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SAN ANTONIO HISTORIC AND DESIGN REVIEW COMMISSION
OFFICIAL MINUTES
6 July 2018
24. HDRC NO. 32018-251
Applicant: Tobin Hill Community Association
Address: 1817 N ST MARYS (parcel includes 902,904 E Euclid and 1817 and 1827 N St Mary’s)
REQUEST:
A request for review by the Historic and Design Review Commission regarding eligibility of the property
located at 1817 N St Mary's (parcel includes 902, 904 E Euclid and 1817 and 1827 N St Mary’s) for
landmark designation.
FINDINGS:
a. On April 10, 2018, a demolition application was submitted to the Office of Historic Preservation
(OHP) by the property owner for three of the four structures at 1817 N St Mary’s which is located
in the Tobin Hill Community Association registered neighborhood. The proposed demolition is
for the tree structures known as 902 & 904 E Euclid and 1817 N St Mary’s. At the same time, the
owner submitted a demolition request for one structure located on an adjacent lot which will be
considered as a separate item. OHP Staff conducted research to determine eligibility and
contacted the neighborhood association during the 30 day review period provided by UDC 35-
455.
b. On May 3, 2018, a Request for Review of Historic Significance for 1817 N St Mary’s (parcel
includes 902, 904 E Euclid and 1817 and 1827 N St Mary’s) was submitted to OHP by the Tobin
Hill Community Association, the applicant in this case.
c. On May 24, 2018, OHP Staff and the Designation Advisory Group conducted a site visit. The
group noted that 902 E Euclid and 904 E Euclid are twins with exact form, style, and materials.
Both are in good structural condition and retain their original materials: wood windows, original
wood lap siding under added asbestos siding, and other materials such as trim and exposed
rafters. 902 E Euclid and 904 E Euclid are in their original residential context, and the group
noted these structures should be retained as they represent the original development pattern of
that block. For 1827 N St. Mary’s, the group observed the original material and form of the
corner brick commercial structure. For the residential structure addressed 1817 N St. Mary’s, it
was visible that the original materials were intact. It was also noted that the property has lost its
residential context along N St. Mary’s. Based on site observation, the group supported a
determination of eligibility for the entire lot that includes 4 structures.
d. The parcel is located in the Tobin Hill neighborhood, but is not within the Tobin Hill Historic
District. The Tobin Hill area was surveyed in 2006 and 2007. The survey noted the property as
being within the period of significance.
e. If the HDRC agrees with the request, OHP will seek concurrence from the owner. If the owner is
in favor of designation, the request may proceed in the designation process and will be presented
to the Zoning Commission. In the case where an owner is not in favor, OHP must first forward
the recommendation of the HDRC to City Council for consideration of a resolution to initiate the
landmark designation process as outlined in UDC 35-606. If the HDRC does not agree with the
request, a resolution from City Council to initiate the landmark designation will not be sought.
f. ARCHITECTURAL DESCRIPTION –
902 E Euclid – residential
The structure is a single-story Craftsman with original exposed rafter tails, a double front
gable, and a covered front porch. It has a rectangular footprint, an original standing seam
metal roof on a cross gabled roof, and original 117 wood siding that is currently covered
by non-original synthetic asbestos siding. There is an original side gabled front concrete
porch with four (4) non-original wrought iron posts and concrete steps. Two front entry
doors are boarded up. Original one over one wood windows are installed throughout the
house, some with non-original aluminum screens. There are two original brick chimneys;
one is located on the south elevation of the house that has been painted, and one is inset
within the interior towards the rear.
904 E Euclid – residential
The structure is a twin for 902 E Euclid. This single-story Craftsman style structure with
original exposed rafter tails, a double front gable, and a covered front porch. It has a
rectangular footprint, an original standing seam metal roof on a cross gabled roof, and
original 117 wood siding that is currently covered by non-original synthetic asbestos
siding. There is an original side gabled front concrete porch with four
(4) non-original wrought iron posts and concrete steps. Two front entry doors are boarded
up. Original one over one wood windows are installed throughout the house, some with
original decorative wood windows screens and some with non-original aluminum
screens. An original brick chimney is located on the south elevation of the house that has
been painted.
1827 N St. Mary’s - commercial
The single story commercial brick structure is irregular shaped with two elevations that
front the street. The building’s placement addresses the street which is consistent with
early 20th century pedestrian oriented development. It has an original flat roof with a tall
parapet topped with a cornice and an original flat awning on the east elevation. There are
five (5) windows on the east elevation, three of which are bricked over. The window to
the left of the front door has an original transom window with four divided lights. There
is also a storefront door on the east elevation with non-original wood screens. The north
elevation features a painted sign advertising “A&G Boxing Team”. There are two
horizontal windows that are covered by an unknown material. There are two small
additions located on the southern elevation.
1817 N St. Mary’s – residential
The primary structure is a Craftsman style home with a rectangular footprint and an
original front clipped gable. Original features include a standing seam metal roof and
exposed rafter tails and brackets. It has a front gabled porch with three (3) original
tapered wood columns each atop large wooden piers clad with non-original synthetic
asbestos shingles. The original inset front porch is open to the south and east side.
Original one-over-one wood windows can be seen throughout the house. The siding is a
combination of non-original synthetic asbestos shingles and original wood 117 siding
underneath.
g. SITE CONTEXT –The parcel is located at the southwest corner of E Euclid and N St Mary’s, a
prominent corner on the N St Mary’s corridor, at a bend in the road which makes the commercial
structure highly visible. This is a large parcel that holds four structures: three residential single
family homes and one large corner commercial structure. The commercial structure sits at the
southwest corner of the North Saint Mary’s and East Euclid intersection. There is another corner
commercial structure at northwest corner of the same intersection, and two new construction
commercial structures at the east corners.
h. HISTORIC CONTEXT - The structures at 1817 North Saint Mary’s represent the residential and
commercial development of this area off the North Saint Mary’s commercial corridor. The
surrounding residential neighborhood of Tobin Hill flourished as one of San Antonio’s early
suburbs. The historic fabric of this area just outside of the Tobin Hill Historic District is rapidly
disappearing as new development along the Broadway and Saint Mary’s corridors intensify.
Already, the residential structure addressed 1817 N St Mary’s has lost its residential context as
commercial developed off Highway 281.
i. HISTORIC CONTEXT - North St. Mary’s Street, first called Rock Quarry Road and later Jones
Avenue, slowly grew to become important commercial corridor for adjacent residential
neighborhoods and flourished in the 1910s and 1920s.This southern end of the Tobin Hill
neighborhood developed in the early 1920s. Joe (also known as Joseph/Guiseppe) Di Carlo
purchased the property at the corner of North St. Mary’s and East Euclid in 1921 from W.E. and
Wanda Lowry, who lived on nearby Erie Ave. Joe Di Carlo, a prominent member of the Italian
community in San Antonio, lived with his family at 651 N Main where he also operated a grocery
store. Joe was a charter member of the Christopher Columbus Italian Society, and was honored as
a special guest at the cornerstone laying celebration in 1927.
j. EVALUATION – In order to be eligible for historic landmark designation, properties shall meet
at least three (3) of the 16 criteria listed. Staff finds that all four structures are contributing
structures to the neighborhood. Staff evaluated the property against all 16 criteria and determined
that it was consistent with UDC sec. 35-607(b):
(5) Its embodiment of distinguishing characteristics of an architectural style
valuable for the study of a period, type, method of construction, or use of indigenous
materials; as good examples of
Craftsman style residences and an early twentieth century one part block commercial
structure.
(7)Its unique location or singular physical characteristics that make it an established
or familiar visual feature; located on a prominent corner on the southernmost edge of
the Tobin Hill neighborhood, these structures provide definition of scale and context
moving from the commercial corridor of North St. Mary’s Street into the residential
portion of East Euclid.
(11) It is distinctive in character, interest or value; strongly exemplifies the cultural,
economic, social, ethnic or historical heritage of San Antonio, Texas or the United
States; the corner commercial structure represents the importance of the North St.
Mary’s Street corridor to the Tobin Hill community, serving the neighborhood as a
grocery store for over 40 years.
k. Per UDC Sec. 35-453, once the commission concurs eligibility of the property and makes a
recommendation of approval for designation, interim design review requirements will be in place
and the property owners must receive a written approval (a Certificate of Appropriateness) for
any exterior work. Theses interim requirements will remain in place until the City Council makes
their final decision on the proposed zoning change or not longer than six months.
l. The City offers a tax incentive for the substantial rehabilitation of historic properties because
historic landmarks possess cultural and historical value and contribute to the overall quality and
character of the City and its neighborhoods. If historic designation is approved, rehabilitation and
restoration work may be eligible for this incentive. State and Federal tax incentives are also
available for properties listed on the National Register of Historic Places and provide substantial
relief for rehabilitation projects.
RECOMMENDATIONS:
Staff recommends approval of the request. Staff finds that the property at 1817 N St Mary’s meets 3 of
the 16 criteria for evaluation and is eligible for landmark designation, and that all four buildings are
contributing, based on findings c through j. If the Historic and Design Review Commission (HDRC) finds
the property eligible, the HDRC will become the applicant and will request a resolution from the City
Council to initiate the designation process.
CITIZENS TO BE HEARD: None.
POSTPONED BY APPLICANT
www.expressnews.com/business/article/After-zoning-commiss...
Panelists include Joyce Parker, Co-Founder & Executive Director, Citizens for a Better Greenville, Jack Wuest, Alternative Schools Network, Chicago, and Rodney Skager, Professor Emeritus, UCLA Graduate School of Education.
Comments in graffiti by asylum inmates include "It's a casual madness", "Get me out of here", and "They killed me", scrawled or carved on these bricks from the 1880s to the 1970s.
- "These patient-built walls are a testament to the abilities of the people whose unpaid labour was central to the operation of asylums in the colony of Upper Canada and the Province of Ontario during the 19th and 20th centuries. The asylum on Queen street first opened in 1850 and was overcrowded within a few years. The initial idea of work as therapy gave way to the reality of work intended to save the provincial government money through unpaid patient labour. Men worked outdoors on construction, maintenance and farm work, including building and repairing many of the structures behind which they were confined, including the still existing boundary walls on the south side of this property, built in 1860, and the east and west boundary walls built in 1888-89. ... Seen by many as the physical representation of prejudiced attitudes towards people with a psychiatric diagnosis, the walls which still stand today are historical monuments to the exploited labour of all psychiatric patients who lived, worked and died on these grounds since 1850." (a plaque)
- You can hear an audio description at (416) 535-8501, ext. 1530.
- I took a tour here on the 'Doors Open' weekend led by Geoff Reaume, ethics Prof. at York U., 'psych survivor', and a passionate man. Here he is: www.youtube.com/watch?v=KUwRZ2j2ytg&playnext=1&li...
This is a photograph from the finish of the 6th annual Kinnegad 5KM Road Race and Fun Run 2015 which was held in the town of Kinnegad, Co. Westmeath, Ireland on Wednesday 8th July 2015 at 20:00. This race has firmly estbalished itself on the local race calender and yet again the race got wonderful support from local clubs and runners. The race is flat and fast and takes runners on traffic free route which includes 3KM on the local road 'Boreen Bradach'. The finish is on the famous main street of Kinnegad in front of Harry's Hotel. Over 200 people took part and the results by Premier Timing Systems are available here [www.premiertimingsystems.ie/]. Our full set of photographs from tonight's race is available here www.flickr.com/photos/peterm7/sets/72157653300652864
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to 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.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
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 Queanbeyan-Palerang Regional Council area includes the localities of Araluen, Back Creek, Ballalaba, Bendoura, Berlang, Bombay, Boro, Braidwood, Budawang (part), Bungendore, Burra (part), Bywong (part), Captains Flat, Carwoola, Charleys Forest, Collector (part), Corang, Crestwood, Currawang (part), Durran Durra, Environa, Farringdon, Forbes Creek, Googong, Greenleigh, Harolds Cross, Hereford Hall, Hoskinstown, Jembaicumbene, Jerrabattgulla, Jerrabomberra, Jinden, Karabar, Kindervale, Krawarree, Lake George (part), Larbert, Majors Creek, Manar, Marlowe, Mayfield, Monga, Mongarlowe, Mount Fairy, Mulloon, Neringla (part), Nerriga, Northangera, Oallen (part), Palerang, Primrose Valley, Queanbeyan, Queanbeyan East, Queanbeyan West, Reidsdale, Rossi, Royalla, Snowball (part), Sutton (part), Tarago (part), The Ridgeway, Tinderry (part), Tomboye, Tralee, Urila, Wamboin, Warri, Williamsdale (part), Wog Wog, Wyanbene and Yarrow.
Our region comprises many areas of natural beauty including Budawang National Park, Deua National Park, Gourock National Park, Monga National Park, Morton National Park, Tallaganda National Park, Yanununbeyan National Park, Lake George, Googong Dam, Braidwood Historic Village, Bungedore Village, Googong Foreshores, numerous Nature Reserves (Araleun, Bees Nest, Burra Creek, Cuumbeun, Goorooyarroo, Jerrabomberra Mountain, Nadgigomar, Queanbeyan, Scott, Stony Creek, Tinderry, Turallo, Wanna and Yanununbeyan), Monga State Forest and Tallaganda State Forest. Waterways and rivers include Lake George, Collector Creek, Yass River, Reedy Creek, Shoalhaven River, Mongarlowe River, Corang River, Sallee Creek, Queanbeyan River, Molonglo River, Jerrabuttgulla Creek, Stony Creek, Jembaiccumbene Creek, Back Creek, Bald Hill Creek, Tallaganda Creek, Krawarree Creek, Jinden Creek, Araluen Creek, Deua River and Neringla Creek.
General images of our LGA will be found in this album. If you are looking for images of the city and major towns / villages they will have their own album.
Kings Highway near Molonglo River looking west.
Photography: Gabriella Tagliapietra for QPRC
i used to include the white squares when i started doing my "inspired by" nods ( which have become my friday faves ) but stopped because i felt happier sharing photos with my contacts, not just links.
but i am making an exception today.
i just think this looks nice,lol.
and it actually speaks to the intent of the photo that is NOT appearing in the center...so take a sec and look at it ( it is one of maite's ) but also appreciate the quietness it shares with all the other photos i have loved this week:)
1. [ trece ], 2. sister, sister, 3. progress report, 4. Life Is Beautiful, 5. Untitled, 6. outtake, in which i open the door and hide my giant hands and feet but remained unconvinced of what the hell i am going for here, 7. what did you learn from the time, 8. Mammoth, Yosemite, HOME, 9. Hey Baby, Come Have A Seat Beside Me On My New Couch, 10. Can you Colourize My Life, I'm So Sick of Black and White, 11. Mine, 12. "shall i pose for you?", 13. Untitled14. Not available15. Not available16. Not available
Created with fd's Flickr Toys
Ships in this shot include the USS Ramage and Normandy, HNLMS Van Amstel and De Zeven Provinciën, Álvaro de Bazán, and HDMS Peter Willemoes
It was a beautiful late autumn day for a walk (and some flights!) around Halifax Harbour. The city was buzzing with the arrival of the US' latest aircraft carrier (and first of its class), the Gerald R. Ford, two cruise ships, HalCon, and nice weather. In the midst of some errands and hanging out with friends, I sought vantage points to take in the fleet.
I got terrible pictures the last time a carrier was in port, so it was great to have a 150-600mm with me this time, as well as a better idea where to go for lighting. My drone also added a really fun dimension. I was a little apprehensive, as some people were being a bit irresponsible in getting too close to the carrier, but I checked all my flights on Transport Canada's NavDrone, and I tried to keep to what seemed like the exclusion zone around the carrier in particular. For the relatively close shots of the shipyard, I launched from the Casino and avoided sliding over the shipyard itself.
Castle Ward is an 18th-century National Trust property Strangford Lough, in County Down.
It includes 332 hectares of landscaped gardens, a fortified tower house, Victorian laundry, theatre, restaurant, shop, saw mill and a working corn mill. It has a shore on Strangford Lough.
The most interesting aspect of Castle Ward is that of its dual architecture, representing the differing tastes of Lord Bangor and his wife, Lady Ann Bligh. While the entrance side of the building is done in a classical Palladian style with columns supporting a triangular pediment, the opposite side is Georgian Gothic with pointed windows, battlements and finials. This difference in style continues throughout the interior of the house with the divide down the centre.
Castle Ward has been the home of the Ward family since ca. 1570. Known originally as Carrick na Sheannagh and owned by the Earls of Kildare, it was bought by Bernard Ward, father of Bernard Ward Ward, Surveyor-General of Ireland. The 850 acre walled demesne also dates from the 16th century. The Ward family built a succession of homes in their estate; Old Castle Ward, built about 1590 near to Strangford Lough, still survives, but a mansion built about 1720 by Judge Michael Ward was demolished about 1850, although some of the associated landscaping remains.
The architect of the current building, built during the early 1760s for Michael Ward's son Bernard Ward, 1st Viscount Bangor is unknown, although he may have come from the Bristol area, with which the Ward family had associations. It may have been James Bridges who practiced in Bristol between 1757 and 1763 and whose work there has some similarity to Castle Ward.
The property was inherited by a settlement made in 1748 by Bernard Ward's eldest son, Nicholas, 2nd Viscount Bangor, who was clearly insane. When his younger brother, Edward, died in 1812, leaving a young son, the youngest brother Robert took the opportunity to relocate the insane Nicholas into a smaller house in Downpatrick and strip Castle Ward of everything valuable. The house stood empty until the death of Nicholas in 1827, when it was inherited by Edward's son, now the 3rd Viscount. He and his descendants restored the building and its furnishings, but on the death of the 6th Viscount in 1950 the house and estate were given in lieu of death duties to the Government of Northern Ireland, who presented the house and its gardens to the National Trust in 1952.
On 10 February 1973, Leonard O'Hanlon and Vivienne Fitzsimmons, both members of the Provisional Irish Republican Army, were killed when the bomb they planted exploded prematurely in the grounds of Castle Ward estate.
Theme MY COUNTRY - which must include the novels of Jane Austen. We have had two very significant holidays here, so it is also a perfect jigsaw for the theme HOLIDAY DESTINATIONS.
June 2017:
It has been a while since I've uploaded any photos of jigsaws - I've been on holiday and have also been busy listing and packing them away. (We got back from Washington DC the night before the most recent BCD Meeting so couldn't go to that either - the theme was Map puzzles so perhaps I should tackle one or two map jigsaws soon to take to the next meeting.)
This beautiful painting of rainy pavements outside Bath Abbey by Irene Marsh is a lovely contrast to the heatwave in Washington and back home in England. The view is almost identical to that obtained from the window of a Landmark Trust property we stayed in with friends three years ago (Marshall Wade's House, on the left opposite the Pump Rooms).
www.landmarktrust.org.uk/search-and-book/properties/marsh...
For more examples of Irene's watercolours visit her website. To date Wentworth have issued jigsaws of Bath Abbey and The Circus II.
Irene says, "I want my work to show life as it is today, right down to the last puddle. I love the reflections you see on traffic, paintwork and windows but most of all I love old, wet paving stones.”
From Friday night's gig at Sticky Mike's Frog Bar in Brighton, where Deaf from Behind were headlining for the first time.
Deaf from Behind and friends after the gig www.reverbnation.com/deaffrombehind
Trying this thing out , lomics.co/l/gBiHkY9QZY
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A classic Ford GT40 down the pit straight during practice for the Alan Mann Trophy at the 74th Members' Meeting, Goodwood
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]
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This is the first of my posters that includes three recently dropped photos
1. Kiss - P1070599, 2. Coburg - IMG_6665, 3. Creidlitz - IMG_4714, 4. Coburg Rathaus - IMG_3885, 5. Klein Schneen - IMG_2189-1, 6. Misty Morning at the Ochsenkopf Slopes, 7. Günter - IMG_1930, 8. Arkaden in Coburg - IMG_4734,
9. First Snow - IMG_1610-1, 10. Feuer Akrobatin - IMG_0282, 11. Russia: Michurinskoye - Squared Fire - IMG_8223-3, 12. Rainha da Bateria Dance Competition - Tanz Wettbewerb Râinha da Bateria - IMG_1058, 13. Tulpen - IMG_4490_b, 14. Schloss Peterhof - St. Petersburg - P6160009, 15. Tulips in April - Weinheim Hermannshof Garden - P4170031, 16. 2001-09-12 Sommer (12) Bellagio Lago di Como Italien 19,
17. 2001-09-12 Sommer (12) Bellagio Lago di Como Italien 19-1, 18. View from the Rosskopf near Tegernsee - pano - Oberbayern Suttengebiet 2005-07, 19. P1110235 - Dahlie quadratisch, 20. Morgens am Ochsenkopf - 25 September 2005 - P1090070, 21. Foto Serie Stiftskirche Mariä Geburt Rottenbuch P1060514, 22. Street Parade - A Photo Exhibition from the Sambafestival Coburg 2005, 23. Germany: Brocken, 24. St. Petersburg Eremitage P6120143
Created with fd's Flickr Toys.
What is the organism? How does it disperse? What is its global range?
How does it reproduce? How many reproductive units does it create?
Does it have any particular adaptations of note?
1. The organism is a Mallard duck, Anas platyrhyncho (the white one is a Pekin duck that I will not include in this exercise). These ducks disperse by flying and migrating from its northern breeding grounds near Alaska and Canada and flying south for the winter to southern U.S.A, Central America, and the West Indies. However they can also be found globally in Europe, Asia, and the Caribbean. They reproduce sexually after a male follows the female for months, where they then migrate to the breeding grounds together together. Hens lay 6-14 eggs and they care for their precocial young for up to 60 days. However even though the young don‘t rely on the mother, they do usually stick together while they‘re young, while the father leaves once they’re born. Mallard ducks are some of the largest, most common ducks, and males are known for their beautiful coloration.
www.outdoor-michigan.com/Birds.htm
From your observations:
Is it a single or multiple population(s)? Where are the nearest mating members?
How is it distributed (random, clumped, uniform) at each location or over the entire range
of your site?
Why is it located where it is? Do you think the population you are observing is a source
or sink? Where do the offspring of the population you are observing go? Where do
immigrants come from?
2. The population in my observations is a part of what I would say is a single population with the nearest mating members less than a quarter mile away. Over the entire range, the groups are distributed as clumped, with groups of 5-20 ducks in each clump. Within these they are distributed randomly. They are located where they are because they usually stay in groups near their families, although they’re part of the same population, so some flocks may be bigger, and some may be breeding so there are more around. I think the population I’m observing is a source, there is plenty of resources for them to live and increase their population in a proper environment. The offspring stay with the mothers until their down feathers are gone and they can be independent, she then leaves them, but they usually stay in the surrounding area together. Immigrants come from “sinks” or other sources to find resources and mates.
From your brain and calculator:
Plug the average number of offspring created by an individual during one time period, as
well as the number of individuals you estimated, into the geometric population growth
equation. What should the population be in 5 cycles? In 20 cycles? This model is a
hypothesis of sorts. Do you think your population is experiencing this type of growth?
Explain why you think this?
3. With about 50 ducks to start with at my site, after 5 cycles, the population should have increased to 5,000,000 without including any deaths, immigration, etc. After 20 cycles, it would be 50x10^20. My population is absolutely not experiencing this type of growth. So many factors come in to play to decrease the population such as death, disease, immigration, predation, habitat loss, as well as so many don’t produce ten offspring per cycle, some lay only 6. Also many of these ducks are males, so not all 50 ducks are reproducing, only a fraction of them are reproducing, let alone successfully.
From the literature:
Discuss how 2 models or experiments you have studied in class apply to your site. Give
the researcher/year/organism, their question and conclusions. Then summarize in a
sentence or two how those models inform you about your site.
4. One model from the book that applies to my site is the logistic model (Verhulst and Quetelet 1838) that shows the pattern of growth by a population as they begin to deplete environmental resources (pg. 250). It takes an assumed exponential growth rate, but adds the carrying capacity which limits the populations growth. At my site although more could live there, it would eventually reach its maximum occupancy before they would run out of resources and the population would stabilize at a comfortable size where all needs are being met. An example of an experiment was done by Boag and Grant in 1984 on Galapagos finches. They wanted to, “know the influences of the environment on birth and death rates in natural populations“ (pg.252). When there was drought, the population fell and many died from starvation since their food wasn’t growing. When there was excess rainfall the population greatly increased. This allowed them to conclude that there is a positive correlation between the amount of eggs laid and rainfall. This would holds true to my site because they also rely on and eat food that relies essentially on primary producers who rely on the rainfall.
Jan. 21, 2010. Boston, MA.
Gavin McCarthy.
Transgender Equality Lobby Day”sponsored by The Massachusetts Transgender Political Coalition. Transgender people and allies rallied at the Massachusetts State House to urge legislators to ban discrimination in the Commonwealth based on gender identity and expression by passing the bill H1728/S1687 “An Act Relative To Gender-Based Discrimination and Hate Crimes. Participants then visited their legislators to tell them their stories and ask them to support the bill.
Speakers at “Transgender Equality Lobby Day” include Chairman of House
Ways and Means Committee Charles Murphy, Co-Chair of the Joint
Committee on the Judiciary Senator Cynthia Creem, Senator Ben Downing,
Representative Byron Rushing, Representative Carl Sciortino, Jr.,
MTPC’s Executive Director Gunner Scott and community members Jesse
Pack, Marion Freedman-Gurspan, and Lorelei McLaughlin.
One of the speakers, Lorelei McLaughlin, struggled for many years before
she was finally able to find employment. “I would walk into a place
with a help wanted sign in the window, only to be told that, well;
they weren’t actually hiring right now but would be happy to put my
application on file. I couldn’t even get anyone to look at my
resume.”
Thursday at the 2021 Goodwood Festival of Speed, which went ahead as a government Covid secure test event.
Capstone, along with its partner Quadrangle Development, is currently developing a mixed use project on a site located at 9th Street NW and L Street NW. The $230 million project includes a 310-room Courtyard by Marriott hotel, a 190-room Residence Inn by Marriott hotel, and 230 residential units. The project is located in the Shaw Historic district and includes the redevelopment of a number of historic buildings located along 9th Street NW. Capstone recently completed the PUD process and is currently overseeing the design and financing of the project, which is projected to break ground in 2015.
Let’s say, in a few years, you’re searching for a hotel room adjacent to the Walter E. Washington Convention Center, and the swanky Marriott Marquis is full.
No problem. Maybe there’s a vacancy at the Courtyard Marriott next door. Or, perhaps, the Residence Inn by Marriott, next door.
Quadrangle Development Corp., as QC 369 LLC, has submitted a planned-unit development application to construct a 570,000-square-foot, 12-story building at Ninth and L streets NW, adjacent to the new Marriott Marquis. The $230 million project, called Columbia Place, will contain a hotel (really, two hotels, both Marriotts) and multifamily residential.
The site owner is (wait for it) Marriott International Inc. The project architects are Cooper Carry and TVS Design. The developer, Quadrangle, also worked with Marriott on the 1,175-room Marquis, which opened last month.
“Overall, the proposed development will significantly improve the existing area by virtue of the exceptional architectural design of the building, which carefully considers the nearby uses and aesthetics,” per the PUD application. “The proposed PUD will provide new housing and hotel opportunities to District residents, will put additional ‘eyes and ears’ on the street, and will create an improved pedestrian experience along 9th and L Streets, N.W.”
One part of the $230 million structure will contain a 124-room, extended stay Residence Inn by Marriott and a 377-room Courtyard Marriott, though the two will have separate entrances, both fronting L Street. The Residence Inn will include a restaurant and bar, 11 meeting rooms, a fitness center, internal courtyard with fire pit and “optional yoga deck,” and a retail space accessed from Ninth Street NW.
The 200-unit residential building, comprising studios, one- and two-bedroom units, will be located on the western side of the site, rising to a height of 110 feet. The Lurgan Building at 919 L will be retained and converted into 15 units. The new structure will have a rooftop recreation space and pool deck with a grill area, fire pit, lounge seating and “chess board turf.”
Quadrangle plans to demolish two historically contributing buildings, 911 and 913 L St. NW, while incorporating portions of nine other historic but dilapidated buildings into the development.
The project will be built in two phases, the hotel first followed by the residential.
The local advisory neighborhood commission unanimously backed the conceptual design and massing plan as it went through the Historic Preservation Review Board process earlier this year.
Since I didn't include him in the name post, I thought he should get equal time. This is also his before picture. Paul and I are going to give him a haircut tomorrow. We're fairly comfortable with his body but his head/face make me nervous, especially since he's not good about holding still. We just got tired of paying $50+ for bad haircuts. If only Annie lived here.
About his name, those of you who are Facebook friends may have noticed that Cooper was my maiden name. So it seemed like a no-brainer that would be his name. My dad always thought we named Cooper after him to harass him because he didn't like dogs. Actually, it would have served him right.
You may notice that Cooper has a runny nose. Since we moved to Arizona, both he and Ruby have developed allergies. We heard through a friend that her canine allergist said it's common for adult dogs who move to a new area to suffer from allergies. So far it hasn't been bad, just occasional runny noses and slightly itchy skin. We've been trying local honey for all of us since that's supposed to help.
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.
Back at the Goodwood Festival of Speed today, a free ticket as a reward for those involved in a work project that went very well. Bigger crowds for Sunday, which I used for these hit-and-miss panning shots
The interior of the Chateau de Villandry includes a Wooden, Spanish influenced, Mudejar style, moorish mosque ceiling. The chateau is situated in the Loire Valley, France
Includes:
Unisex
4 tattoos that can be used individually
5 options for the tattoo (Fade / Fresh / Fade red / Fresh red / Laser removal)
The Soysambu Conservancy includes much of Lake Elementaita and borders Lake Nakuru National Park to the west. It covers 190 square km (48,000 acres). It was created on the grounds of the Soysambu Ranch in 2007 to conserve the flora, fauna, and scenery of the Soysambu Ranch; it offers a home to over 450 bird species and 45 mammal species, including the critically endangered Rothschild (or Nubian) giraffe. The land of the ranch was appropriated by Hugh Cholmondeley, 3rd Baron Delamere, in 1906. The ranch still is owned and operated by the Delamere family.
Lake Elementaita is shallow a soda lake located on the floor of Kenya's Great Rift Valley 20 km southeast of the city of Nakuru at an altitude of 1,776 meters. Its surface are is 18 square kilometers (6.9 sq miles). Its deepest point is 1.9 meters; much of the lake is less than one meter deep. 450 bird species can be found here; it is an important stop for migratory birds. The lake is designated as Ramsar Site and as Important Bird Area (IBA). Lake Elementaita Wildlife Sanctuary encompasses the whole of Lake Elementaita and its riparian land; it became a UNESCO World Heritage Site as part of the Kenya Lake System in 2011.
Carlisle Cathedral
Carlisle Cathedral is the seat of the Anglican Bishop of Carlisle in Carlisle, Cumbria, England. It was founded as an Augustinian priory and became a cathedral in 1133.
Carlisle is the second smallest of England's ancient cathedrals. Its notable features include figurative stone carving, a set of medieval choir stalls and the largest window in the Flowing Decorated Gothic style in England.
Carlisle Cathedral was begun in 1122, during the reign of King Henry I, as a community of Canons Regular following the reform of the Abbey of Arrouaise in France, which followed a strict form of the canonical life, influenced by the asceticpractices of the Cistercians. Many large churches of Augustinian foundation were built in England during this period as the Archbishop of Canterbury, William de Corbeil, was a member of this order, but Carlisle is one of only four Augustinian churches in England to become a cathedral, most monastic cathedrals being Benedictine. The church was begun by Athelwold, an Englishman, who became the first prior. In 1133, the church was raised to the status of cathedral and Athelwold became the first Bishop of Carlisle (1133–55). In 1233, the cathedral priory community were joined by two friaries in the city. A Dominican friary and a Franciscan friary were founded close to the cathedral. The building was refurbished in the 13th and 14th centuries, receiving impetus from the presence of the court of Edward I in 1307.
In the 15th and early 16th centuries, the monastic buildings were renewed. With the Dissolution of the Monasteries from 1536, and the establishment by Henry VIII of the Church of England as the country's official church, the Dominican and Franciscan friaries were dissolved and Carlisle, along with the other monastic cathedrals, was run by a secular chapter like the cathedrals at Lincoln and York, which practice has continued to this day. During the time of the English Civil War, a portion of the nave of the cathedral was demolished by the Scottish Presbyterian Army in order to use the stone to reinforce Carlisle Castle. Between 1853 and 1870 Carlisle Cathedral was restored by Ewan Christian. In the early 19th century, the cathedral became the subject for a geometric analysis by Robert William Billings.
Carlisle Cathedral was commenced in 1123 as a monastic church, possibly on the foundations of an earlier church, in the Norman architectural style with solid masonry, large round piers, round arches and smallish round headed windows. These features may still be seen in the south transept and the remaining two bays of the nave, which are now used as the Chapel of the Border Regiment. The stone is the local red sandstone, which has discoloured almost to black on parts of the exterior. The building has also suffered from subsidence which is evidenced by the piers, which lean at different angles.
In the 13th century, the choir of the cathedral was rebuilt in the Gothic style, wider than the original and on a different axis. However, the new work was severely damaged in a fire in 1292, and the work was recommenced. By 1322 the arcades and the easternmost bay were complete, with the elaborate tracery and glass of the east window being in place by about 1350. The upper stages of the walls were finished, probably by the architect John Lewen who died in about 1398. The Gothic arcade has richly moulded arches with dog's tooth decoration, and the twelve capitals are carved with vegetation along with small lively figures representing the labours of the months.
The choir is roofed by a fine wooden barrel vault dating from the 14th century. In 1856 this was restored and repainted to a new design by Owen Jones. It is thought the eastern bays of the cathedral never received a stone vault because at some point the central spire blew down, and funds were required to rebuild the damaged tower and north transept, completed in about 1420.
The tracery and stained glass of the East Window
The most significant architectural feature of Carlisle Cathedral is its East Window. The tracery of this window is in the most complex of English Gothic styles, Flowing Decorated Gothic. It is the largest and most complex such window in England, being 51 feet high and 26 feet wide. It has nine lights, and tracery, which, it has been calculated, was drafted from 263 points.The tracery of the window still contains much of its original medieval glass.
Carlisle Cathedral has a fine set of 46 carved wooden choir stalls with misericords, which were installed in the early 15th century. Misericords are hinged seats, "constructed to keep the monks from falling asleep while at prayers,"and carved with numerous figures and creatures. Despite their purpose, the "pillars supporting the canopies bear traces of having been burnt, by weary monks who dropped off to sleep in the midst of their interminable devotions while holding a lighted candle in their hands." The misericords were made out of black oak, and their backs carved with scenes of the legends of St. Anthony the Hermit, St. Cuthbert, St. Augustine, and the twelve apostles, as well as mythical themes. The misericords of Carlisle include typical iconography of "half-length angels, beasts deriving from the Bestiary, hybrid creatures, and narrative scenes, including the inverted world theme of the Woman beating a Man that no decent set of misericords could be without."
The delicate gilt canopy over the High Altar is a modern work designed by Sir Charles Nicholson.
Other buildings of interest in the precinct are the Fratry dating from about 1500 and the Gatehouse of 1527. In mediaeval times the Fratry building was the dining hall of the Cathedral Priory.
ROCKTROPOLIS is a progressive rock band that is like a volcano ready to explode upon your ears. Members include guitarist ROCKTROPOLIS, Bassist and Keyboardist Sam Metropoulos and Drummer Marc Stemmler. Influences are Dream Theater, Rush, Yngwie, Yes, Deep Purple and Iron Maiden to name a few. Guitarist ROCKTROPOLIS has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Multi instrumentalist Sam Metropoulos has collaborated on several albums with The Process, played with John Macaluso and has opened for Yngwie Malmsteen. Akin to the pillars of the great Parthenon, drummer Marc Stemmler provides the foundation for which ROCKTROPOLIS bridges the hemispheres between classical and progressive rock music. ROCKTROPOLIS is a Nominee of the 2013 Detroit Music Awards.
ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz’s impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.
ROCKTROPOLIS is currently recording/producing their debut album, with Chris Lewis as their recording engineer (Fire Hyena Studio). Projected release date is summer 2013. Be prepared to own a collection of brilliant compositions that are melodic, epic and infectious to the soul.
www.RocktropolisMusic.com (c) 2012
Sir William Vernon 1418-1467 and family includes 2 sets of twins. The son of Richard Vernon and Benedicta de Ludlow www.flickr.com/photos/52219527@N00/2219771629/ , he was Treasurer of Calais and last person to hold for life the post of Knight Constable of England. Having inherited his fathers lands and debts, he and 3 other Vernons attacked his rival William Blount and took his lands.
He married 1435 Margaret daughter of Sir William Swynfen of Pype Ridware, Staffordshire, who had inherited the Pype Estate from his mother. .
1 Henry 1515 m Ann daughter of John Talbot Earl of Shrewsbury
www.flickr.com/photos/52219527@N00/2220631670/
2. Elizabeth
3. Margaret
4. Benedicta
5. Alice
6. Richard
7. William
8. Ralph
"Here lie Sir William Vernon Kt. sometime Knight Constable of England son and heir of Sir Richard Vernon Kt. who sometime was Treasurer of Calais which Sir William indeed died 30th June in the year of Our Lord 1467 and Margaret wife of the said William daughter and heiress of Robert Pype and Pernoe Kt. which Margaret indeed died in the year of Our Lord 146- on whose souls may God be merciful Amen".
In his will, made on the 29 June 1467 he expressed the wish to be buried in Tong Church where a ‘tombe was to be made after his own devise’ and also that a priest should ‘sing thereat for three years’. Sir William is shown on the tomb in chain and plate armour of the Yorkist period, sword, dagger and spurs. He has the Boar’s Head crest at his head and above his head a scroll with the motto -‘Blessed be God for his Gifts.’
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.
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
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