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London is the capital of England and the United Kingdom, the largest metropolitan area in the United Kingdom and the largest urban zone in the European Union by most measures. London has been a major settlement for two millennia, its history going back to its founding by the Romans, who called it Londinium. London's ancient core, the City of London, largely retains its square-mile mediaeval boundaries. Since at least the 19th century, the name London has also referred to the metropolis developed around this core. The bulk of this conurbation forms the London region and the Greater London administrative area, governed by the elected Mayor of London and the London Assembly.
London is a leading global city, with its strengths in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism and transport all contributing to its prominence. It is the world's largest financial centre alongside New York, has the largest city GDP in Europe and is home to the headquarters of more than 100 of Europe's 500 largest companies. It is the most visited city in the world. London's five international airports make its airspace the busiest of any urban centre worldwide and London Heathrow is the world's busiest airport by number of international passengers. London's 43 universities form the largest concentration of higher education in Europe. In 2012 London will become the first city to host the Summer Olympics three times.
London has a diverse range of peoples, cultures and religions, and more than 300 languages are spoken within its boundaries. In July 2007 it had an official population of 7,556,900 within the boundaries of Greater London, making it themost populous municipality in the European Union. The Greater London Urban Area is the second largest in the EU with a population of 8,278,251, while London's metropolitan area is the largest in the EU with an estimated total population of between 12 million and 14 million.
London contains four World Heritage Sites: the Tower of London; the Royal Botanic Gardens, Kew; the site comprising the Palace of Westminster, Westminster Abbey and St. Margaret's Church; and the historic settlement of Greenwich (in which the Royal Observatory marks the Greenwich Meridian (0° longitude) and GMT). Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus,30 St Mary Axe (The Gherkin), St Paul's Cathedral, Tower Bridge and Trafalgar Square. London is home to numerous museums, galleries, libraries, sporting events and other cultural institutions including the British Museum, National Gallery, British Library, Wimbledon and 40 theatres. London's Chinatown is the largest in Europe. The London Underground network is the oldest underground railway network in the world and the most extensive after the Shanghai Metro.
This vast museum includes a large collection of railway exhibits, appropriately housed inside a former railway Works. The 33 tracks are accessed by the two massive turntables outdoors that are shown on my photo. The carriage visible is a bit too long for the tracks inside! Exhibits include electric, diesel and steam engines, and passenger rolling stock. Some of the steam engines are in "as withdrawn" condition, demonstrating the reality of the steam era: My photo of one of those work-stained engines can be seen here:
www.flickr.com/photos/93936890@N02/33757181515/in/album-7...
Rail enthusiasts should set aside a day to look around this, or much more to do justice to aircraft, ships, cars and the other sections of this huge, wonderful museum.
Bolton Abbey, Wharfedale, North Yorkshire, England, takes its name from the ruins of the 12th-century Augustinian monastery now known as Bolton Priory. The priory, closed in the 1539 Dissolution of the Monasteries ordered by King Henry VIII, is in the Yorkshire Dales, next to the village of Bolton Abbey. The estate is open to visitors, and includes many miles of all-weather walking routes. The Embsay & Bolton Abbey Steam Railway terminates at Bolton Abbey station one and a half miles/2.5 km from Bolton Priory.
The monastery was founded at Embsay in 1120. Led by a prior, Bolton Abbey was technically a priory, despite its name. It was founded in 1154 by the Augustinian order, on the banks of the River Wharfe. The land at Bolton, as well as other resources, were given to the order by Lady Alice de Romille of Skipton Castle in 1154. In the early 14th century Scottish raiders caused the temporary abandonment of the site and serious structural damage to the priory. The seal of the priory featured the Blessed Virgin Mary and the Child and the phrase sigillum sancte Marie de Bolton.The nave of the abbey church was in use as a parish church from about 1170 onwards, and survived the Dissolution of the Monasteries. Building work was still going on at the abbey when the Dissolution of the Monasteries resulted in the termination of the priory in January 1540. The east end remains in ruins. A tower, begun in 1520, was left half-standing, and its base was later given a bell-turret and converted into an entrance porch. Most of the remaining church is in the Gothic style of architecture, but more work was done in the Victorian era, including windows by August Pugin. It is still a working priory today, holding services on Sundays and religious holidays. Bolton Abbey churchyard contains the war grave of a Royal Flying Corps officer of the First World War.
The Craven Heifer
The Domesday Book lists Bolton Abbey as the caput manor of a multiple estate including 77 carucates of ploughland (around 9240 acres/3850 ha) belonging to Edwin, Earl of Mercia. The estate then comprised Bolton Abbey, Halton East, Embsay, Draughton; Skibeden, Skipton, Low Snaygill, Thorlby; Addingham, Beamsley, Holme, Gargrave; Stainton, Otterburn, Scosthrop, Malham, Anley; Coniston Cold, Hellifield and Hanlith. They were all laid waste in the Harrying of the North after the defeat of the rebellion of Edwin, Earl of Mercia and classified as the Clamores (disputed land) of Yorkshire until around 1090, when they were transferred to Robert de Romille, who moved its administrative centre to Skipton Castle. The Romille line died out around 1310, and Edward II granted the estates to Robert Clifford. In 1748 Baroness Clifford married William Cavendish and Bolton Abbey Estate thereafter belonged to the Dukes of Devonshire, until a trust was set up by the 11th Duke of Devonshire turning it over to the Chatsworth Settlement Trustees to steward.
Today, the 33,000 acre (134 km2) estate contains six areas designated as Sites of Special Scientific Interest, including Strid Wood, an ancient woodland (mainly oak), which contains the length of the River Wharfe known as The Strid, and a marine fossil quarry. The estate encompasses 8 miles (13 km) of river, 84 farms, 84 buildings of architectural interest, and four Grade I listed buildings; and is currently home to 27 businesses from tearooms to bookshops. The iconic stepping stones cross the River Wharfe near the Abbey ruins. The estate includes extensive grouse moors, including Barden Moor on the west side of Wharfedale and Barden Fell on the east side of the dale. There is also a pheasant shoot. Apart from people employed within these businesses, the estate employs about 120 staff to work on the upkeep of the estate. Much of the estate is open to the public. A charge is made for car parking. The Dales Way passes through the estate on a permissive path. Barden Moor and Barden Fell, which includes the prominent crag of Simon's Seat, are on access land, and permissive paths lead up to the moors. Access to the moors may be closed to the public during the shooting season.
Bolton Abbey Hall, originally the gatehouse of the priory, was converted into a house by the Cavendish family. The hall is a Grade II* listed building.As well as Bolton Abbey, the Cavendish family also own the Chatsworth (Derbyshire, England) and Lismore Castle (Waterford, in the Republic of Ireland) estates. In the early nineteenth century, a cow known as the Craven Heifer was bred on the Bolton Abbey estate. Weighing 312 stone (1.98 tonnes), and measuring 11 ft 4ins in length and over 7 ft in height, she to this day remains Britain's largest ever cow.
Morocco tours with private driver. Authentic tours of Morocco include Morocco Sahara trips and camel treks in Erg Chebbi or camel trekking in Erg Chigaga; Morocco desert tours from Marrakech, Marrakech to Fes, Fes, Fes to Marrakech and Casablanca; Trips in Morocco to include Tizi-n-Tichka, Telouet, Ait Benhaddou, Ouarzazate, Dades Gorge, Todra Gorge, Draa Valley, Route of one thousand kabahs, Rose Valley, Erg Chebbi dunes at Merzouga or Erg Chigaga dunes at Mhamid; Morocco day trips and excursions; Morocco desert tours from Marrakech, Marrakech to Fes, Fes, Fes to Marrakech and Casablanca; Trips in Morocco, two week and three week suggested best Morocco tour itineraries.
Website : www.Ouassoutransport4x4.com
E-Mail : Ouassou4x4@gmail.com
Tel : 00212.667.575.563
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
Tokyo Dome City (formerly known as Big Egg City prior to January 1, 2000) is an entertainment complex in Bunkyo, Tokyo, Japan.
It includes the world's largest roofed baseball stadium known as Tokyo Dome (nicknamed "Big Egg"), an amusement park known as Tokyo Dome City Attractions (formerly Kōrakuen Yūenchi), and Korakuen Hall. In May 2003, a spa resort known as LaQua opened for business near Tokyo Dome City Attractions. It also hosts character shows for the Super Sentai series.
The Tokyo Dome City contains the Tokyo Dome Hotel, a 43-story hotel that is easily visible from the street and from the Tokyo Subway Suidobashi Station, which is only two blocks away.
Features along the track include historic coalmines, impressive volcanic formations, tussock lands, deep river canyons and rugged bush country.
This series of photos covers a half day tramp through the unique Mt Somers walks area on the edge of the Canterbury plains, and the gateway to the Ashburton lakes district.
Features along the track include historic coalmines, impressive volcanic formations, soaring rhyolite cliffs, tussock lands, deep river canyons and rugged bush country.
Mt Somers is mineral rich including coal mining, silica sand, amazing limestone formations, and has a fascinating and ancient geological history. The beech forest around it is ancient, ahving survived ice ages and burning by Maori and European settlers. There's even hot springs for the weary tramper!
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.
Signs of Hoonigan behaviour on the Goodwood hillclimb at the Festival of Speed
Spiral or swirl #35 for 52 in 2015, #109 in 115 pictures and #80 in 101 pictures
Trade Facilitation Programme – Information Session and Annual Award Ceremony
The Trade Facilitation Programme (TFP) currently includes over 104 Issuing Banks in the EBRD region and more than 800 Confirming Banks worldwide.
This event offerED the opportunity to network with the EBRD’s most active issuing and confirming banks. Panellists included representatives from the World Trade Organisation, International Chamber of Commerce and EBRD’s Chief Economist Office who discussed current economic development and consequent challenges for international trade and the trade finance sector.
The TFP Annual Award Ceremony concluded the event, featuring recognition of The Most Active EBRD TFP banks and Best Transactions in 2013.
Venice Beach, California
Venice Beach includes the beach, the promenade that runs parallel to the beach ("Ocean Front Walk" or just "the boardwalk"), Muscle Beach, the handball courts, the paddle tennis courts, Skate Dancing plaza, the numerous beach volleyball courts, the bike trail and the businesses on Ocean Front Walk. The basketball courts in Venice are renowned across the country for their high level of streetball; numerous NBA players developed their games or recruited on these courts.
Along the southern portion of the beach, at the end of Washington Boulevard, is the Venice Fishing Pier. A 1,310-foot (400 m) concrete structure, it first opened in 1964, was closed in 1983 due to El Niño storm damage, and re-opened in the mid-1990s. On December 21, 2005, the pier again suffered damage when waves from an unusually large northern swell caused the part of the pier where the restrooms were located to fall into the ocean.
The pier remained closed until May 25, 2006, when it was re-opened after an engineering study concluded the pier was structurally sound.
The Venice Breakwater is an acclaimed local surf spot in Venice. It is located north of the Venice Pier and Lifeguard Headquarters, and south of the Santa Monica Pier. This spot is sheltered on the north by an artificial barrier, the breakwater, consisting of an extending sand bar, piping, and large rocks at its end.
This urban fox was on Worthing beach yesterday, throughout the Birdman competition. Maybe he was hoping to pick off some of the large birds that he'd heard were going to get washed up on the shore :-). I would have got a closer shot, except for an over zealous, jobs-worth who insisted that everyone was kept behind the tape
Many Christian Southerners and secularist Georgians feel that David Turner (writer for the Jerusalem Post) is a racist Zionist and Jewish Supremacist Israeli extremist, who uses the Anti-Semitism canard and Leo Frank Case as a racist blood libel against Gentiles to demoralize them concerning their traditional culture of old fashioned values and falsely slander them for an alleged anti-Semitic railroading of Leo Frank.
The Jewish Community feels that David Turner very accurately portrays the events of the Leo Frank Affair in context and that the case represents an American Dreyfus affair. The Jewish community believes that Leo Frank should not just be posthumously pardoned, but exonerated of the crime as well, because he was convicted by anti-Semitism, not the facts, evidence or testimony. Most of the historical plaques and monuments dedicated to the Frank case speak on behalf of the Jewish communities position that anti-Semitism was behind it all.
Anti-Semites believe the Leo Frank Case over the last 100 years has evolved into a Jewish-Gentile cultural conflict of race war proportions. With Jews transforming this well documented true crime into anti-semitic blood libel fictions, pawning them off as scholarly works and making the affair into morality tales to defame European-Americans. For the anti-Semite the Frank Case tends to speak volumes about the Jewish pathology of anti-Semitism expressing itself as a paranoid mental illness prevailing in the minds of Jews, because these mental diseases are not just cultural and environment, but woven into their tribal genetic equations.
An American lynching: the Leo Max Frank Affair:
blogs.jpost.com/content/american-lynching-leo-max-frank-a...
Wednesday Dec 28, 2011
An American lynching: the Leo Max Frank Affair
“Ninety years ago, some of Marietta's leading citizens gathered to hang a man, Leo Frank, a Jewish superintendent of an Atlanta pencil factory… [He was] murdered on a farm belonging to former Cobb County sheriff William Frey.”
Introduction: The trial and murder of Leo Frank stands in stark contrast to the outcomes of those other contemporaneous antisemitic outrages, the “trials” of Menahem Beilis and Alfred Dreyfus. In the end Russia and France, however reluctantly, recanted and their victims survived. Not so the American Jew. This incident illustrates the depth of antisemitism present in the United States for decades preceding the First World War, a level that only intensified after that war, and continued to do so through the Second World War and beyond. It was this same antipathy towards Jews, endemic to Western culture, that resulted in America violating its long tradition of refuge as last resort, at least when it came to Europe’s Jews fleeing the Holocaust.
Leo Max Frank was manager of the National Pencil Factory in Atlanta, Georgia. On the night of 27 April, 1913 the body of a thirteen year old employee was discovered in the factory basement. She had been raped and strangled.
“Frank was accused of the 1913 murder of Mary Phagan, a former Mariettan who worked at the National Pencil Factory in Atlanta. Historians [and some police investigators at the time] believe that the state's main witness, Jim Conley, a janitor at the factory, murdered the 13-year-old girl.”
As it turned out John Conley, “who was arrested when he was seen washing red [described as “blood”] stains from a shirt,” became the state’s main witness. Conley, who had an arrest record involving alcohol and violence, “later gave at least four contradictory affidavits explaining how he had helped Frank dispose of the body.”At one point he testified to being illiterate, a claim later contradicted when he asserted that Leo Frank had ordered him to write two notes, as if by the girl, as she lay dying. Conley also claimed that Frank paid him $200 for helping move the body but, but when asked by the police where the money was he claimed Frank had taken it back.
One of the two murder notes found near the body. (Wikipedia)
Tom Watson, publisher of the Jeffersonian newspaper, [see earlier submission] was instrumental in creating the atmosphere of antisemitism that would shape public outrage against Frank. He made cash payment to the police for access to police evidence, was accused of having removed evidence he felt favored Frank.
The grand jury investigating the case indicted Frank in the death of Mary Phagan on 24 May, 1913. On 28 May the pencil factory foreman was reported by the newspaper The Georgian to have said that he believed Conley "strangled Mary Phagan while about half drunk.” Two other witnesses against Conley were also not called to testify.
Why the grand jury chose not to pursue Conley, is not known. What is known is that following the indictment several members of the panel expressed doubts regarding Frank’s guilt, felt Conley should have been the one indicted.
Lucille and Leo Frank at Frank's trial. (Wikipedia)
Amidst controversy surrounding the police investigation, the manipulation and even disappearance of evidence; with accusations of witness badgering and even coaching by the police and prosecution, the trial ended on 26 August, 1913. Frank was convicted in the murder. Presenting evidence of jury tampering and intimidation a mistrial was demanded. And denied. Frank’s conviction was greeted with jubilation in the street.
“William Manning Smith, the attorney who initially defended Conley, reversed his position in 1914 after concluding that his own client was the guilty party.”
Appeals to both the Georgia and US Supreme Courts were unsuccessful.
Tom Watson, who in 1920 would represent Georgia in the US Senate, had little patience for the “legal wrangling” following Frank’s conviction. “If Frank's rich connections [a not subtle reference to the Jews] keep on lying about this case, SOMETHING BAD WILL HAPPEN!” But out of public view, “Watson let it be known to [Governor] Slaton that he would throw his support behind a Senate bid if only the governor would let Frank hang.”
Days before leaving office the governor, citing inconsistencies in evidence, commuted Frank's sentence to life in prison. Forty years later the governor would recall that he was convinced following the trial of Frank’s innocence and assumed “[it] would eventually be fully established and he would be set free”.
Responding to the governor’s decision Watson led a group of Georgia’s finest citizens to the prison, drove Frank 240 miles to , “A site at Frey's Gin, two miles east of Marietta [Mary Phagan’s home], had been prepared, complete with a rope and table supplied by former Sheriff William Frey. The following morning the self-styled “Knights of Mary Phagan” lynched Leo Frank
The lynching of Leo Frank. The man on the far right in the straw hat is Newton A. Morris, a superior court judge. (Wikipedia)
The lynch party was not a drunken polyglot of street hooligans in a rage. Frank’s murders consisted of 26 cool and calculating members of the professions, the cream of Atlanta’s elite. Among these luminaries were: former governor Joseph Mackey Brown; Superior Court Judge Newton Morris (standing near the hanging body of Leo Frank, above); Eugene Herbert Clay, son of U.S. senator Alexander S. Clay, and himself the former mayor of Marietta; John Tucker Dorsey, a lawyer and state legislator (and solicitor general for the Blue Ridge Circuit who would have been responsible for prosecuting the lynchers, had any been indicted!).
“Following the lynching a festive atmosphere prevailed, and crowds searched the site for souvenirs… A short time after the lynching of Leo Frank, thirty-three members of the group that called itself the Knights of Mary Phagan gathered on a mountaintop near Atlanta and formed the new Ku Klux Klan of Georgia.”
“On March 11, 1986, the Georgia State Board of Pardons and Paroles granted Frank a pardon, citing the state's failure to protect him or prosecute his killers. But neither did they exonerate him:
“Without attempting to address the question of guilt or innocence, and in recognition of the State's failure to protect the person of Leo M. Frank and thereby preserve his opportunity for continued legal appeal of his conviction, and in recognition of the State's failure to bring his killers to justice, and as an effort to heal old wounds, the State Board of Pardons and Paroles, in compliance with its Constitutional and statutory authority, hereby grants to Leo M. Frank a Pardon.
Georgia has yet to admit to Frank’s wrongful conviction, responsibility for its miscarriage of justice.
“The names of Frank's murderers were well-known locally but were not made public until January 7, 2000, when Stephen Goldfarb, an Atlanta librarian and former history professor, published a list on his website. The Washington Post writes that it includes several prominent citizens—a former governor, the son of a senator, a Methodist minister, a state legislator, and a former state Superior Court judge—their names matching those on Marietta's street signs, office buildings, shopping centers, and law offices today.”
For more information about the Jerusalem Post visit www.jpost.com
An American lynching: the Leo Max Frank Affair:
blogs.jpost.com/content/american-lynching-leo-max-frank-a...
USPS's AMERICAN COMIC CLASSICS ILLUSTRATED STAMP BOOK
American Comic Classics Book (Item No. 8923) United States Postal Service
Includes a book envelope and a page to affix your Comic Strip Classics 32 cents stamps (stamps not included).
The softbound book of 87 pages of beautiful color complements the colorful Classic Collection series of US Postal Service commemorative stamps, featuring 20 of the most beloved characters in comics' first 50 years (including Little Nemo, Krazy Kat, the Katzenjammer Kids, Blondie, Flash Gordon, Little Orphan Annie and Prince Valiant).
Special foreword by Johnny Hart, creator of BC and The Wizard of Id
Book Description
Publication Date: 1995
U.S. Postal Service, U.S.A., 1995. Softcover, with protective outer case.
Book Condition: Brand new, never used.
Outer Case book envelope Condition: slight wear, good condition with some bumps and wear along corners.
Illustrated (illustrator). Oblong Quarto. No stamps included. Book is in mint condition; Outer Case has slight wear, good condition with some bumps and wear along corners).
Outfit include 4 items - necklace, corset, panties with garters and stockings.
Materials: natural silk satin, Italian cotton lace, French Solstiss lace, silk and satin ribbons, nylon, Czech glass beads and Swarovski crystals.
Sono animali onnivori, la cui dieta è costituita prevalentemente di vegetali: frutta, foglie, erba, semi e radici. La dieta include anche insetti e piccoli vertebrati. In qualche caso si cibano anche di mammiferi, fino alle dimensioni di cuccioli di gazzella.
Le dimensioni dei branchi dipendono sia dalla specie sia dalle risorse disponibili. Esistono due possibili tipologie: branchi misti, formati da più maschi adulti, un maggior numero di femmine e cuccioli, e gruppi poligamici, nei quali è presente un solo maschio adulto. Le femmine trascorrono tutta la vita nel branco in cui nascono, mentre i maschi se ne allontanano al sopraggiungere della maturità sessuale. Entrambi i sessi rispettano una rigida gerarchia, che regola sia l'accesso al cibo e alle altre risorse sia l'attività di grooming (lo spulciarsi), che ha una notevole importanza e consiste nel prendersi cura di chi è superiore nella scala gerarchica.
Scontri tra branchi per l'accesso alle risorse non sono rari e si risolvono con combattimenti tra maschi.
I babbuini comunicano tra loro con complessi sistemi sia vocali che gestuali.
Le femmine entrano in calore circa una volta al mese e sono disposte ad accoppiarsi per una sola settimana. Questo periodo è ben riconoscibile a causa dell'ingrossamento delle callosità ischiatiche, che si rigonfiano diventando di un colore rosso violaceo. L'accoppiamento avviene in genere per iniziativa della femmina, che mostra al maschio le parti posteriori; nei primi giorni dell'estro avviene in genere con maschi gerarchicamente inferiori; verso la fine, all'apice delle possibilità di concepire, in genere con il maschio alfa.
Normalmente, le femmine partoriscono un unico figlio, dopo una gestazione di circa sette mesi. Il piccolo è in grado di attaccarsi immediatamente al pelo del ventre della madre; in questo modo, può essere trasportato facilmente durante gli spostamenti del branco. Per i primi quattro mesi di vita del cucciolo, coincidenti con il periodo dell'allattamento, i rapporti con la madre restano molto stretti; successivamente, il giovane inizia ad allontanarsi, ed impara gradualmente a giocare con i suoi coetanei.
Non sono solamente le madri a prendersi cura dei figli, bensì tutti gli appartenenti al branco; in particolare, i grossi maschi adulti badano alla difesa degli individui più deboli.
They are omnivorous, whose diet consists mainly of plants: fruits, leaves, grass, seeds and roots. The diet also includes insects and small vertebrates. In some cases we also eat mammals, up to the size of baby gazelle.
The size of the flocks of the species is dependent on the resources available. There are two possible types: mixed flocks, consisting of more males, more females and pups, and polygamous groups in which there is only one adult male. The females spend their entire lives in the flock they are born, while the boys turn away from the onset of sexual maturity. Both sexes meet a strict hierarchy, which regulates both access to food and other resources is the task of grooming (the grooming), which is of significant importance and is to take care of those who are higher in the hierarchy.
Clashes between schools for access to resources are not rare and can be solved by fighting between males.
Baboons communicate with their complex systems with both voice and gesture.
Females come into heat about once a month and are ready to mate for one week. This period is well known because of the wholesale ischial callosities, which swell becoming a purplish red color. Mating occurs usually at the initiative of the female, which shows the male backs; in early estrus is generally males with lower rank, towards the end, the apex of the possibility of conceiving, usually with the male alpha.
Normally, females give birth to one child, after a gestation of about seven months. The baby is able to immediately attach to the fur of their mother's womb in this way can be easily transported when moving the herd. For the first four months of the puppy, coinciding with the period of breastfeeding, the relationship with his mother are very close, and thereafter the young man starts to walk away, and gradually learns to play with his peers.
Not only are the mothers to care for children, but all members of the herd, in particular, large males tend to defend the weakest.
Monster High is an American fashion doll franchise created by Mattel in July, 2010. The characters are inspired by monster movies, sci-fi horror, thriller fiction, and various creatures therefore distinguishing them from most fashion dolls. They were created by Garrett Sander, with illustrations by Kellee Riley.[2]
The Monster High franchise also includes other consumer products such as stationery, bags, key chains, various toys and video games. There are also Monster High TV specials, a web series, a direct to DVD movie, and software. Lisi Harrison is the author of the Monster High books. The characters are depicted as being either related to or as offspring of famous monsters such as Dracula, Frankenstein's Monster, the Mummy, Medusa, the Creature from the Black Lagoon, the Phantom of the Opera, and zombies and more. The characters are usually referred to as ghouls, rather than girls.
The dolls are approximately 27 cm tall. Or about 1 foot tall. Their bodies are made from ABS plastic. Their heads are made from soft PVC. They have various skin tones (blue, green, pink, brown, etc.) Each character has a unique head mold. No Monster High doll has the same shape head. The type of hair the dolls have is saran. The boys hair is either fuzzy or hard colored plastic. Aside from physical attributes, the dolls are quite different in the characterization of their clothes. And they all have their own unique freaky flaw, hair, etc. They might repeat bags and sunglasses. For example, 13 Wishes Howleen has the same bag as the original Clawdeen only that it is a different color. One is gold and another is purple and black. But they are both sisters. Plus, Howleen likes to borrow a lot of Clawdeen's stuff. And Gloom Beach Frankie Stein has the same sunglasses as the Scaris Frankie Stein. One s blue and one is yellow. All of them have various attributes of the monsters they are related to (i.e. fangs, stitches, wolf ears, fins, bandages,snakes, etc.)[3] Although Monster high and Barbie are from the same creator, Mattel, Monster High is starting to become more popular than Barbie.
________________________
Monster High est une franchise américaine de poupées mannequins lancée par Mattel en juillet 2010 aux États-Unis, tirée d'une série de livres du même nom (de Lisi Harrison). Les personnages sont inspirés de personnes assez monstrueuses issues de la littérature fantastique, de la mythologie, ou encore de films cultes. Les Monster High sont toutes des enfants de monstres (Frankie Stein est la fille de Frankenstein, Draculaura est celle de Dracula, Deuce Gorgon est le fils de Méduse...).
La franchise Monster High se décline sur de très nombreux produits comme des vêtements, des bijoux fantaisie et de la papeterie, mais ses principales ventes se font grâce aux poupées mannequins du même nom. Elle s'accompagne également d'épisodes spéciaux pour la télévision et le marché DVD, et d'une web-série.S
Le concept de Monster High met en scène des adolescents tous descendants de créatures plus ou moins célèbres. Certaines poupées sont relookėes.
Les poupées mannequins mesurent une vingtaine de centimètres ; les garçons sont plus grands que les filles, même s'il existe des différences de taille chez certaines poupées (Twyla et Howleen Wolf sont plus petites, Nefera de Nile et Mme. Santête sont plus grandes...). Les corps (qui comptent de nombreuses articulations) sont fabriqués en plastique ABS et les têtes sont en PVC souple. Chaque personnage bénéficie d'un moule différent pour sa tête. Les cheveux sont en saran ou en kanekalon, voire en PVC pour les garçons dont les cheveux sont, pour la plupart des personnages, moulés. Les poupées filles de Monster High peuvent enlever leurs mains et bras mais les garçons ne peuvent enlever que leurs bras. Lagoona Blue, Rochelle Goyle et C.A. Cupid ont des éléments amovibles que les autres poupées n'ont pas (des nageoires pour Lagoona Blue, des ailes pour Rochelle Goyle et C.A. Cupid). Comme les filles ont des chaussures à talons, elles ne peuvent pas bouger leurs pieds, tandis que les garçons ont les pieds articulés.
Chaque personnage est caractérisé par un style vestimentaire et une gamme de couleurs qui se retrouvent dans différentes collections et qui reflètent leur personnalité dans la web-série.
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thanks to all for visits and faves :)
[My GETTY Images @] [My MOST FAVE on Flickriver] [My RECENT on Fluidr] [My STREAM on Darckr]
Includes one handmade denim jacket, ONE pair of denim-striped socks Licca OR Takara size. Edges are intentionally frayed, and Fray-block was applied to edges to minimize future fraying.
A narrow passage inside Castle de Haar , Kasteel de Haar near the suburb of Vleuten that includes village of Haarzuilen rebuild by architect Pierre Cuyper Project was finished in around 1912 took 20 years to be finished , Martin’s photograph , Utrecht , the Netherlands , June 5. 2019
A outside service walk way inside the castle
Fireplace with beautiful screen and mantel
Beautiful formal gardens with piramide shaped trees
Beautiful staircase
Beautiful staircase in castle , Kasteel de Haar
Staircase
Narrow passage inside the castle
Formal gardens
Stairway critters sculptures in Castle
Stairway sculptures
Spiral stairway
Central Station in Amsterdam , build by architect Pierre Cuyper
de Rijks Museum in Amsterdam build by architect Pierre Cuyper
de Rijks Museum in Amsterdam
Central Station in Amsterdam
Amsterdam
Lavet bad tub
Lavet bad tub and washing machine
main door
Beautiful staircase
Kasteel de Haar near the suburb of Vleuten that includes village of Haarzuilen
architect Pierre Cuyper
Martin’s photograph
Utrecht
the Netherlands
Nederland
June 2019
Favourites
IPhone 6
Village of Haarzuilen
Kasteel de Haar
Castle the Haar
Kasteel de Haar was rebuild by architect Pierre Cuyper Project was finished in around 1912 took 20 years to be finished
city of Utrecht in the province Utrecht
Beautiful staircase in Kasteel de Haar
Door knocker
Beautiful window and seating
This ultra-rare set includes, clockwise from left: Bitebot Gorillus (V), Firemyte (Z), and Hafbak (Z). Also included is Mini-Z Mach-O (V).
I don't remember much of my original story, but basically I had it that Khann built eight of the Series 3 transforming Voids (four Morphbots and four Bitebots). He "introduced" them during his take-over following Zidor's defeat, to ensure that the remaining Voids would swear loyalty to him. The first activated was Gorillus, and he was designed to be Khann's personal bodyguard given the fact he had incredible physical strength and defense. He was the first to learn of Khann's transformation into Maullor, and in the end was betrayed and destroyed by him.
Be sure to view the new full-size version of this photo for best detail!
Page from the theatre programme for a production of "Tom Jones" at the Hippodrome Theatre, Keighley, staged by Keighley Amateur Operatic and Dramatic Society in October 1920.
This page includes photographs of cast members in costume, taken by Keighley-based photographer (and KAODS member) W. Bruce Johnston. The cast depicted include Edith Robson as Bessie, Jenny Hogg as Rosie, Kitty Connelly as Susan, Alan Petty as the waiter, Edith Smith as Etoff, and Ellen Henry as Lettie.
Keighley Amateur Operatic and Dramatic Society's production of "Tom Jones" played at the Hippodrome Theatre in Keighley for six nights (and a Saturday matinee) from Monday 11th October to Saturday 16th October 1920. The comic opera was written by Robert Courtneidge and Alex M. Thompson, with music by Edward German. The KAODS production was produced by Edwin Bryan, with musical director Joseph Harker.
This was only the third production staged by the Keighley Amateur Operatic and Dramatic Society, following their debut with "Haddon Hall" in 1914. The outbreak of the First World War meant further productions were put on hold for over five years.
The play opens in the garden of Squire Western (played by John Pickles). His daughter Sophia's life has been saved by foundling Tom Jones (Walter Mason). Tom and Sophia (Agnes Battle) have declared love for each other but the Squire has arranged for his daughter to be married to the nephew of rich Mr. Allworthy (George Best). Despite their proclamations, Tom is deemed an unsuitable match due to his low standing, and Sophia ends up running away to avoid marriage to the nephew Blifil (Arthur Ramsden). The key characters meet again, by coincidence, at an inn in Upton, where Tom ends up bedding Lady Bellaston (Gladys Broster, credited as Mrs. Percy Taylor), who is there to offer protection to Sophia. By a unintentional ruse, Sophia discovers this 'betrayal', and it's not until the final act in Ranelagh Gardens where matters are put straight and we discover Tom is actually an heir to some of the Allworthy fortune (a fact concealed by Blifil) - thus clearing the way for him to be with Sophia.
The show also starred Ernest Marsden, W. Bruce Johnston, Bert Hiles, Ernest Hardman, Frank Westerdale, Charles H. Dewhirst, Harry Ambler, Ernest Hardacre, Wilfred Blakey, Sidney C. Calvert, C. Spencer, Alan Petty, Ernest Smith, Frank Shuttleworth, Arthur Vincent, Mabel Rothera, Frederick Eaton, Hilda Smith, Marion Holmes, Edith Robson, Helen Henry, Jennie Hogg, Kitty Connolly, Annie Battle and Doris Capper.
The 44-page programme was printed by Wadsworth & Co. of Russell Street, Keighley. It measures approximately 195mm by 125mm. The programme was part of an anonymous donation given in 2022.
"include.me" a series.
model: Amalina Athirah, Amirul Hakim Jamil.
stop discrimination towards disable.
ENVY Holly Crop Top includes:
High neck off-shoulder long sleeved crop top in sizes for Maitreya, Belleza Venus, Isis, Freya, Slink Physique and Hourglass.
Texture change HUD for 18 different colors of torso, sleeves and corset lacing with gold and silver metal choices - pick and choose your own custom look.
Perfect for any casual but sexy or dangerous look!
NOTE: Not all colors have been included in the images - there's just too many!
PLEASE BE AWARE, YOU WILL NOT GET THE SHINY EFFECT IF YOU DO NOT HAVE ADVANCED LIGHTING ENABLED. THIS ITEM WAS MADE WITH MATERIALS AND INTENDED FOR USE WITH ADVANCED LIGHTING. WITHOUT IT, THIS ITEM WILL LOOK LIKE A NORMAL FABRIC CROP TOP INSTEAD.
UUP MLA, Jo-Anne Dobson with Paula Rodgers, Policy Coordinator, and Stacey Nugent, Give and Take Scheme Project Worker for the Southern HSCT area at the Ulster Unionist Party Conference at the Armagh City Hotel on October 22 2012.
Here Jo-Anne Dobson MLA mets with some of the Include Youth team.
From a pleasant wander around Woods Mill the afternoon. One of the Squirrels hovering up food dropped from the bird feeders.
This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.
The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.
The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.
Electronic timing was provided by RedTagTiming: www.redtagtiming.com/
Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/
This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.
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".
Overall Race Summary
Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.
Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.
Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.
Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails
Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.
Some Useful Links
Official Race Event Website: www.forestmarathon.com/
The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371
A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781
Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/
Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/
Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...
A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...
Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O
Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park
Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115
Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...
More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...
How can I get a full resolution 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 offline, free, at no cost, at full image resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, 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 your social media, 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)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
The 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
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.
The Postcard
A postally unused postcard bearing no publisher's name, although on the back of the card it is stated that the image is a 'real photograph', and that the card was printed in Great Britain.
Queen's College Oxford
The Queen's College was founded in 1341 by Robert de Eglesfield in honour of Queen Philippa of Hainaut (wife of King Edward III of England). The college is distinguished by its predominantly neoclassical architecture, which includes buildings designed by Sir Christopher Wren and Nicholas Hawksmoor.
In 2015, the college had an endowment of £265 million, making it the fifth wealthiest college (after St. John's, Christ Church, All Souls and Merton).
In April 2012, as part of the celebrations of the Diamond Jubilee of Elizabeth II, a series of commemorative stamps were released featuring A-Z pictures of famous British landmarks. The Queen's College's front quad was used on the Q stamp, alongside other landmarks such as the Angel of the North on A and the Old Bailey on O.
The most famous feast of the College is the Boar's Head Gaudy, which originally was the Christmas Dinner for members of the College who were unable to return home over the Christmas break between terms, but is now a feast for old members of the College on the Saturday before Christmas.
Alumni of Queen's include:
Tony Abbott, 28th Prime Minister of Australia
Rowan Atkinson, actor and comedian, known for Blackadder and Mr. Bean
Jeremy Bentham, English philosopher, and legal and social reformer
Tim Berners-Lee, inventor of the World Wide Web
Cory Booker, United States Senator from New Jersey
Eric Garcetti, Mayor of Los Angeles
Leonard Hoffmann, Baron Hoffmann, English jurist and judge
Edmund Halley, English astronomer
King Henry V of England
Edwin Powell Hubble, American astronomer
Sir John Peel, gynaecologist to H.M. Queen Elizabeth II
Leopold Stokowski, conductor.
Sir Tim Berners-Lee
Sir Timothy John Berners-Lee OM KBE FRS RDI FRSA DFBCS FREng was born on the 8th. June 1955. Also known as TimBL, he is an English computer scientist, best known as the inventor of the World Wide Web, the HTML markup language, the URL system, and HTTP.
He is a professorial research fellow at the University of Oxford, and a professor emeritus at the Massachusetts Institute of Technology (MIT).
Berners-Lee proposed an information management system on the 12th. March 1989, and implemented the first successful communication between a Hypertext Transfer Protocol (HTTP) client and server via the Internet in mid-November.
He devised and implemented the first Web browser and Web server, and helped foster the Web's subsequent explosive development. He is the founder and director of the World Wide Web Consortium (W3C), which oversees the continued development of the Web.
Tim co-founded (with Rosemary Leith) the World Wide Web Foundation. In April 2009, he was elected as Foreign Associate of the National Academy of Sciences.
Berners-Lee is a senior researcher and holder of the 3Com founder's chair at the MIT Computer Science and Artificial Intelligence Laboratory (CSAIL). He is a director of the Web Science Research Initiative (WSRI), and a member of the advisory board of the MIT Center for Collective Intelligence.
In 2011, he was named as a member of the board of trustees of the Ford Foundation. He is a founder and president of the Open Data Institute, and is currently an advisor at social network MeWe.
In 2004, Berners-Lee was knighted by Queen Elizabeth II for his pioneering work. He received the 2016 Turing Award:
"... for inventing the World Wide Web, the first
web browser, and the fundamental protocols
and algorithms allowing the Web to scale".
He was named in Time magazine's list of the 100 Most Important People of the 20th. century, and has received many other accolades for his invention.
-- Tim Berners-Lee - The Early Years
Tim Berners-Lee was born in London, the son of mathematicians and computer scientists Mary Lee Woods (1924–2017) and Conway Berners-Lee (1921–2019). His parents were both from Birmingham, and worked on the Ferranti Mark 1, the first commercially-built computer.
He has three younger siblings; his brother, Mike, is a professor of ecology and climate change management.
Berners-Lee attended Sheen Mount Primary School, then attended Emanuel School (a direct grant grammar school at the time) from 1969 to 1973. A keen trainspotter as a child, he learnt about electronics from tinkering with a model railway.
From 1973 to 1976, he studied at The Queen's College, Oxford, where he received a first-class BA in physics. While there, he made a computer out of an old television set he had purchased from a repair shop.
-- Tim Berners-Lee's Career and Research
After graduation, Berners-Lee worked as an engineer at the telecommunications company Plessey in Poole, Dorset.
In 1978, he joined D. G. Nash in Ferndown, Dorset, where he helped create typesetting software for printers.
Berners-Lee worked as an independent contractor at CERN from June to December 1980. While in Geneva, he proposed a project based on the concept of hypertext, to facilitate sharing and updating information among researchers.
To demonstrate it, he built a prototype system named ENQUIRE.
After leaving CERN in late 1980, Tim went to work at John Poole's Image Computer Systems Ltd. in Bournemouth, Dorset, where he ran the company's technical side for three years.
The project he worked on was a "real-time remote procedure call" which gave him experience in computer networking. In 1984, he returned to CERN as a fellow.
In 1989, CERN was the largest Internet node in Europe, and Berners-Lee saw an opportunity to join hypertext with the Internet:
"I just had to take the hypertext idea and
connect it to the TCP and DNS ideas and—
ta-da!—the World Wide Web."
Tim also recalled:
"Creating the web was really an act of desperation,
because the situation without it was very difficult
when I was working at CERN later.
Most of the technology involved in the web, like the
hypertext, like the Internet, multifont text objects,
had all been designed already.
I just had to put them together. It was a step of
generalising, going to a higher level of abstraction,
thinking about all the documentation systems out
there as being possibly part of a larger imaginary
documentation system."
Berners-Lee wrote his proposal in March 1989 and, in 1990, redistributed it. It was accepted by his manager, Mike Sendall, who called his proposals:
"Vague, but exciting."
Robert Cailliau had independently proposed a project to develop a hypertext system at CERN, and joined Berners-Lee as a partner in his efforts to get the web off the ground. They used similar ideas to those underlying the ENQUIRE system to create the World Wide Web, for which Berners-Lee designed and built the first web browser.
Tim's software also functioned as an editor (called WorldWideWeb, running on the NeXTSTEP operating system), and the first Web server, CERN HTTPd (short for Hypertext Transfer Protocol daemon).
Berners-Lee published the first web site, which described the project itself, on the 20th. December 1990; it was available to the Internet from the CERN network.
The site provided an explanation of what the World Wide Web was, and how people could use a browser and set up a web server, as well as how to get started with your own website.
On the 6th. August 1991, Berners-Lee first posted, on Usenet, a public invitation for collaboration with the WorldWideWeb project.
In a list of 80 cultural moments that shaped the world, chosen by a panel of 25 eminent scientists, academics, writers and world leaders, the invention of the World Wide Web was ranked number one, with the entry stating:
"The fastest growing communications medium
of all time, the Internet has changed the shape
of modern life forever. We can connect with
each other instantly, all over the world."
In 1994, Berners-Lee founded the W3C at the Massachusetts Institute of Technology. It comprised various companies that were willing to create standards and recommendations to improve the quality of the Web.
Berners-Lee made his idea available freely, with no patent and no royalties due. The World Wide Web Consortium decided that its standards should be based on royalty-free technology, so that they easily could be adopted by anyone.
In 2001, Berners-Lee became a patron of the East Dorset Heritage Trust, having previously lived in Colehill in Wimborne, East Dorset. In December 2004, he accepted a chair in computer science at the School of Electronics and Computer Science, University of Southampton, Hampshire, to work on the Semantic Web.
In a Times article in October 2009, Berners-Lee admitted that the initial pair of slashes ("//") in a web address were "unnecessary". He told the newspaper that he easily could have designed web addresses without the slashes. In his lighthearted apology he said:
"There you go, it seemed like
a good idea at the time."
-- Tim Berners-Lee's Policy Work
In June 2009, then-British prime minister Gordon Brown announced that Berners-Lee would work with the UK government in order to help make data more open and accessible on the Web, building on the work of the Power of Information Task Force.
Berners-Lee and Professor Nigel Shadbolt are the two key figures behind data.gov.uk, a UK government project to open up almost all data acquired for official purposes for free re-use.
Commenting on the opening up of Ordnance Survey data in April 2010, Berners-Lee said:
"The changes signal a wider cultural change
in government, based on an assumption that
information should be in the public domain
unless there is a good reason not to — not
the other way around."
He went on to say:
"Greater openness, accountability and
transparency in Government will give
people greater choice and make it
easier for individuals to get more
directly involved in issues that matter
to them."
In November 2009, Berners-Lee launched the World Wide Web Foundation (WWWF) in order to campaign:
"To advance the Web to empower humanity
by launching transformative programs that
build local capacity to leverage the Web as
a medium for positive change".
Berners-Lee is one of the pioneer voices in favour of net neutrality, and has expressed the view that:
"ISPs should supply connectivity with no strings
attached, and should neither control nor monitor
the browsing activities of customers without their
expressed consent."
Tim advocates the idea that net neutrality is a kind of human network right:
"Threats to the Internet, such as companies
or governments that interfere with or snoop
on Internet traffic, compromise basic human
network rights."
As of May 2012, Tim is president of the Open Data Institute, which he co-founded with Nigel Shadbolt in 2012.
The Alliance for Affordable Internet (A4AI) was launched in October 2013, and Berners-Lee is leading the coalition of public and private organisations that includes Google, Facebook, Intel and Microsoft.
The A4AI seeks to make Internet access more affordable, so that access is broadened in the developing world, where only 31% of people are online. Berners-Lee is working with those aiming to decrease Internet access prices so that they fall below the UN Broadband Commission's worldwide target of 5% of monthly income.
Berners-Lee holds the founders chair in Computer Science at the Massachusetts Institute of Technology, where he heads the Decentralized Information Group and is leading Solid, a joint project with the Qatar Computing Research Institute that aims to radically change the way Web applications work today, resulting in true data ownership as well as improved privacy.
In October 2016, he joined the Department of Computer Science at Oxford University as a professorial research fellow, and as a fellow of Christ Church, one of the Oxford colleges.
From the mid-2010's Berners-Lee initially remained neutral on the emerging Encrypted Media Extensions (EME) proposal with its controversial digital rights management (DRM) implications.
In March 2017 he felt he had to take a position which was to support the EME proposal. He reasoned EME's virtues whilst noting DRM was inevitable. As W3C director, he went on to approve the finalised specification in July 2017.
Tim's stance was opposed by some, including Electronic Frontier Foundation (EFF), the anti-DRM campaign, Defective by Design, and the Free Software Foundation. Varied concerns raised included being not supportive of the Internet's open philosophy against commercial interests, and risks of users being forced to use a particular web browser to view specific DRM content.
The EFF raised a formal appeal which did not succeed, and the EME specification became a formal W3C recommendation in September 2017.
On the 30th. September 2018, Berners-Lee announced his new open-source startup Inrupt to fuel a commercial ecosystem around the Solid project, which aims to give users more control over their personal data and lets them choose where the data goes, who's allowed to see certain elements and which apps are allowed to see that data.
In November 2019 at the Internet Governance Forum in Berlin Berners-Lee and the WWWF launched Contract for the Web, a campaign initiative to persuade governments, companies and citizens to commit to nine principles to stop "misuse", with the warning that:
"Ff we don't act now – and act together –
to prevent the web being misused by
those who want to exploit, divide and
undermine, we are at risk of squandering
its potential for good."
-- Tim Berners-Lee's Awards and Honours
Tim Berners-Lee's entry in Time magazine's list of the 100 Most Important People of the 20th century (March 1999) reads as follows:
"He wove the World Wide Web and created a mass
medium for the 21st century. The World Wide Web
is Berners-Lee's alone. He designed it. He loosed it
on the world. And he more than anyone else has
fought to keep it open, nonproprietary and free."
Berners-Lee has received many awards and honours. He was knighted by Queen Elizabeth II in the 2004 New Year Honours:
"For services to the global development
of the Internet."
On the 13th. June 2007, he was appointed to the Order of Merit (OM), an order restricted to 24 living members, plus any honorary members. Bestowing membership of the Order of Merit is within the personal purview of the Sovereign, and does not require recommendation by ministers or the Prime Minister.
Tim was elected a Fellow of the Royal Society (FRS) in 2001. He was also elected as a member of the American Philosophical Society in 2004 and the National Academy of Engineering in 2007.
He has been conferred honorary degrees from a number of universities around the world, including Manchester (his parents worked on the Manchester Mark 1 in the 1940's), Harvard and Yale.
In 2012, Berners-Lee was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover – to celebrate the British cultural figures of his life that he most admires to mark his 80th. birthday.
In 2013, he was awarded the inaugural Queen Elizabeth Prize for Engineering. On the 4th. April 2017, Tim received the 2016 Association for Computing Machinery's Turing Award for his invention of the World Wide Web, the first web browser, and their fundamental protocols and algorithms.
-- Tim Berners-Lee's Personal Life
Berners-Lee has said
"I like to keep work and
personal life separate."
Berners-Lee married Nancy Carlson, an American computer programmer, in 1990. She was also working in Switzerland at the World Health Organization. They had two children and divorced in 2011.
In 2014, he married Rosemary Leith at the Chapel Royal, St. James's Palace in London. Leith is a Canadian Internet and banking entrepreneur, and a founding director of Berners-Lee's World Wide Web Foundation. The couple also collaborate on venture capital to support artificial intelligence companies.
Berners-Lee was raised as an Anglican, but he turned away from religion in his youth. After he became a parent, he became a Unitarian Universalist (UU). When asked whether he believes in God, he stated:
"Not in the sense of most people, I'm
atheist and Unitarian Universalist."
The web's source code was auctioned by Sotheby's in London in 2021, as a non-fungible token (NFT) by TimBL. Selling for US$5,434,500, it was reported the proceeds would be used to fund initiatives by TimBL and Leith.
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
Private Robert Quantrill
Amended - see comments below. For now I'm not quite sure who is commemorated here.
Gibson prewar tenor banjo style 00 neck + tab Grover tuners
Gibson prewar tenor banjo neck in very nice condition. Style 00. Heel cut for one piece flange. Includes a working set of Grover 2 tab banjo tuners and original truss rod cover. Neck is very nice Frets still have life although it does show signs of use.
Length from nut to end of neck: 15 3/16", 3/16" of wood beyond the last fret.
Width at nut: 1 3/16"
Gibson Style 00 custom conversion 5 string banjo neck. 26 1/4 scale length
CUSTOM CONVERSION 5 String banjo neck in a GIBSON STYLE 00. UNKNOWN MAKER.
Appears new but it was pulled from an existing banjo. My guess is recently made. Has a simple satin finish and correct coloration for a 00 banjo. Frets appear NEW AND UNUSED. Gibson logo is stenciled on headstock as per original prewar style 00 banjos. The neck has a thicker feel to it, like late 60s banjos and would probably suit a person with larger hands.
While nice and completely functional, with working truss rod, it is a much simpler style with a simpler finish and not nearly as much polish around the edges. That being said, it fits perfectly with the simpler entry level style of the original Prewar Style 00 banjos and makes a QUICK, EASY and completely functional conversion to your tenor. Neck was pulled from an existing banjo that played very easily, no fret problems and even with the simple brass hoop in the banjo, instead of a heavier tonering, the banjo had a lot of pop. The orange area in the middle of the neck shows the wood to be highly flamed and of excellent quality. Headstock holes drilled for modern planetary style tuners (5 Star tuners were installed). Please inquire about a $25 discount.
Length from nut to end of neck: 19 1/4", 1/4" of wood beyond the last fret.
Width at nut: 1 1/8"
Vintage prewar Gibson calf skin banjo head 11" low crown for Flathead. BEAUTY
11" banjo head pulled from mid 30s Gibson Style 00. This head is in very good condition, no holes or rips , LOW Crown. Perfect for a flathead banjo.
Gibson Prewar Style 00 banjo rim with wood bead at top. no need for brass hoop
One of the cleanest Gibson prewar style 00 rims I've seen. Has the wood bead at the top of the rim...no need for brass hoop. Appears unadulterated and finish is very beautiful. This is designed to accept the classic One Piece Flange and no... this is not the ultra rare thick rim version. It is the common thin rim version and COULD be cut down to properly accept an ARCHTOP tonering or a select few flathead tonerings including the Sullivan conversion tonering or the Blaylock or Hatfield tonerings specifically made to fit these rims. Please inquire about a $25 discount on this classic Gibson rim.
Genuine Gibson prewar brass banjo tone hoop. 11" diameter for flathead.
Genuine Gibson prewar brass tone hoop. Sits on top of rim to give banjo a flathead appearance. This is 11" in diameter and was pulled from a TB-00 banjo.
The T brackets did not fit properly, so I included a set of prewar rim hardware including 3 brackets, 6 screws and 3 thumbscrews.
00 OPF prewar gibson mark
00 coordinator rod with nuts, washers and tailpiece bracket prewar, 00 armrest prewar
grover presto prewar punched tailpiece, with hardware
prewar 24 hooks and nuts
prewar rim hardware including 3 brackets, 6 screws and 3 thumbscrews
Postwar tension hoop, this was on a 00. I have a prewar that is in for repair.
4 Postwar 5 star tuners
1 Postwar GOTOH tuner with an extra matching button.
1 set black diamond banjo strings
2 bridges, 5/8, .656
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]
From a wander around the Arctic Snow Hotel, near Rovaniemi, Finland. They have cosy looking cabins with glass roofs to give that sleeping under the stars feel. Inside the cold part, there are designer rooms, an ice bar, restaurant and chapel
From last night's concert given by the Brighton and Hove Russian Choir, held as part of the Steyning Festival. The Steyning Camera Club have been asked to shoot the events, so expect more in the coming months. Whilst Traditional Russian Folk, is not exactly my kind of music, it was harmoniously easy on the ear and choir's leader was full of infectious energy
This Collection includes events from Saturday, May 30, 2015. .
7:00 p.m. Class Reception 1990: Hogan Campus Center Courtyard.
8:00 p.m. .
Class Dinners.
1990: Hogan Ballroom (Rev. Philip L. Boroughs, S.J., President, will welcome the 25th Reunion class).
1995: Hogan Crossroads (Basement of Hogan).
2000: Hogan Jenks Suites B & C (Hogan 4th floor).
Lauderdale County, AL
Listed: 02/24/2000
The Forks of Cypress Cemetery is significant under criterion C for Art as it contains many fine examples of grave markers that represent the high end of antebellum funerary expressions in the western Tennessee River Valley in Alabama. Many fine obelisks and several tombstones illustrate the stone-carving skills of both local craftsmen and workshops from around the eastern United States. Limestone markers were more likely from local sources, as were the limestone bases of many of the marble markers. Among the marble markers are several that are signed by their makers or workshops. These include an obelisk by J. Sloan of Nashville, an obelisk by A. Gary of Boston, an obelisk by Hughes & Sharrod of Philadelphia, and an obelisk by L.H. and J.B. Fuller of St. Louis. A range of stylistic influences is evident in many of the markers, including Federal, Greek Revival, Gothic Revival, and Renaissance Revival motifs (as well as one twentieth century stone with some restrained Art Deco details). In addition to more geometric (and architectural) details, some of the stones feature fine representational and particularly floral relief sculpture.
The Forks of Cypress Cemetery is significant under criterion C for Architecture as the Jackson family cemetery wall is an exceptional example of the stonemason's art in early Alabama. The massive dimensions, stile, and sturdy dry-laid construction all characterize a structure which stands out among the walls around other family cemeteries in the Tennessee River Valley, which were more frequently of brick or less substantial stone construction. Only about six or so walls of similar sizable and dressed appearance are known to exist in northern Alabama.4 The wall displays both the skill of local craftsmen and the material predilections of a family whose patriarch was a first generation Irish immigrant and who perhaps opted for a wall which imitated or recalled the quintessential boundary markers of his homeland. Although the exact date of construction of the wall is unknown, location of early graves in relation to the wall indicates a probable date of before 1840 and a positive date of before 1865.
The Forks of Cypress Cemetery is significant under criterion A for Ethnic Heritage: Black as it contains one of the largest identified African American/slave cemeteries in northwest Alabama. With around 250 burials, slave cemetery was the final resting place for the Jackson family's substantial enslaved workforce. The burials, though unmarked, do reveal to some degree that a status hierarchy existed among the enslaved inhabitants of the Forks of Cypress and perhaps the Jacksons' other plantations. Traditionally slave jockeys were the only African Americans allowed to be buried within the walls of the family cemetery. A few depressions nearer the family cemetery probably mark the graves of treasured domestic servants. The majority of the field slaves and those without distinctive status within the household were buried on the bluff further away from the family cemetery. One headstone/footstone pairing in the center of the slave section of the cemetery shows at least one person who, while not important enough to be buried with the jockeys, had a high enough position to warrant a permanent stone marker. The slave cemetery has taken on somewhat mythical associations in recent years as it is almost certainly the interment place of African American author Alex Haley's great-grandmother, Ester or Queen Ester. Traditionally, James Jackson, Jr., (son and heir to James Jackson, the builder of the Forks), had at least one child with Queen Ester, who was the Jackson's cook. Their daughter, Queen, was Haley's grandmother and the subject of Haley's unfinished book Queenie. The depth and regularity of the depressions in the slave cemetery also indicate that it was highly probable that the slaves at least on this plantation were actually buried in coffins rather than simply interred in shrouds. This cemetery continued to be used by descendants of the Jackson slaves in the late-19th- and eariy-20th centuries.
The Forks of Cypress Cemetery is significant under criterion A for Social History as the placement of monuments and graves within both the family and slave sections illustrate social structures of an extended elite frontier planter family and its enslaved workforce. The cemetery also offers a temporal display of changing attitudes towards death and commemoration in the transition from conspicuous and showy markers to low-profile and plain markers over a period of 130 years. The monuments of James Jackson and his immediate and contemporary family serve as the focal points of the cemetery (both because of placement and because of scale). In spatial terms, the core of the cemetery, with many of the earlier monuments, form a line from east to west slightly south of the centerline of the rectangular plot created by the wall. The planter patriarch, James Jackson, and several of his siblings form this axis. James' brothers, John and Alexander, are buried near the center, with James' own grave near the front and his wife's grave to his south. The offspring of James Jackson's sister, Eleanora Jackson Kirkman (who herself is buried in New Orleans), are interred just to the north of his grave. Another of Jackson's sisters, Sarah Jackson Hanna, and many of her family members (including at least one daughter-in-law and one son-in-law) are buried to the west of the main axis formed by the older markers. Though within the family, there is not a great deal of differentiation as to burial place excepting the grouping of Sarah Jackson Manna's family to the west of James, most of his descendants and his other siblings, a distinction is made between the core of the extended family and more distant relations or social connections. The earlier burials along the back wall are burials of people with somewhat tenuous connections to the family. William O'Neal Perkins and Pocahontas Bowling Perkins, whose monuments are the most impressive on the western end of the cemetery, appear to be the parents of one of James Jackson's daughters-in- law. Alexander Larrimer, buried in the southwest corner, appears to have no familial connection whatsoever to the Jacksons. Two uninscribed slabs traditionally marking the burials of slave jockeys are on alignment with the old main axis of the cemetery but along the west wall. The social units in this extended planter family, therefore, come out in their burial locations-the planter patriarch, James Jackson, his offspring, and his siblings without or with few offspring are buried towards the front of the cemetery in an intermixed fashion. Jackson's sister Sarah Hanna had a large enough extended family of her own to warrant a contiguous section of burials in the southwest quarter of the cemetery. People with more tenuous connections with the family were buried along the rear (west) wall. In addition, the hierarchy of slave burials, mentioned above, reveals more aspects of the social organization of Jackson's plantation. Finally, the burials in the cemetery after the 1870s are consistently of James Jackson's direct descendants. Their attitudes towards commemoration varies drastically with that of their antebellum ancestors' conspicuous consumption via tall and elaborated monuments. Later monuments of the deceased are rather low to the ground and inscribed with little other than the descendants' names and vital dates. These burials are consistently in the northern half of the cemetery as well.
The Forks of Cypress Cemetery meets criterion exception D as it derives its primary importance both from distinctive design features and association with historic events.