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The year indication is carved in a relatively soft sandstone cartouche, which is surrounded by historic architectural decorations. The black paint of the figures is slowly fading, This year stone is placed above the double windows on the ground floor.
The brick facade of the canal house is executed in a typical late 19th Century style, with neo-Gothic and neo-Dutch Renaissance elements.
A door on the left side of the facade is giving entrance to 'Zon's Hofje'. This is an inner court founded in 1765, with tiny houses for elderly religious women.
The canal house is now in use as a students house.
See also (in Dutch): nl.wikipedia.org/wiki/Zon%27s_Hofje
About the history of the use of year stones in architecture:
English: en.wikipedia.org/wiki/Anchor_plate
Dutch: nl.wikipedia.org/wiki/Muuranker
And: nl.wikipedia.org/wiki/Jaartallen_op_gebouwen
Amsterdam-Centrum, Prinsengracht, Jan. 29, 2019.
© 2019 Sander Toonen Amsterdam/Halfweg | All Rights Reserved
cribb island beach - Petri 35mm camera - into digitising my old negatives (Kodak Tri-X, plustek scanner).
Cribb Island, last shown in a Brisbane street directory in 1981, was a bayside suburb 16 km north-east of central Brisbane. It was named after James G. Cribb who purchased land there in 1863 for general farming purposes.
Whilst not a true island, Cribb Island was encircled by Jacksons and Serpentine Creeks, and consisted of two places of settlement separated by mangroves and mud flats. The part on Moreton Bay included the post office (1920) and a Methodist church; and the second part, separated by a mud flat (now Serpentine Creek Diversion) which was crossed by Cribb Island Road, had the primary school (1919) and camping and recreation reserves.
The population of Cribb Island in the 1920s was over 250, but it increased during the 1930s financial Depression because the Island offered cheap shelter and fishing in Moreton Bay and the estuaries. There was a beach, much like the one at Nudgee Beach on the other side of Jacksons Creek.
'Cribbies' and 'Cribby kids' were never well-off. The children of an English migrant family in the late 1950s sold soft drinks at the Redcliffe speedway between races, and promoted sales by a singing act. They were well received, and went on to become the Bee Gees: Barry Gibb graduated from the Cribb Island class of 1961.
On the east side of Serpentine Creek the Brisbane City Council had a reserve for sewerage purposes, probably an indication of the esteem in which the locality was held. Use of the reserve for its designated purpose did not eventuate, as Cribb Island lay in the direction of the expansion of the Eagle Farm Airport. The Kedron Brook outfall into Serpentine Creek was straightened by the Schultz canal and a floodway, and the airport was extended to the north-east over reclaimed mud flats and the Cribb Island community. The last resident departed in April 1980.
These photographs were taken on a trip to Cribb Island in 1979.
All of the identifying markings have been painted over on this fixed approach indication signals on the CSX Shelbyville Secondary. The signal is located northwest of Fletcher Street.
Sandstone ornament with year indication. It was placed between the window frames between the third floor and the attic. The classic figures are painted black and carved on a rectangular white sandstone slab.
The architectural style is a mixture between Neo-Gothic and Neo Dutch Renaissance, but typ[ical late 19th Century.
The bright red brick facade has a kind of neck-gable top, and lots of sandstone ornaments in window arches and facade corners.
This city house had mixed functions. It was a rich residential house combined with a shop function on the ground floor. Today fish restaurant 'Sluizer' is housed on the ground-floor.
About the history of the use of year stones in architecture:
English: en.wikipedia.org/wiki/Anchor_plate
Dutch: nl.wikipedia.org/wiki/Muuranker
And: nl.wikipedia.org/wiki/Jaartallen_op_gebouwen
Amsterdam-Centrum, Utrechtsestraat, Febr. 7, 2019.
© 2019 Sander Toonen Amsterdam/Halfweg | All Rights Reserved
Bronzino (1503-1572), actif à Florence
Sainte Famille avec sainte Anne et petit saint Jean-Baptiste, 1540
Le petit Jean prend la position la plus avancée. Regard et geste montrent sur l'enfant Jésus, le spectateur frontalement présenté. Derrière lequel se tient Marie, celui-ci touchant affectueusement. La composition est élargie par Anna et Joseph. Bronzino augmente la représentation nettement définie et sculpturale jusqu'à une froide de pierre, surtout capturant les deux garçons - probablement aussi une indication de la rivalité des peintres avec la sculpture, dans la théorie de l'art du moment sans cesse thématisée.
Bronzino (1503-1572), tätig in Florenz
Heilige Familie mit Heiliger Anna und Johannesknaben, um 1540
Der Johannesknabe nimmt die vorderste Position ein. Blick und Geste deuten auf das dem Betrachter frontal präsentierte Jesuskind. Dahinter steht, diesen liebevoll berührend, Maria. Die Komposition wird durch Anna und Joseph erweitert. Bronzino steigert die scharf umrissene und skulpturale Darstellung bis hin zu steinerner Kälte, die besonders die beiden Knaben erfasst - wohl auch ein Indiz für den in der Kunsttheorie der Zeit immer wieder thematisierten Wettstreit der Maler mit der Bildhauerei.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
The Thirty-Fifth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from April 25 to April 27, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Carved from white Italian Carrara marble, the "Maiden with a Lute" sits picturesquely amid a well established tree Rhododendron. There is no indication as to which studio or artist carved her, but she is very elegant and beautiful in an almost melancholic way. She has obviously paused to gain some inspiration before taking up the lute to play again. How could she not find inspiration amid the beautiful Forest Glade Gardens in Mount Macedon where she resides?
The Forest Glade Gardens are well established European inspired landscaped gardens of six hectares that are to be found on the Mount Macedon Road in the hill station town of Mount Macedon.
The Forest Glade Gardens are just shy of one hundred years old. The gardens were originally two adjoining properties that comprised orchards and lush grazing paddocks. In 1941 local family the Newtons purchased and extended the property and set about creating one of Mount Macedon's most stunning gardens.
In 1971 the Forest Glade Gardens were acquired by Melbourne property developer Mr. Cyril Stokes who together with his partner Trevor Neil Bell, developed the gardens even further. Cyril was a great collector of European antiques, and his love of European antiquity is reflected in the gardens, particularly in the many classical marble and bronze statues dotted about the grounds.
Unfortunately the Forest Glade Gardens were partly destroyed by the tragic Ash Wednesday bushfires of 1983. However, after many years of hard labour put in by Cyril and Trevor, The Forest Glade Gardens were reborn from the ashes. The gardens are built on a sloping block and consist of a range of terraces all of which offer wonderful vistas. A garden designed to give pleasure all year round, the Forest Glad Gardens contain several heritage listed trees and are made up of smaller themed gardens including; the Italian Garden, the Japanese Garden, the Daffodil Meadow, the Peony Walk, Hydrangea Hill, the Topiary Gardens, the Bluebell Meadow, the Fern Gully and the Laburnum Arch.
In 2011 the property was gifted to a registered charity - The Stokes Collection Limited - with the intention of keeping the Forest Glade Gardens maintained and open to the public.
I spent a delightful Saturday with the Famous Flickr Five+ Group in Mount Macedon, where I have never been before. Now I have, I would very much like to go back to such a picturesque place again.
The Mount Macedon township is located east of the Mount Macedon summit, which is approximately 60 km north-west of Melbourne.
The name of Mount Macedon is apparently derived from Philip II, who ruled Macedon between 359 and 336BC. The mountain was named by Thomas Mitchell, the New South Wales Surveyor General.
Settled in the 1850s by gold miners and timber cutters, the railway arrived at the Mount Macedon township in 1861, providing a vital connection to Melbourne, and sealing the town's future as a 'hill station' resort for wealthy Melburnians escaping the summer heat in the 1870s. With the land deforested, large blocks were sold and beautiful and extensive gardens were planted around the newly built homes. The rich soil and good rainfall also made the area suitable for large orchards and plant nurseries who could send fruit and flowers back to Melbourne. Newspaper owner, David Syme, built a house, "Rosenheim" in 1869. It was acquired in 1886 for Victorian Governors to use as a country retreat, making Mount Macedon an attractive destination for the well heeled of Melbourne society. A primary school was built in Mount Macedon in 1874, and as the decades progressed, hotels, guest houses, shops, a Presbyterian Church and Church of England were built. In 1983, Mount Macedon was devastated by the Ash Wednesday Bush Fires. A large portion of the town was raised, and a number of lives were lost. However, like a phoenix from the ashes, Mount Macedon has risen and rebuilt. Today it is still a popular holiday destination, particularly during spring time when the well established gardens flourish with flowers and in autumn when the exotic trees explode in a riot of reds and yellows.
There are some indications that this gentleman may have stretched the truth to some extent but as was typical for his class in those days his family were not shy about telling the world at large how wonderful the major was.
It interesting to note that there is very little information relating to his wife or other family members.
Erected to the memory of
MAJOR THEOBALD BUTLER
who died 26th Decr.1851, aged 66 years
Having entered the British Army at
an early age he served under
SIR JOHN MOORE and subsequently
under his Grace the DUKE of WELLINGTON
through the Peninsular Wars
for which he received a medal and
seven clasps, he also received a
second medal for being present at
the memorable Battle of Waterloo
in 1815. latterly he devoted himself
to the practice of those christian
virtues which will be the means of
procuring for him a happy Eternity.
also in loving memory of
his son-in-law J.J. O'RORKE, Esq.
who died 18th Feby. 1866
and his wife MARY
died 21st June 1904
and her sister BELINDA BUTLER
died 13th May 1903.
R.I.P.
Durante il percorso, notammo un piccola indicazione che indicava "Anfiteatro Romano". Optammo per la deviazione e imboccamo la stradina. Lì per lì pensammo di aver sbagliato strada ed esserci persi nel labirinto di case (bellissime!)...eppure doveva esser visibile...si poteva però salire più su e dalla piccola altura lo scorgemmo.
Quello che rimaneva dell'anfiteatro I sec d.C., quel muro/i, era parte delle gradinate ancora parzialmente conservate e visibili, perfettamente incastonato tra le case medievali XII sec., disposte in modo da preservare la sua forma elittica.
Infatti se fate una ricerca da satellite per Assisi (dai dai! :)!) potete benissimo vedere TUTTA la struttura, incredibile.!.. (non so come postarlo qui :((!, dai dai!).
E' un bellissimo esempio di riutilizzazione di un edificio romano.
Buon giorno!!
*Starlight*
---------------------------------------* * * * * -------------------------------
During the walk we noticed a little indication that showed "Roman Anphitheatre". We decided to make the diversion and walk in that direction. At certain point we come up with the doubt to have taken the wrong path and be lost in the labirint of houses (so beautiful!)...yet it should be visible (!)...we could climb a little bit higher and from that point we notice it.
The rest of the Anphitheatre (I sec. after C.), that wall/s, was part of the tiers part preserved and visible, perfectly set between medieval houses (XII sec.), disposed in a way to preserve the "oval" form (don't know exact translation :(!).
Infact If you make a search on satellite for Assisi (googl..please please do it :)!) you can see it perfectly, ALL the structure!!, incredible!...(I don't know how to post it here so..:((! come on, how can I explain you, is ALL, not only walls...go and see :)))!). It's a beautiful example of roman structure's reuse.
Buon giorno!!
*Starlight*
The Postcard
A postally unused postcard that was published by The Promenade Studio, Whitley Bay. The card, which has a divided back, has been hand-stamped with the date 25 Jul 1930. This day was in fact a Friday.
There are no indications as to the identity of the two ladies.
Annie Ross
So what else happened on the day that the card was hand-stamped?
Well, the 25th. July 1930 marked the birth in Surrey of Annie Ross.
Born Annabelle McCauley Allan Short, Annie was a British-American singer and actress who was active between 1937 and 2020.
Known professionally as Annie Ross, she was best known as a member of the jazz vocal trio Lambert, Hendricks & Ross.
-- Annie Ross - The Early Years
Annie Ross was born in Surrey, England, the daughter of Scottish vaudevillians John "Jack" Short and Mary Dalziel Short (née Allan).
Her brother was Scottish entertainer and theatre producer and director Jimmy Logan. She first appeared on stage at age three. At the age of four, she travelled to New York by ship with her family; she later recalled that:
"We got the cheapest ticket, which
was right in the bowels of the ship".
Shortly after arriving in New York, she won a token contract with MGM through a children's radio contest run by Paul Whiteman. She subsequently moved with her aunt, Scottish-American singer and actress Ella Logan, to Los Angeles, and her mother, father and brother returned to Scotland.
Annie did not see her parents again until fourteen years later. At the age of seven, she sang "The Bonnie Banks o' Loch Lomond" in Our Gang Follies of 1938, and played Judy Garland's character's sister in Presenting Lily Mars (1943).
At the age of 14, Annie wrote the song "Let's Fly", which won a songwriting contest and was recorded by Johnny Mercer and The Pied Pipers.
At the end of 10th. grade, she left school, changed her name to Annie Ross, and went to Europe, where she established her singing career. Annie changed her surname to Ross during the plane trip to Prestwick; in a 2011 interview, she said:
"My aunt was very fanciful, and she
said I had an Irish grandmother called
Ross, so that's where that surname
came from".
-- Annie Ross's Career
In 1952, Ross met Prestige Records owner Bob Weinstock, who asked her to write lyrics to a jazz solo in a similar way to King Pleasure, a practice that would later be known as vocalese. The next day, she presented him with "Twisted", a treatment of saxophonist Wardell Gray's 1949 composition of the same name, a classic example of the genre.
The song, first released in 1952, was an underground hit, and resulted in her winning Down Beat magazine's New Star award.
In February 1956, the British music magazine NME reported that Ross's version of the song "I Want You to Be My Baby" was banned by the BBC due to the lyric "Come upstairs and have some loving".
Annie recorded seven albums with Lambert, Hendricks & Ross between 1957 and 1962. Their first, Sing a Song of Basie (1957), was to have been performed by a group of singers hired by Jon Hendricks and Dave Lambert with Ross brought in only as vocal consultant.
However it was decided that the trio should attempt to record the material and overdub all the additional vocals themselves, but the first two tracks were recorded and deemed unsatisfactory, so they ditched the dubbing idea.
The resulting album was a success, and the trio became an international hit. Over the next five years, Lambert, Hendricks & Ross toured the world, and recorded such albums as The Hottest New Group in Jazz (1959), Sing Ellington (1960), High Flying (1962), and The Real Ambassadors (1962), written by Dave Brubeck and featuring Louis Armstrong and Carmen McRae.
Ross left the group in 1962, and in 1964 opened a nightclub in London. Annie's Room hosted Joe Williams, Nina Simone, Stuff Smith, Blossom Dearie, Anita O'Day, Jon Hendricks, and Erroll Garner.
Her adulthood film roles included Liza in the film Straight On till Morning (1972), Claire in Alfie Darling (1976), Diana Sharman in Funny Money (1983), Vera Webster in Superman III (1983), Mrs. Hazeltine in Throw Momma from the Train (1987), Rose Brooks in Witchery (1988), Loretta Cresswood in Pump Up the Volume (1990), Tess Trainer in Robert Altman's Short Cuts (1993), and Lydia in Blue Sky (1994).
Annie also appeared as Granny Ruth in the horror films Basket Case 2 (1990) and Basket Case 3: The Progeny (1991). She also had a bit part in Robert Altman's The Player in 1992. Ross also starred in Scottish Television's comedy-drama Charles Endell Esquire (1979).
Annie provided the speaking voice for Britt Ekland in The Wicker Man (1973), and Ingrid Thulin's singing voice in Salon Kitty (1976). On stage, she appeared in Cranks (1955; London and New York City), The Threepenny Opera (1972), The Seven Deadly Sins (1973) at the Royal Opera House, Kennedy's Children (1975) at the Arts Theatre, London, Side by Side by Sondheim, and in the Joe Papp production of The Pirates of Penzance (1982).
-- Annie Ross's Personal Life
In 1949, Ross had a brief affair with drummer Kenny Clarke. This affair produced a son, Kenny Clarke Jr. (born 1950), who was raised by Clarke's brother and his wife.
During her time with Lambert, Hendricks & Ross, Annie became addicted to heroin. In the late 1950's she had an affair with the comedian Lenny Bruce, who was also having drug problems. By 1960, Carol Sloane was substituting for her on tour. After a performance by the trio in London in May 1962, she remained in London to confront her drug addiction.
In 1963, she married actor Sean Lynch; they divorced in 1975, and he died in a car crash soon afterwards. By that time, she had also lost her home, and declared bankruptcy.
Annie became a United States citizen in 2001.
Annie died in New York City on the 21st. July 2020 from emphysema and heart disease, four days before her 90th. birthday.
-- Annie Ross's Awards and Honours
Ross received the ASCAP Jazz Wall of Fame award (2009), the National Endowment for the Arts Jazz Masters' Award (2010), and the MAC Award for Lifetime Achievement (2011).
In July 2006 a one-woman play entitled Twisted: The Annie Ross Story by Brian McGeachan premiered at The Space Theatre in London, starring Verity Quade. It focused on Annie's stormy relationship with her aunt, Broadway legend Ella Logan, her brief affair with the comedian Lenny Bruce and her addiction to heroin. The play transferred to the Brockley Jack Theatre in London that same year, with Ross being played by Betsy Pennington.
-- Annie Ross in the Media
A documentary about Ross's life, entitled No One But Me, premiered at the Glasgow Film Festival in 2012.
The pair of SOO SD60's pass Tower B17 in Bensenville, leading a 632 ethanol train into the yard.
Bensenville, IL.
02/18/14
Items on display at an exhibition of India’s varied geographical indications, taking place at WIPO from October 6-14, 2015.
Co-organized by WIPO and the Government of India on the sidelines of the WIPO Assemblies of Member States, it was inaugurated with an event themed “Make in India” on October 6, 2015 featuring a recital of traditional Indian music and Indian artisans demonstrating their handiwork.
The event began with the screening of a WIPO-produced film on a capacity building project sponsored by WIPO’s Accessible Books Consortium in India and a keynote address by India’s Permanent Representative to the United Nations in Geneva, Ambassador Ajit Kumar, followed by a screening of a film on the “Make in India” initiative.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Carved from white Italian Carrara marble, the "Maiden with a Lute" sits picturesquely amid a well established tree Rhododendron. There is no indication as to which studio or artist carved her, but she is very elegant and beautiful in an almost melancholic way. She has obviously paused to gain some inspiration before taking up the lute to play again. How could she not find inspiration amid the beautiful Forest Glade Gardens in Mount Macedon where she resides?
The Forest Glade Gardens are well established European inspired landscaped gardens of six hectares that are to be found on the Mount Macedon Road in the hill station town of Mount Macedon.
The Forest Glade Gardens are just shy of one hundred years old. The gardens were originally two adjoining properties that comprised orchards and lush grazing paddocks. In 1941 local family the Newtons purchased and extended the property and set about creating one of Mount Macedon's most stunning gardens.
In 1971 the Forest Glade Gardens were acquired by Melbourne property developer Mr. Cyril Stokes who together with his partner Trevor Neil Bell, developed the gardens even further. Cyril was a great collector of European antiques, and his love of European antiquity is reflected in the gardens, particularly in the many classical marble and bronze statues dotted about the grounds.
Unfortunately the Forest Glade Gardens were partly destroyed by the tragic Ash Wednesday bushfires of 1983. However, after many years of hard labour put in by Cyril and Trevor, The Forest Glade Gardens were reborn from the ashes. The gardens are built on a sloping block and consist of a range of terraces all of which offer wonderful vistas. A garden designed to give pleasure all year round, the Forest Glad Gardens contain several heritage listed trees and are made up of smaller themed gardens including; the Italian Garden, the Japanese Garden, the Daffodil Meadow, the Peony Walk, Hydrangea Hill, the Topiary Gardens, the Bluebell Meadow, the Fern Gully and the Laburnum Arch.
In 2011 the property was gifted to a registered charity - The Stokes Collection Limited - with the intention of keeping the Forest Glade Gardens maintained and open to the public.
I spent a delightful Saturday with the Famous Flickr Five+ Group in Mount Macedon, where I have never been before. Now I have, I would very much like to go back to such a picturesque place again.
The Mount Macedon township is located east of the Mount Macedon summit, which is approximately 60 km north-west of Melbourne.
The name of Mount Macedon is apparently derived from Philip II, who ruled Macedon between 359 and 336BC. The mountain was named by Thomas Mitchell, the New South Wales Surveyor General.
Settled in the 1850s by gold miners and timber cutters, the railway arrived at the Mount Macedon township in 1861, providing a vital connection to Melbourne, and sealing the town's future as a 'hill station' resort for wealthy Melburnians escaping the summer heat in the 1870s. With the land deforested, large blocks were sold and beautiful and extensive gardens were planted around the newly built homes. The rich soil and good rainfall also made the area suitable for large orchards and plant nurseries who could send fruit and flowers back to Melbourne. Newspaper owner, David Syme, built a house, "Rosenheim" in 1869. It was acquired in 1886 for Victorian Governors to use as a country retreat, making Mount Macedon an attractive destination for the well heeled of Melbourne society. A primary school was built in Mount Macedon in 1874, and as the decades progressed, hotels, guest houses, shops, a Presbyterian Church and Church of England were built. In 1983, Mount Macedon was devastated by the Ash Wednesday Bush Fires. A large portion of the town was raised, and a number of lives were lost. However, like a phoenix from the ashes, Mount Macedon has risen and rebuilt. Today it is still a popular holiday destination, particularly during spring time when the well established gardens flourish with flowers and in autumn when the exotic trees explode in a riot of reds and yellows.
Silverton:
The first indication of silver–lead mineralisation in the Barrier Rangers came in late 1875 with the discovery of galena by Julius Charles Nickel and Dan McLean while they were well sinking on Thackaringa Station, near the South Australian - New South Wales border.
In 1879 John Stokie established a store at Umberumberka, 19 km north of Thackaringa. He continued prospecting and discovered silver–lead veins nearby, which he pegged with Edward Pegler in November 1881. A 100 ton parcel of ore was shipped to England for a 40% profit. The following October the Umberumberka Silver Lead Mining Company Ltd was floated with nominal capital of £20 000. Umberumberka was the second area of silver–lead mineralisation discovered in the Barrier Ranges and the new company was the first to be publicly floated. The town of Silverton soon developed close to the mine and became the main settlement of the growing silver field.
Silverton was surveyed in 1883, by which time Australia had a population of 2, 250, 194. By September that year, the population of Silverton was 250, and by December 1883 it had doubled. That year the Day Dream Mine opened and attracted an additional population of 400 - 500 people. In 1884 1,222 mineral leases, 937 business permits and 114 miners' rights were issued. That same year 6,000 tonnes of ore were extracted and the town acquired its own newspaper, the Silver Age.
By 1885 - 1886 the town's population had reached 3,000. Silverton was proclaimed a township in 1885 and a municipality the following year. In 1885 a short-lived smelter was established at Day Dream Mine, operating for only a year. In 1892 the Umberumberka Mine closed, followed by the Day Dream Mine. The Pioneer Mine at Thackaringa closed in 1897. By 1901, after miners had moved to the richer fields at Broken Hill, the town went into decline and only 286 people remained. Today the town has a population of around 50 people, most of whom work in tourism.
The Silverton Tramway Company:
The Silverton Tramway Company, a rare private railway of 50klms in length, was incorporated in New South Wales October 14, 1886 and the line was completed and opened for traffic on January 12, 1888. One of only two privately owned railways in the state, the tramway was originally founded to transport ore from local mines in the Broken Hill and Silverton region into South Australia. The company soon branched out, not only carrying ore from the mines but freighted other goods and offered a passenger service which accounted for a third of their business.
The company serviced travellers on long trips heading interstate to Semaphore (Adelaide) to the Largs Bay Holiday Camp and excursions for local community groups often conveying passengers to Silverton and McCulloch Park (at Stephens Creek) for the day and returning to Broken Hill in the afternoon. When traveling to South Australia the train would travel from Broken Hill, through Silverton and then to Burns which is on the New South Wales side of the border of Cockburn (a town divided by the NSW/SA border).
In 1927 the New South Wales government completed the railway from Sydney to Broken Hill, thus joining the Silverton Tramway and completing the link from Sydney to Adelaide. It played a strategic role in the trans-Australia network until 1970, when it was surpassed by the New South Wales Government Railways (Indian-Pacific). From 1888-1970 it was critical to the economic functioning of Broken Hill, by providing the key transport of ore to the Port Pirie smelters. It played a significant role in the politics and recreation of Broken Hill, and a crucial role at times of water shortage in Broken Hill.
Today, Silverton resides in the Unincorporated Area of New South Wales (NSW) and so does not feature a City Council. It is run by the Silverton Village Committee, who to this day hold their quarterly meetings in the Silverton Municipal Chambers.
Source: Silverton NSW (www.aussietowns.com.au/town/silverton-nsw), New South Wales Heritage Register & Discover Broken Hill (discoverbrokenhill.com.au/silverton-nsw/historic-building...), "The pathway to Broken Hill: Early discoveries in the Barrier Ranges, New South Wales, Australia" by Kenneth George McQueen, and 'Aplin, Graeme; S.G. Foster; Michael McKernan, eds. (1987). Australians: Events and Places. Broadway, New South Wales, Australia: Fairfax, Syme & Weldon Associates. p. 97'
Closing up slowly to the stop signal at the end of the platform, with the train ahead stopped literally only a metre or two past the signal! Our previous signal was passed showing a "low speed" indication.
While "low speed" is a subsidiary indication (modifies a stop indication), it is counted as a running indication and means that the line is clear to the next signal, but the line could be occupied immediately beyond the next signal. It certainly was here!
Low speed indications are considered an essential tool in the Sydney network, keeping trains moving at busy locations during periods of congestion. Especially important near stations, allowing a following train to move up close to the platform ready to enter, while the train ahead is still standing at the platform.
The best indication of where the old tower-house that forms the nucleus of the 19th century mansion was, can be seen here, where the old stair-tower rises up a storey higher than the rest of the building, to terminate in the traditional watch chamber, with its elegantly decorated angle-turrets. The initials in the angle-turret corbelling date this part of the building to the early 1600s.
Dated April 1918. There are some clear indications that these men were trained in and equipped for mountain warfare.
Key elements of the Alpenkorps were grouped in the Kgl. Bayerische Jäger-Brigade 1 and 2. The latter was subdivided into the well known Jäger-Regiment Nr. 3 and the less known Jäger-Regiment Nr. 2. Although part of a Bavarian Brigade, this Jäger regiment was composed of units from different parts of the empire: the rather well known Jäger-Bataillon Nr. 10 or the Hannoversches Jäger Bataillon with a long unit history dating back to battles in 1775, and lesser known units Reserve-Jäger-Bataillon Nr. 10 (their reserve) and Reserve-Jäger-Bataillon Nr. 14 (the reserve of the Mecklenburg Jägers).
The stamps on the back tells us this is one of these reserve battalions, but I cannot make out the number. For both units, litzen would be present, so this is not conclusive. My guess is on the RJB14 though, as in RJB10, I would expect to see at least some Gibraltar cuff tittles. Although these were normally only worn by the JB10, I'm guessing people who were transferred to the reserve at some point would retain their cuff tittle - part of their regimental tradition. We also need to keep in mind that this is a 1918 picture. I'm not sure if it was still applied this late.
The Forty-Fifth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from March 28 to March 30, 2022.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Thirty-Fifth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from April 25 to April 27, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
An exhibition co-organized by WIPO and Turkey was held on the sidelines of the WIPO Assemblies, which met in Geneva from October 3 to 11, 2016.
The event entitled “Turkish Culture and Geographical Indications” showcased a snapshot of Turkey’s rich culture and geographical indications and was inaugurated on October 4, 2016.
It featured examples of Turkey’s protected geographic indications, including Afyon marble, Antep Kutnu cloth, Gaziantep mother-of-pearl inlaying and Safranbolu Turkish delight. The inauguration also featured a performance of traditional Turkish music.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
After a short stop, the northbound City of New Orleans (Amtrak 58) gets back on the move as it rolls through downtown Carbondale. Not often it's seen in daylight, but recent brutal winter weather has played a factor in that. The train will make intermediate stops at Centralia, Effingham, Mattoon, Champaign-Urbana, Rantoul, Kankakee, Homewood and then terminate at Chicago, IL Union Station.
AMTK P42DC 42
February 7, 2014.
This is the master plan, a visual indication of the new buildings and where they sit in the plan, that make up the Cultural Heart of the Regeneration of Huddersfield Town Centre.
More information on the Library here: www.bbc.co.uk/news/articles/c72gd7k4kxro
More Information here: www.kirklees.gov.uk/beta/huddersfield-blueprint/pdf/hudde...
Here also is a short video from Kirklees Council showing a fly through The Cultural Heart: www.youtube.com/watch?v=ANGWW2qj-9E
...and that's not an indication of envy! Its just that for this pose, I'm turning to show a curvy angle (isn't that an oxymoron?) to the camera and I'm finding that I really love this particular shade of green!
My July minidress shopping binge brought this super snug fitting shiny dark emerald distressed mesh minidress to me from the fabulous folks at coquetryclubwear.com along with these sparkly black platform stiletto pumps from fredericks.com. Combined with my shiny black Platino Cleancut pantyhose they make quite a nice ensemble!
To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
DSC_0141-9
NS 34J heads east through Dolton, IL with a very special treat, NS 3528, which is the ex-BN LNG unit 7149. It wears a special version of the BN paint scheme and has SD45 style flared radiators. It may not have the best patch job (That's a understatement!) but it's still neat to see.
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Prasat Muang Thi, Amphow Muang, This Khmer-style sanctuary features a set of mortared brick pagodas on the same abase. Originally there were five pagodas but nnow only three remain. The sanctuary was modified at the same time as the nearby Si Khoraphum sanctuary. The layout of the sanctuary is square with indented corners. The middle pagoda is the largest, with access by stairways on four sides. The apex of the three-tiered roof is missing. The style is popular in ancient Khmer sanctuaries, and originated from the beliefs of Brahminism. The middle pagoda symbolises Mount Meru (a mythical mountain at the centre of the universe aqnd home of the gods) surrounded by pagodas at each of the four corners. There is no indication of the date of its consturction.
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Items on display at an exhibition of India’s varied geographical indications, taking place at WIPO from October 6-14, 2015.
Co-organized by WIPO and the Government of India on the sidelines of the WIPO Assemblies of Member States, it was inaugurated with an event themed “Make in India” on October 6, 2015 featuring a recital of traditional Indian music and Indian artisans demonstrating their handiwork.
The event began with the screening of a WIPO-produced film on a capacity building project sponsored by WIPO’s Accessible Books Consortium in India and a keynote address by India’s Permanent Representative to the United Nations in Geneva, Ambassador Ajit Kumar, followed by a screening of a film on the “Make in India” initiative.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Thirty-Fifth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from April 25 to April 27, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Leda and the Swan
Cy Twombly (American, born 1928)
Rome 1962. Oil, pencil, and crayon on canvas, 6' 3" x 6' 6 3/4" (190.5 x 200 cm). Acquired through the Lillie P. Bliss Bequest and The Sidney and Harriet Janis Collection (both by exchange). © 2009 Cy Twombly
The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 280
Interest in the mural form was widespread among the Abstract Expressionists, who often worked on a scale far larger than that of most easel paintings. Twombly, a member of a younger generation, transposed that interest in the wall into a different register: no painter of his time more consistently invites association with the language of graffiti. His scrawled calligraphic markings may recall the automatic writing of Surrealism, another inheritance passed on to him through Abstract Expressionism, but they also evoke the scratches and scribbles on the ancient walls of Rome (his home since 1957).
Rome supplies another touchstone for Twombly through his fascination with classical antiquity. Here he refers to the myth in which Jupiter, lord of the gods, took the shape of a swan in order to ravish the beautiful Leda. (This violation ultimately led to the Trojan War, fought over Leda's daughter Helen.) Twombly's version of this old art-historical theme supplies no contrasts of feathers and flesh but an orgiastic fusion and confusion of energies within furiously thrashing overlays of crayon, pencil, and ruddy paint. A few recognizable signs—hearts, a phallus—fly out from this explosion. A drier comment is the quartered, windowlike rectangle near the top of the painting, an indication of the stabilizing direction that Twombly's art was starting to take.
Rome, Twombly's home since the 1950s, has nurtured his fascination with classical antiquity. In this work he refers to the Roman myth in which Jupiter, lord of the gods, takes the shape of a swan in order to ravish Leda, the beautiful mother of Helen (over whom the Trojan war would be fought). Twombly's version of this old art-historical theme supplies no contrast of feathers and flesh but a fusion of violent energies in furiously thrashing overlays of crayon, pencil, and ruddy paint. A few recognizable signs—hearts, a phallus—fly out from this explosion, in stark contrast to the sober windowlike rectangle near the top of the painting.
The year indication is pressed into a cement layer, surrounded by a cartouche with plant motifs.
The apartment building is built in a traditional classical style, typical for the 1889-1914 period in Central Europe. It has architectural elements which refers to the pure classical style.
Seen on the facade of an old apartment building.
Original architect unknown.
About the history of the use of year stones in architecture:
English: en.wikipedia.org/wiki/Anchor_plate
Dutch: nl.wikipedia.org/wiki/Muuranker
And: nl.wikipedia.org/wiki/Jaartallen_op_gebouwen
Liberec (CZ), Juli 31, 2014.
© 2014 Sander Toonen Amsterdam/Halfweg | All Rights Reserved
As images were uploaded to Flicker they are no longer RAW. Also, for various reasons and because I am really only testing my workflow the photographs should not be taken as an indication as to how well the camera can perform.
Today I was invited to a hands on introduction to the Sony A7RIV and I was delighted to attend. But unfortunately the experience was not pleasant as the Sony rep was abrupt and unhelpful and as a result I decided not to pre-order the camera. That is not to say that I will not eventually purchase it. This is the second time in two years that this has happened to me when dealing with Sony staff ... I suspect that they do not wish to discuss details. The in-shop staff were more than helpful.
Other than ordering the camera the purpose of my visit was to determine if I could process RAW images and I can report that was able to process both RAW and JPG images but as many include portraits of people I was unable to publish them or I had to crop the images.
We just heard from the clinic that the blood test results show no indication of FIP (Feline Infectious Peritonitis). There is no definitive test for FIP, but none of the warning signs (particularly a high protein level) were present. Her basic blood chemistry results were within normal range for all the usual categories.
The lack of appetite and sluggishness may have been due to a hairball problem. When we got up this morning, Gracie was very close to her normal self, even though she had not had a bowel movement during the night. She was active, alert, and played vigorously with her mouse. Also, she ate some of her food and drank some water. However, sometime between 9 and 9:30 a.m., she vomited up a very large hairball and the food she had eaten. When we took her in for her appointment shortly after that, the doctor said that the amount of stool in her colon was not very large and it was not hard. He prescribed a product called Laxatone, which is basically a flavored petroleum jelly/mineral oil (we got the tuna flavored kind), to help grease things along in her digestive tract. He suggested that we put some on her paws (once a day for three days). We did so, and sure enough, she licked it off immediately. Her eye problem is almost completely gone, but we should probably continue that medication for a couple days to make sure it does not return. The vet said on the phone that she may outgrow the tendency toward eye infections.
So, we have no reason to suspect FIP, she has begun eating and drinking again, and she is on the road to recovery from her eye infection.
Needless to say, we are greatly relieved.
This photo was taken today by Edgar.
Update, 30 July 2009: Gracie is almost 100% her usual self now. We are very grateful for the kind wishes from so many people!
Camera for the 126 cartridge , made in USA and UK from 1963-1966. Lever wind ; automatic exposure , lowlight indicator in optical direct vision finder . Pop-up flashgun for AG1 bulbs , on the back of which exposure indications are given . I have various examples of this camera , and noticed variations in the shape of the internal lens opening , and of the cartridge compression spring .
The Thirty-Fifth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from April 25 to April 27, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
A mongrel, mutt or mixed-breed dog is a dog that does not belong to one officially recognized breed, including those that result from intentional breeding. Although the term mixed-breed dog is sometimes preferred, many mongrels have no known purebred ancestors.
Crossbreed dogs, and "designer dogs", while also a mix of breeds, differ from mongrels in being intentionally bred. At other times, the word mongrel has been applied to informally purpose-bred dogs such as curs, which were created at least in part from mongrels, especially if the breed is not officially recognized.
Although mongrels are viewed as of less commercial value than intentionally bred dogs, they are thought to be less susceptible to genetic health problems associated with inbreeding (based on the theory of heterosis), and have enthusiasts and defenders who prefer them to intentionally bred dogs.
Estimates place the prevalence of mongrels at 150 million animals worldwide.
Terminology
Crossbreed v mongrel
In the United States, the term mixed-breed is a favored synonym over mongrel among individuals who wish to avoid negative connotations associated with the latter term. The implication that such dogs must be a mix of defined breeds may stem from an inverted understanding of the origins of dog breeds. Purebred dogs have been, for the most part, artificially created from random-bred populations by human selective breeding with the purpose of enhancing desired physical, behavioral, or temperamental characteristics. Dogs that are not purebred are not necessarily a mix of such defined breeds. Therefore, among some experts and fans of such dogs, mongrel is still the preferred term.
Dog crossbreeds, sometimes called designer dogs, also are not members of a single recognized breed. Unlike mixed-breeds, crossbreed dogs are often the product of artificial selection – intentionally created by humans, whereas the term mongrel specifically refers to dogs that develop by natural selection, without the planned intervention of humans.
A mutt with a heavy, counter-shaded winter coat
Regional and slang terms
The words cur, tyke, mutt, and mongrel are used, sometimes in a derogatory manner. There are also regional terms for mixed-breed dogs. In the United Kingdom, mongrel is the unique technical word for a mixed-breed dog. North Americans generally prefer the term mix or mixed-breed. Mutt[11] is also commonly used (in the United States and Canada). Some American registries and dog clubs that accept mixed-breed dogs use the breed description All American.
There are also names for mixed-breeds based on geography, behavior, or food. In Hawaii, mixes are referred to as poi dogs, although they are not related to the extinct Hawaiian Poi Dog. In the Bahamas and the Turks and Caicos Islands, the common term is potcake dogs (referring to the table scraps they are fed). In South Africa, the tongue-in-cheek expression pavement special is sometimes used as a description for a mixed-breed dog. In Trinidad and Tobago, these mixed dogs are referred to as pot hounds (pothong). In Serbia, a similar expression is prekoplotski avlijaner (over-the-fence yard-dweller). In Russia, a colloquial term дворняга (yard-dweller) is used most commonly. In the Philippines, mixed-breed street dogs are often called askal, a Tagalog-derived contraction of asong kalye (”street dog"). In Puerto Rico, they are known as satos; in Venezuela they are called yusos or cacris, the latter being a contraction of the words callejero criollo (literally, street creole, as street dogs are usually mongrels); and in Chile and Bolivia, they are called quiltros. In Costa Rica, it is common to hear the word zaguate, a term originating from a Nahuatl term, zahuatl, that refers to the disease called scabies. In the rural southern United States, a small hunting dog is known as a feist.
Slang terms are also common. Heinz 57, Heinz, or Heinz Hound is often used for dogs of uncertain ancestry, in a playful reference to the "57 Varieties" slogan of the H. J. Heinz Company. In some countries, such as Australia, bitsa (or bitzer) is sometimes used, meaning "bits o' this, bits o' that". In Brazil and the Dominican Republic, the name for mixed-breed dogs is vira-lata (trash-can tipper) because of homeless dogs who knock over trash cans to reach discarded food. In Newfoundland, a smaller mixed-breed dog is known as a cracky, hence the colloquial expression "saucy as a cracky" for someone with a sharp tongue.
Determining ancestry
Guessing a mixed-breed's ancestry can be difficult even for knowledgeable dog observers, because mixed-breeds have much more genetic variation than purebreds. For example, two black mixed-breed dogs might each have recessive genes that produce a blond coat and, therefore, produce offspring looking unlike their parents.
Starting in 2007, genetic analysis has become available to the public. The companies claim their DNA-based diagnostic test can genetically determine the breed composition of mixed-breed dogs. These tests are still limited in scope because only a small number of the hundreds of dog breeds have been validated against the tests, and because the same breed in different geographical areas may have different genetic profiles. The tests do not test for breed purity, but for genetic sequences that are common to certain breeds. With a mixed-breed dog, the test is not proof of purebred ancestry, but rather an indication that those dogs share common ancestry with certain purebreds. The American Kennel Club does not recognize the use of DNA tests to determine breed.
Many newer dog breeds can be traced back to a common foundational breed, making them difficult to separate genetically. For example, Labrador Retrievers, Flat-coated Retrievers, Chesapeake Bay Retrievers, and Newfoundland dogs share a common ancestry with the St. John's water dog – a now-extinct naturally occurring dog landrace from the island of Newfoundland.
Health
The theory of hybrid vigor suggests that as a group, dogs of varied ancestry will be generally healthier than their purebred counterparts. In purebred dogs, intentionally breeding dogs of very similar appearance over several generations produces animals that carry many of the same alleles, some of which are detrimental. If the founding population for the breed was small, then the genetic diversity of that particular breed may be small for quite some time.
When humans select certain dogs for new breeds, they artificially isolate that group of genes and cause more copies of that gene to be made than might have otherwise occurred in nature. The population is initially more fragile because of the lack of genetic diversity. If the dog breed is popular, and the line continues, over hundreds of years diversity increase due to mutations and occasional out-breeding. This is why some of the very old breeds are more stable. One issue is when certain traits found in the breed standard are associated with genetic disorders. The artificial selective force favors the duplication of the genetic disorder because it comes with a desired physical trait. The genetic health of hybrids tends to be higher. Healthy traits have been lost in many purebred dog lines because many breeders of showdogs are more interested in conformation – the physical attributes of the dogs in relation to the breed standard – than in the health and working temperament for which the dog was originally bred.
Populations are vulnerable when the dogs bred are closely related. Inbreeding among purebreds has exposed various genetic health problems not always readily apparent in less uniform populations. Mixed-breed dogs are more genetically diverse due to the more haphazard nature of their parents' mating. The offspring of such matings might be less likely to express certain genetic disorders because there might be a decreased chance that both parents carry the same detrimental recessive alleles, but some deleterious recessives occur across many seemingly unrelated breeds, and therefore merely mixing breeds is no guarantee of genetic health. When two poor specimens are bred, the offspring could inherit the worst traits of both parents. This is commonly seen in dogs that came from puppy mills.
Several studies have shown that mixed-breed dogs have a health advantage over purebred dogs. A German study finds that "mongrels require less veterinary treatment". Studies in Sweden have found that "Mongrel dogs are less prone to many diseases than the average purebred dog" and, when referring to death rates, that "mongrels were consistently in the low risk category". Data from Denmark also suggest that mixed breeds have greater longevity on average compared to purebreds. A British study showed similar results, but a few breeds (notably Jack Russell Terriers, Miniature Poodles and Whippets) lived longer than mixed breeds.
In one study, the effect of breed on longevity in the pet dog was analyzed using mortality data from 23,535 pet dogs. The data were obtained from North American veterinary teaching hospitals. The median age at death was determined for purebred and mixed-breed dogs of different body weights. Within each body weight category, the median age at death was lower for purebred dogs compared with mixed-breed dogs. The median age at death was "8.5 years for all mixed breed dogs, and 6.7 years for all pure breed dogs" in the study.
In 2013, a study found that mixed breeds live on average 1.2 years longer than purebreds, and that increasing body weight was negatively correlated with longevity (i.e. the heavier the dog, the shorter its lifespan). Another study published in 2019 confirmed this 1.2 year difference in lifespan for mixed-breed dogs, and further demonstrated negative impacts of recent inbreeding and benefits of occasional outcrossing for lifespan in individual dogs.
Studies that have been done in the area of health show that mixed-breeds on average are both healthier and longer-lived than their purebred relations. This is because current accepted breeding practices within the pedigreed dog community result in a reduction in genetic diversity, and can result in physical characteristics that lead to health issues.
Studies have shown that crossbreed dogs have a number of desirable reproductive traits. Scott and Fuller found that crossbreed dogs were superior mothers compared to purebred mothers, producing more milk and giving better care. These advantages led to a decreased mortality in the offspring of crossbreed dogs.
Types
Mixes that show characteristics of two or more breeds. A mix might have some purebred ancestors, or might come from a long line of mixed-breeds. These dogs are usually identified by the breed they most resemble, such as a "Lab mix" or "Collie-Shepherd", even if their ancestry is unknown.
The generic pariah dog, or feral Canis lupus familiaris, where non-selective breeding has occurred over many generations. The term originally referred to the wild dogs of India, but now refers to dogs belonging to or descended from a population of wild or feral dogs. The Canaan Dog is an example of a recognized breed with pariah ancestry. Pariah dogs tend to be between yellow and light brown in color and of medium height and weight. This may represent the appearance of the modern dog's ancestor. DNA analysis has shown pariah dogs to have a more ancient gene pool than modern breeds.
Functional breeds, which are purpose-bred dogs whose ancestors are not purebred, but rather are selected by their performance at particular tasks. Examples of this are the Alaskan husky, the Eurohound, and the Pointer/Greyhound mixes referred to as Greysters, which compete at skijoring and pulka races, particularly in Europe. Occasionally, a functional breed such as this becomes accepted as a breed over time.
Purebred dogs are known by breed names given to groups of dogs that are visibly similar in most characteristics and have reliable documented descent. In recent years many owners and breeders of crossbreed dogs identify them—often facetiously—by invented names constructed from parts of the parents' breed names. These are known as portmanteau names and the resulting crosses as "designer dogs". For example, a cross between a Pekingese and a Poodle may be referred to as a Pekeapoo. Other similarly named crossbreeds include the Goldendoodle, a cross between a Standard Poodle and a Golden Retriever, and the Dorgi, a cross between a Dachshund and a Welsh Corgi.
Until the early 1980s, mixed-breed dogs were usually excluded from obedience and other dog sport competitions. However, starting with the American Mixed Breed Obedience Registry (AMBOR) and the Mixed Breed Dog Clubs of America (MBDCA), which created obedience venues in which mixed-breed dogs could compete, more opportunities have opened up for all dogs in all dog sports. Most dog agility and fly ball organizations have always allowed mixed-breed dogs to compete. Today, mixed-breeds have proven their worth in many performance sports.
In conformation shows, where dogs' conformation to a breed standard is evaluated, mixed-breed dogs normally cannot compete. For purebred dogs, their physical characteristics are judged against a single breed standard. This is different in the case of mixed-breed dogs because they are difficult to classify, except for height. There is variation in physical traits such as coat, skeletal structure, gait, ear set, eye shape and color. When conformation standards are applied to mixed-breed dogs, such as in events run by the MBDCA, the standards are usually general traits of health, soundness, symmetry, and personality.
The Kennel Club (U.K.) operates a show called Scruffts (a name derived from its prestigious Crufts show) open only to mixed-breeds in which dogs are judged on character, health, and temperament. Some kennel clubs, whose purpose is to promote purebred dogs, still exclude mixed-breeds from their performance events. The AKC and the FCI are two such prominent organizations. While the AKC does allow mixed-breed dogs to earn their Canine Good Citizen award, mixed-breed dogs are not permitted to enter AKC "all breed" events, though through their "Canine Partners" program, mixed-breed dogs can be registered to compete in AKC Agility, Obedience, and Rally events.
The Thirty-Sixth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from October 17 to October 19, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Year indication painted on sandstone, seen on the facade of a city villa in the style of the Dutch modern architecture from around 1900. Hendrik Pieter Berlage (1856-1934) was an important Dutch architect representing this innovative style. If he was also the architect of this house I doubt.
About the history of the use of year stones in architecture:
English: en.wikipedia.org/wiki/Anchor_plate
Dutch: nl.wikipedia.org/wiki/Muuranker
And: nl.wikipedia.org/wiki/Jaartallen_op_gebouwen
Amsterdam-Centrum, Plantagebuurt, Plantage Lepellaan, July 16, 2013.
© 2013 Sander Toonen Amsterdam/Halfweg | All Rights Reserved
If Flickr is any indication, this is the spot where one should try out a newly bought ND filter. And so I did, but not without complications, of course! The winds were pretty strong today. Several warnings for high water had been issued for other areas of the country. And to add insult to injury, two "hills" had been created on either side of the Pier, probably to replace the sand underneath it at some point. As a result, the air is funneled through this very narrow space, creating near-hurricane conditions down here. If you want to test your photography skills in extreme conditions, this is really the place to go right now.
But, I managed. Barely. This is the result. Enjoy!
Addendum: The latest news on this structure - the Scheveningen Pier - is that it is going to be auctioned off in a public auction. The current owner is bankrupt.
Red-crowned Barbet (Psilopogon Rafflesii)
The red-crowned barbet belongs to the order Piciformes (woodpeckers and relatives), family Capitonidae (barbets), subfamily Megalaimatinae (typical Asian barbets) (Shorts & Horne, 2002). According to Shorts & Horne (2002), there are currently three subspecies of Megalaima rafflesii recognised. Megalaima rafflesii malayensis occurs from southern Myannmar to the Malay Peninsula, Megalaima rafflesii billitonis from the Belitung and Mendanau Islands, Megalaima rafflesii borneensis from Borneo but made not indication of the range of the nominate subspecies Megalaima rafflesii rafflesi. Subspecies of this barbet have been rejected on the basis that variations in body size, and tone of blue parts were found to be age- rather than geographically linked (Wells, 1999).
The red-crowned barbet has a smaller, yellow malar-patch, and has a blood-red cap stretching from the bill to the nape. It also has a blood-red spot below the eye, and two larger spots at the side of the throat. There are also bright light blue markings on the chin, throat as well as a long supercilium with black lores and ear-coverts. The remainder of the bird such as the mantle, back, rump, uppertail coverts, tail feathers, and the wing are generally bright leaf-green. The legs are a dull ash-grey.
The red-crowned barbet, is a lowland species always found below 600 m altitude (Shorts & Horne, 2002) and usually found in the canopy of lowland evergreen rain forest including peat swamp forest as well as mature secondary forest and younger regenerated forest after disturbance (Wells, 1999). In comparison the brown barbet, and the blue-eared barbet are only found in pristine primary forest or in areas were disturbed forest have regenerated and reaching its climax (Wells, 1999) and as such have been extirpated from Singapore (Jeyarajasingam & Pearson, 1999). Today, the red-crowned barbet has nearly been eradicated from Thailand owing to forest clearance, and in Singapore, only persists because of its tolerance for secondary growth (Wells, 1999).
The red-crowned barbet usually feeds in the canopy on fruits from trees as well as vines. The red-crowned barbet was seen feeding from a fruiting canopy-height vine at Pasoh Forest in Negri Sembilan, Peninsular Malaysia. Canopy-level strangler fig trees’s syconia such as those of the Malayan banyan (Ficus microcarpa) are the favourite food menu of this species, so often seen at mass-fruiting Malayan banyan trees in Taman Negara, although none were seen at a fruiting grey fig (Ficus virens) tree, where other Megalaima species were observed. The red-crowned barbet has also been recorded taking animal food such as borer grubs excavated with its strong bill from rotting wood and has also been recorded feeding on an arboreal snail (Amphidromus species) in the Central Catchment forest of Singapore. The red-crowned barbet has also been known to follow mixed-species foraging flocks of mainly insectivorous passerines searching the canopy foliage for insects and fruit. This ability to interact with other species, and to exploit other food sources other than fruit on a regular basis could also be the reason why this species has been able to survive in Singapore, when the other two forest barbets have gone extinct (Shorts & Horne, 2002). The blue-eared barbet, like red-crowned barbet, is reportedly a strict canopy feeder, visiting only fig tree crowns in the main canopy and not visiting lower fig plants. The blue-eared barbet has been observed to take syconia in the diameter range for 5.4–27.7 mm, with utilisation increasing towards the lower end, with most activity observed at the diameter of 11.6 mm. The blue-eared barbet is more territorial with respect to food sources and are observed to defend patches of fruit in a crown, chasing away even larger frugivorous species. This behaviour could be the reason why this species went extinct, owing to over-competition, and lack of a suitable number of fruiting fig plants at any point of time. The brown barbet has similar preferences to both red-crowned barbet and blue-eared barbet with respect to fig size, and seems to be as flexible as red-crowned barbet with respect to exploiting animal foods. We have observed brown barbet at Bukit Tinggi, Malay Peninsular searching foliage and the surface and crevices of bark on branches and trunks for animal foods as well as eating flowers of trees or vines.
Like other barbet species, a prerequisite for the red-crowned barbet habitat seems to be the presence of trees with sufficient dead wood in their branches, which is suitable for excavating cavities, which are required for nesting (Shorts & Horne, 2002). Previously, very little was known about the breeding habits of red-crowned barbet, except for the fact that they prefers to nest in rot-softened wood (Fig. 4) including entire dead trees usually around 5–8 m up with broods of one to two fledglings and clutch size that is undescribed (Wells, 1999). Excavation of the nest holes are reportedly done by both members of the pair and usually with more than one hole being constructed. No other information is available on the courtship behaviour of this species. The blue-eared barbet, on the other hand, tends to nest higher, also in dead tree trunks but between 3–25 m up, with a nest hole of around 3 cm in diameter. A clutch size of 2–4 eggs is reportedly common (Shorts & Horne, 2002). Courtship of this species includes incessant singing by both members in the pair, with much head bobbing, and side to side movements of the tail with courtship feeding observed. The brown barbet, unlike th red-crowned barbet and blue-eared barbet, are communal nesters, with three or more pairs nesting together in dead tree trunks and branches, but also in arboreal termitaria, 1–20 m up (Wells, 1999), and in the bottom of a bird’s nest fern (Asplenium nidus). The brown barbet usually has a clutch size of 2–3 eggs with broods of two or three nestlings (Wells, 1999; Shorts & Horne, 2002).
The red-crowned barbet call consists of a sequence of 10–15, even-toned, mellow hoots delivered at a steady rate of three per second except for a noticeably longer pause after the second, or first and second notes: “hoop, hoop, hoophoop-hoop-hoop……..” usually from a high perch in deep foliage (Wells, 1999).
NATURE IN SINGAPORE 2009
PAST AND PRESENT RECORDS
In Singapore, the red-crowned barbet is an uncommon resident and is only observed in the Bukit Timah Nature Reserve (BTNR) and the Central Catchment Nature Reserve (CCNR) in mature secondary and primary forest, and because of its restricted range in Singapore, was listed as nationally rare in the 1st edition of the Singapore Red Data Book and nationally-near threatened (Wang & Hails, 2007). In the latest (2nd) edition of the Singapore Red Data Book, this species has not been of conservation concern, so unlisted. However, we feel that because it is solely restricted to the BTNR and CCNR, and has almost disappeared altogether in Thailand owing to lack of a good forest habitat, it should be conferred at least a status of nationally vulnerable. We have observed the red-crowned barbet taking a variety of foods including the usual fig syconia from a regularly fruiting Malayan banyan trees at the summit of Bukit Timah and the Upper Seletar Reservoir Park. Others included fruits from oil fruit (Elaeocarpus species), MacArthur’s palm (Ptychosperma macarthurii) (Fig. 5), fishtail palm (Caryota mitis), turn-in-the-wind (Mallotus paniculatus), wild cinnamon (Cinnamomum iners), salam (Syzygium polyanthum) (Chan & Chan, 2006; Wee, 2006b; our observations). Insects are also eaten quite regularly with a mantis observed being brought back to the nest (Chan & Chan, 2006) as well as moths and katydids caught in the foliage of trees. The red-crowned barbet has also been recorded feeding on arboreal snails (Amphidromus species) in the Central Catchment Nature Reserve forest (Wee, 2006a). The blue-eared barbet, on the other hand, was formerly only found in small numbers from the BTNR and Pulau Ubin with young birds collected on Pulau Ubin (Wang & Hails, 2007). The brown barbet, like the blue-eared barbet, is also now extinct and was previously recorded from the Woodlands area and Pulau Ubin in small populations in freshwater swamp forest and swampy coastal forest.
Nesting records of the red-crowned barbet in Singapore are rare and was first recorded in 1979 at Peirce Reservoir (Wells, 1984). A more recent nesting was observed by a few people from the CCNR. On 12 May 2006, a red-crowned barbet was spotted in the CCNR forest at Track 7 near the Upper Seletar Reservoir Park, picking fruits from a tree and was tracked back to a hole in a dead tree trunk. Both the male and female were observed entering the nest with fruits in their beaks and exiting the nest with faecal waste material, indicating that the eggs have hatched and the chick(s) have began to feed. Both adults were seen at the nest together only once, thereafter were observed taking turns entering the nest regularly with fruits (oil fruit, and salam) in their beaks, and exiting the nest with faecal waste in their beaks. The returning parents would perch on a nearby branch to survey the surroundings for a period of time, presumably to look out for predators before flying into the nest. This same nest was also observed by Chan & Chan (2006), and Wee (2006b), who observed a variety of fruits being brought back to the nest including fruits of sendudok (Melastoma malabathricum), wild cinnamon, oil fruit, and salam which were carried back in twos or threes as well as the occasional insect which included a mantis. The larger fruits such as the fruits of oil fruit, which were too large for the chicks, were observed to be crushed and regurgitated for the young (Wee, 2006b). This routine was observed for a period of 16 days. On the 17th day, the chick began to pop its head out frequently and feeding was performed outside the nest entrance. On the 26th day after the start of the observations, a chick was observed to have fledged, and flew to a nearby branch, after which one of the parents continued to feed the chick until it finally flew off, and was never seen again. No definitive breeding records are available for both blue-eared barbet and brown barbet for Singapore, except for the fact that young birds were collected from Pulau Ubin, suggesting breeding there, without a single nest reported (Wang & Hails, 2007).
CONCLUSIONS
Although the red-crowned barbet was reported to only feed on main canopy crown fruiting trees as mentioned earlier, this species has shown great adaptability in Singapore, by learning to exploit other food sources such as sub-canopy fruiting palms (both native and exotic species) such as the fishtail palm, and MacArthur’s palm, as well as animal foods such as insects and molluscs, and as such has been able to escape extinction, unlike the blue-eared barbet and brown barbet. The future of this species is intrinsically linked to the health of the forest at both the BTNR and CCNR. It has so far not been observed anywhere else such as the Bukit Batok Nature Park, which is only short distance from the BTNR. We therefore suggest that this species should at least be conferred the status of nationally vulnerable.
ACKNOWLEDGEMENTS
We would also like to thank Mark Chua, Johnny Wee and Lee Tiah Kee for providing photographs of this beautiful forest barbet species.
LITERATURE CITED
Chan, M. & Y. M. Chan, 2006. red-crowned barbet: Feeding of nestlings. besgroup.talfrynature.com/2006/07/19/red-crowned-barbet-f.... (Accessed 19 Dec. 2008).
[Credit: lkcnhm.nus.edu.sg]
Silverton:
The first indication of silver–lead mineralisation in the Barrier Rangers came in late 1875 with the discovery of galena by Julius Charles Nickel and Dan McLean while they were well sinking on Thackaringa Station, near the South Australian - New South Wales border.
In 1879 John Stokie established a store at Umberumberka, 19 km north of Thackaringa. He continued prospecting and discovered silver–lead veins nearby, which he pegged with Edward Pegler in November 1881. A 100 ton parcel of ore was shipped to England for a 40% profit. The following October the Umberumberka Silver Lead Mining Company Ltd was floated with nominal capital of £20 000. Umberumberka was the second area of silver–lead mineralisation discovered in the Barrier Ranges and the new company was the first to be publicly floated. The town of Silverton soon developed close to the mine and became the main settlement of the growing silver field.
Silverton was surveyed in 1883, by which time Australia had a population of 2, 250, 194. By September that year, the population of Silverton was 250, and by December 1883 it had doubled. That year the Day Dream Mine opened and attracted an additional population of 400 - 500 people. In 1884 1,222 mineral leases, 937 business permits and 114 miners' rights were issued. That same year 6,000 tonnes of ore were extracted and the town acquired its own newspaper, the Silver Age.
By 1885 - 1886 the town's population had reached 3,000. Silverton was proclaimed a township in 1885 and a municipality the following year. In 1885 a short-lived smelter was established at Day Dream Mine, operating for only a year. In 1892 the Umberumberka Mine closed, followed by the Day Dream Mine. The Pioneer Mine at Thackaringa closed in 1897. By 1901, after miners had moved to the richer fields at Broken Hill, the town went into decline and only 286 people remained. Today the town has a population of around 50 people, most of whom work in tourism.
The Silverton Tramway Company:
The Silverton Tramway Company, a rare private railway of 50klms in length, was incorporated in New South Wales October 14, 1886 and the line was completed and opened for traffic on January 12, 1888. One of only two privately owned railways in the state, the tramway was originally founded to transport ore from local mines in the Broken Hill and Silverton region into South Australia. The company soon branched out, not only carrying ore from the mines but freighted other goods and offered a passenger service which accounted for a third of their business.
The company serviced travellers on long trips heading interstate to Semaphore (Adelaide) to the Largs Bay Holiday Camp and excursions for local community groups often conveying passengers to Silverton and McCulloch Park (at Stephens Creek) for the day and returning to Broken Hill in the afternoon. When traveling to South Australia the train would travel from Broken Hill, through Silverton and then to Burns which is on the New South Wales side of the border of Cockburn (a town divided by the NSW/SA border).
In 1927 the New South Wales government completed the railway from Sydney to Broken Hill, thus joining the Silverton Tramway and completing the link from Sydney to Adelaide. It played a strategic role in the trans-Australia network until 1970, when it was surpassed by the New South Wales Government Railways (Indian-Pacific). From 1888-1970 it was critical to the economic functioning of Broken Hill, by providing the key transport of ore to the Port Pirie smelters. It played a significant role in the politics and recreation of Broken Hill, and a crucial role at times of water shortage in Broken Hill.
Today, Silverton resides in the Unincorporated Area of New South Wales (NSW) and so does not feature a City Council. It is run by the Silverton Village Committee, who to this day hold their quarterly meetings in the Silverton Municipal Chambers.
Source: Discover Broken Hill: Historic Buildings of Silverton, Silverton NSW (www.aussietowns.com.au/town/silverton-nsw), New South Wales Heritage Register & Discover Broken Hill (discoverbrokenhill.com.au/silverton-nsw/historic-building...), "The pathway to Broken Hill: Early discoveries in the Barrier Ranges, New South Wales, Australia" by Kenneth George McQueen, and 'Aplin, Graeme; S.G. Foster; Michael McKernan, eds. (1987). Australians: Events and Places. Broadway, New South Wales, Australia: Fairfax, Syme & Weldon Associates. p. 97'
Bronzino (1503-1572), actif à Florence
Sainte Famille avec sainte Anne et petit saint Jean-Baptiste, 1540
Le petit Jean prend la position la plus avancée. Regard et geste montrent sur l'enfant Jésus, le spectateur frontalement présenté. Derrière lequel se tient Marie, celui-ci touchant affectueusement. La composition est élargie par Anna et Joseph. Bronzino augmente la représentation nettement définie et sculpturale jusqu'à une froide de pierre, surtout capturant les deux garçons - probablement aussi une indication de la rivalité des peintres avec la sculpture, dans la théorie de l'art du moment sans cesse thématisée.
Bronzino (1503-1572), tätig in Florenz
Heilige Familie mit Heiliger Anna und Johannesknaben, um 1540
Der Johannesknabe nimmt die vorderste Position ein. Blick und Geste deuten auf das dem Betrachter frontal präsentierte Jesuskind. Dahinter steht, diesen liebevoll berührend, Maria. Die Komposition wird durch Anna und Joseph erweitert. Bronzino steigert die scharf umrissene und skulpturale Darstellung bis hin zu steinerner Kälte, die besonders die beiden Knaben erfasst - wohl auch ein Indiz für den in der Kunsttheorie der Zeit immer wieder thematisierten Wettstreit der Maler mit der Bildhauerei.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Silverton:
The first indication of silver–lead mineralisation in the Barrier Rangers came in late 1875 with the discovery of galena by Julius Charles Nickel and Dan McLean while they were well sinking on Thackaringa Station, near the South Australian - New South Wales border.
In 1879 John Stokie established a store at Umberumberka, 19 km north of Thackaringa. He continued prospecting and discovered silver–lead veins nearby, which he pegged with Edward Pegler in November 1881. A 100 ton parcel of ore was shipped to England for a 40% profit. The following October the Umberumberka Silver Lead Mining Company Ltd was floated with nominal capital of £20 000. Umberumberka was the second area of silver–lead mineralisation discovered in the Barrier Ranges and the new company was the first to be publicly floated. The town of Silverton soon developed close to the mine and became the main settlement of the growing silver field.
Silverton was surveyed in 1883, by which time Australia had a population of 2, 250, 194. By September that year, the population of Silverton was 250, and by December 1883 it had doubled. That year the Day Dream Mine opened and attracted an additional population of 400 - 500 people. In 1884 1,222 mineral leases, 937 business permits and 114 miners' rights were issued. That same year 6,000 tonnes of ore were extracted and the town acquired its own newspaper, the Silver Age.
By 1885 - 1886 the town's population had reached 3,000. Silverton was proclaimed a township in 1885 and a municipality the following year. In 1885 a short-lived smelter was established at Day Dream Mine, operating for only a year. In 1892 the Umberumberka Mine closed, followed by the Day Dream Mine. The Pioneer Mine at Thackaringa closed in 1897. By 1901, after miners had moved to the richer fields at Broken Hill, the town went into decline and only 286 people remained. Today the town has a population of around 50 people, most of whom work in tourism.
The Silverton Tramway Company:
The Silverton Tramway Company, a rare private railway of 50klms in length, was incorporated in New South Wales October 14, 1886 and the line was completed and opened for traffic on January 12, 1888. One of only two privately owned railways in the state, the tramway was originally founded to transport ore from local mines in the Broken Hill and Silverton region into South Australia. The company soon branched out, not only carrying ore from the mines but freighted other goods and offered a passenger service which accounted for a third of their business.
The company serviced travellers on long trips heading interstate to Semaphore (Adelaide) to the Largs Bay Holiday Camp and excursions for local community groups often conveying passengers to Silverton and McCulloch Park (at Stephens Creek) for the day and returning to Broken Hill in the afternoon. When traveling to South Australia the train would travel from Broken Hill, through Silverton and then to Burns which is on the New South Wales side of the border of Cockburn (a town divided by the NSW/SA border).
In 1927 the New South Wales government completed the railway from Sydney to Broken Hill, thus joining the Silverton Tramway and completing the link from Sydney to Adelaide. It played a strategic role in the trans-Australia network until 1970, when it was surpassed by the New South Wales Government Railways (Indian-Pacific). From 1888-1970 it was critical to the economic functioning of Broken Hill, by providing the key transport of ore to the Port Pirie smelters. It played a significant role in the politics and recreation of Broken Hill, and a crucial role at times of water shortage in Broken Hill.
Today, Silverton resides in the Unincorporated Area of New South Wales (NSW) and so does not feature a City Council. It is run by the Silverton Village Committee, who to this day hold their quarterly meetings in the Silverton Municipal Chambers.
Source: Discover Broken Hill: Historic Buildings of Silverton, Silverton NSW (www.aussietowns.com.au/town/silverton-nsw), New South Wales Heritage Register & Discover Broken Hill (discoverbrokenhill.com.au/silverton-nsw/historic-building...), "The pathway to Broken Hill: Early discoveries in the Barrier Ranges, New South Wales, Australia" by Kenneth George McQueen, and 'Aplin, Graeme; S.G. Foster; Michael McKernan, eds. (1987). Australians: Events and Places. Broadway, New South Wales, Australia: Fairfax, Syme & Weldon Associates. p. 97'