Includes a new dog/jackal head

After the snow and ice, things got a bit foggy when this NASCAR appeared - 76th Members' Meeeting, Goodwood.

Aristoteles: De historia animalium [Greek]. Includes nineteen tracts of Aristotle, some not genuine, and five of Theophrastus. Edited by Aldus Manutius with the assistance of Franciscus Caballus. Venice: Aldus Manutius, Romanus, 29 Jan. 1497. Front cover of binding: England, 18th-century gold-tooled red morocco, bound by Christopher Chapman. On both covers double fillets form a frame, within which is an ornamental roll (Nixon, ‘Harleian bindings’, pl. 14, Chapman roll 5); the lozenge-shaped centre-piece frequently found on the covers of Harleian bindings is absent. The head and tail of the spine are decorated with Nixon, ‘Harleian bindings’, pl. 14, Chapman roll 2, and the spine compartments are decorated with several individual tools including Nixon, ‘Harleian bindings’, pl. 15, Chapman no. 8; the edges and turn-ins are decorated with Chapman roll 2; marbled endpapers; edges of leaves left plain. Although associated with Chapman, this copy is not identifiable with the Harleian copy of the Aldine Aristotle, since it does not match Thomas Osborne’s description “foliis deaurat. & Lineis rubris” in his Catalogus bibliothecae Harleianae, vol. 1 (1743) no. 5373, and vol. 3 (1744) no. 935. Size: 322 x 220 mm. Sp Coll Old Library Bh10-d.11.

The cemetery contains historically notable monuments and the graves of many of Ireland's most prominent national figures. These include the graves of Daniel O'Connell, Charles Stewart Parnell, Michael Collins, Éamon de Valera, Arthur Griffith, Maude Gonne, Kevin Barry, Roger Casement, Constance Markievicz, Pádraig Ó Domhnaill, Seán MacBride, Jeremiah O'Donovan Rossa, James Larkin, Brendan Behan, Christy Brown and Luke Kelly of the Dubliners.

The grave of Michael Collins, the nationalist leader who was killed in the Irish Civil War in 1922, is among the most visited sites in Glasnevin. Around him were buried at least 183 soldiers of the Irish Free State. In 1967 their names were recorded on memorial around Collin's grave.

In 1993 a mass grave at the site of a Magdalene laundry, institutions ostensibly used to house "fallen women", was discovered after the convent which ran the laundry sold the land to a property developer. The Sisters from the Convent arranged to have the remains cremated and reburied in a mass grave at Glasnevin Cemetery, splitting the cost of the reburial with the developer who had bought the land.

The cemetery also offers a view of the changing style of death monuments in Ireland over the last 200 years: from the austere, simple, high stone erections of the period up until the 1860s, to the elaborate Celtic crosses of the nationalistic revival from the 1860s to the 1960s, to the plain Italian marble of the late 20th century.

The high wall with watch-towers surrounding the main part of the cemetery was built to deter bodysnatchers, who were active in Dublin in the 18th and early 19th centuries. The watchmen also had a pack of blood-hounds who roamed the cemetery at night.

In 2009, Glasnevin Trust in co-operation with the Commonwealth War Graves Commission (CWGC) began identifying the graves of Irish service personnel who died while serving in the Commonwealth forces during the two world wars. These names are inscribed on two memorials, rededicated and relocated in 2011 to near the main entrance.[6] A Cross of Sacrifice was erected in the cemetery, in a joint Irish-British commemoration ceremony, to mark the First World War centenary. As of July 2019, there are 215 service personnel of the Commonwealth of both wars identified as buried here.

Sunday afternoon was wet at the 2013 Goodwood Revival

This Video include 20 tracks of Various Artists. Every day a new compilation of Christmas songs! Subscribe for free to stay connected to our channel and easily access our video updates! goo.gl/CLdGjC Tip: click on the time and listen your favorite song Track list: Twelve Days of Christmas music [Four Calling Birds] --------------------------------- 1 | 00:00 | The Everly Brothers - We Wish You A Merry Christmas 2 | 01:24 | Dale Evans - Suzy Snowflake 3 | 04:20 | Caito & Willy Rodriguez - Tu y Yo en Navidad 4 | 06:59 | Perry Como - Jingle Bells 5 | 09:59 | Arthur Fiedler - The Nutcracker, Op.71a, Act No. II, Scene No. 2 Final Waltz - Tempo di Valse 6 | 13:31 | Frank Sinatra - The Christmas Song (chestnuts Roasting On An Open Fire) 7 | 17:03 | Arthur Fiedler & Boston Pops Orchestra - Sleigh Ride 8 | 20:06 | Korla Pandit - Hark! the Herald Angels Sing 9 | 21:56 | Leontyne Price - It Came Upon A Midnight Clear 10 | 23:47 | The Mormon Tabernacle Choir - What Perfume This? O Shepherds Say! 11 | 25:53 | Jackie Gleason - Santa Claus Is Coming To Town 12 | 28:28 | Chet Atkins - The First Noel 13 | 30:14 | Korla Pandit - White Christmas 14 | 32:53 | Percy Faith - We Three Kings Of Orient Are 15 | 35:02 | Ralph Hunter Choir - Winter Wonderland 16 | 37:59 | Winifred Atwell & The Winifred Atwell Singers - The Golden Carol (Greensleeves) 17 | 40:47 | Teresa Brewer - Lost, A Little Puppy 18 | 43:19 | Mitch Miller - Silent Night, Holy Night 19 | 47:42 | Ferrante & Teicher - The Twelve Days of Christmas 20 | 50:51 | Dorothy Olsen - Little Donkey --------------------------------- Playlist Santa's Countdown to Christmas: goo.gl/cxNuUf --------------------------------- Subscribe Channel We cant wait for Christmas, and so we have made this the biggest and best Christmas Music Advent calendar used to count the days of Advent in anticipation of Christmas Channel for the sharing of best Christmas songs in the world. Ride your playlist and get touched with these beautiful songs about the best and blessed time of year. Happy Christmas! Subscribe for free to stay connected to our channel and easily access our video updates! Facebook: goo.gl/4cTAQs Twitter: twitter.com/Santa_ClausXmas Instagram: goo.gl/MqnnxT Tumblr: goo.gl/BgVQhr Pinterest: goo.gl/9KzAgQ Flickr: goo.gl/V4QCMr Wordpress Blog: goo.gl/6Zvoxk Blogger: goo.gl/8Uh53Z --------------------------------- ® 2017 Santa Claus Xmas Songs youtu.be/jr03IzoxO8A

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...

Includes Kerouac's 'The Origins of Joy in Poetry,' 'The Wheel of the Quivering Meat Conception' (later published as the 211th chorus of 'Mexico City Blues') and 'Old Man Mose' (later published as the 221st chorus of 'Mexico City Blues').

Cold and clear for the Ricardo Fireworks Party. Traditional foreground rides for the kids, a bar, food, an impressive display and a chance to catch up with current and former colleagues.

includes disposal sharps container, HIV plush toy, needle exchange material. The candle was from the same vigil that forms the background images.

More Polo action from Cowdray Park

Samarkand is a city in southeastern Uzbekistan and among the oldest continuously inhabited cities in Central Asia. Samarkand is the capital of the Samarkand Region and a district-level city, that includes the urban-type settlements Kimyogarlar, Farhod and Khishrav. With 551,700 inhabitants (2021)] it is the third-largest city in Uzbekistan.

There is evidence of human activity in the area of the city dating from the late Paleolithic Era. Though there is no direct evidence of when Samarkand was founded, several theories propose that it was founded between the 8th and 7th centuries BC. Prospering from its location on the Silk Road between China, Persia and Europe, at times Samarkand was one of the largest cities in Central Asia, and was an important city of the empires of Greater Iran. By the time of the Persian Achaemenid Empire, it was the capital of the Sogdian satrapy. The city was conquered by Alexander the Great in 329 BC, when it was known as Markanda, which was rendered in Greek as Μαράκανδα. The city was ruled by a succession of Iranian and Turkic rulers until it was conquered by the Mongols under Genghis Khan in 1220.

The city is noted as a centre of Islamic scholarly study and the birthplace of the Timurid Renaissance. In the 14th century, Timur made it the capital of his empire and the site of his mausoleum, the Gur-e Amir. The Bibi-Khanym Mosque, rebuilt during the Soviet era, remains one of the city's most notable landmarks. Samarkand's Registan square was the city's ancient centre and is bounded by three monumental religious buildings. The city has carefully preserved the traditions of ancient crafts: embroidery, goldwork, silk weaving, copper engraving, ceramics, wood carving, and wood painting. In 2001, UNESCO added the city to its World Heritage List as Samarkand – Crossroads of Cultures.

Modern Samarkand is divided into two parts: the old city, which includes historical monuments, shops, and old private houses; and the new city, which was developed during the days of the Russian Empire and Soviet Union and includes administrative buildings along with cultural centres and educational institutions. On 15 and 16 September 2022, the city hosted the 2022 SCO summit.

Samarkand has a multicultural and plurilingual history that was significantly modified by the process of national delimitation in Central Asia. Many inhabitants of the city are native or bilingual speakers of the Tajik language, whereas Uzbek is the official language and Russian is also widely used in the public sphere, as per Uzbekistan's language policy.

Apart from the church itself, the complex includes a parish and a school. That's me camwhoring at the church steps. The church was closed as it was not mass time. Designed by New Zealander Mr. B.W. Mountfort, the building was first constructed with belian (ironwood) timber, followed by brick and finally stone, which is said to have from the nearby Buli Sim Sim, while the white stones that adorn the windows and doors are from Hong Kong. The St. Michael's is considered to be the only stone building in the entire Sabah province and was probably the only structure to escape damage from bombing during the war. (Sandakan, Sabah, East Malaysia, Nov.2013)

Includes plan (20×33cms.) showing sewers, unhealthy districts, fever cases, deaths from fever, cholera cases, deaths from cholera, fever ward in Chester St., and house in which first case of cholera appeared; section and elevation of three storey back to back houses with cellars; details of families in twenty cellars, 7 Oct 1849 (mostly Irish names); table showing number of houses, population; residences of patients treated by the Chorlton Dispensary and Union, 1847-51, annual percen of deaths, total number of fever, diarrhoea and dysentery, scarlet fever and measles, 1847-1851, and total number of cases of cholera treated under the Union, 1848-1849; total deaths, 1847-1851, with number of houses, population, annual average and annual percent of deaths; deaths in specific streets from fever, smallpox, diarrhoea and dysentery, 1847-1851, cholera deaths per street, 1847-1851; causes of death in specific streets, 1847-1851; deaths under five years old; number of persons relieved and cost, 1847-51; number of ashpits requiring draining and other nuisances per street, 31 Dec 1853; number of back to back houses per street; streets and courts where privies face houses; streets and courts requiring draining; overcrowded houses per street "occupied by a low class of Irish, who are known to live together in large numbers", number of houses with privies under sleeping rooms.

GB127.M126/5/1/17

Located 45-minutes from Los Cabos International Airport, Costa Palmas is a 1000-acre master plan on Baja’s scenic East Cape. Set on two miles of white sand swimmable beach on the Sea of Cortés, the resort plans include a full-service marina, a golf course designed by Robert Trent Jones II, a marina village, organic farms, and the members-only Costa Palmas Beach & Yacht Club. It will also be home to Four Seasons Resort Los Cabos and ultimately at least two more internationally positioned hospitality and lifestyle brands.

Irongate previously developed The Ritz-Carlton Residences, Waikiki Beach and Trump International Hotel & Tower Waikiki.

Donald Trump filed a lawsuit in 2009 against the founder of Irongate, Jason Grosfeld, developer that paid to use his name for an oceanfront condominium project in Baja California but then failed to build it.

At the start of the adults section of the Bolney Pram Race

I include this merely for the novelty of the viewpoint! Taken from a Central Line train climbing one of the flyovers towards Greenford, the 165 is just crossing the A40 as it departs from the South Greenford stop while the 66 is coming off the single line chord from East Junction.

Includes 'Meditation in the Woods,' an extract from the original draft of 'The Dharma Bums.'

Action from the Forest Rally Stage at the Goodwood Festival of Speed.

Sexy dress with sparkles.

Includes appliers for:

Lolas tango

Mirage

Omega

Cute/Phat

Sking Brazilia

G. Inc Perfect body (uses omega appliers)

Ghetto Booty

Maitreya

VS Fusion

Lena

Belleza

eBody

slink physique clothing applier

wowmeh applier

Eve applier hud pulpy and slim

I have an inworld shop. Use the telepad at the landing point. maps.secondlife.com/secondlife/Static%20Beats/84/236/59

Marketplace store.

marketplace.secondlife.com/p/Sexy-Dreams-Cutesy-dress-bei...

U.S. 27 Phase 1 - Begins March 27, Finishes Fall 2017

The first phase of construction will include:

~ straightening the alignment of southbound U.S. 27 near the intersection of North C Street,

~ rebuilding State Road 121/North J Street approaching U.S. 27, and

~ rebuilding both directions of U.S. 27 between North B Street and the Whitewater River, excluding the bridge over the railroad.

Work will reduce U.S. 27 to one lane in each direction between North B Street and the Whitewater River bridge. Multiple traffic shifts will be required to maintain one lane in each direction and rebuild the roadway one side at a time. Access to and from intersecting streets will be temporarily closed while that side of the roadway is being rebuilt.

U.S. 27 Phase 2 - Begins Late April, Finishes Summer 2018

The second phase of construction will include rebuilding the west half of southbound U.S. 27 between North C Street and the South O Street overpass. Traffic will be reduced to one lane and shifted to the east side of the road. A short section between South C and F streets will temporarily remain shifted to the west half of the road.

Multiple traffic lane shifts will be required to maintain one open lane and rebuild the roadway one side at a time. Access to and from intersecting streets will be temporarily closed while that side of the roadway is being rebuilt.

Weather permitting, contractors intend to finish one half of the southbound U.S. 27 rebuild this year. Once complete, one lane of traffic will be shifted to the west side of the road and the eastern half will be finished in 2018.

U.S. 27 construction will require lane closures and traffic shifts on U.S. 40 (North A and South A streets) as the intersections are rebuilt later this summer.

Ann Arbor Dance Classics 2017 Recital on Saturday June 17, 2017. These pictures include the Solo Showcase that preceded the recital. The recital was held at Saline High School (Saline, Michigan). These are photos from my perch on Stage Right - stage managing again!

Includes:

( 1 ) Atmos Boss Lithium Ion battery

( 1 ) Heating Chamber

( 1 ) Chamber Connector

( 1 ) Ceramic Filter

( 1 ) Mesh Filter

( 1 ) Atmos Rubber Mouthpiece

( 1 ) Packing dabber Tool

( 1 ) Cleaning Brush

( 1 ) Wall Charger Adapter

( 1 ) USB Charger

( 1 ) User Manual

potterest.com/pin/atmos-boss-vaporizer-vape-pen-dy-herb-p...

Besakih Temple, known as Bali’s ‘Mother Temple’ for over 1,000 years, sits 1,000 metres high on the southwestern slopes of Mount Agung. Besakih is an artistic and unique complex that comprises at least 86 temples which include the main Pura Penataran Agung (the Great Temple of State) and 18 others.

Besakih is the biggest and holiest of the island's temples and is surrounded by breathtaking and scenic rice paddies, hills, mountains, streams, and more.

To the Balinese, visiting the temple sanctuaries is a special pilgrimage. Mount Agung’s high location gives it an almost mystical quality. Many stairs lead up to the sacred mountain, leading to the many temples that vary according to types, status, and functions.

Pura Besakih features three temples dedicated to the Hindu trinity. Pura Penataran Agung in the centre has white banners for Shiva, the destroyer; Pura Kiduling Kreteg on the right side is with red banners for Brahma, the creator; and Pura Batu Madeg represents Vishnu, the preserver, with its black banners. You can visit other temples in Pura Besakih, but many of their inner courtyards are closed to the public as they’re reserved for pilgrims.

Pura Besakih is the only temple open to every devotee from any caste groups. This is because of its nature as the primal centre of all ceremonial activities.

HISTORY

Pura Batu Madeg, containing a central stone, indicates that the area of Pura Besakih was already regarded a holy place since ancient times. In the 8th century, a Hindustani monk had revelations to build homes for people during his isolation. Throughout the process, many of his followers died due to illness and accidents. On its completion it was called ‘Basuki’, referring to the dragon deity ‘Naga Besukian’, believed to inhabit Mount Agung. The name eventually evolved into ‘Besakih’.

Other shrines were gradually built and Pura Besakih was made the main temple during the conquering of Bali by the Majapahit Empire in 1343. Since then, Pura Besakih has had several restorations as earthquakes in 1917 and Mount Agung’s series of eruptions in 1963 damaged the complex. The lava flow passed by Pura Besakih and it is believed to be a miraculous signal from the deities that they wanted to demonstrate their power without completely destroying the holy complex their devotees had built for them.

_____________________________________________________

Pura Besakih ist das bedeutendste auf der Insel Bali gelegene hinduistische Heiligtum in Indonesien und „Muttertempel“ aller balinesischer Tempel. Der Tempel wurde vermutlich im 8. Jahrhundert gegründet und liegt auf rund 950 Meter Höhe am Südwesthang des Gunung Agung, einem nach wie vor aktiven Vulkan. Die Gesamtanlage besteht aus über 200 Gebäuden, zu denen mehrstufige Tempeltürme (meru), Schreine (pelinggih), offene Pavillons (bale) und weitere geschlossene Gebäude gehören. Die Fürstengeschlechter haben jeweils ihren eigenen Bezirk. Alle Dorfgemeinschaften verfügen innerhalb des weitläufigen Geländes über eigene Tempelbereiche oder Schreine, die jeweils von einer Mauer umgeben sind.

Heiligster der drei großen Tempelbezirke ist der Pura Panataran Agung Besakih im Zentrum, in dem der eine Gott Sanghyang Widhi Wasa nach der indischen Terminologie als Trimurti - das ist die Hindu-Göttertrinität Brahma-Shiva-Vishnu - verehrt wird.

Einmal im Jahr findet bei Vollmond ein von vielen balinesischen Gläubigen besuchtes großes Fest in diesem Tempelkomplex statt, wenn die Rajas Balis erscheinen und ihren Vorfahren opfern. Alle hundert Jahre nach dem balinesischen Mondkalender feiert man hier außerdem das Eka Dasa Rudra, eine große Opferzeremonie, bei der das Universum symbolisch gereinigt wird.

Während des letzten Eka Dasa Rudra brach am 18. Februar 1963 der Gunung Agung aus. Weite Landstriche wurden verwüstet, über 1100 Menschen starben und 86.000 wurden obdachlos. Östlich der Tempelanlage kam ein heißer Schuttstrom (Lahar) herunter. Bei dem Ausbruch wurden am 18. Mai 1963 die meisten Gebäude durch ein Erdbeben zerstört; bereits zuvor waren Lapilli auf die Anlage niedergegangen.

Seit dem 19. Oktober 1995 steht Pura Besakih auf der Tentativliste als UNESCO-Welterbe, wurde aber bisher nicht in die UNESCO-Liste des Welterbes aufgenommen.

Horsham's Americarna - a celebration of things American. Also the venue for this year's Camera Club Photohunt, which I won. My prize is to organise next year's event.

An out take for "Animal portrait"

The badge from "Le Zebre" in the reception at work.

A car that was co-designed by Harry Ricardo for the French firm back in the 1920s

en.wikipedia.org/wiki/Le_Z%C3%A8bre

Preparation for the Brighton Pride parade at Hove Lawns

From a quick visit to Sheffield Park (NT), to view the Autumn colours before they disappeared. Not the right light for wide views, so I went for a mainly macro approach

Ahh must include a detail.

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

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

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

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

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

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

A quick, unrefined drawing may be called a sketch.

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

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

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

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

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

Notable draftsmen[edit]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Perspective[edit]

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

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

Arachnophobia:

- an abnormal and irrational fear of spiders

- symptoms include excessive sweating, excessive crying, hyperventilation, a quickened heartbeat, and several hours of psychological paralysis following a spidery encounter

On a day I will never forget, I was trapped in a terribly spidery situation. A spider in my room. A big one. The usual spider-killers of the family were not home. I had no choice but to kill him myself. But contact is impossible. I stood on a chair, clutching the big red spray can. I got as close as I could before trembling to the point of dropping the can. I aimed. No air. No balance. But no choice. I sprayed. He fell. I jumped and continued to spray. He crawled as fast as he could, looking for shelter. I kept spraying. Still no air. He twitched. I watched in horror. He shriveled up into a ball of black legs. No movement on his part, no need for continued observation on my part. I won. One gasp for air. Tears. Screams. Sweat. Trembles. Eight more hours of emptiness, incomprehension, trauma, lack of movement, lack of concentration, disbelief... Eight hours - one for each of his fascinating legs.

"there's spiders in your room

but there always will be"

--editors

This one went for €600 on an auction website. I quite like the simple silver rims and blue styling. Not sure if the black (buddy) seats are stock, but also seems to work.

The Suzuki GSX600F is great as an all-round motorcycle. It’s neutral with stable steering and shouldn’t catch out the unwary. It’s not light though so low speed manoeuvring needs a little care. The Suzuki GSX600F is no track machine, where its weight and relatively soft and cheap suspension will limit fun after that first fun track day.

No bells, whistles or LCD trickery. But the Suzuki GSX600F has a decent fairing, a seat that’s all-day comfy for one and not bad with a passenger either. The riding position’s roomy and the Suzuki GSX600F has a centre stand too. Mirrors and lights are mediocre but it’s not impossible to upgrade either if that’s a problem.

Action from Friday at the Goodwood Festival of Speed. Contrary to the forecast, dry and virtually sunny all day. Planes, bikes and cars aplenty doing their stuff on the hillclimb, the forest rally stage, GAS arena and in the skies above.

A motocrosser shows his skills in GAS arena

Title: ILGWU Local 91 class on the social interpretation of literature, New York City, February 6, 1935. Includes Belle Horensen (Horenstein) in the second row, second from the right.

Date: 1935

Photographer: Unknown

Photo ID: 5780PB10F2B

Collection: International Ladies Garment Workers Union Photographs (1885-1985)

Repository: The Kheel Center for Labor-Management Documentation and Archives in the ILR School at Cornell University is the Catherwood Library unit that collects, preserves, and makes accessible special collections documenting the history of the workplace and labor relations. www.ilr.cornell.edu/library/kheel

Notes: Information written on image front. No additional information available.

Copyright: The copyright status of this image is unknown. It may also be subject to third party rights of privacy or publicity. Images are being made available for purposes of private study, scholarship, and research. The Kheel Center would like to learn more about this image and hear from any copyright owners who are not properly identified so that we may make the necessary corrections.

Tags: Kheel Center for Labor-Management Documentation and Archives,Cornell University Library,Education, Local, Women

Quartzite & pebbly quartzite in the Precambrian of Ontario, Canada.

Southeastern Canada's ~2.3 billion year old Lorrain Formation includes some beautiful rocks that rockhounds have nicknamed "puddingstone". This refers to whitish-gray quartzites having common pebbles of red jasper.

The Lorrain Formation is somewhat heterolithic. Published studies mention that the unit has arkoses, subarkoses, quartzites, and jasper-pebble conglomerates. The latter two lithologies are present at the glacially-eroded outcrop seen here. The quartzites were originally sandstones. They have been well cemented and somewhat metamorphosed into very hard rocks. The jasper-pebble conglomerates, or "puddingstones", include clasts of white quartz and reddish jaspilites. Pebble shapes range from rounded to angular. Ordinarily, a sedimentary rock having rounded pebbles is called "conglomerate", and a rock having angular pebbles is called "breccia". This material has both shape categories, but is referred to as "conglomerate" here.

Jaspilite is a type of BIF (banded iron formation). BIFs only formed on Earth during the Precambrian - most are Paleoproterozoic in age. They are the # 1 source of iron ore for the world's steel industry. Numerous specific types of BIFs are known. Jaspilite consists of alternating laters of red and silvery-gray, iron-rich minerals. The red layers are hematite or jasper (= hematitic chert). The silver-gray layers are usually rich in magnetite and/or specular hematite. Jaspilite BIFs outcrop in many areas around Lake Superior, for example in Michigan's Upper Peninsula, Minnesota, and Ontario.

During the Paleoproterozoic, BIFs were subaerially exposed as paleo-outcrops and eroded, producing BIF sediments, including many red jasper pebbles. These mixed with quartz-rich sediments.

Regional studies indicate that the Lorrain Formation was deposited in ancient shallow ocean, lake, delta, and shoreline environments.

Stratigraphy: Lorrain Formation, upper Cobalt Group, Huronian Supergroup, Paleoproterozoic, ~2.3 Ga

Locality: Ottertail Lake Northeast Roadcut - glacial knob on the eastern side of Rt. 638, northeast of Ottertail Lake & southeast of Rock Lake, north-northeast of the town of Bruce Mines, southern Ontario, southeastern Canada (46° 23' 30.59" North latitude, 83° 43’ 10.94" West longitude)

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

Some info. synthesized from:

Hadley (1970) - Paleocurrents and origin of Huronian Lorrain Formation, Ontario and Quebec. American Association of Petroleum Geologists Bulletin 54: 850.

The Hilton was added to a boycott list that already includes the Grand Hyatt, The Palace, the Westing St. Francis and the W

More info at

unitehere2.org

AFL-CIO President Richard Trumka spoke at a rally

www.aflcio.org/aboutus/thisistheaflcio/leaders/officers_t...

He then marched to the San Francisco Hilton and participated in a sit-in at the entrance. He was arrested with former Board of Supervisors President Aaron Peskin, Unite Here! president John Wilhelm, Board of Supervisors candidates Debra Walker (D6) and Rafael Mandelman (D8), and over 100 others

A video on the events leading up to today

www.unitehere.org/detail.php?ID=3172 (there is an email list on the lower right and a link to their facebook group)

Some of these photos are at

www.demotix.com/news/216914/afl-cio-president-richard-tru...

Media coverage (click on the labor collection to see more of my photos of Local 2 actions)

blog.aflcio.org/2010/01/06/hotel-workers-trumka-arrested-...

abclocal.go.com/kgo/story?section=news/local/san_francisc...

www.ktvu.com/news/22144977/detail.html

www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/01/05/BU65...

The Motherland Calls (Russian: Родина-мать зовёт!, romanized: Rodina-mat' zovyot!) is a colossal neoclassicist and socialist realist war memorial sculpture on Mamayev Kurgan in Volgograd, Russia. Designed primarily by sculptor Yevgeny Vuchetich with assistance from architect Yakov Belopolsky, the concrete sculpture commemorates the casualties of the Battle of Stalingrad, and is the predominant component of a larger monument complex, which includes several plazas and other sculptural works. Standing 85 metres (279 ft) tall from the base of its pedestal to its peak, the statue was the tallest in the world upon its completion in 1967, and is the tallest statue in Europe if excluding the pedestal. The statue, along with the rest of the complex, was dedicated on 15 October 1967, and has been listed as a tentative candidate for UNESCO's list of World Heritage Sites since 2014.

The sculpture depicts a female personification of Russia, commonly referred to as Mother Russia. She wears a windswept shawl resembling wings, and holds a sword aloft in her right hand. Her left hand is extended outward, as she calls upon the Soviet people to battle. The statue was originally planned to be made of granite and to stand only 30 metres (98 ft) tall, with a design consisting of a Red Army soldier genuflecting and placing a sword before Mother Russia holding a folded banner, but was changed in 1961 to be a large concrete structure at nearly double the height, a decision that was subject to criticism from Soviet military officials and writers. It was inspired by the Winged Victory of Samothrace, an ancient Greek sculpture of the goddess of victory, Nike.

The construction of The Motherland Calls began in 1963, and was led by structural engineer Nikolai Nikitin. The project faced numerous challenges, including the assembly of the statue's framework and its intricate features, which were compounded by the statue's size. Delays were caused by cold weather and unforeseen geological issues, necessitating extensive foundation reinforcement and relocation of water systems. Additional complications arose with the statue's sword, which was required to be redesigned due to problems with wind resistance. Despite these obstacles, the memorial was completed in 1967 for the 50th anniversary of the October Revolution.

After its dedication, the sculpture underwent numerous alterations and restoration attempts. In 1972, the statue's sword was replaced with a higher-grade steel alloy version to reduce wind resistance, and by 1986, it had tilted significantly from its original axis. Concerns about the statue's structural integrity arose by the early 21st century, with the statue in disrepair and at risk of collapsing. Comprehensive restoration efforts began later in the century, and by 2020, the monument had undergone extensive restoration, although post-renovation critiques and new structural issues have since arisen.

The Battle of Stalingrad was a major conflict between the Soviet Union and Nazi Germany on the Eastern Front of World War II, fought over six months from July 1942 to February 1943. The battle resulted in a decisive Soviet victory but came at a tremendous cost, with over a million estimated Soviet deaths. The battle was quickly mythologised in Soviet culture, and was widely referred to as the turning point in the war in Soviet history textbooks.

The idea of commemorating the Soviet victory in the Battle of Stalingrad originated in the final years of the war. Soviet politicians and artists had considered designs for monuments to the battle prior to the war's end, and the first museum honoring the Great Patriotic War was established as early as March 1943. In 1944, the publication Arkhitektura SSSR issued a number of articles detailing possible designs for memorials. Following the end of the war in 1945, several small-scale obelisks and commemorative plaques were erected across the Soviet Union; however, larger plans for monuments were curtailed by leader Joseph Stalin, who sought to refocus attention on emerging Cold War conflicts, virtually prohibiting all public observation of the war by 1948.

In 1948, sculptor Yevgeny Vuchetich, a member of the Academy of Arts of the Soviet Union, began discussing plans for a monument for the Battle of Stalingrad with architect Yakov Belopolsky, whom he had previously collaborated with on the development of the Soviet War Memorial in Berlin's Treptower Park.[6] The project was intended to be built atop Mamayev Kurgan, a burial mound that was the site of intense conflict during the battle. Vuchetich started petitioning high-ranking Soviet officials for permission to design the monument in the early 1950s, including Politburo member Georgy Malenkov.[8] In a letter to Malenkov dated December 1951, Vuchetich claimed that he had received multiple inquiries from veterans and family members of those who died in the war about the absence of a memorial on Mamayev Kurgan.

After Stalin's death in March 1953, plans for a memorial on Mamayev Kurgan were revitalised. In March 1954, the Council of Ministers announced a competition for the design of a "State Museum of the Defense of Tsaritsyn-Stalingrad", which would include a large panoramic painting depicting the battle; by this time, Vuchetich and Belopolsky had already finalised drafts for the project's structural designs. On 23 January 1958, the Council of Ministers declared that the construction of "a memorial-monument in the city of Stalingrad commemorating victory over the German fascist force" would be overseen by a committee led by Vuchetich and comprising Belopolsky and Anatoly Garpenko, an artist and Red Army veteran.

Vuchetich and Belopolsky's initial designs for the project were ambitious and took much of their inspiration from the memorial at Treptower Park. The entrance to the monument was planned to feature a triumphal arch that led into a granite staircase, followed by a brick staircase in an avenue of Lombardy poplar trees. A second granite staircase would lead to a circular plaza, with a large granite statue of a Russian man titled Stand To the Death!. Behind the statue, a final granite staircase would lead to a plaza with an entrance to an underground complex called the "Panorama". A cupola-shaped hall would include an eternal flame to memorialise the heroes of Stalingrad, a sculpture of a man shaping a sword into a ploughshare, and walls engraved with the names of those who died in the battle. An exit at the end of the hall led to a second observation platform with a panoramic painting depicting a prosperous post-war Stalingrad.

The principal component of the project was to be a colossal statue at the top of Mamayev Kurgan; at the statue's base, a foyer would be built in order to allow visitors to honor the dead with commemorative gifts. The statue was designed according to the principles of neoclassicism and socialist realism, both artistic styles that Vuchetich specialised in. The original plan for the sculpture was to have it constructed entirely of granite, with a design featuring a Red Army soldier genuflecting and placing a sword before a female personification of Russia, commonly referred to as Mother Russia, holding a folded banner; this was later changed to be a concrete statue of a lone Mother Russia wearing a windblown shawl resembling wings and holding a sword aloft in her right hand, with her left hand extended outward as she calls upon the Soviet people to fight against the enemy. The design was inspired by the Winged Victory of Samothrace, an ancient Greek sculpture of the goddess of victory, Nike. Committee members initially suggested that the sculpture should be dressed in traditional Russian clothing. Vuchetich objected to the proposition, arguing that a traditional costume would diminish the idea of the battle as an "international event" and defy the neoclassical style he had envisioned for the statue. The sculpture was initially planned to be 30 metres (98 ft) tall from its pedestal to its peak; however, Soviet leader Nikita Khrushchev ordered it to be taller than the 46 metres (151 ft) tall Statue of Liberty in a display of dominance over the United States, their geopolitical rival during the Cold War. The height of the statue alone was increased to 52 metres (171 ft), nearly double the originally planned height, a decision that further increased the project's cost, which had already substantially overrun its budget. Valentina Izotova, a 26-year-old waitress at a local restaurant, was chosen by Vuchetich to be the model for the sculpture, while the face of the statue is believed to have been based on that of Vuchetich's wife.

The choice to make The Motherland Calls the primary feature of the monument complex was met with derision from Soviet military officials, including generals Andrey Yeryomenko and Mikhail Shumilov, who believed the statue's design would detract from the importance of the Panorama, which they thought to be the only structure that could faithfully represent the extent of the soldiers' experiences. Vuchetich rationalised the decision by asserting that the monument should reflect the widespread recognition of the Battle of Stalingrad as the turning point of the war, and marketed the project as one part of a sculptural triptych that would encompass the memorial at Treptower Park and a planned monument in Moscow. The planned sculpture also attracted criticism from Soviet writers, including author Viktor Nekrasov, who claimed that the monument would defile the historic site.

While construction on the rest of the monument complex began in 1961, work on The Motherland Calls did not start until late 1962. Vuchetich's final design for the sculpture was approved by the artist committee in December of 1962, and on 23 January 1963 the Council of Ministers ordered the development of blueprints for the statue. The process of building of the monument would prove to be more complicated than anticipated by its developers, primarily due to its size and the complexity of its details. After the Sculptural Group of the Artistic Fund requested to be relieved of their construction duties and the construction firm Volgogradgidrostroi expressed reservations about taking over the project, structural engineer Nikolai Nikitin was appointed to lead the construction efforts.

In 1963, Nikitin's design team began planning the construction process for the monument, finalizing their designs by August. Nikitin began his role as head of the team by emphasizing unresolved issues, specifically the lack of geological and hydrological studies that had been recommended earlier in the year. In a report to the Ministry of Culture made in September, he insisted that these studies were crucial due to the extensive construction already completed and the need to ensure the foundation's durability and stability, particularly given the presence of mellite clays on Mamayev Kurgan; the hill could only support the structure if the moisture of its soil remained low. Nikitin noted that the foundation, initially designed for a statue half the height, required thorough investigation to confirm its suitability. Almost immediately following his report, the Ministry sent a team to Volgograd to thoroughly investigate the issues.

Construction on The Motherland Calls commenced in November 1963. The statue, made entirely of reinforced concrete, used a special hydrostatic cement mixture that had been developed for the construction of the Ostankino Tower in Moscow. The statue's structure featured an internal framework of vertical and horizontal diaphragms forming cells that were 3 metres (9.8 ft) wide, 3 metres deep, and 4 metres (13 ft) tall, extending from its 2-metre (6.6 ft) pedestal to its neck. The external surface was a reinforced concrete membrane varying in thickness from 25 to 60 centimetres (9.8 to 23.6 in). Construction involved pouring concrete in 50-centimetre (20 in) increments into the forms shaping the vertical diaphragms, allowing each layer to harden before proceeding. Workers used small vibrators to settle the concrete, eliminate air pockets, and ensure even pours, working manually due to the tight spaces. Each 4-metre-high section was capped with a horizontal diaphragm, serving as the foundation for the next section. The statue's head, arms, and scarf were cast separately and attached using cantilevered junctions and large steel bolts, with the metal sword anchored in the right hand. Its stability was ensured by a complex system of steel tension cables to counteract wind forces, monitored by seismographic and meteorological instruments inside the structure. A radio transmitter was installed in the statue's head in order to transmit data on ground vibrations, surface temperatures, and humidity. Passageways within the statue were built to allow for interior inspections, while the exterior would be visually examined.

Initially, crews focused on assembling the metal framework designed to support the internal diaphragms, followed by welding the rebar for the external membrane and creating the plaster molds for the statue's surface. The concrete pedestal was poured, and by the end of 1963, the shawl pieces and the empty hand had been made and attached to the framework. However, the arrival of subfreezing temperatures halted further concrete pouring, which could not resume until the spring; plans were set to complete this phase of the construction by 1 July 1965. The statue's head and sword hand were then mounted, with the metal sword set to be installed later. During this period, the construction of other components of the memorial, such as the "Wall Ruins" and parts of the "Square of Heroes", progressed significantly.

Despite initial forecasts for a November 1965 opening, the construction timeline was extended into the late summer of 1966. This delay was partly due to emerging issues with the sculpture's foundation and the stability of the surrounding soil, prompting geological investigations that uncovered several critical deficiencies in the initial surveys. For instance, examinations of Mamayev Kurgan's substrata were only carried out to a depth of 9 metres (30 ft), rather than the necessary depth of at least 46 metres (151 ft). Additionally, there had been no measurement of the soil's compression under the statue's weight, nor was there any consideration of how the expansion of waterlogged clay could impact the foundation. No comprehensive assessment was made of potential groundwater sources, and no tests to evaluate the stability of the mound's slope were conducted. Addressing these issues required significant effort and expense; in early 1966, officials concluded that the only solution involved relocating all water supply pipes and reservoirs buried within the mound to a distance of at least 273 metres (896 ft) from the statue's base in order to improve drainage around the structure. The statue's foundation was reinforced, and several thousand cubic metres of extra earth were backfilled to create a levee around the pedestal. However, these adjustments necessitated the removal of several graves previously located at the hill's summit and a reduction in the size of the plaza where the Grief of the Motherland statue and the Pantheon, which had replaced the Panorama due to issues with the latter's foundation, were situated. These remedial efforts continued into 1967.

In May 1966, crews hoisted and secured the 14-ton, 28-metre-long (92 ft) sword into the statue's right hand. The sword was constructed from stainless steel and bolstered by plates made from titanium. However, by late August, strong winds revealed that the sword and its anchoring structure were subjected to lateral forces that had not been accurately accounted for. The sword's tip was observed wavering by nearly 1 foot (0.30 m) in either direction, posing a risk to the integrity of the joint connecting the arm to the metal framework. This movement resulted in visible cracks in the concrete surface around the area. A committee was formed to investigate further, who concluded that the existing sword needed replacement; temporary measures were applied, included cutting holes in the current sword and reinforcing the joint until a permanent fix could be implemented.

In February 1967, the Council of Ministers mandated that all remaining work on the memorial complex be completed by 15 October for the 50th anniversary of the October Revolution. Laborers worked throughout the spring and summer to meet this deadline, completing the earthen levee surrounding the main monument's pedestal, relocating the remaining leaking irrigation pipes and reservoirs, reinforcing the sword, installing sound and lighting systems across the complex, and setting in place the final sculptural and landscaping elements. The last major obstacle arose from complications with the Pantheon; as crews applied the mosaics to the Pantheon's interior walls in early 1967, they discovered inconsistencies in the glass tiles. With only four months until the scheduled opening, Vuchetich urgently sought intervention from officials to expedite a solution. Supplementary glass was quickly produced and delivered, and several hundred soldiers from a local garrison were enlisted to aid in construction. The crews worked diligently, completing the Pantheon's mosaic walls in under a month for the complex's opening. Once finished, the full sculpture stood 85 metres (279 ft) tall from the base of the pedestal to the top of the sword, and was the tallest statue in the world upon its completion; it remains the tallest statue in Europe.

The dedication of the memorial occurred on 15 October 1967. The event drew tens of thousands of people to Mamayev Kurgan, along with reporters from official press outlets, including Izvestia and Pravda, who wrote extensively on the memorial's scale and significance, describing the statue as a tribute to the heroism of Stalingrad's defenders. Vuchetich, along with the engineers and construction workers, were lauded for their contributions to the project, with reporters drawing parallels between their efforts and those of the soldiers who defended the city.

The opening ceremony featured speeches from party leaders and military representatives, who highlighted various themes such as the valor of those who fought in the battle, the importance of remembering past sacrifices, and the role of the Red Army in defeating fascism. Premier Leonid Brezhnev's keynote address framed the monument as a testament to Soviet unity and postwar recovery, while also emphasizing the USSR's commitment to peace and culture in contrast to American actions during the Vietnam War. The speeches collectively stressed the significance of the memorial in preserving the memory of the war and its heroes, and praised the Soviet people's enduring loyalty to the Communist Party and its Central Committee.

The years after the statue's dedication were primarily marked by alterations and several attempts at restoration. A year after the monument's opening, cracks had already started to form on the statue's surface. In order to preserve the monument, the head and hands of the sculpture were treated with a waterproofing agent once a year. In 1972, the statue's sword was replaced with a higher-grade steel alloy version featuring jalousie-like slits to reduce wind resistance. The sculpture's surface received a maintenance inspection in 1986; by this time, it had tilted 60 millimetres (2.4 in) from its original vertical axis since its initial assessment in 1966.

Between 2008 and 2009, a comprehensive safety and reliability program for the statue was developed and approved by the Russian Ministry of Culture. However, by 2009, concerns had been raised about the structural integrity of the structure; the statue's foundation was not anchored but held in place by its own weight, and was subsiding as a result of rising water levels. By this time, pieces of concrete had already begun to fall off the statue, nearly injuring passersby, and it had tilted approximately 20 centimetres (7.9 in), with further tilting risking collapse. Estimated costs to repair the structural issues were over 7 million USD (equivalent to $9,664,521 in 2023); however, efforts to secure funding for restoration were complicated by the Great Recession, and previous attempts to allocate government funds for restoration had been undermined by misappropriation. Large-scale restoration work on the sculpture funded by the federal budget began in 2010. Initial steps included replacing the piezometric network (a system for measuring pressure) to allow for hydrogeological monitoring, studying the reinforced concrete's condition, and analyzing cracks and other defects.

In 2014, the sculpture, along with the surrounding complex, was listed as a tentative candidate for UNESCO's list of World Heritage Sites. Following the 70th anniversary of the Soviet victory in the Great Patriotic War in 2015, the statue was set to undergo further renovation, with 99 of its 117 steel cables requiring replacement. By 2017, the cables had not yet been replaced, though plans were made to address the replacement along with other maintenance needs, with additional restoration efforts set to be conducted after the end of the 2018 FIFA World Cup, which was held in Russia. In late 2018, the construction company Glavzarubezhstroy completed preparations for the external restoration of the sculpture, which included creating access for special equipment, fencing off the area for material storage and worker camps, installing a two-metre fence around the sculpture, removing the lawn, setting up external lighting for the duration of the work, and digging trenches around the statue's base. In early 2019, the observation deck at the foot of the statue was closed off to visitors until March of the following year in order to allow for additional restoration work to its pedestal, surface, and framework. In May, the sculpture had begun to be covered in scaffolding, and the granite slabs at the pedestal were removed. Restoration on the external features of the monument continued from July to November, including cracks being filled in and the surface being painted with white lead. In November, the scaffolding and the pedestal's slabs were removed, with internal renovations to be finished before Victory Day on 9 May 2020, the 75th anniversary of the end of the battle. The restoration of the monument was completed in March 2020; however, due to the COVID-19 pandemic, the reopening ceremony that had originally been planned for Victory Day was postponed. A virtual tour of the structure and the surrounding complex was made available online in lieu of public visitations.

The monument complex was reopened on 24 June 2020, with a ceremony hosted by Volgograd governor Andrey Bocharov and Russian Minister of Culture Olga Lyubimova. In total, the cost of renovating the sculpture alone cost approximately 750 million rubles (equivalent to $11,296,607 USD in 2023). In August, Russian designer Artemy Lebedev criticised the statue's post-renovation appearance, arguing that the statue was in a worse condition than it had been before its restoration; his comments received criticism from residents of Volgograd, who insisted that he be punished for insulting the memory of those who died in the Battle of Stalingrad. By early 2021, dark spots and more cracks were noticed on the surface of the statue, prompting the filing of an application with a Moscow arbitration court requesting for Glavzarubezhstroy, which had not fulfilled its warranty obligations, to declare bankruptcy. Glavzarubezhstroy later filed for bankruptcy, was sued by the Battle of Stalingrad Museum-Reserve, and listed on a national registry of "unscrupulous suppliers". In a poll conducted by Bloknot Volgograd in March, a majority of Volgograd residents surveyed responded negatively to the question of whether the sculpture looked better after its restoration, with some calling on those who worked on the project to "restore it themselves, with their own money". An assessment of the reliability and safety of the structure was planned to be conducted in 2023. As of 2024, the dark spots on the statue were still noticeable.

The Motherland Calls is featured on the coat of arms and flag of Volgograd Oblast. Postage stamps and postcards depicting the sculpture were issued in the Soviet Union for the 20th anniversary of the founding of the International Federation of Resistance Fighters in 1971 and the 30th anniversary of the Battle of Stalingrad in 1973; a postcard with the statue was issued in Russia to commemorate the 60th anniversary of the battle in 2002. The sculpture also appears on a commemorative 100-ruble coin issued by the Central Bank of Russia in 2013, and a 3-ruble coin issued in 2015. There is a replica of the statue in the city of Manzhouli in Inner Mongolia, China, near the border between Russia and China.

Sunshine and hefty showers combined to create a succession of bright rainbows this evening

Includes:

Unisex

4 tattoos that can be used individually or as a whole piece

4 options for the tattoo (Fade / Fresh / Fade red / Fresh red)

A blog post that includes these photos lives here: likeafishinwater.com/2016/05/20/togoshi-ginza-shotengai-s...

My company: www.thirdplacemedia.com - Research, content development and communications strategy focused on transit, walkability, placemaking and environment issues

My blog: likeafishinwater.com

Title: Birthday party attendees include Louis Stulberg, guest of honor Charles "Sasha" Zimmerman, David Dubinsky and others

Date: 1980s Estimated

Photographer: Unknown

Photo ID: 5780pb47f1fp400g

Collection: International Ladies Garment Workers Union Photographs (1885-1985)

Repository: The Kheel Center for Labor-Management Documentation and Archives in the ILR School at Cornell University is the Catherwood Library unit that collects, preserves, and makes accessible special collections documenting the history of the workplace and labor relations. www.ilr.cornell.edu/library/kheel

Notes:

Copyright: The copyright status of this image is unknown. It may also be subject to third party rights of privacy or publicity. Images are being made available for purposes of private study, scholarship, and research. The Kheel Center would like to learn more about this image and hear from any copyright owners who are not properly identified so that we may make the necessary corrections.

Tags: Kheel Center for Labor-Management Documentation and Archives,Cornell University Library,Celebrations, Union Officers,

An Alfa Romeo GTA in the paddock during the 74th Members' Meeting, Goodwood

These photographs which include people and lots of dogs, were taken around the site of the 7th Dorset Knob Throwing Festival.

The Dorset Knob Throwing and the Frome Valley Food Festival is an annual event which takes place in the village of Cattistock deep in beautiful Dorset.

The Dorset Knob throwing event features lots of activities using Moores Dorset Knobs - a hard baked roll / biscuit. The sports include knob throwing,

knob and spoon races and pinning the knob on the Cerne Giant. There is also a food festival with food producers coming from all over Dorset and neighbouring counties to seel their food.

Music, dance and cookery demos add to the fun on the day. All the profits go towards local Charities and the organisers are grateful for the support and sponsorship of local businesses. Next year's event is on May 3rd 2015 so why no come along?

Visit www.dorsetknobthrowing.com/ to find out more.

Introducing you to this amazing musical game which is Kids Piano. This game includes many baby instruments with amazing sounds for kids to play and enjoy their best times using this amazing game.

Using this game kids are not only enjoying and having fun but it is very helpful as they are utilizing their time by playing different instruments that are added in this game.

In one place, kids can play different musical instruments and memorize different animal sounds.

Kids can also play kids keyboard, drums for kids, kids flute, child’s guitar, kids xylophone easily on their smartphones or tablet by just tapping on the screen.

Piano learning has now become very easy for toddlers.

There are two different modes added into the game that are:-

1)Instruments

2)Sounds

1)Instruments:

It includes various musical instrument game for Kids that are:-

•🎹 Kids Keyboard piano: colorful baby piano with 5 different music tones. when you try playing it, it looks magical with soothing sounds coming out of the piano instrumental.

•🎵 Baby Xylophone: multicolored Instrument with fascinating visual effects and sound

•🎶 Kids Drum kit: kids party entertainment game with drum instruments

•🎷 Kids Saxophone: Instrumental sound with surprise animal sounds

•🎵 Harp: Play Harp and become the best kid harpist

•🎸 Kids Guitar: Be a super kid by learning guitar online

•🎵 Flute: Enjoy the sweet sound of the flute by tapping colorful flute holes

•🎶 Panpipe flutes: Play jazzy panpipes with different music

2)Sounds:

It includes kids easy sound games and sounds included in the game are:-

•🐯 Wild animal sounds

•🐄 Domestic animal sounds

•🐟 Sea animal sound

•🐦 Bird sound

•🎈 Color sound

•🅰 Number pronunciation

•🚗 Vehicle sound

•🔡 Alphabet pronunciation

•🌍 Nation flag & country names

•🎭 Shape names

•🎼 Different sounds

What are the Benefits of music for children while growing?

💙 It helps them to improve their brain power and intellectual power.

💚 It helps them to develop social skills and memory.

💗 It helps them to build their confidence and concentration too.

💛 It inspires their creativity and imagination.

💜 It teaches them to have patience and discipline.

💓 It helps them a lot in speech and pronunciation.

Outstanding Features of kids piano: Animal sounds and musical instruments game

•Contains the best quality of sound and music.

•Very much interactive UI/UX for children so that they can enjoy this game very much.

•Easy navigation inside the game which is very much suitable for kids.

•Consists of different sounds to help improve a kid’s memory.

•Musical instruments to learn playing music through an amazing game.

•This is the best game to help toddlers to recognize various sounds.

•Make your children learn the baby music songs using in-game instruments.

•The game provides piano for beginners opportunity.

•This game provides kids entertainment at its best.

Not only kids parents can also play this game and can learn and improve their basics by playing various instruments with the help of this amazing Kids piano game. Using this game children can also learn to pronounce Numbers, Letters, Colors, Nation’s Name having a very beautiful and amazing theme for memorizing them easily.

So what are you waiting for? Download this amazing game for your children to let them learn ample of things in one place.

Download Now:-

bit.ly/3gJ4Sal

A mix of sunshine and low cloud over the South Downs today.

View includes The Lake and Jacqueline Kennedy Onassis Reservoir in Central Park and the Solow Building on West 57th Street.

Taken from the Top of the Rock observation deck at the top of the GE Building. The views are awesome and much better than those from the Empire State Building.

PC180202

Some re-edits from a "Sex P*ssed Dolls" gig at the Concorde 2, Brighton

August 2016 - looking south west towards Bakio. If time permits, then any trip to the Basque Country should include a visit to Gaztelugatxe. It's a 'must-see' destination. Gaztelugatxe - which means 'Castle Rock' in the Basque language (“gaztelu” = castle + “aitz” = rock) - is an island located just off the shore along the Bay of Biscay, 35 km east of the provincial capital, Bilbao. The island is cone-shaped and is connected to the mainland by a man-made bridge. On top of the island stands a hermitage (named Gaztelugatxeko Doniene in Basque; San Juan de Gaztelugatxe in Spanish), dedicated to John the Baptist dating from the 10th century, although discoveries indicate that the date might even be the 9th century.

The hermitage/church is by no means original; having been burnt down and rebuilt several times over the centuries. In the 12th century, it became a convent. However, two centuries later, the friars abandoned it taking with them everything of value.

The main starting point for the walk to Gaztelugaxe is a large restaurant/parking/picnic area on top of the cliffs overlooking the island. There are two paths down to the shoreline, which both provide spectacular views. Once at the man-made bridge, the route transitions into a narrow path made up of 241 steps zigzagging their way back and forth up to the hermitage at the summit. According to legend, after completing the climb, visitors should ring the bell, hanging on the outside of the building, three times and make a wish. The walk back up the hill beckons but - no matter - the round-trip will have been quite exhilarating!

There are plenty more photos of Gaztelugatxe and other Spanish towns/locations if you take a look at my 'Albums' page, www.flickr.com/photos/36623892@N00/sets/ - thank you.

The Carolina anole (Anolis carolinensis) is an arboreal lizard found primarily in the southeastern United States and some Caribbean islands. Common synonyms include the green anole, American anole and red-throated anole. It is sometimes referred to as the American chameleon due to its color-changing abilities; however, many lizards are capable of this, and the Anole is not a true chameleon.

Contents

[hide]

* 1 Distribution

* 2 Behavior

* 3 Reproduction

* 4 Coloration and color morphs

* 5 Genomics

* 6 Brown anole

* 7 Gallery

* 8 References

* 9 External links

[edit] Distribution

Green anole eating a moth

This species is native to North America, where it is found mainly in the southeastern parts of the continent. Anoles are most abundant on the Atlantic Coastal Plains in North Carolina, South Carolina, Florida and Georgia, and the Gulf Coastal Plain in Texas. The species has been introduced into Hawaii and the Ogasawara Islands.

[edit] Behavior

Anole licking

Anoles are often territorial. In fact some have even been witnessed fighting their own reflection in mirrored glass. Stress in an anole can be identified by several symptoms. These symptoms include a constant shade of brown and a persistent black semicircle behind their eyes and chronic lethargy. In a group of one male and several females some aggressive chasing may occur, but the encounters are short lived and less violent than between males.

Like many lizards, anoles display autotomy of the tail to escape predation.[citation needed]

Anoles are curious creatures. A healthy lizard usually has a good awareness of its surroundings. The males are very territorial and will fight other males to defend its territory. Many times the other male will be an extremely invasive Cuban Brown anole.

[edit] Reproduction

Juvenile Female Anole

The typical breeding season for green anoles starts from as early as April and ends to as late as August and lasts even occasionally into September. It is during this time that the most brilliant displays of these creatures can be seen, as the males must court the females with their elaborate displays of extending their brightly colored dewlaps while bobbing up and down, almost doing a dance for her while she runs in temptation from the male. The pursuit will continue until the two successfully mate. Usually, when the female is ready to mate, she may let the male simply "catch" her and he will thus grasp a hold of a fold of her skin above her neck area, or she will bow her head before him and simply "let" him take his grasp. At this point, the male will position his tail underneath the female's near her vent and the mating ritual will take place.

Anoles mating

Male Anole with extended dewlap; used to court females.

After a 2–4 week span following mating, the female will lay her first clutch of eggs, usually ranging from 1–2 in the first clutch. She will continue to lay eggs during the season until a total of 10 or so eggs have been produced. When it comes time for her to lay her eggs, she will bury them in the soft soils or compost nearby, and after that she no longer takes any care for it. The egg(s) are/is left alone to incubate by the light of the sun and if successful will hatch in 30–45 or so days.

The hatchlings must fend for themselves, anoles are by nature solitary animals since birth and are not cared for by the mother or the father. The young hatchlings must be wary of other adult anoles in the area as well as larger reptiles and mammals who could eat them.

[edit] Coloration and color morphs

A male green (carolina) anole

The typical coloration for a green anole ranges from the richest and brightest of greens to the darkest of browns, with little variation in between. The color spectrum is a resultant of three layers of pigment cells or chromatophores: the xanthophores, responsible for the yellow pigmentation; cyanophores, responsible for the blue pigmentation, and melanophores, responsible for the brown and black pigmentation when the anole is cold or stressed.

There are a few exceptions which are caused when a lack in one of the pigment genes occurs. These color mutations are also called phases. The rare blue-phased green anole lacks xanthophores which results in a blue, often baby or pastel blue, anole. These specimens have become a recent popularity in the trade market. When the anole is completely lacking xanthophores it is said to be axanthic and the animal will have a completely pastel or baby-blue hue. They are extremely rare -- usually produced in 1 out of every 20,000 individual anoles in the wild. Another 'phase' is the yellow-phased green anole, which lacks cyanophores. Colonies of these rare color-phased anoles have been reported, but anoles with these color mutations rarely live for long, since the green color provides camouflage for hunting down prey as well as hiding from predators.

Turning brown indicates distress. Some catchers prefer not to catch a Carolina anole that turns brown, so as to avoid causing undue stress to the animal.

[edit] Genomics

This species has been chosen as a model reptile for genomics by the National Human Genome Research Institute (NHGRI) genome sequencing program.[1] It was selected because of the ease and low cost of laboratory breeding and evolutionary value of the diversity of the genus.[2]

[edit] Brown anole

The Brown Anole (Anolis sagrei) is a highly invasive lizard in the same genus as the Carolina anole (Anolis carolinensis). It is native to Cuba and several other Caribbean islands, but has been introduced to Florida and has spread through the state. It has seriously depleted the population of carolina anoles throughout its range, due to competing with them for food and habitat[citation needed]. Some think that these lizards spread when they laid their eggs in potted plants at nurseries, which were then shipped throughout the state.