTROPOLIS is a progressive rock band that is like a volcano ready to explode upon your ears. Members include guitarist ROCKTROPOLIS, Bassist and Keyboardist Sam Metropoulos and Drummer Marc Stemmler. Influences are Dream Theater, Rush, Yngwie, Yes, Deep Purple and Iron Maiden to name a few. Guitarist ROCKTROPOLIS has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Multi instrumentalist Sam Metropoulos has collaborated on several albums with The Process, played with John Macaluso and has opened for Yngwie Malmsteen. Akin to the pillars of the great Parthenon, drummer Marc Stemmler provides the foundation for which ROCKTROPOLIS bridges the hemispheres between classical and progressive rock music. ROCKTROPOLIS is a Nominee of the 2013 Detroit Music Awards.

 

ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz’s impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.

 

ROCKTROPOLIS is currently recording/producing their debut album, with Chris Lewis as their recording engineer (Fire Hyena Studio). Projected release date is summer 2013. Be prepared to own a collection of brilliant compositions that are melodic, epic and infectious to the soul.

 

www.RocktropolisMusic.com (c) 2012

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

 

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

 

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

 

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

   

Young people involved with Include Youth's Give and Take Scheme in the Southern area got together for a little event celebrating their big achievements on Thursday November 15 2012, at One Eighty on the hill, Armagh.

 

Our Essential Employability Programme delivering essential and employability skills to young people on our Give & Take Scheme is funded through Big Lottery Fund’s Reaching Out Empowering Young People programme.

 

For more information about Include Youth's Give and Take Scheme visit: includeyouth.org/index.php?/giveandtake

1. Personalize it!

Please include your party during the ordering process, including your invitation wording. Choose from a 5x5 square invitation or a traditional 5x7.

 

3. Proof it!

Within 3 business days, you can expect a proof sent to you via email. Double check that all your info and modifications are to your liking. Keep in mind that 2 revisions are included, but anything additional is a $10 fee.

 

4. Print it!

After you approve the design, I'll send you a high resolution PDF file to use however you'd like. Print yourself or stop at a print specialist to do the work for you.

 

5. Matching Accessories

Creatively coordinate your *entire* party with matching accessories! Choose from water bottle labels, menu's cupcake flags, drink flags, and favor boxes. Pricing starts at $20. Please contact me via convo or at blushprintables[at]gmail.com to inquire about custom accessories!

Grab our new Exclusive "Teresa 2 Head Make-up Velvet & Dark Night Make-up & Lips Textures JPG 4 CHKN Limited to 1 client" Include Master Resell right

sellfy.com/p/qayczw/

The Orleans is a hotel and casino located in Paradise, Nevada. It is owned and operated by Boyd Gaming. It includes the large multipurpose Orleans Arena that can be converted into an ice rink. It is a major home for poker in the Las Vegas Valley and was one of the biggest poker rooms in Las Vegas prior to the 21st century poker boom.

 

Though The Orleans attracts a fair number of tourists, it is primarily considered to be a locals casino. It is located about 0.8 miles (1.3 km) west of the Las Vegas Strip, but offers from 9:00 am to 12:30 am a free shuttle bus approximately every 30 minutes to Bill's Gamblin' Hall and Saloon, which is just across the street from Bally's Las Vegas and Caesars Palace.

 

The Hotel and Casino opened in 1996. When the casino first opened, it did not perform up to expectations. In 1999 a major addition to the casino and other amenities were added. The success of these changes has been demonstrated by continued expansions in later years.

The Orleans Arena was added in 2003. A second hotel tower was added in 2004.

 

en.wikipedia.org/wiki/The_Orleans

 

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

Some of the signs and symptoms of breast cancer include:

 

a change in size or shape

a lump or area that feels thicker than the rest of the breast

a change in skin texture such as puckering or dimpling (like the skin of an orange)

redness or rash on the skin and/or around the nipple

your nipple has become pulled in or looks different, for example, changed its position or shape

a liquid that comes from the nipple without squeezing

pain in your breast or your armpit that’s where all or almost all of the time

swelling in your armpit or around your collarbone

Many symptoms of breast cancer, such as breast pain or a lump, may in fact be caused by normal breast changes or a benign (not cancer) breast condition. However, if you notice a change, it’s important to see your GP (local doctor) as soon as you can.

 

Some people think that having breast cancer will cause other symptoms apart from a breast change, such as feeling tired, having less energy or weight loss, but this is not the case. If you notice a change, even if you feel well, it’s important to visit your GP.

 

» Learn more about how to check your breasts

  

Not just a lump

TV presenter Emma Willis explains what signs and symptoms to look out for.

  

Tell your doctor as soon as you notice a change to your breasts

Most breast changes will not be cancer. However, breast cancer is the most common cancer in the UK so it is important that you find out what’s causing the change.

 

If your GP is male and you don’t feel comfortable going to see him, you can ask if there’s a female doctor available. You can also ask for a female nurse or member of staff to be present during your examination, or you can take a friend or relative with you.

 

When your GP examines your breasts they may feel that there is no need for further investigation, they may ask to see you again after a short time or they may refer you to a breast clinic. This doesn’t necessarily mean that you have breast cancer, just that further tests are needed to find out what is going on.

pinkhealth.in/child-care/

 

Discover fun facts about elephants in Thailand, care and feeding them with love! Feeding, mud SPA and shower with the elephants, make paper from elephant poop, take funny photos with elephants, the price includes lunch, free photographs, free transfer...

Details and reservation online: thai-online.tours

Instant reservation: +66-838-383-539

WhatsApp: +66-838-383-539

Viber: +66-838-383-539

Telegram: @thaionlinetours

E-mail info@thai-online.org

Read in Russian language: thai-online.org/

Around the world excursions and guided tours: www.7stars-tours.com. Use the link to search best deals and online reservations with the lowest prices!

 

ALL THINGS TO DO IN PATTAYA

 

All the best, newest, popular and not expensive excursions in Pattaya - on our THAI-ONLINE website. Can read and download the price with all of our proposals.

Reserve excursions in Pattaya online +668-3838-3539

Pattaya zoos and farms

Diving, extreme and sports

Pattaya exhibitions and galleries

Pattaya temples

Gardens and parks in Pattaya

Pattaya evening shows

Pattaya sightseeing tours

Tours to Bangkok from Pattaya

Beaches and islands of Pattaya

Pattaya snorkeling tours, sea cruises

Pattaya water parks and attraction parks

Pattaya combination tours

Pattaya sea fishing, lake fishing

Unique & author's 1 day trips

Religious tour, Sak Yant tattoos

Journays from Thailand to other countries

Overnight island tours from Pattaya

Kanchanaburi - River Kwai from Pattaya

Cambodia Angkor Wat from Pattaya

Tours to Northern Thailand from Pattaya, Phuket, Bangkok

Phuket, Samui, Songkla, Narathiwat from Pattaya

Exclusive overnight excursions

Pattaya taxi and transfers

Pattaya free transfers

Other countries things to do

Package tours to Thailand and not only

The CHEAPEST flights

Hotel and condo reservation

Train, bus, ferry tickets

Thailand car rental

 

TOURIST OFFERS IN OTHER COUNTRIES:

 

Hong Kong

Macau

Taiwan

Japan

South Korea

Mainland China

Singapore

Thailand

Malaysia

Indonesia

Philippines

Vietnam

Cambodia

Myanmar

Laos

Nepal

Bhutan

India

UAE

Qatar

Oman

Turkey

Israel

Sri Lanka

Australia

New Zealand

Fiji

United Kingdom

France

Netherlands

Germany

Czech Republic

Austria

Switzerland

Italy

Spain

Iceland

Finland

Norway

Denmark

Greece

Serbia

Russia

Ireland

Portugal

Hungary

Belgium

South Africa

Morocco

United States

Canada

This is a photograph from a set of photographs taken of 2nd crop silage harvesting at the farm of Gerard Dillon, Ashfield, Clonard, Co. Meath, Ireland on Tuesday 6th and Wednesday 7th August 2013. The set of photographs include photographs of silage cutting, silage pickup, and drawing back to pit. The machinery pictured belongs to John Salley and Sons of Cadamstown, Co. Kildare, Ireland. A set of pictures from the 1st cut of silage on the same fields by the same contractor can be found here [http://www.flickr.com/photos/peterm7/sets/72157633948641937/]. The machinery involved includes: 2008 CLAAS Jaguar Speedstar 890, Dooley Trailers, John Deere 6920S, 6920, 6820, JCB 434S Farm Master,KRONE Big MII 2007,CLAAS LINER 2900, and CLAAS ARION 640.

 

Using these photographs on Facebook, Blogs, etc

These images are available here under a Creative Commons license. This allows you to use them without asking for them. But it does require you to attribute or acknowledge where you got the original image. Please mention my photographs (using this link www.flickr.com/photos/peterm7/sets) or just give a mention on the Facebook or Blog post. Thanks!

Hong Kong Government Department

 

The Hong Kong Police Force | HKP

 

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

 

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

 

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

 

www.police.gov.hk/ppp_en/

 

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

 

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

 

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

 

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

 

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

 

✚ www.j3consultantshongkong.com/j3c-blog

 

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

includes 2 reusable grocery bags, 12 cloth napkins, and reusable water bottles

 

www.mytwobutterflies.blogspot.com

The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.

 

Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.

 

The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.

Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.

 

Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).

 

YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria

 

Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.

 

Enquiries: Yarra Plenty Regional Library

  

Motor dismantled for reworking i.e. actually doing the improvements that were planned, before being put into service.

 

These include lowering the motorbarrel to shorten the main drivechain, install a retainer on the Brakestaff to stop pulling up the staff during rapid brake applications, install thrust bearings on the intermediate Sprocketshaft, shorten and reroute the Wiring (longer length to allow the swiveling when it was a Forklift), and finally build a frontal weight to stop the nasty rearing when starting off on a steep upgrade.

 

I was going to separate the Electrical cabinet from the Motorbarrel frame and reposition that inside the Batterybox.

However that would reduce the ease of removing the barrel for any drivechain work or adjustment, due in part to the Motor being extremely heavy and tethered with a short loom to the Electrical Cabinet. That would make for much more effort in getting to the lower Drivechains and Brakedrum for any adjustment or repair, something I hadn't thought of.

Hong Kong Government Department

 

The Hong Kong Police Force | HKP

 

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

 

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

 

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

 

www.police.gov.hk/ppp_en/

 

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

 

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

 

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

 

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

 

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

 

✚ www.j3consultantshongkong.com/j3c-blog

 

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

Inducted for his Meritorious Service and Superior Performance

 

Other recognitions include induction into the Janesville Bowling Association Hall of Fame in 1981 and the Wisconsin State Men’s Bowling Association Hall of Fame in 1994.

 

John, born in December 1923, grew up in Peoria, IL, son of Florence and John Carson. He shared his youth with two brothers and one sister (Bob, who currently resides in Florida, and Charles and Idabelle, both deceased).

 

John is a graduate of Peoria Central High and attended Bradley University. In 1943-46, John served in the US Army, 103 Infantry Division, 328th Medical-Ambulance Platoon. Prior to starting his bowling career he polished his coordination skills … skiing in the Alps-Austria, enjoying a little R&R during his overseas tour.

 

In l953, at the age of 30, John and his first wife moved to Janesville. John claims his first wife is responsible for his involvement in bowling. She joined the “newcomers club” which led them to join a mixed league in 1955. From then on it was the people, involvement and challenges of the game that kept his interest. In the 1956-57 season the proprietor of Cresant Lanes brought John on as a youth coach. John may have started his bowling career later than some, but his focus was to promote bowling with total involvement and dedication.

 

John was a member of the Beloit Men’s Bowling Association for 24 years; bowling in the Bowl-Aire Scratch Doubles League and the Diamond Lanes Thursday night scratch league.

 

He was a member of the Janesville Bowling Association for 52 years, serving as a Board of Director for over 30 years….11 years as Secretary/Treasurer and 3 years as President. John served as a Director on the Wisconsin State Bowling Association for the South Central WI area from 1989 until their merger in 2006 and was President of the WSBA in 2005-2006.

 

John participated in the “World Famous” Peterson Classic in 1957 and 1958. He has participated in 39 National tournaments; 25 of those with the same team-mates, and 27 years with only 1 different member….AND, 3 of those team members live in Arizona. This coming year, in 2008, he will be participating in his 40th National tournament.

 

In 1990 he attained a 200+ average which he held for 4 years. He holds a high average of 208, high series of 778 in 1993, and in March 2004, at Diamond Lanes, John rolled his first and only 300 at the age of 80.

 

He was local champion in Div. 2 in the 3rd annual Diamond Lanes Senior tournament and has won the following Wisconsin State awards:

1983 Class D – Senior Singles Scratch Champion

1988 Senior All Events – Hdcp Div. B Champion

1989 Singles Hdcp & All Events Scratch Div. B

1994 First place in Singles & All Events Hdcp, Div. 2

1995 First place All Events Scratch Div. 2

In 1986 & 1992 he was the recipient of Prestigious “Lucky Wells” Award.

 

Jon Magnuson, Executive Director of the nonprofit Cedar Tree Institute in Marquette Michigan th

906-2285494

magnusonx2@charter.net

www.earthkeepersup.org

www.cedartreeinstitute.org

 

EarthKeepers II (EK II) Project Coordinator Kyra Fillmore Ziomkowski explains creating 30 interfaith community gardens (2013-2014) across the Upper Peninsula of Michigan that include vegetables and native species plants that encourage and help pollinators like bees and butterflies.

 

The video was shot on April 5, 2013 at the Big Bay Point Lighthouse Bed and Breakfast in Big Bay, MI during a meeting of EK II representatives.

 

An Interfaith Energy Conservation and Community Garden Initiative Across the Upper Peninsula of Michigan to Restore Native Plants and Protect the Great Lakes from Toxins like Airborne Mercury in cooperation with the EPA Great Lakes Restoration Initiative, U.S. Forest Service, 10 faith traditions and Native American tribes such as Keweenaw Bay Indian Community

 

10 faiths: Roman Catholic" "Episcopal" "Jewish" "Lutheran" "Presbyterian" "United Methodist" "Bahá'í" "Unitarian Universalist" "American Friends" "Quaker" "Zen Buddhist" "

 

EK II website

EarthKeepersUP.org

 

Nonprofit Cedar Tree Institute

Marquette, MI

www.CedarTreeInstitute.org

 

Great Lakes Restoration Initiative

www.greatlakesrestoration.us

www.epa.gov

 

Deborah Lamberty

Program Analyst

U.S. Environmental Protection Agency

Great Lakes National Program Office

Chicago, IL

 

Lamberty.Deborah@epa.gov

312-886-6681

 

Pastor Albert Valentine II

Manistique, MI

Manistique Presbyterian Church of the Redeemer

Gould City Community Presbyterian Church

Presbytery of Mackinac

www.presbymac.org

 

Rev. Christine Bergquist

Bark River United Methodist Church

First UMC of Hermansville

United Methodist Church Marquette District

www.mqtdistrict.com

 

Rev. Elisabeth Zant

Eden Evangelical Lutheran Church

Munising, MI

www.edenevangelical.org

Evangelical Lutheran Church in America (ELCA) Northern Great Lakes Synod

www.nglsynod.org

 

Heidi Gould

Marquette, MI

Marquette Unitarian Universalist Congregation

www.mqtuu.org

twitter.com/Heidi_Gould

 

Rev. Pete Andersen

Marquette, MI

ELCA

 

Helen Grossman

Temple Beth Sholom

Jewish Synagogue

 

Rev. Stephen Gauger

Calvary Lutheran Church

Rapid River, MI

ELCA

 

Jan Schultz, Botanist

U.S. Forest Service (USFS)

Eastern Region 9

EK II Technical Advisor for Community Gardens

Milwaukee, WI

 

USFS

www.fs.fed.us/wildflowers/nativegardening

www.fs.fed.us/wildflowers

www.wildlifeforever.org

 

Pollinator photos by Nancy Parker Hill

www.nancyhillphoto.com

 

Rev. David Van Kley, Senior Pastor

Rev. Amanda Kossow, Associate Pastor

www.marquettelutherans.org

 

Messiah Lutheran Church

Evangelical Lutheran Church in America

Marquette, Michigan

 

Rev. David Van Kley, Senior Pastor

Rev. Amanda Kossow, Associate Pastor

www.marquettelutherans.org

  

NMU EK II Student Team

Katelin Bingner

Tom Merkel

Adam Magnuson

 

EK II social sites

www.youtube.com/EarthKeepersII

vimeo.com/EarthKeepersII

EarthKeepersII.blogspot.com

EarthKeepersII.wordpress.com

www.facebook.com/EarthKeepersII

www.twitter.com/EarthKeeperTeam

pinterest.com/EarthKeepersII

pinterest.com/EarthKeepersII/Great-Lakes-Restoration-Init...

pinterest.com/EarthKeepersII/EarthKeepers-II-and-the-EPA-...

Lake Superior Zendo

Zen Buddhist Temple

Marquette, Michigan

 

Rev. Tesshin Paul Lehmberg

906 226-6407

plehmber@nmu.edu

 

Dr. Michael Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI

Helen Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI

906-475-4009 (hm)

906-475-4127 (wk)

www.templebethsholom-ishpeming.org

www.templebethsholom-ishpeming.org/tikkun

www.templebethsholom-ishpeming.org/aboutus

 

Wild Rice: 8 videos

www.learningfromtheearth.org/video-interviews/wild-rice-m...

 

Birch – 2 videos

www.learningfromtheearth.org/video-interviews/paper-birch...

 

Photos (click on each name or topic to see the respective photo galleries):

www.learningfromtheearth.org/photo-gallery

 

www.picasaweb.google.com/Yoopernewsman/JonReport?authuser...

www.picasaweb.google.com/100329402090002004302/JonReport?...

 

“Albert Einstein speculated once that if bees disappeared off the surface of the earth, then humans would have only four years of life left.”

the late Todd Warner, KBIC Natural Resource Director

 

Links:

 

Zaagkii Wings and Seeds Project website:

www.wingsandseeds.org

 

Cedar Tree Institute: Zaagkii Project

www.cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-pr...

www.cedartreeinstitute.org/2009/01/wings-seeds-the-zaagki...

 

Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):

www.youtube.com/ZaagkiiTV

 

KBIC Pollinator Preservation

www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...

Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...

 

Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse

www.youtube.com/watch?v=Hoq5xXHDF4E

United States Forest Service sponsored Zaagkii Project featured on Pollinator Live

www.youtube.com/watch?v=8P3DPfxx7Jw

 

2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan

www.youtube.com/watch?v=QIIV6jrlT20

 

2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses

www.youtube.com/watch?v=c3MBfV7ION8

 

Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service

www.youtube.com/watch?v=hGQScEI9x7Q

 

2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs

www.youtube.com/watch?v=JlIgsuTFSuM

 

2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects

www.youtube.com/watch?v=JqlFCHwW30o

 

2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward

www.youtube.com/watch?v=U2B4MEzM7w4

 

2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters

www.youtube.com/watch?v=dqfWeEgDxTY

 

2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators

www.youtube.com/watch?v=vg8H5nhvzzc

 

2009 Zaagkii Project #1: Students make bee houses, plant native species plants

www.youtube.com/watch?v=E8jqJAQyXwE

 

Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:

www.youtube.com/watch?v=hGQScEI9x7Q

 

Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators

www.youtube.com/watch?v=VoPJOXHt7pI

 

Zaagkii Project – Northern Michigan University:

www.webb.nmu.edu/Centers/NativeAmericanStudies/SiteSectio...

 

Native Village stories: Beautiful Layout by Owner Gina Boltz:

Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

NMU Students Join Pollinator Protection Initiative

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

KBIC Tribal youth protect pollinators

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

Teens Help with Sweet Nature Project

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

USFS Success Stories:

Restoring Native Plants on the Enchanted Island

www.fs.fed.us/r9/ssrs/story?id=6274

 

Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop

www.fs.fed.us/r9/ssrs/story?id=5499

  

Intertribal Nursery Council Annual Meeting a Success

www.fs.fed.us/r9/ssrs/story?id=6276

 

New Greenhouse for KBIC Restoration

www.fs.fed.us/r9/ssrs/story?id=5336

  

Zaagkii Wings & Seeds - An Update

www.fs.fed.us/r9/ssrs/story?id=5076

 

Zaagkii Wings & Seeds Project

www.fs.fed.us/r9/ssrs/story?id=4025

 

News Stories:

U.P. teens build butterfly houses, grow 26,000 indigenous plants

www.miningjournal.net/page/content.detail/id/519835.html?...

 

Effort to protect pollinators launched

www.miningjournal.net/page/content.detail/id/512810.html

 

Marquette Monthly (Sept. 2009):

www.mmnow.com/mm_archive_folder/09/0909/feature.html

 

As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators

www.nativetimes.com/index.php?option=com_content&view...

 

Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project

www.treehugger.com/culture/michigan-teens-build-butterfly...

 

Examples of numerous Gather.com articles with lots of photos/videos:

 

Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants

www.gather.com/viewArticle.action?articleId=281474977550233

 

Zaagkii Wings & Seeds Project: Protecting Pollinators

www.gather.com/viewArticle.action?articleId=281474977428640

 

2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.

www.gather.com/viewArticle.action?articleId=281474978040745

 

2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants

www.gather.com/viewArticle.action?articleId=281474978040729

 

Zaagkii Project Internet sites – blogs, photos, videos etc.:

 

ZaagkiiProject on flickr

www.flickr.com/photos/zaagkiiproject

www.flickr.com/people/zaagkiiproject

 

Zaagkii on youtube:

www.youtube.com/ZaagkiiTV

 

Zaagkii on bliptv:

www.zaagkiitv.blip.tv

 

Zaagkii on word press:

www.zaagkiiproject.wordpress.com

 

Zaagkii on Blogger:

www.zaagkiiproject.blogspot.com

 

Zaagkii on Photobucket:

www.photobucket.com/ZaagkiiProjectWingsSeeds

www.photobucket.com/ZaagkiiProjectWingsSeeds/?start=all

 

Zaagkii Wings and Seeds Project website:

wingsandseeds.org

 

Cedar Tree Institute: Zaagkii Project

cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-project

cedartreeinstitute.org/2009/01/wings-seeds-the-zaagkii-pr...

 

Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):

www.youtube.com/ZaagkiiTV

 

KBIC Pollinator Preservation

indiancountrytodaymedianetwork.com/ictarchives/2008/08/15...

Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay indiancountrytodaymedianetwork.com/ictarchives/2008/09/03...

 

Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse

www.youtube.com/watch?v=Hoq5xXHDF4E

United States Forest Service sponsored Zaagkii Project featured on Pollinator Live

www.youtube.com/watch?v=8P3DPfxx7Jw

 

2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan

www.youtube.com/watch?v=QIIV6jrlT20

 

2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses

www.youtube.com/watch?v=c3MBfV7ION8

 

Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service

www.youtube.com/watch?v=hGQScEI9x7Q

 

2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs

www.youtube.com/watch?v=JlIgsuTFSuM

 

2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects

www.youtube.com/watch?v=JqlFCHwW30o

 

2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward

www.youtube.com/watch?v=U2B4MEzM7w4

 

2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters

www.youtube.com/watch?v=dqfWeEgDxTY

 

2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators

www.youtube.com/watch?v=vg8H5nhvzzc

 

2009 Zaagkii Project #1: Students make bee houses, plant native species plants

www.youtube.com/watch?v=E8jqJAQyXwE

 

Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:

www.youtube.com/watch?v=hGQScEI9x7Q

 

Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators

www.youtube.com/watch?v=VoPJOXHt7pI

 

Zaagkii Project – Northern Michigan University:

webb.nmu.edu/Centers/NativeAmericanStudies/SiteSections/A...

 

Native Village stories: Beautiful Layout by Owner Gina Boltz:

Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

NMU Students Join Pollinator Protection Initiative

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

KBIC Tribal youth protect pollinators

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

Teens Help with Sweet Nature Project

www.nativevillage.org/Messages%20from%20the%20People/KBIC...

 

USFS Success Stories:

Restoring Native Plants on the Enchanted Island

www.fs.fed.us/r9/ssrs/story?id=6274

 

Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop

www.fs.fed.us/r9/ssrs/story?id=5499

 

Intertribal Nursery Council Annual Meeting a Success

www.fs.fed.us/r9/ssrs/story?id=6276

 

New Greenhouse for KBIC Restoration

www.fs.fed.us/r9/ssrs/story?id=5336

 

Zaagkii Wings & Seeds - An Update

www.fs.fed.us/r9/ssrs/story?id=5076

 

Zaagkii Wings & Seeds Project

www.fs.fed.us/r9/ssrs/story?id=4025

 

News Stories:

U.P. teens build butterfly houses, grow 26,000 indigenous plants

www.miningjournal.net/page/content.detail/id/519835.html?...

 

Effort to protect pollinators launched

www.miningjournal.net/page/content.detail/id/512810.html

 

Marquette Monthly (Sept. 2009):

mmnow.com/mm_archive_folder/09/0909/feature.html

 

As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators

nativetimes.com/index.php?option=com_content&view=art...

 

Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project

www.treehugger.com/culture/michigan-teens-build-butterfly...

 

Examples of numerous Gather.com articles with lots of photos/videos:

 

Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants

www.gather.com/viewArticle.action?articleId=281474977550233

 

Zaagkii Wings & Seeds Project: Protecting Pollinators

www.gather.com/viewArticle.action?articleId=281474977428640

 

2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.

www.gather.com/viewArticle.action?articleId=281474978040745

 

2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants

www.gather.com/viewArticle.action?articleId=281474978040729

 

Zaagkii Project Internet sites – blogs, photos, videos etc.:

 

ZaagkiiProject on flickr

www.flickr.com/photos/zaagkiiproject

www.flickr.com/people/zaagkiiproject

 

Zaagkii on youtube:

www.youtube.com/ZaagkiiTV

 

Zaagkii on bliptv:

www.zaagkiitv.blip.tv

 

Zaagkii on word press:

zaagkiiproject.wordpress.com

 

Zaagkii on Blogger:

zaagkiiproject.blogspot.com

 

Zaagkii on Photobucket:

photobucket.com/ZaagkiiProjectWingsSeeds

photobucket.com/ZaagkiiProjectWingsSeeds/?start=all

Numerous alias include Guy Matthews, Adrian (or Adrien) Bastile - he has a false passport in that name. Recently operated as Gordon Michael McCormick (2016).

Often enters your home through helper sites such as Workaway or helpx or similar organisations although does very often target travellers in hostels. He quickly ingratiates himself to gain trust then comes in for the kill requesting loans or offering business deals. He is also known to claim to have contacts who will help gain lucrative employment. Often offers free Qantas airline tickets for you to visit him in Australia - useless of course

 

www.anzmi.net/index.php/component/sobipro/?pid=64&sid...

More from Friday at the Goodwood Revival

The Trade Facilitation Programme (TFP) currently includes almost 100 Issuing Banks in the EBRD region and more than 800 Confirming Banks worldwide. The event gave EBRD confirming and issuing banks the opportunity to review and discuss industry challenges and opportunities with leading specialists, including International Chamber of Commerce and Chief Economist Office. It also featured 25th anniversary award ceremony which will recognize most active banks in EBRD Countries of Operations.

 

14:30 – 14:45 Opening and Welcome Speeches

• Alexander Saveliev, Director, Financial Institutions, EBRD

• Rudolf Putz, Head of Trade Facilitation Programme, EBRD

  

14:50 – 15:30 Panel Discussion: Development of Trade & Trade Finance - SEMED

Moderator: Kamola Makhmudova, Senior Banker, EBRD

• Alexander Plekhanov, Office of the Chief Economist, EBRD

• Hanane El Boury, Banque Centrale Populaire (BCP), the Kingdom of Morocco

• Ahmed Benyahya, BMCE Bank, the Kingdom of Morocco

• Hossam Mustafa Rageh, Commercial International Bank (CIB), the Arab Republic of Egypt

• Anas AlMasri, Bank Al Etihad, the Hashemite Kingdom of Jordan 15:30 –

  

15:50 – 16:30 Panel Discussion: EBRD’s new Partner Banks

Moderator: Marco Nindl, Principal Banker, EBRD

• Sally Hamdalla, QNB Alahli, the Arab Republic of Egypt

• Malliotis Achilleas, Eurobank Cyprus, Republic of Cyprus

• Vladislav Berezhny, Credit Agricole Bank, Ukraine

• Ahu Heper Dolu, Fibabanka, Republic of Turkey

• Andrew Wood, Norton Rose Fulbright LLP, the United Kingdom

  

16:35 – 17:15 Panel Discussion: Trade Finance Solutions for Imports of Energy Efficient Machinery & Equipment – Gaps and Constraints

Moderator: Terry McCallion, Director, Energy Efficiency and Climate Change, EBRD

• Sergiy Kostogryz, Raiffeisen Bank Aval, Ukraine

• Gagik Sahakyan, Ameriabank, Armenia

• Maria Mogilnaya, Associate Banker, EBRD

• Holger Kautzky, Commerzbank

• Eugenia Zhiglova, KBC Bank

   

17:35 – 18:10 TFP Annual Awards Ceremony

Hosted by Nick Tesseyman, Managing Director, Financial Institutions, EBRD

Congratulations from Ambassador Chih-Kung Liu, Head of the Taipei Representative Office in the UK

 

Sherborne is a market town and civil parish in north west Dorset, in South West England. It is sited on the River Yeo, on the edge of the Blackmore Vale, 6 miles ( 10 kilometres ) east of Yeovil. The A30 road, which connects London to Penzance, runs through the town. In the 2011 census the population of Sherborne parish and the two electoral wards was 9,523. 28.7% of the population is aged 65 or older. Sherborne's historic buildings include Sherborne Abbey, its manor house, independent schools, and two castles: the ruins of a 12th-century fortified palace and the 16th-century mansion known as Sherborne Castle built by Sir Walter Raleigh. Much of the old town, including the abbey and many medieval and Georgian buildings, is built from distinctive ochre-coloured ham stone. The town is served by Sherborne railway station.

The town was named scir burne by the Saxon inhabitants, a name meaning clear stream and is called as such in the Domesday book. Sherborne was made the capital of Wessex, one of the seven Saxon kingdoms of England, and King Alfred's elder brothers King Ethelbert and King Ethelbald are buried in the abbey. In 705 the diocese was split between Sherborne and Winchester, and King Ine founded an abbey for St Aldhelm, the first bishop of Sherborne. In 933, King Æthelstan granted land at Sherborne to the nuns of Shaftesbury Abbey under the condition that they would recite the Psalter once a year on All Saints' day and say prayers for the king. The bishop's seat was moved to Old Sarum in 1075 and the church at Sherborne became a Benedictine monastery. In the 15th century the church was burnt down during tensions between the town and the monastery, and rebuilt between 1425 and 1504 incorporating some of the Norman structure remains. In 1539 the monastery was bought by Sir John Horsey and became a conventional church. Sherborne was the centre of a hundred of the same name for many centuries. In the 12th century Roger de Caen, Bishop of Salisbury and Chancellor of England, built a fortified palace in Sherborne. The palace was destroyed in 1645 by General Fairfax, and its ruins are owned by English Heritage.

In 1594 Sir Walter Raleigh built an Elizabethan mansion in the grounds of the old palace, today known as Sherborne Castle.

Sherborne Castle And Classic and Super Car day.

This event I went to, on the 15th July 2017. A first time visit for me. I must say, I was disappointed with the event. It was for me disjointed. I found the Italian Day at Lymington before this event to be a, much more friendly day. And had over 50 Ferrari’s there, a lot more than they had at this special day. I understand the event was for charity and I do acknowledge that much effort and time went into the event to turn out as it did. However to have only 5 five Lamborghini’s there was a little disappointing. It was after all a Super Car day. I think the martial’s too could be better they didn’t seem to control the crowds much letting them walk into roped off areas, for protection from the cars and stopped many people getting photographs of the event by stepping in front of other spectators and the cars speeding past. Don’t get me wrong it was not a bad day just a day I thought could have been better.

Built by Sir Walter Raleigh in 1594 and stately home of the Digby family since 1617, Sherborne Castle is a Historic House which reflects a glorious variety of decorative styles from over 400 years of English history. Experience the Castle's rich interiors with splendid collections of art, furniture and porcelain. In the cellars see Raleigh's original kitchen and family artefacts and archaeological treasures in the museum. Outside, the eighteenth century gardens designed by Capability Brown with magnificent specimen trees, floral borders and sweeping lawns forming one of his finest Lake landscapes you will see. Delightful walks guide you round the 50-acre Lake, past Sir Walter Raleigh’s Seat to the river Cascade, close by to the adjacent medieval Castle ruins and on to Pope’s seat where you can watch the abundant wildlife on the lake.

In the Civil War Sherborne was strongly Royalist, and the old castle was left in ruins by General Fairfax of the Parliamentary forces in 1645. The name Sherborne Castle was then applied to the new house, though today the term Sherborne New Castle is generally used to refer to it, in the same manner as Sherborne Old Castle is used for the ruins.

Through the early and mid-18th century William, 5th Lord Digby, who laid out the grounds praised by Alexander Pope, and his heirs Edward, 6th Lord Digby, who inherited in 1752, and Henry, 7th Lord, created Earl Digby, laid out the present castle gardens, including the 1753 lake designed by Capability Brown, which separates the old and new castles. The ruins of the old castle are part of the gardens, being conspicuous amongst the trees across the lake. King George III visited the house and gardens in 1789, shortly before awarding Henry Digby with a peerage. When Edward, 2nd and last Earl Digby died in 1856 the house was passed to the Wingfield Digby family, who still own the house. The house was modernised by the architect Philip Charles Hardwick.

In the First World War the house was used by the Red Cross as a hospital and in the Second World War as the headquarters for the commandos involved in the D-Day landings. The gardens are Grade I listed in the National Register of Historic Parks and Gardens. They are open to the public much of the year, and the house is open to the public most Saturdays. The estate often hosts special events, such as concerts and firework displays. The old castle was leased by English Heritage and is now separate from the rest of the estate.

 

Lyra wanted a play kitchen, but given our lack of separate playroom I didn't want to clutter up our lounge with a large plastic one, so I thought I'd design a fabric kitchen that covers an Ikea Prant box (large size), and can pack away when not in use. The kitchen has an oven (with wire cooling rack for a shelf) and two gas ring hob (with self-cover buttons for knobs); sink with drainer (a 5" steel bowl from ikea can be stood on the printed sink when a 3D sink is required); glass mosaic tiled upstand with taps (self-cover buttons), 'plushie' 3D faucet, and velcro hanging rail for utensils; hanging rail on one side; shelf (with printed condiments) and storage pocket on the other side; and a retro fridge on the back. The accompanying accessories fabric includes a tea towel, two aprons, oven gloves and fabric fridge magnet letters, to be backed with velcro hooks, and stuck to a felt panel on the fridge. The upstand/back wall encases an ikea Dralla flexible chopping board for support. The entire kitchen packs away into the Prant box, for discrete storage in our lounge!

 

Both fabrics were printed on cotton sateen at spoonflower

 

Play kitchen fabric:

www.spoonflower.com/designs/1095096

Accessories fabric:

www.spoonflower.com/designs/1095144

  

(in background - cut & sew spoonflower teepee: www.spoonflower.com/designs/833547)

Taken from down in the dip where the Orquil Burn used to flow through the garden.

 

The tree in the foreground is a Weeping Birch. The mature well-maintained garden - over an Acre in size - is rather more sheltered than most Orkney Gardens, with lots of mature trees and shrubs.

Includes front license plate bracket

From WFPL, 89.3 FM, on July 5, 2020:

 

"Large mural that includes faces of Breonna Taylor, David McAtee unveiled" by Jared Bennett

 

A new mural that includes the faces of Breonna Taylor and David McAtee now stands at the corner of 11th and Main streets in Louisville.

 

The mural was officially unveiled Sunday. Taylor and McAtee appear alongside other Black people killed by law enforcement, including George Floyd, Elijah McClain and Sandra Bland, as well as Ahmaud Arbery, who was shot to death while jogging. Two white men are charged with his murder.

 

Braylyn Resko Stewart is one of the three artists who painted the mural, along with Whitney Holbourn and Andrew Norris. Stewart said the artists worked for weeks to design and eventually paint the scene, which covers the entire side of the building housing Trifecta Event Productions and is visible from the expressway.

 

Stewart said they wanted the work to be large so that visitors or passersby will be “engulfed” by the faces of victims of police and racist violence.

 

“By being engulfed by the size and scope of the mural, maybe it will humble yourself a little bit, and take yourself back and realize that these are big beautiful faces on the wall. They are not faces of anger or fear or anything negative,” Stewart said. “We want this to be pure love, we want you to smile back as soon as you see it.”

 

The No Justice No Peace Louisville Choir celebrated the occasion with an original song meant to encourage people fighting for racial justice.

Choir member Natalie Witherspoon said the song was a complement to the new piece of street art. The faces on the mural made Witherspoon think of other works of public art such as the painting of Breonna Taylor on a basketball court in Annapolis, Maryland. She hopes the new mural here will inspire more people “to do justice and do justice work everywhere with whatever tools you have to use.”

 

The combination of music and visual art make Witherspoon think of the collective effort people across the country are making to ensure a new voice of protest gets heard.

 

“Wherever people have space with whatever medium that they have that they are using it to send a collective message is grand and it is one that everybody can see,” Witherspoon said.

  

#BLM #Blacklivesmatter #BreonnaTaylor #DavidMcAtee #GeorgeFloyd #AhmaudArberry

 

Welcome to Friends of Cape Meares Lighthouse & Wildlife Refuge Web Site!

     

Welcome to Friends of Cape Meares Lighthouse & Wildlife Refuge Web SiteCape Meares State Scenic Viewpoint is located 10 miles west of Tillamook, Oregon on the north end of the beautiful Three Capes Scenic Route. The park is open daily, throughout the year, from 7 am to dusk with no day use fee. The trail head to the Big Spruce, Oregon's largest Sitka Spruce, is located near the park entrance. Features within the park include Cape Meares Lighthouse, an informational kiosk, interesting viewpoints where visitors can view off-shore rocks for native birds and the annual whale migration, the Three Arch Rocks National Wildlife Refuge, nature trails, and the Octopus Tree, an Oregon Heritage Tree. A picnic area that can accommodate small groups is located adjacent to the parking area plus picnic tables are situated in the center of the parking circle.

 

Cape Meares Lighthouse is open daily April through October from 11 am to 4 pm. A wide, asphalt trail that is wheelchair accessible, provides easy access to the lighthouse. However, please be advised the steepness of the path makes the walk back to the parking lot seem twice as long for the person pushing the wheelchair.

 

Benches are conveniently located along the path to enjoy the scenery as well as an alternative return path to the south, where you may enjoy the scenery (or catch your breath).

 

Admittance to Cape Meares Lighthouse is free. An Interpretive Gift Shop is located in the previous work room of the lighthouse and features items related to lighthouses, the sea, wildlife, wild flowers and souvenirs to remember your visit to Cape Meares State Scenic Viewpoint. Donations and proceeds from the Interpretive Shop are used to enhance the park.

   

Welcome to Friends of Cape Meares Lighthouse & Wildlife Refuge Web Site!

     

Welcome to Friends of Cape Meares Lighthouse & Wildlife Refuge Web SiteCape Meares State Scenic Viewpoint is located 10 miles west of Tillamook, Oregon on the north end of the beautiful Three Capes Scenic Route. The park is open daily, throughout the year, from 7 am to dusk with no day use fee. The trail head to the Big Spruce, Oregon's largest Sitka Spruce, is located near the park entrance. Features within the park include Cape Meares Lighthouse, an informational kiosk, interesting viewpoints where visitors can view off-shore rocks for native birds and the annual whale migration, the Three Arch Rocks National Wildlife Refuge, nature trails, and the Octopus Tree, an Oregon Heritage Tree. A picnic area that can accommodate small groups is located adjacent to the parking area plus picnic tables are situated in the center of the parking circle.

 

Cape Meares Lighthouse is open daily April through October from 11 am to 4 pm. A wide, asphalt trail that is wheelchair accessible, provides easy access to the lighthouse. However, please be advised the steepness of the path makes the walk back to the parking lot seem twice as long for the person pushing the wheelchair.

 

Benches are conveniently located along the path to enjoy the scenery as well as an alternative return path to the south, where you may enjoy the scenery (or catch your breath).

 

Admittance to Cape Meares Lighthouse is free. An Interpretive Gift Shop is located in the previous work room of the lighthouse and features items related to lighthouses, the sea, wildlife, wild flowers and souvenirs to remember your visit to Cape Meares State Scenic Viewpoint. Donations and proceeds from the Interpretive Shop are used to enhance the park.

   

Welcome to Friends of Cape Meares Lighthouse & Wildlife Refuge Web Site!

     

Welcome to Friends of Cape Meares Lighthouse & Wildlife Refuge Web SiteCape Meares State Scenic Viewpoint is located 10 miles west of Tillamook, Oregon on the north end of the beautiful Three Capes Scenic Route. The park is open daily, throughout the year, from 7 am to dusk with no day use fee. The trail head to the Big Spruce, Oregon's largest Sitka Spruce, is located near the park entrance. Features within the park include Cape Meares Lighthouse, an informational kiosk, interesting viewpoints where visitors can view off-shore rocks for native birds and the annual whale migration, the Three Arch Rocks National Wildlife Refuge, nature trails, and the Octopus Tree, an Oregon Heritage Tree. A picnic area that can accommodate small groups is located adjacent to the parking area plus picnic tables are situated in the center of the parking circle.

 

Cape Meares Lighthouse is open daily April through October from 11 am to 4 pm. A wide, asphalt trail that is wheelchair accessible, provides easy access to the lighthouse. However, please be advised the steepness of the path makes the walk back to the parking lot seem twice as long for the person pushing the wheelchair.

 

Benches are conveniently located along the path to enjoy the scenery as well as an alternative return path to the south, where you may enjoy the scenery (or catch your breath).

 

Admittance to Cape Meares Lighthouse is free. An Interpretive Gift Shop is located in the previous work room of the lighthouse and features items related to lighthouses, the sea, wildlife, wild flowers and souvenirs to remember your visit to Cape Meares State Scenic Viewpoint. Donations and proceeds from the Interpretive Shop are used to enhance the park.

     

Is there a ghost??? Find out when you visit.

 

For special events at Cape Meares State Scenic Viewpoint, please contact the park manager at Cape Lookout State Park

(503) 842-3182.

 

If you would like to learn more about Tillamook County, the Tillamook Chamber of Commerce is an excellent resource.

Click here to visit their web site - www.tillamookchamber.org

  

Cape Meares Light

  

From Wikipedia, the free encyclopedia

  

Jump to: navigation, search

  

Cape Meares Light

 

Cape Meares Lighthouse.jpg

Cape Meares Light

   

Cape Meares Light is located in Oregon

 

Cape Meares Light

  

Location

Cape Meares, Oregon

 

Coordinates

45°29′11.6″N 123°58′42.2″WCoordinates: 45°29′11.6″N 123°58′42.2″W

 

Year first lit

1890

 

Deactivated

1963

 

Foundation

Concrete

 

Construction

Brick sheathed in sheet iron

 

Tower shape

Octagonal

 

Height

38 feet (12 m)

 

Original lens

First order Fresnel lens

 

Range

21 nmi (39 km; 24 mi)

 

Characteristic

 

Originally 30 second fix white, followed by 5 second red flash every minute. After 1934: Flashing White 15 seconds

  

Cape Meares Lighthouse

  

U.S. National Register of Historic Places

  

Governing body

United States Coast Guard

 

MPS

Lighthouse Stations of Oregon MPS

 

NRHP Reference #

73002341

 

Added to NRHP

April 21, 1993

 

The Cape Meares Light is an inactive lighthouse on the coast of Oregon. It is located on Cape Meares just south of Tillamook Bay. It is open to the public.

  

Contents

[hide] 1 History

2 2010 vandalism

3 See also

4 References

5 External links

  

History[edit]

 

Built in 1890, Cape Meares Light served as the light station for Tillamook Bay. When it was built, the lighthouse complex included two keeper's houses, two oil houses, and two cisterns, and was connected to the light by a 1,000-foot (300 m) boardwalk. Later additions included an attached workroom in 1895 and a garage in 1934.[1] The light itself was iron-plated, and due to its exposure to the elements, it required frequent repainting over the years. No foghorn was ever installed at Cape Meares. In 1934, the light received electricity. Now unnecessary, the oil houses were removed.[2]

 

In 1963, the lighthouse was deactivated and replaced by a newer tower.[1] The following year, the Coast Guard made plans to demolish the light. However, due to public outcry, the plans fell through, and the Coast Guard turned the station over to Tillamook County. The light remained vacant until 1968, when the site was turned over to the Oregon State Parks Department. During this time, vandalism became a major problem for the light. Eventually, the vandalism took its toll on the keeper's quarters and they were subsequently demolished. Among the damage, four of the bulls-eyes in the Fresnel lens were stolen. That same year, the light was opened up to the public and the light was restored, with the exception of the missing bulls-eyes. Since then, three of the four missing bulls-eyes have been recovered.[3] In 1980, the tower itself was opened to the public.[2]

 

The structure was listed on the National Register of Historic Places in 1993.[4]

 

The U.S. Coast Guard permanently switched off Cape Meares Light (LLNR 675) on Wednesday, June 25, 2014, as it is no longer considered necessary for safe navigation of the seacoast.[5]

 

2010 vandalism[edit]

  

This article may require cleanup to meet Wikipedia's quality standards. The specific problem is: too news-focused; needs to be cleaned and summarized in better wording. Please help improve this article if you can. (November 2014)

 

Between the afternoon of January 9 and noon on January 10, 2010, an unknown vehicle reportedly drove down a blocked maintenance road to the lighthouse viewing area. A number of rounds were fired, breaking 15 of the lighthouse's windows and several parts of the historic Fresnel lens. Additional rounds were fired into a nearby active Coast Guard light and surrounding equipment. While driving off the maintenance road the suspect vehicle also caused significant damage to a grassy area. Damages were initially estimated to be over $50,000, but subsequent inspections have shown it may cost more than $500,000 to repair the lens. A park ranger stated that the lens was created in Paris in 1888 and had been shipped around the tip of South America to Oregon.[6] Early news reports stated a $1,000 reward was being offered for information leading to arrests, a figure which was raised to $3,000 by the evening of January 11.[6][7] On February 10, two Oceanside men, Zachary Jon Pyle, age 23 and David Regin Wilks Jr., age 26, were arrested in connection with the vandalism.[8] At the time of the arrests the reward figure had climbed to $6,000. The men were convicted and received a creative sentence by a Tillamook County District Court judge. David Wilkes Jr. and Zachary Pyle were ordered to pay $100,000 to the lighthouse and serve three 16-day jail terms over three years. Each jail term will start on December 27, which coincides with the date of the vandalism. They served their first sentence from December 27, 2010, to January 11, 2011, and they will do so again at the end of the this year and the end of next year.

 

The men, who admitted they were drunk at the time, said it was the dumbest thing they had ever done. In handing down the sentence, the judge said, "Some people go to Hawaii for vacation and some people go to jail. The next three years will serve as a reminder, and you are going to get some time to contemplate that." as quoted in a news story at Lighthouse Digest.[9]

for more: en.wikipedia.org/wiki/Cape_Meares_Light

CATHEDRAL CHURCH OF CHRIST AND ST MARY, COLLEGE STREET, WORCESTER

 

Heritage Category: Listed Building

 

Grade: I

 

List Entry Number: 1389728

 

National Grid Reference: SO 85002 54520

  

Details

 

WORCESTER

 

SO8554NW COLLEGE STREET 620-1/17/1 Cathedral Church of St Mary 22/05/54 (Formerly Listed as: Cathedral Church of Christ and St Mary)

 

GV I

 

Cathedral Church, formerly Benedictine Priory. Crypt from 1084, some remains of same date in W transept and first 2 bays West end of nave. West transept and part of 2 bays at west end of nave c1175. Choir, east transept, Lady Chapel, presbytery, 1224-1250. Nave with aisles 1317-1377; central tower from 1374, and north porch from 1386, substantial restoration 1857-1863, by AE Perkins and GG Scott. Few medieval designers are identified, but include Alexander the Mason c1224-1240 (nave west bays), William Shockerwick, c1317-1324 (nave north arcade), and John Clyve, 1376/77 (nave south arcade and central tower).

 

MATERIALS: construction mainly in Highly and Alveley sandstones, with some Cotswold oolite, and Purbeck marble, many of the vault panels are in tufa, roof slate, including Penrhyn slate.

 

PLAN: east end includes substantial remains of the early crypt, formerly with radial chapels and outer ambulatory. Principal church has 9-bay nave and aisles with deep north porch and a single bay chapel also on north side. West transept and east transept, both without aisles, 4-bay choir with aisles, 3-bay Lady Chapel, and 2-bay Chapel of St John, central crossing tower. South of the nave are the cloister, with Chapter House and former frater (now King's School Hall qv)).

 

EXTERIOR: exterior of the cathedral was very largely refaced during C19 restoration work, and both central tower and eastern arm substantially restructured or refaced - the sandstones used being relatively soft, and subject to reject rapid weatherings. However, original medieval detail remains in most areas. The gables are coped, and parapets are mostly plain, with saddle-back weathered copings and a lower string course, the northwest transept is an exception. The following description will begin at the west end and work to the east.

 

NAVE - WEST END: central gable over 3 tall rectangular lights and a very large 8-light 'Decorated' window of the C19, flanked by square buttresses surmounted by octagonal turrets with open pinnacles. The big west door, also of C19 but with some remnants of Norman work, has a high gable breaking into the bottom part of the window. To each side the aisle terminations with square corner turrets to octagonal pinnacles, and each with a round-arched light with later tracery above a large 4-light window.

 

NAVE - NORTH SIDE: first 2-bays of the clerestory have round-arched lights with tracery, in masonry of various dates, remainder are small 3-light with stopped drips in flat 4-centred arches. The aisle, right of the porch, has a 3-light pointed then a 3-light with stepped transoms, and with straight-sided arch. These bays with heavy flying buttresses, supporting a wall of early masonry in small blocks. 2 further bays having simpler 3-light to cusped heads in pointed arches. Bay 5 has the bold square 2-bay porch with almost plain flanks, and rich north front, rebuilt by Scott, and having statues by Redfern. Interior is vaulted, and inner door, flanked by Norman responds, has a narrow Dec cusped head above the C19 doors set in plain masonry to a very flat basket arch. Left of the porch are 2 bays with 3-light Dec windows under small rectangular lights, with deep buttress between, then the single bay projecting chapel with corner buttresses and large 3-light to the North wall. Beyond this is a further aisle bay.

 

NAVE - SOUTH SIDE: the first 2-bays are similar to those to the North, incorporating older masonry, then 7 clerestory bays with 3-light windows to straight-sided arches and stopped drips, and two flying buttresses. The aisle has two 2-light traceried rectangular windows to each bay, but one 3-light in the arches, set deep with broad casement mould, and with stopped drips. Plain square buttresses divide the bays. At the lower level is the north walk of the cloister (qv).

 

WEST TRANSEPT - NORTH ARM: the high gabled north wall has 3 small rectangular lights above a prominent horizontal string, then a large C19 Decorated 4-light window to sill string, carried round to the returns. To each side is a square turret with nook shafting, crowned by tall octagonal turrets with pinnacles. The W and E sides have two 4-light in Mannerist panelling including ogee heads and with a crenellated parapet. The east side also has a deep 4-light with transom and 4-centred head.

 

SOUTH ARM: this differs greatly in detail from the north arm, having an 'Early English' plate tracery window in the south wall, below the high gable with rectangular lights, and to heavy octagonal corner turrets without pinnacles. The west side has a small 4-light in panelling as to the north, then a very long 4-light with 2 transoms, all this set to masonry of widely varied dates. The east side has a high rectangular window in a larger 4-centred opening, and weathered offset at sill level, below are roofs of ancillary buildings. The bold crossing tower rises to 59.7m (169ft), and has 4 identical faces. It is in 2 stages, with a lofty 8-bay Perp blind arcade below two large 2-buttresses with pinnacles rise to tall octagonal main pinnacles, linked by 7-bay traceried parapets to a horizontal coping. Although substantially rebuilt in the C19, the medieval detail has been convincingly retained. The eastern arm externally is mainly C19 work, it has plain coped parapets carried on a continuous corbel-table of tri-lobed arches, and windows are generally formed in pale limestone contrasting with the sandstone walling. The east end has 5 above 5 lancets, the upper row stepped, and a large open trefoil in the gable, all flanked by square buttresses crowned by open octagonal turrets with plain pinnacles, these are repeated on the gable ends of the east transept. The east end has a single bay return with a single lancet at 2 levels, then the ends of the Lady Chapel aisles. The main body has stepped in a containing arch at aisle level, with triple lancets to the 2-bay chapel on the south side. On the north side of the choir is a very large ground level flying buttress below the original flying buttress. The transepts have triple lancets at 2 levels, the upper one stepped, and on the returns a similar configuration in the first bay with a single small lancet above the aisles. Square buttresses with weathered heads have small nook shafts.

 

INTERIOR: the description begins with the earliest unit - the crypt, then proceeds from east to west. The crypt - the central vessel is in 4 aisles with apsidal end, small monolithic columns with square bases and cushion capitals carry plastered groined vaults with broad transverse arches, with a central and 2 outer rows. This is contained within thick walls with attached half-columns in bedded stone, and arched doorways to outer aisles, also with a central row of columns and responds. Remains of a south side chapel are at the west end, with early stairs to the west transept, and a C20 stair flight gives access at the east end, adjacent to Prince Arthur's Chapel, here also are some excavated remains of a former pentagonal chapel, including some early wall painting. The church is stone vaulted throughout, principally ribbed quadripartite, and neither plastered nor painted except to the East arm. Floors are generally C19 black and white marble. Nave, choir and Lady Chapel are in three storeys, with aisles. The east arm makes extensive use of Purbeck marble, main arcades carry richly moulded arches, those to the choir with some embellishment, and wider than in the Lady Chapel. The triforium above a Purbeck string, is in paired double lights with varied carved spandrel figures, in front of a simpler continuous blind arcade which is carried through in an independent rhythm. The clerestory, also above a Purbeck string, has a triple stepped opening with Purbeck shafts, and wall passage. The vault, with a longitudinal ridge rib, retains the C19 Hardman painted decoration, and is carried on Purbeck shafts taken down to the level of the arcade capitals. The shallow single bay sanctuary to the Lady Chapel has tall lancets at two levels, on three sides. The aisles have simple quadripartite vaulting, and wall arcading in the eastern half and east transept. In the east transept the 3 storey treatment is carried into the first bay, with 2 level lancets in the outer bay and the end walls, all with an inner Purbeck screen and wall passage. The east crossing piers have banded Purbeck shafts to the full height. The main crossing has tall unbroken multi-shaft piers carrying pointed arches in four orders, and crowned by an unusual lierne vault, plastered and painted. West transept reflects continuous growth and alteration from the time of Wulfstan to the C19, with a mix of masonry, and occasional remnants of detail built into the walls. Both arms have ribbed vaults with diagonal and ridge ribs, with some liernes in the south arm, the joints in the severy panels are very prominent. In each arm the east wall retains a bold Norman arch with the 2-bay St John's Chapel, which was part of the great 1224 extension. The upper parts of these walls include rectilinear inner screening to windows. The west walls have much plain masonry, with sharply cut rectilinear blind panelling above the aisle arches. In the NW corner of the north arm is a prominent circular stair turret from early work, but the large window is C19. This arm contains many wall monuments. The south arm has a triple lancet to its south wall. The nave, with a single tierceron rib in addition to the diagonals and ridges also have prominent joints to the panels. Arcade piers are multi-shafted, some of these taken full height on the Sough side, and detail varies slightly between the two arcades, the south being completed some decades later than the north. Triforia have paired double lights, with very varied carved spandrel figures, there is no wall passage in the normal way, but bays are entered from doorways in the roof spaces. The clerestory has a wall passage, and stepped triple inner arcade. In the first bay adjoining the crossing there are prominent flying buttresses carried through clerestory and triforium levels, these inserted to stabilise the central tower. The 2 west bays have a lower arcade, and transitional detail, with paired triple round-arched openings embellished with chevron and rosettes, under pointed arches, and mixed pointed and round arches to the clerestory inner screen, at the pier junction between old and new bays is some two-coloured stonework of Wulfstan's original build. The large west window is richly glazed in small scale biblical stories. The nave north aisle has simple vaulting, but the south is an unusual combination of quadripartite design plus sets of longitudinal and transverse lierne ribs except for the two west bays. The walls are almost filled with monuments, including in the south side some deep recesses. On the north side the single bay Jesus Chapel is enclosed by a decorative stone screen of the late C19. The entrance from the north porch is provided with a large internal draught lobby. Above the south aisle for its full length is the Cathedral Library, with heavy roof timbers adjusted when new shelving was inserted in the C18. Parts of 2 flying buttresses show within the space, and at the west end the floor is lower, over the Norman bays.

 

FITTINGS, MONUMENTS, AND STAINED GLASS: Most internal fittings are of the later C19, many by G G Scott, including the bishop's throne, choir reredos, choir stalls (but incorporating late C14 misericords and choir screens, including main open ironwork screen under the crossing arch, organ cases, and the nave pulpit. The chancel pulpit is an octagonal design of 1642, much restored by Scott. There is a 3-bay repositioned C15 stone screen on the North side of the retrochoir, and two openwork iron screens by Skidmore. The nave lectern with gilt angel is a Hardman design, and the font, at the west end of the nave south aisle, is by G F Bodley. Although fragments of C14 glass remain in some windows of the nave south aisle, most is of the C19, principally by Hardman, including the great window and the main lancets, the large window in the north wall of the west transept is by Lavers and Barraud, as is that in the east bay of the nave North aisle,of 1862, and according to Pevsner 'The best Victorian glass in the cathedral...'. Of special historic interest is a fine memorial 3-light window to Sir Edward Elgar, in the second bay of the nave north aisle (above a C16 monument of the kneeling figure of Lady Abigail, mother to Bishop Goldisburgh). The cathedral is very rich in commemorative monuments, both free-standing and wall-mounted, including work by Nollekens, Robert Adam, Chantrey, and Westmacott Junior. They are too numerous to be detailed here, but Pevsner (op cit) includes many of them in his description. Outstanding is the chantry chapel to Prince Henry, of 1504. This is a very elegant fine stone 'casket' on the south side of the main sanctuary, in lacy open stonework with delicate cresting and pinnacles, it has a complex flat lierne vault with pendants, and very rich stone reredos with many figures and complex canopies: these were defaced and plastered over, but when rescued, much of the detail is seen to remain. On its south side, towards the east transept, the chapel is on two levels, with an intermediate band of shields and other devices in blank panelling, above 2 recesses containing earlier recumbent figures of the Giffard family. Other major monuments include the splendid recumbent effigy to King John, centred below the sanctuary steps, Bishops Walter de Cantelupe and William de Blois in the Lady Chapel sanctuary, the chest tomb to Sir Griffith Ryce, 1523, with very fine in-situ brass top, in the SE transept, Sir John Beauchamp, executed by the 'merciless parliament' in 1388 - a splendid painted chest tomb on a medieval base, and Robert Wylde, 1607/08 (sic), a large multi-coloured chest tomb, these last two in the N and S arcade of the nave, respectively, fourth bay from the crossing. In the eighth bay, near the W end, the large free-standing early Renaissance monuments to Bishop Thornborough, 1641 (N side) and Dean Eades, 1596 (S side) are especially notable. In the N chancel aisle, opposite the Prince Arthur chantry are 2 early monuments, both of early design, with recumbent figures in recesses, of interest since they, with adjacent walling, were left 'unrestored' by Scott, to demonstrate the general state of the building before that action. Among wall monuments some of the more striking are: Bishop Isaac Maddox, 1697-1759, in white and grey marble, with a great urn and weeping supporters over an extended inscription, and Bishop Hough, a Roubiliac design of 1746, in the NW transept and choir aisle, Dean Stillingfleet, 1599, in white marble on a gadrooned base, in the N wall of this transept, Nicholas Billington, 1576, with an esoteric selection of elements, to the right of Jesus Chapel, John Moore, 1615, with his wife Ann and six kneeling figures, with late gothic vaulting over an early Renaissance design (nave, N aisle, to left of porch). The nave S aisle has a whole series of interesting monuments, including Bishop Blandford, 1675, a bold Baroque design, a recessed tomb chest of 1428 to Judge Littleton, and in the next bay to Bishop Henry Parry, 1616 - this under a medieval canopy, with cusping and mouchettes. Of special local interest is the modest white marble tablet on the W wall of the NW transept to Mrs Henry Wood, 1814/1887, author of the Victorian 'best seller' East Lynn.

 

HISTORY: Worcester in the Middle Ages was an unusually large diocese, including, for instance, both Gloucester and Bristol, it was also unusual in that its Saxon Bishop, Wulfstan, remained in power after the Norman takeover, and it was during his episcopate that the earliest extant parts of the current cathedral - the crypt, nave and W transept - were established. Subsequent Gothic phases were conditioned by the pre-existing work, but the E arm was greatly extended - including a second transept, peculiar to English cathedrals - in the C13, so that the central tower lies almost exactly half-way in the 130m (425ft) length of the structure. Rich in architectural detailing and containing a large number of monuments, both free-standing and as wall tablets, the building has frequently undergone restoration or reconstruction because the soft sandstone used weathers so quickly. Substantial new work, including replacement of window designs, was undertake in the C17 and C18, much damage having been caused also by Parliamentarians, but a major restoration, including replacement of window designs of appropriate type, was effected in the C19. The location is enhanced by its setting by the Severn, but in the C20 the town has been cut off visually and practically by the principal traffic route passing diagonally across the N and E sides of the building. The Pevsner description was written before the later excavation revealed the details of radial chapels to the crypt. (P Barker: A Short Architectural History of Worcester Cathedral: 1994-; MEDIEVAL ART AND ARCHITECTURE AT WORCESTER CATHEDRAL: 1978-; J Harvey: English Mediaeval Architects: 1954-; N Pevsner: The Buildings of England, Worcestershire: 1968-).

 

Sources

 

Books and journals

 

Medieval Art and Architecture at Worcester Cathedral, (1954)

Harvey, J , English Medieval Architects, (1984)

Pevsner, N, The Buildings of England: Worcestershire, (1968)

Barker, P, 'Worcester Cathedral Publications' in A Short Architectural History of Worcester Cathedral, (1994)

 

historicengland.org.uk/listing/the-list/list-entry/138972...

 

———————————————————————————————

 

Worcester Cathedral

 

Worcester Cathedral is an Anglican cathedral in Worcester, England, situated on a bank overlooking the River Severn. It is the seat of the Bishop of Worcester. Its official name is the Cathedral Church of Christ and the Blessed Mary the Virgin, of Worcester. The present cathedral church was built between 1084 and 1504, and represents every style of English architecture from Norman to Perpendicular Gothic. It is famous for its Norman crypt and unique chapter house, its unusual Transitional Gothic bays, its fine woodwork, and its "exquisite" central tower,[1] which is of particularly fine proportions.[1][2] The cathedral contains the tombs of King John and Prince Arthur.

  

More information can be found on the link below:-

 

en.wikipedia.org/wiki/Worcester_Cathedral

 

Band members include:

Jack White (White Stripes)

Alison Mosshart (The Kills)

Dean Fertita (Queens of the Stone Age)

Jack Lawrence (The Greenhornes)

 

Dead Weather concert in Birmingham on April 2010.

 

I found this film yesterday after having forgotten about it for almost a year and a half. I had it processed and was surprised it turned out as well as it did for many reasons...

1- Concert lighting conditions are HORRIBLE

2- Lighting issues are compunded by the fact that my camera is fully manual

3- Film was accidentally overexposed by two stops.

 

Camera: Vivitar V3800N

Film: Kodak UltraMax 800@200