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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.
An indication of the power of the ex-Deutsche Reichsbahn 'Neubaulok' 2-10-2Ts, built specially for the Harz system in the mid-1950s, is well illustrated here as No. 99 7245-6 lifts Train 8904 from Eisfelder Talmühle on 22nd October 2016. This is the 1408 to The Brocken, which will reverse Drei Annen Hohne before heading for the summit. The autumnal colours serve to brighten a gloomy day, itself greatly enhanced by this storming departure. Copyright Photograph John Whitehouse - all rights reserved
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.
Approach indication at West Cairo! Southward view on the CSXT Toledo Sub at West Cairo where former B&O CPL signals still reign, on May 3, 2019.
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.
* Wardsend Cemetery
Getting towards the end of the season now, Tuesday the 8th December and all indications are is that this year, the diagrams will finish on Saturday, with 37402 and 37716 as it turned out this morning, ending a more successful run of the DRS RHTT this year in the in the last 2 or 3; the class 37s probably helped a lot. With a blue rake of FEA-B RHTT A Tank Wagons, the bits of colour contrasting with the now winter browns in this cutting at Owlerton and not to the south of here, Parkwood Springs. The hills rise in the background to the area over on the far right, which was once the home of the Sheffield Ski Village and which saw fires destroy it finally in 2012 after only a 14 year history; the land having been derelict since then. Rumour has it, that the space is now to be used for the Sheffield Snowsports Centre and possibly a Mountain Bike Centre, the history of the area reads fairly bleakly, see-
en.wikipedia.org/wiki/Sheffield_Ski_Village
To the left of the cutting, a vast area of Victorian burials can be found with some rather austere and at night, spooky looking mausoleums and other grave monuments which reflected in part, some of the wealth of the Victorians who are buried here. Having come under one of the well constructed M.S.L.R bridges along this line, the set now heads on down towards Hillfoot, Neepsend and Woodburn Junction with D.R.S. class 37, 37402, ex-D974, 'Stephen Middlemore 23.12.1954 - 8.6.2013' with 'B.R. Large Intercity Logo', though its hard to see under the grime at the front, with 37423, ex-D6996, 'Spirit of the Lakes' at the back now, on the 3S14, Stocksbridge Works via Woodburn and Rotherham Central to Hull, on the Rail Head Treatment Train working. The line and ballast look in good order here which is a surprise as apart from the two runs up here this year by the RHTT, and the Sandrover, 3 days a week during the same period, this is the only regular care it gets.
Sadly there are only two street view images of this site which gives no indication as to when this site closed down and was vacated.
The earliest image (2009) shows the site in its finery, a lovely, tidy, well presented site with a nice row of Gilbarco Highline pumps, although a sign at the forecourt entrance indicates that the garage was only selling diesel, so I think no more than two pumps were in use.
Another pump appears to be situated at the edge of the forecourt, concealed within the bushes and seems to have remained unused for a considerable amount of time
The totem pole is dominated by the name of the owner with the One Green Route logo secondary to this, also the totem displays Bio Plus, which appears to be bio fuels.
The latest street view image is from August 2024, which was four months before I got my photographs of the site, this again doesn't give any indication of when the site closed but looking at the state of the place It's clearly been some time.
There is plenty of evidence showing that this had been a Burmah site, possibly the last brand before the change to One Green Route.
The pump at the edge of the forecourt, now the only one left on the site which now bears the previous brand.
This is one of several filling stations in the A68 that have closed down.
2009 Google street view
www.google.com/maps/place/A.+G.+East/@54.6786438,-1.78139...
Two year old seedlings, ready to be planted out. This picture gives a nice indication on how variable lithops karasmontana can be with colours ranging from pale cream, to orange brown and anything in between. Some have no markings at all while others show crisp and clear lines on their tops.
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.
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.
The first known indication of the presence of a ferry comes from a map of Ile Bizard dated 1869.
The text tells us that in 1861 a ferry linked Île Bizard to Ste-Dorothée and moved with the help of oars and poles in the current of the Rivière des Prairies.
This way of proceeding was modernized in 1903 when Vital Bigras installed an aerial cable between the two banks at twenty-five feet above the river. This cable has of course been changed several times, but the trailing principle has been retained.
The ferry consumes little energy since it is propelled solely by the force of the current of the river.
Omer Bigras acquired this ferry in 1933.
On April 18, 1987, the third boat since 1903, the Paule II was inaugurated. This steel ferry works with the same means of propulsion. It is guided by cables connected to a hydraulic system and can now accommodate six vehicles instead of two.
Montréal (L'Île-Bizard–Sainte-Geneviève), Québec.
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 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.
The pair of SOO SD60's pass Tower B17 in Bensenville, leading a 632 ethanol train into the yard.
Bensenville, IL.
02/18/14
The shell of the keep contains indications of three internal levels, but there is thought to have once been a fourth. Like most such simple early keeps, the ground floor would have been used for storage; the first floor held the Hall, and the two upper floors, the Lord's apartments. Retainers and any garrison there may have been, would have been accommodated in the buildings out on the promontory.
There is no obvious doorway at ground-floor level, for the very good reasons that there wasn't one here! The door, as is usual for castle's of this period, was at first floor level, in the south-east corner, where the draw-bar socket is apparently still to be seen.
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.
No indication of the photographer for this cabinet card which has a plain back.
At first glance it appears that 4 people in the photo are wearing spotty white overalls and a pinafore! Though this mottling effect is seen throughout the photo so it is isn't some unusual Victorian dress . I presume these are workers for a bakers or butchers posing perhaps with the owner of the shop who is not wearing an overall. The two standing on the right are happy to rest hands on the gent sitting down but the fellow on the right doesn't get such a friendly advance
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
This time, I believe one of the ugly black rocks from Utah is actually petrified wood - don't know if this qualifies as "redwood" or not.
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 year indication is carved in a relatively soft sandstone year stone.
A dark red ox is sculpted in a recessed central surface. The "bonte os" means "colorful ox."
The canal house is a three-story townhouse with an attic. Above the windows are wide semicircular relieving arches.
The house has a brick facade and is crowned with a step-gable, which was in fashion from about 1600 to 1665.
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
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.
CN 3800 leads M341 northbound on the main at Neenah as 588 prepares to work the yard from the siding. While on the way, conditions rapidly deteriorated, and this, compounded with the quickly failing light, made for less than ideal lighting. Nonetheless, I walked away with a few workable photos and was rewarded for my efforts by a wave from the friendly crew on board.
M341 encountered some trouble attempting to leave Neenah, however. Some recent heavy rain was suspected to have caused a short somewhere, and occupancy kept flashing in and out of the block just north of Neenah. Consequently, the signal kept flipping back and forth between red and green. After a few unsuccessful attempts to gain control, RTC issued authority to CN 3800 to stop at the signal and then proceed with caution past it.
The worst part is, I didn't even get the chance to see L588, which was half the reason I went to Neenah in the first place. The leader today was an SD 75i followed by a Gevo, a CN wide cab GP, and a GTW GP. However, M341 blocked my view when it stopped on the main, and by the time it cleared the L588 power had already shoved back into the yard and I had run out of light.
Jüdel type route levers with indication fields of the mechanical track occupation locks in the former Wattwil signalbox (see previous pictures)
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.
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.
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.
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 Starting Line, December 17th 2021, Franklin Music Hall. Philadelphia PA.
This was the first concert I got to shoot with the Nikon Z9. The lighting at this venue is not very good, as you can see, there was not a lot of front light. Without a front "white wash" or "spot lights", your images will be all over the place.
Without the spot or white wash, you have to bump your ISO higher than normal, and work the files a lot more in post.
With all of that being said, I still love the files I get from a Nikon. The cameras SUPER QUICK when it comes to taking photos. I shot it only in 20 FPS mode as you can't get RAW files at 30 FPS. Plus, you don't exactly need 30 FPS in this situation. (i wont be using 30 because it's JPEG).
In therms of Auto Focus, the focusing boxes were all over the dam place due to the lack of light in the face. It might find the eye in some situations, then jump to something else because there wasn't a lot of light.
Stephen was at the show shooting with the Canon R3 and ran into the same problem with the face detect and eye af bouncing all over the place.
What I can say, is the Nikon glass all the way around is slower focusing then Canon and Sony. Especially the 1.8 lenses, they are not as quick as I would like. The 70-200 is better, but in my experience using all flagship systems, the Nikon lags behind with focus speed. With that being said, it's lightyears ahead of the Z6 and Z7 and I could use it without an issue. I think I would on occasion miss some images that the Sony or Canon wouldn't miss, but it would be fine.
In terms of Banding, I did run into some issues caused by flickering LED lights. This is normal for all stacked sensor cameras from the a9 to a1 to Z9 and R3. The Canon and Sony's offer you variable shutter speeds to try and match the flickering. The issue there, when you have multiple types of LED lights, there's no way to match all of them. As a last resort the a1 and R3 also have a shutter and the Z9 does not. Stephen switched the shutter on and if he was above 1/400th of a second, even with the mechanical shutter, he still saw some banding. I felt the Z9 with Flickr mode on and off (it does not have variable shutter speed) did a very nice job. There's only so much you can do with these LED lights and I think the Nikon handled it really well. This was just a crap lighting situation that really pushes all cameras to the extreme.
This is just one concert setting, I shot with MUCH BETTER lighting the next night and got some great images, I will share those another time.
Another issue I ran in to, it's hard to know when you're taking photos when you can't hear the digital shutter noise. Theres white lines that show up around the outsides of the frames, but it's mostly out of my field of view. So it's hard to know when you're shooting unless you take your eyes away from the subjects, which I don't want to do. In fact, I handed the camera to my friend Richie to give it a shot, he took 350 images in 3 minutes because he said "there's no indication i'm taking photos". Canon puts a box more in the middle of the frame so you know when you're shooting.
It's been a while since i've uploaded all the FULL RES edited jpegs for people to see, but it was time to do it again.
I will have a lot more to say about the Z9 as I continue to use it. The good news is, i've shot two concerts, birds flying and a basketball game so far. Is it perfect....no, is it horrible, far from it. It has it's quirks, it needs some tweaks and I will pass my findings back to Nikon and everyone else who's interested.
Like the box diagram that used to be here, much of the panel at Appleby SB is taken up by indications for the east end of Scunthorpe PSB's area.
The method of signalling at Appleby was the same in 2012 as it was last time I visited in 2003, with AB being worked to Elsham SB (left) and TCB to Scunthorpe PSB (right).
Train descriptions between Appleby SB and Scunthorpe PSB were transmitted and received by the VDU equipment on top of the panel. The block instruments for working to Elsham SB were incorporated into the left hand side of the panel.
Note that although the buttons for operating bells to both Elsham SB and Scunthorpe PSB are part of the panel, unusually the bells themselves sit on top of the panel and are the ones that used to be on the block shelf here before the frame was removed.
Appleby SB closed on Christmas Eve 2015 with control transferred to the North Lincs Workstation at York ROC, photos of which can be found later in this album.
www.flickr.com/photos/194923731@N02/52493994532/in/album-...
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.
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.
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.
Cars bound for the CN take a trip over the Northtown Yard hump after arriving from various places on the BNSF. Drifting into the hump tracks, retarders drag on the sides of the wheels controlling their descent. A day later the silvery polish is a telltale indication on all the cars of L516's pickup from Northtown. What can be a subtle detail during the day shines back brightly on a snowy night.
March 24, 2024.
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!
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.
The Joes have landed in what intelligence has reported as the most remote and uninhabited part of South America. Duke is busy delegating orders and sending squads out on scouting missions to secure the area. He has just sent out Dusty and Footloose when he turns to address the next squad consisting of Squad 1 members: Cutter, Flash, Jenny McCarthy, and Squad 2 members: Jennifer Aniston, Hardball and Outback. Duke wastes no time getting to the point.
Duke: Cutter, you see that island back there? Your squad is taking the Shark 9000, the Tiger Fish and two Devilfishes to check it out and make sure it’s secure. Our satellites haven’t detected any visible activity to and from the island since we started monitoring the area so we expect it to be quiet. There is a small fishing village located on the far side of the island and it is inhabited by locals. Keep a low profile and they shouldn’t bother you, but we need the island thoroughly checked out. Cobra could have underground tunnels leading to it so we don’t know what surprises might be there. As you can see, the rear end of our staging area is exposed to the island so we must make sure it’s secure and ‘snake’ free. You got all that?
Cutter: Yes sir, Duke. Roger and wilco.
Duke: That island is just out of our safe short-range communications grid. We’re going to be busy blocking any attempts at communication coming from that island. Unless Cobra has something land-lined underwater, they won’t be able to sound any alarms… and neither will you. That means you and your team are on your own. Discovering any fixed lines of communication coming off that island is you top priority so leave no stone unturned. Remember, our backsides are exposed to that island, so is our escape route. Failure or retreat is not an option. Move out immediately and good luck…
Without pause for even a ‘Yo Joe’, Duke moves onto give orders to Airtight, a clear indication of how busy he is.
Duke: Airtight, you get your teams fumigate the area. With all these reports of Cobra-La, we can’t trust the vegetation. Beachhead, Scarlett… the most important element of our mission belongs to you…
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.
Miss Violet facing her interviewers, Myrtil, Jimmy, Petra, Becky, Emma and Zaida.
The urchins decided they wanted to hire a grown-up to deal with things they wanted done but couldn't do themselves, because of their child condition.
The interview for Miss Violet Solano was to be set inside the old Imperial Theatre, across from Loki’s Absinthe Café in Babbage Square, to avoid the whole process of blindfolding her before leading her to the hideout.
Becky, Jimmy and Myrtil arrived three minutes before the set time of the interview. Miss Solano was waiting for them, sitting in the front row.
[15:27] Myrtil Igaly: 'ello Miss Vi! You are early!
[15:27] VI : good afternoon Jimmy, Myrtil and Becky
[15:27] Jimmy Branagh: Hoy Miss Vi!
[15:27] Becky Blackcinder: Hullo ma'am!
[15:27] Myrtil Igaly: Good afternoon to you too and thank you for coming
[15:28] VI : so do you wish to interview me here? Or up in your rooms in the attic?
[15:28] Myrtil Igaly: Oh, so you know about those...
[15:28] VI : there is little I miss in this town
[15:28] Becky Blackcinder: I was gonna say, I thought that was a secret! But it's not that hard to find if you look.
[15:29] VI : not if you’re used to using the high road
[15:29] Myrtil Igaly: I had set up the interview here cause our hideout was to be kept a secret but if you know about it heh
[15:29] Becky Blackcinder: Observant is good.
[15:29] Myrtil Igaly: will be quieter up there
[15:29] Myrtil Igaly: Please lead the way!
[15:29] Myrtil Igaly grins
All four then took the dangerous way from the Imperial to the hideout and, once there, settled at the long table. Petra was already there, waiting for them.
[15:32] Myrtil Igaly: Hey Petra!
[15:32] Jimmy Branagh: Hoy Petra
[15:32] VI : very nice really reminds of the one you had in the gut
[15:32] Petra Flax : Hello!
[15:32] Myrtil Igaly: I don't actually remember that one!
[15:32] Myrtil Igaly: But thank you
[15:33] Petra Flax : The one in the gut?
[15:33] VI : hello petra
[15:33] Myrtil Igaly: Alright, so first of all thank you for coming to be interviewed, I know you are a very busy lady.
[15:34] VI : i have my moments of peace
[15:34] Myrtil Igaly: From your note, I gather you understand what we are looking for.
[15:34] Petra Flax lights her pipe
[15:34] Myrtil Igaly: And we will be asking you questions in turn to decide if you would be fit for the job.
[15:34] VI : yes a go between to work with the adults
[15:34] Myrtil Igaly nods
[15:35] Myrtil Igaly: So, if you are ready, I will start.
[15:35] VI : ask away
[15:35] Jimmy Branagh pulls out the notebook, rips a page off and hands to Myrtil
[15:35] Myrtil Igaly grins. "Thanks Jimmy!"
[15:35] Jimmy Branagh then hands blank pages to Petra and Becky
[15:35] Becky Blackcinder peers over the tops of her spectacles, trying to look interrogative.
[15:36] Myrtil Igaly glances seriously at Miss Solano
[15:36] Jimmy Branagh: Welcome!
[15:36] Myrtil Igaly: Miss Violet.
[15:36] Myrtil Igaly: In the note I sent you to ask you to come for an interview, I mentioned that I wanted an information from you, as a show of good will.
[15:37] VI : of course
[15:37] Myrtil Igaly: That would be the name of the urchin from whom you learnt about those interviews.
[15:37] Myrtil Igaly: Could you please provide us with their name?
[15:38] Jimmy Branagh waits, charcoal stick at the ready
[15:38] Myrtil Igaly raises an eyebrow, waiting for the reply
[15:38] VI : I would if I could. But it was Omig who told me about it and he got it from one of our ...... employees, but I’ll look into it
[15:38] Myrtil Igaly nods. "Thank you, that would be most appreciated."
[15:39] Jimmy Branagh scribbles
Emma arrived, running inside and a little short-breathed.
[15:39] Myrtil Igaly: Hey Emma! Glad you could make it!
[15:39] VI : hello emma
[15:39] Jimmy Branagh: Hoy Emma
[15:39] Emma Walsh : Hello
[15:39] Myrtil Igaly taps on Jimmy's shoulder. "Your turn, Jimmy."
[15:39] Jimmy Branagh: Awlroight.
[15:40] Jimmy Branagh: Miss VI, ifn we wos awl at a hoity-toity party, an' th' host offered us urchins Wiggyfish gruel, an' you 'ad a big stick in yer hand, wot would ya do?
[15:40] Myrtil Igaly grins
[15:40] Becky Blackcinder stifles a giggle.
[15:40] VI : that would depend
[15:41] Jimmy Branagh raises an eyebrow ominously
[15:41] VI : were you invited?
[15:41] Jimmy Branagh: Let's say we wos.
[15:41] Myrtil Igaly studies Miss Solano closely
[15:41] VI : than i would complain to our host about his ill treatment of you
[15:42] Jimmy Branagh: Awlroight.
[15:42] Myrtil Igaly nods with a smile
[15:42] Jimmy Branagh: Now let's say we wosn't invoighted
[15:42] Jimmy Branagh: Wot would ya do?
[15:42] VI : attacking him would not improve your, or my reputation with the people you wish to deal with
[15:43] Myrtil Igaly scribbles
[15:43] Jimmy Branagh: Thet wosn't th' question
[15:43] Jimmy Branagh: Wot would ya do?
[15:43] VI : i would offer to pay the host for better food for you
[15:43] Jimmy Branagh: Awlroight.
[15:43] Jimmy Branagh scribbles
[15:43] Jimmy Branagh: Petra?
[15:43] Becky Blackcinder scribbles too, although she might just be doodling.
[15:44] Emma Walsh doesn't have a paper again...
[15:44] Petra Flax : My turn?
[15:44] Jimmy Branagh makes a paper airship and sails it to Emma
[15:44] Myrtil Igaly: Yes Petra, we're asking questions in turn to Miss Violet
[15:44] Myrtil Igaly: But we can skip you for this round if you don't know!
[15:45] Petra Flax : Well my big question is pretty practical. Alligaters
[15:45] Emma Walsh gets her paper and starts drawing Miss Vi as a stick figure rabbit
[15:45] Myrtil Igaly: Oh
[15:45] Jimmy Branagh looks at Petra
[15:45] Myrtil Igaly leans on the table to take a better glance at Petra
[15:45] Petra Flax : How would you deal with a plague of alligators?
[15:45] Jimmy Branagh: Oh okay ....
[15:46] VI : Alligaters?
[15:46] Becky Blackcinder is also doodling.
[15:46] Myrtil Igaly turns to Miss Vi
[15:46] VI : really?
[15:46] Jimmy Branagh: Aligaters in th' sewers mybee
[15:46] Myrtil Igaly: Anything could happen in New Babbage!
[15:47] Emma Walsh : We had clockwork hippos attack once....
[15:47] Petra Flax : Yep… its happened before in other cities…
[15:47] Jimmy Branagh: Yesh
[15:47] VI : well that i think is a matter for public works not public relations
[15:47] Jimmy Branagh: They wos 'orrible
[15:47] Jimmy Branagh: It wos loike Attack of th' Popplefots
[15:47] Jimmy Branagh laughs
[15:48] Myrtil Igaly scribbles a few words and glances interrogatively at Petra
[15:48] VI : i could go to the city and complain
[15:48] Petra Flax pretends to write
[15:48] VI : but not much else
[15:48] Becky Blackcinder: You made that up!
[15:48] Becky Blackcinder: Popplefots I mean.
And finally the last urchin interviewer, Zaida, arrived.
[15:48] Myrtil Igaly: Hey Zaida!
[15:48] Jimmy Branagh: Hoy Zaida
[15:48] Myrtil Igaly: You're lucky Miss Violet, lots of interviewers for you!
[15:48] Jimmy Branagh sails a piece of paper to Zaida
[15:48] Zaida Gearbox (zaida.gearbox): hi jim
[15:48] VI : hello Zaida
[15:48] Zaida Gearbox (zaida.gearbox): hi miz vi!
[15:48] Zaida Gearbox (zaida.gearbox): me an' miz vi used to be neighbors in wheatstone waterways
[15:48] VI : yes
[15:49] Myrtil Igaly: Alright, try to stay unbiased Zaida!
[15:49] Jimmy Branagh: Nah, Popplefot runs the shoe black factory!
[15:49] Jimmy Branagh: 'ee's fat loike a hippo!
[15:49] Zaida Gearbox (zaida.gearbox) looks for the piece of paper
[15:49] Myrtil Igaly: Are you satisfied with the answer Petra?
[15:50] Petra Flax : Not really no
[15:50] Myrtil Igaly: Oh
[15:50] Petra Flax : but if that's her answer...
[15:50] Petra Flax : heh
[15:50] VI : i am not exactly a slayer of Alligators
[15:50] Jimmy Branagh: Awlrought then. Becky
[15:50] Myrtil Igaly: Well, we'll discuss about that later, let's hear Becky's question
[15:51] Becky Blackcinder: Hmmmm...
[15:51] Jimmy Branagh scribbles note, adding odd cryptic symbols
[15:51] Zaida Gearbox (zaida.gearbox): i gots a question
[15:51] Jimmy Branagh: Wait yer turn
[15:51] Zaida Gearbox (zaida.gearbox) sticks tongue out
[15:51] Myrtil Igaly me giggles
[15:51] Petra Flax snickers
[15:51] Jimmy Branagh chuckles
[15:51] Becky Blackcinder: You knew about the hideout. Which is pretty gear. So...d'you know anything else about the city that could be useful to somebody like me? An' will you tell it to us?
[15:52] Myrtil Igaly nods and turns to Miss Violet, interested
[15:52] Petra Flax scribbles loops, impressed that they actually look like writing
[15:53] VI : wouldn't that be beyond the scope of the proffered position?
[15:53] Myrtil Igaly takes a glance at the other urchins' papers and looks impressed at all the writing on there
[15:53] Emma Walsh draws some stick figure alligators underneath Vi and points arrows saying 'not alligator slayer'
[15:53] Jimmy Branagh shrugs
[15:53] Zaida Gearbox (zaida.gearbox) doodles a bunny with an arrow through its head
[15:53] VI : would be willing to make a full exchange of information?
[15:53] Myrtil Igaly: Yes that's not demanded for the position, but we're not against a few extras!
[15:54] Jimmy Branagh: We're jus' pickin' yer brain, Miss VI. It's perfectly safe!
[15:54] Becky Blackcinder has apparently done the following doodle of Vi:
www.flickr.com/photos/annalisa_shepherd/23449967259/in/da...
[15:54] Petra Flax relights her pipe, looking down at her page, and then to the pages of the others.
[15:54] Becky Blackcinder looks proud
[15:55] Myrtil Igaly: There's no right or wrong answer, Miss Violet, we'll discuss later and decide. We may not even agree with each other ya know
[15:55] VI : true
[15:55] Becky Blackcinder: 'S true. Urchins ain't all that organized.
[15:55] Myrtil Igaly: Your turn Emma!
[15:55] Emma Walsh : Okay, this one should be easy.
[15:56] VI : more here than most
[15:56] Myrtil Igaly smiles at the compliment
[15:56] Emma Walsh : If you weren't a bunny what animal would you be instead? Your inner not bunny?
[15:56] Zaida Gearbox (zaida.gearbox) rolls eyes and shakes head
[15:56] Myrtil Igaly smirks
[15:57] Becky Blackcinder giggles.
Miss Solano stood up abruptly.
[15:57] VI : well i think we're at an end here
[15:57] Myrtil Igaly looks surprised
[15:57] Becky Blackcinder blinks.
[15:57] Myrtil Igaly: Are we?
[15:57] Jimmy Branagh: Hmm?
[15:57] Petra Flax raises her eyebrows
[15:57] Myrtil Igaly: What do you mean Miss Violet?
[15:57] Zaida Gearbox (zaida.gearbox): miz vi don't want to work for us?
[15:57] Zaida Gearbox (zaida.gearbox) offers miz vi a cookie
[15:57] VI : there is nothing better for me to be than a rabbit
[15:58] Myrtil Igaly: Oh
[15:58] Myrtil Igaly: Please don't be offended by the question, it was very innocent.
[15:58] Petra Flax : touch-eeeee
[15:58] Myrtil Igaly: Shhhh Petra!
[15:58] VI : to say other wise is preposterous, and rude
[15:58] Becky Blackcinder: I wish I was somethin' besides a human sometimes.
[15:58] Petra Flax snaps her mouth shut
[15:58] Becky Blackcinder: An' I do know a surprising number of mad scientists, so...
[15:59] VI : very well
Miss Solano sat back on the bench, facing the urchins.
[15:59] Myrtil Igaly: Very true Miss Violet, please forgive us for even thinking you would think otherwise
[15:59] Zaida Gearbox (zaida.gearbox): this is babbage knowing a mad scientist or 10 isn't surprising
[15:59] Zaida Gearbox (zaida.gearbox): if i could be a animal i'd be daisy my dog
[15:59] Zaida Gearbox (zaida.gearbox): then i could lay around in my bed all day
[15:59] Myrtil Igaly whispers to the others. "Ok, avoid the bunny questions!"
[15:59] Petra Flax nods
[15:59] VI : i suppose it would be a badger
[16:00] Myrtil Igaly blinks
[16:00] Emma Walsh : Badgers are awful buggers...
[16:00] Petra Flax : Badgers are pretty great
[16:00] Jimmy Branagh: Okay Zaida?
[16:00] Myrtil Igaly: They're fierce for sure
[16:00] Becky Blackcinder: Opinion is divided on badgers!
[16:00] VI : the ruling family of my home land are badger
[16:01] Zaida Gearbox (zaida.gearbox): miz vi - you a boss lady outside of hear, an' you sometimes employ urchins to carry messages an' packages..... how are you goin' to feel about havin' urchins bossin' you instead of you bossin' us
[16:01] Petra Flax : Good question.
[16:01] Myrtil Igaly hides a smile and dives onto her piece of paper, pencil at the ready
[16:02] VI : well that would depend on whether the orders are in conflict with my business
[16:02] Myrtil Igaly nods slowly
[16:03] Myrtil Igaly: Which would come first in that case?
[16:03] VI : that would depend on your requested action
[16:03] VI : it it was not within the scope of the job your offering
[16:04] VI : i would decline
[16:04] Myrtil Igaly: Understood
[16:04] VI : for example
[16:04] Petra Flax : What’s decline mean?
[16:04] VI : if you asked me to talk to tenk about something fine
[16:05] Myrtil Igaly whispers : that she says "no"
[16:05] VI : if you asked me to kill tenk
[16:05] Petra Flax : Oh
[16:05] VI : well that’s different
[16:05] Myrtil Igaly: Oh of course
[16:05] Petra Flax : Well jeez lady
[16:05] Myrtil Igaly: That wouldn't be something we would ask you to do.
[16:06] VI : of course not
[16:06] Myrtil Igaly: We merely need someone to represent us to deal with other grown-ups
[16:06] Myrtil Igaly: without those grown-ups knowing they're actually dealing with urchins
[16:06] Petra Flax : I mean beat in a sack with a hammer, maybe... but kill is kinda extreme
[16:06] Petra Flax : And what Myrtil said
[16:06] Myrtil Igaly rolls her eyes at Petra
[16:06] VI : and in that capacity i would
[16:06] Myrtil Igaly nods
[16:07] Myrtil Igaly: Here's my second question then.
[16:07] Petra Flax readies her pencil
[16:08] Myrtil Igaly: If you were working for us and we asked you to go talk to Miss Book and get an information about some secret Militia documents. How would you do it?
[16:08] VI : with great difficulty
[16:08] Myrtil Igaly laughs
[16:08] VI : we are not on the best of terms
[16:09] Myrtil Igaly: That's why I asked this question
[16:09] Myrtil Igaly smiles
[16:09] Myrtil Igaly starts drawing circles on her paper
[16:10] VI : and as to getting the information by less than honest means
[16:10] VI : your urchins are as capable as me in that regard
[16:11] Zaida Gearbox (zaida.gearbox) whispers: she paid me a whole dollar to stand around and yell HELLO MIZ BOOK if i seen her once
[16:11] Jimmy Branagh chuckles
[16:11] Myrtil Igaly: Maybe, but I would like to know how you would do it as an indication of what you would be able to do to deal with difficult missions
[16:11] Petra Flax : Depends on the urchin. Tubby ain’t much good at nothin.
[16:12] Jimmy Branagh: 'ee's good at eatin'. Everythin'!
[16:12] Petra Flax : And it was probably him that spilled the beans about this gig
[16:12] Petra Flax : Good point Jimmy.
[16:12] Myrtil Igaly: Tubby you think?
[16:13] Petra Flax nods
[16:13] VI : i would send one of my employees to retrieve the information
[16:13] Myrtil Igaly nods and scribbles
[16:13] Zaida Gearbox (zaida.gearbox): i ain't seen tubby in a long time. i thought creaky got him
[16:14] Jimmy Branagh scribbles
[16:14] Zaida Gearbox (zaida.gearbox) whispers: she'd pay an urchin to do it
[16:14] Petra Flax : That’d keep him fed for a while.
[16:14] VI : sadly the man that would be best at that retrieval is no longer available
[16:14] Jimmy Branagh: Finished, Myrtil?
[16:14] Myrtil Igaly: Yup, go ahead
[16:15] Jimmy Branagh: Miss VI, wos you in Babbage when the Dark Aether fell?
[16:15] VI : no
[16:15] Jimmy Branagh: Awlroight. Never moind then. Petra?
[16:15] Myrtil Igaly chuckles
[16:15] Jimmy Branagh scribbles
[16:16] Petra Flax : Well, I guess it’s no secret you’re sort villainy type… what sorta guarantee can we have that you won’t just lie about all this and do something that is to our detri- detrimu- uh… is bad for us?
[16:17] Petra Flax draws out a hangman, then fills in all the spaces with Xs
[16:17] Myrtil Igaly squints at Miss Violet, waiting for her reply
[16:17] VI : hmmmmmm
[16:17] VI : well that’s the rub isn't it
[16:18] Myrtil Igaly: We could write something about it in the contract, but the question is, do you respect contracts...
[16:18] Petra Flax : The rub?
[16:18] VI : since you consider me a villain, would you trust any promises i made anyway
[16:18] Petra Flax : Like for ribs?
[16:18] Zaida Gearbox (zaida.gearbox): maybe she wants her ears rubbed?
[16:18] Myrtil Igaly smiles at Zaida
[16:19] Zaida Gearbox (zaida.gearbox): gilly like him ears scratched
[16:19] Becky Blackcinder: I've known some trustworthy villians an' some good guys who lie a lot.
[16:19] Myrtil Igaly: That was a good question Petra. This is to take into consideration but it could go both directions anyway
[16:19] Zaida Gearbox (zaida.gearbox) nods in agreement with Becky
[16:19] VI : like that counterfeit count?
[16:19] Myrtil Igaly: Heh
[16:19] Zaida Gearbox (zaida.gearbox): doc O was a villain but him would keep him promises
[16:20] Zaida Gearbox (zaida.gearbox): 'course him usually promised to do bad things
[16:20] Petra Flax : Baloney? He's crackers.
[16:20] Myrtil Igaly: He is, but who isn't in this town?
[16:20] VI : i am a business woman and i hold to contracts
[16:20] Myrtil Igaly: Oh, that's good to know!
[16:20] Myrtil Igaly scribbles
[16:21] Petra Flax pretends to write again, nodding.
[16:21] Myrtil Igaly: Becky, another question?
[16:21] Emma Walsh draws a piece of paper in Vi's hands
[16:21] Becky Blackcinder hmmms. "Okay..."
[16:21] Myrtil Igaly: That's if you have one
[16:21] Myrtil Igaly: not mandatory
[16:21] Becky Blackcinder: Why d'you wanna work for us? What do you like about us? Or is it just a business thing?
[16:21] Jimmy Branagh: Let's move along folks! Get snappy!
[16:22] VI : mostly?
[16:22] Myrtil Igaly nods and turns her head towards Miss violet
[16:22] VI : because it benefits both of us
[16:23] Myrtil Igaly: The question would then be, how does it benefit you?
[16:23] VI : you get someone who can deal with the adults
[16:23] Myrtil Igaly: Right
[16:24] VI : and i get an alliance with the biggest information gathering force in the city
[16:24] Myrtil Igaly: Oh I see * grins*
[16:24] Myrtil Igaly scribbles
[16:25] Jimmy Branagh: Emma
[16:25] Petra Flax nudges Becky to nudge Emma
[16:25] Jimmy Branagh: EMMA!
[16:25] Emma Walsh : Do you have any credi.....proof of your expertise? Things that the adults look for in this town fer respect.
[16:26] Myrtil Igaly glances at Emma
[16:26] Becky Blackcinder scribbles some stuff down.
[16:27] VI : i have a successful business, i have money, i have made considerable donations to the fire brigade, and the militia
[16:27] Myrtil Igaly looks up, wide-eyed
[16:28] Emma Walsh : Errr....I guess that means you look good on paper!
[16:28] VI : yes
[16:28] Emma Walsh guesses that's the right saying and starts doodling dollar signs under her
[16:29] VI : and i helped with the recent Prometheus incident
[16:29] Jimmy Branagh: Zaida has the final question
[16:29] Zaida Gearbox (zaida.gearbox): you gave money to the militia even though miz book don't like you?
[16:29] Jimmy Branagh scribbles
[16:29] Myrtil Igaly scribbles too and starts to regret drawing circles as she's running out of space
[16:30] Zaida Gearbox (zaida.gearbox): ummmmm---- i guess that was my question
[16:30] VI : yes to give to the widows and orphans left by the Militia men that were murdered
[16:30] Zaida Gearbox (zaida.gearbox): oh ok
[16:30] Emma Walsh : Ohhhhh...
[16:30] Petra Flax : Huh.
[16:30] VI : i think she declined to pass it on
[16:30] Myrtil Igaly: That was your question Zaida?
[16:31] Zaida Gearbox (zaida.gearbox): how will you represent us as our embassador
[16:31] VI : well really that depends on what you have in mind
[16:32] VI : have you fully considered what you wish me to do?
[16:32] Petra Flax : Imagine a suit of armor filled with kids
[16:32] Myrtil Igaly starts to wonder what they got themselves into
[16:32] Zaida Gearbox (zaida.gearbox): i mean in helping us with our urchin grow'd up relations
[16:33] Zaida Gearbox (zaida.gearbox): we need a urchin grow'd ups relations office
[16:33] Myrtil Igaly: Yes, that's what we need, except secret one, not official
[16:33] VI : but are you expecting a person to foster better relations with the adults?
[16:33] VI : or just a bigger urchin?
[16:34] Zaida Gearbox (zaida.gearbox): isn't that what a embassador does?
[16:34] Jimmy Branagh: You would be representin' our interests.
[16:34] Petra Flax blinks
[16:34] Myrtil Igaly: To deal with adults who don't want to have nothing to do with us
[16:34] Myrtil Igaly: Have them think they're dealing with you except they're dealing with us
[16:35] Petra Flax : Yeah
[16:35] Jimmy Branagh: We figger 'avin' a representative would be better'n burnin' the' city down
[16:35] Myrtil Igaly chuckles
[16:35] VI : and that’s the thing, for me to do that job i'd need to show a proper front
[16:35] VI : so no activity's that could be seen as dishonest
[16:36] Myrtil Igaly: I s'pose we could be having business with both honest and dishonest grown-ups
[16:36] VI : you need what amounts to a business manager
[16:36] Myrtil Igaly: Hmmm
[16:37] Zaida Gearbox (zaida.gearbox) starts day dreaming about the new buffet at brunel as her tummy rumbles
[16:37] Myrtil Igaly: We're the business managers. What we need is someone willing to do what we tell them to do but also be crafty enough to find how to get the high hand in deals with other people
[16:38] Jimmy Branagh nods
[16:38] Petra Flax nods
[16:38] VI : in short a business manager
[16:38] VI : someone to manage your business with others
[16:39] Myrtil Igaly: Well yes, can call it like that.
[16:38] Myrtil Igaly looks at the other urchins. "Does anyone have another question?"
[16:39] Emma Walsh : Err...no...but I have one for you Myrt when we're done...
[16:39] Myrtil Igaly nods to Emma
[16:38] Petra Flax : Yeah, I got one more… gonna seem silly, but I got my reasons fed asking it. Ok… what’s yer favorite thing about Mayor Tenk?
[16:39] Zaida Gearbox (zaida.gearbox): is likin' tenk a job requirement?
[16:39] Petra Flax : Nope.
[16:39] Myrtil Igaly: won't be in the contract, but Petra has her reasons
[16:39] Petra Flax : Just a question.
[16:39] VI : my favorite thing about tenk
[16:39] Zaida Gearbox (zaida.gearbox): my favorite thing about tenk is him don't take no bullpoo
[16:40] VI : he stays out of other people’s business
[16:40] Myrtil Igaly smirks
[16:40] Petra Flax : Not you Zaida, Miss Vi
[16:40] Petra Flax : And thank you
[16:40] Becky Blackcinder: I like how he's not taller'n me.
[16:40] Myrtil Igaly giggles
[16:40] Zaida Gearbox (zaida.gearbox): imma shorter dan mr. tenk
[16:41] Myrtil Igaly: It's cause you're a shrimp Zaida!
[16:41] Zaida Gearbox (zaida.gearbox) makes rude gesture at myrtil
[16:40] Myrtil Igaly nods. "Thank you Miss Violet. Now would YOU have questions for us?"
[16:41] VI : well i do wonder if you have thought this position through?
[16:41] Myrtil Igaly: Oh yes, are you concerned about it Miss violet?
[16:41] VI : if you know what you need, over what you think you want
[16:42] Myrtil Igaly: We've talked about it, and will talk some more after the interviews. We'll decide as a group so there's always gonna be someone to say if they don't agree and why
[16:43] Jimmy Branagh writes more, and the number 423 next to it
[16:43] Myrtil Igaly: Which will make us think more and more until it's all good
[16:43] VI : if you hire a Representative to deal with the adults they will need to be very public
[16:43] Myrtil Igaly: Not necessarily.
[16:44] Zaida Gearbox (zaida.gearbox): we could hire two people
[16:44] Myrtil Igaly: Just have to look respectable enough or know how to make themselves look that way
[16:44] Zaida Gearbox (zaida.gearbox): someone to be our public face an' someone to be sneaky
[16:44] VI : no they will need to be public any interaction will become known
[16:44] Myrtil Igaly: And yes, we can also do that Zaida
[16:44] Petra Flax : That’s true
[16:45] VI : the action may not be seen to be connected to you but it will be seen by someone
[16:45] Zaida Gearbox (zaida.gearbox) looks confused
[16:45] Myrtil Igaly: Maybe what we would need is a few agents, or a master of disguise
[16:46] Myrtil Igaly: Or someone who can stay veeery discreet
[16:46] Petra Flax : I think she means the Great Builder....
[16:46] Zaida Gearbox (zaida.gearbox): can we hire miz book?
[16:46] Myrtil Igaly raises an eyebrow at Petra
[16:46] Zaida Gearbox (zaida.gearbox): nobody would ever suspect her
[16:46] Myrtil Igaly: Noooo Zaida, she'd never agree
[16:46] VI : take the Count i can see him bragging about every sneaky thing he does for you
[16:46] Emma Walsh laughs
[16:47] Zaida Gearbox (zaida.gearbox): yeah her all noble an' shi--stuff
[16:47] Myrtil Igaly: Well that's for us to judge Miss Violet.
[16:47] VI : as you wish
[16:47] Jimmy Branagh: We need a person capable of bein' both public, an' subtley behoind the scenes. Our shadow hand, as it were.
[16:47] Myrtil Igaly: I understand your concern and thank you for worrying, but we'll manage.
[16:47] Myrtil Igaly smiles
[16:48] Myrtil Igaly: Well I guess we're done if it's good for everyone?
[16:48] Zaida Gearbox (zaida.gearbox) whispers, "i think her right about the Count. him not rowin' wid both oars..."
[16:48] Becky Blackcinder smiles and nodnods.
[16:48] Jimmy Branagh nods
[16:48] Jimmy Branagh: Pass yer papers in please
[16:48] Petra Flax : Yep
[16:48] Emma Walsh : Well with Miss Vi yeah
[16:48] Myrtil Igaly: Miss Violet, thank you again for your time!
[16:48] Jimmy Branagh: Thenks Miss VI
[16:48] Jimmy Branagh smiles
[16:48] Myrtil Igaly: We will let you know our decision after we've made it.
[16:48] Emma Walsh : But need ter talk to you about Mr. Hyde.
[16:48] VI : you’re welcome
[16:48] Becky Blackcinder hands Jimmy her notes, which are mainly doodles.
[16:48] VI : but think well on what you really need
[16:48] Myrtil Igaly nods
[16:48] Myrtil Igaly: We will.
[16:49] Jimmy Branagh collects the sheet, wads them in the notebook and shoves the notebook into his coat
[16:49] Myrtil Igaly: Do you need to be walked back outside?
[16:49] VI : i think i can find my way
[16:49] Myrtil Igaly: Alright! Take care!
[16:49] Jimmy Branagh: 'Ave a good evenin' Miss!
[16: 49] VI : stands on the boards and waves and the men hiding on the roofs move off
[16: 49] Jimmy Branagh whistles, signalling the armed urchins watching from hidden position to stand down
[16:49] Emma Walsh : Hyde blabbed.
[16:49] Myrtil Igaly: Hyde?
[16:50] Emma Walsh : Mr. Hyde
[16:50] Emma Walsh : When we had our big meeting
[16:50] Becky Blackcinder: He would, wouldn't he?
[16:50] Emma Walsh : Discussing Creaky
[16:50] Emma Walsh : And the interviews
[16:50] Emma Walsh : He wasn't sworn to secrecy
[16:50] Myrtil Igaly: Oh yes, he totally would
[16:50] Myrtil Igaly: Dang it
[16:51] Emma Walsh : So he probably told his friends, who told everyone
[16:51] Myrtil Igaly: We gotta have a little chat with Mister Hyde...
[16:51] Becky Blackcinder: He has friends?
[16:51] Myrtil Igaly: hehe
[16:51] Emma Walsh : Err....must have some runnin mates
[16:51] Becky Blackcinder: I mostly only see him when he's passed out on Dr. Jekyll's couch.
[16:52] Myrtil Igaly: Yes not sure he's got many friends
[16:52] Emma Walsh : He's got enough drinking buddies
[16:53] Emma Walsh : And he was sharing some stuff when I stopped by the other night.
[16:53] Myrtil Igaly: Hah!
[16:53] Myrtil Igaly: you're probably right Emma
[16:54] Myrtil Igaly: and if that's him, we need to talk with him, for one, and never to allow him to our secret meetings anymore again
[16:54] Emma Walsh nods
And thus ended the third interview the urchins held to find a “grown-up ambassador”.
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.
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.