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Macro Mondays: Buttons and Bows
A successful Macro Monday! I wish you a wonderful and peaceful Advent week!
Thank you very much for your comments and and and stars I appreciate!
Einen erfolgreichen Macro Monday! Ich wünsche Euch eine wunderbare friedliche Adventswoche!
Vielen Dank für Ihre Kommentare und und Sterne, die ich sehr schätze!
Un Macro Monday réussi! Je vous souhaite une merveilleuse et paisible semaine de l'Avent!
Merci beaucoup pour vos commentaires et et et étoiles que j'apprécie!
Baroque church dominating the headland where the historic part of Rovinj is located. "The bell tower resembles the tower of St Mark's Basilica in Venice. It was built during 1654–1680, to the plans by Antonio Manopola." en.wikipedia.org/wiki/Church_of_St._Euphemia,_Rovinj
#MacroMondays
#Knob
Coming soon to a theatre near you: Perry Clotter and the Listener of Earskaban!
But the true star isn't Perry, it's Knobby, the free sound elf. Will Knobby, with a little help from his friends, finally defeat the evil Lord Tinnitus and the mean army of Deafentors and save Rockwarts? Spoiler alert: Lord Tinnitus has already won, but the Deafentors are beaten.
A slight panic set in when I read what today's theme would be. Since I had already shot my knob-related bolt for our B&W theme and I couldn't find the miniature sample perfume bottle with the beautiful knob-like cap that resembles a mushroom, I had to find some other knob. Fast. But Knobby heard the call and came to the rescue. When I switched on my Bluetooth headphones to browse YouTube and later stream a movie the other day, my gaze fell on the joystick knob on the headphone's right ear cup. This tiny thingy (diameter: 5mm/0,19 inches) is used for controlling volume (up/down) and for play/pause/previous/next (left/right). The cross with its grooved surface provides a good grip despite its tininess, and it's very convenient to use.
The headphones are of a nice blue colour, and to make the knob more interesting, I once again used my makeshift colour filters to add two more hues: red (scratched transparent chocolate box lid from the left) and green (small green glass bottle from the right). It's a single shot (high-res mode so I could crop in nicely), processed in LR and Color Efex.
HMM, Everyone!
Excerpt from Wikipedia:
The Church of St. Euphemia, often known as the Basilica of St. Euphemia (although it is not formally a basilica minor), is a Baroque church located in the heart of the historic part of Rovinj, Croatia, dominating the town.
This three-nave church was built from 1725–36, over the remains of older, early Christian structures. The dedication was originally to Saint George, later to Saints George and Euphemia; the present building is dedicated to Euphemia only. Its façade dates from 1883.
The relics of Saint Euphemia are preserved in a Roman sarcophagus from the sixth century (but adapted in the 15th century). The church contains several treasures and works of art: Gothic statues from the 15th century, paintings from the 16th and the 17th centuries: Last Supper and Christ in the Gethsemane.
The bell tower resembles the tower of St Mark's Basilica in Venice. It was built during 1654–1680, to the plans by Antonio Manopola. On top of this 60 m-high tower stands the statue of Saint Euphemia, serving as a wind vane.
LA SINTONIA PREFERITA
La radio Tivoli Model One è stata progettata da Henry Kloss, un famoso ingegnere audio. È una radio da tavolo che ha ricevuto riconoscimenti per il suo design e la qualità del suono.
Questo prodotto ingannevolmente semplice nasconde una tecnologia che aiuta a individuare le stazioni deboli e l'acustica che hanno un suono migliore rispetto a molti altri prodotti audio che sono nettamente più costosi.
Note tratte dal sito:
tivoliaudio.it/pages/experience-model-one
------------------------------------------------------------
THE PREFERRED TUNING
The Tivoli Model One radio was designed by Henry Kloss, a famous audio engineer. It is a table radio that has received recognition for its design and sound quality.
This deceptively simple product hides a technology that helps it identify weak stations and acoustics that sound better than many other audio products that are significantly more expensive.
Immagine realizzata con lo smartphone HUAWEI MATE 20 PRO
panorama, viewed from the north harbour.
The view of the town is dominated by Saint Euphemia's basilica a Baroque church.
This three-nave church was built in 1736 over the remains of older, early Christian structures. Its façade dates from 1883.
The relics of Saint Euphemia are preserved in a Roman sarcophagus from the sixth century (but adapted in the 15th century). The church contains several treasures and works of art: Gothic statues from the 15th century, paintings from the 16th and the 17th centuries: Last Supper and Christ in the Gethsemane.
The bell tower resembles the tower of St Mark's Basilica in Venice. It was built during 1654–1680, to the plans by Antonio Manopola. On top of this 60 m-high tower stands the statue of St. Euphemia, serving as a wind vane.
Saint Euphemia's basilica is a Baroque church located in the heart of the historic part of Rovinj, Croatia, dominating the town.
This three-nave church was built in 1736 over the remains of older, early Christian structures. Its façade dates from 1883.
The relics of Saint Euphemia are preserved in a Roman sarcophagus from the sixth century (but adapted in the 15th century). The church contains several treasures and works of art: Gothic statues from the 15th century, paintings from the 16th and the 17th centuries: Last Supper and Christ in the Gethsemane.
The bell tower resembles the tower of St Mark's Basilica in Venice. It was built during 1654–1680, to the plans by Antonio Manopola. On top of this 60 m-high tower stands the statue of St. Euphemia, serving as a wind vane.
©all rights reserved.
Copyright ©Zino2009 (bob van den berg) . All my images are protected under international authors copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without my written explicit permission.
Campo Santa Maria Formosa a city square in Castello, one of the six sestieri of Venice, Veneto, Italy.
The square is surrounded by three canals – Santa Maria Formosa, Pestrin and Mondo Novo. In the square, there are many buildings of historical and architectural importance.
In the northern part of the square, there is the Priuli Ruzzini Palace, built as the residence of the noble Ruzzini family in the late 16th century, on a project attributed to Bartolomeo Manopola.
Next, to the northeast, there is Palazzo Morosini del Pestrin, built in the 17th century at the behest of the patrician family of Morosini del Pestrin. Between 2001 and 2009, the second floor of the palace housed the Honorary Consulate of France and the Cultural Delegation of the French Embassy in Venice.
To the east, we have the Donà Palaces (Palazzi Donà), three noble residences built between the 15th and 16th centuries for the Donà family..
Next, there is Casa Venier, built in the 15th century in Venetian-Gothic style. The palace was the residence of the Doge Sebastiano Venier, a glorious leader of Venice known for the victory of Lepanto of 1571.
Adjacent to Casa Venier, there is Palazzo Vitturi, an ancient structure built in the second half of the 13th century.
In the southern part of the square, we can find the Malipiero Trevisan Palace, the residence of the Malipiero family until the end of the 15th century, when it passed, by marriage, to the Trevisan family.
Also in the southern part of the square, there is Palazzo Querini Stampalia, built at the beginning of the 16th century for the noble Querini Stampalia family. The last member of the family, Count Giovanni, ordered that all his possessions will be donated to the city of Venice after his death.
The most important building in the square is the Church of Santa Maria Formosa. According to tradition, the church was built in 639, renovated in 864 and, after it was damaged by a fire, restored again in 1106. The church was rebuilt in 1492 by Mauro Codussi, in Renaissance style. The two facades of the church were built in the 16th century.
Information Source:
www.italyscapes.com/places/veneto/venice/squares/campo-sa...
Campo Santa Maria Formosa a city square in Castello, one of the six sestieri of Venice, Veneto, Italy.
The square is surrounded by three canals – Santa Maria Formosa, Pestrin and Mondo Novo. In the square, there are many buildings of historical and architectural importance.
In the northern part of the square, there is the Priuli Ruzzini Palace, built as the residence of the noble Ruzzini family in the late 16th century, on a project attributed to Bartolomeo Manopola.
Next, to the northeast, there is Palazzo Morosini del Pestrin, built in the 17th century at the behest of the patrician family of Morosini del Pestrin. Between 2001 and 2009, the second floor of the palace housed the Honorary Consulate of France and the Cultural Delegation of the French Embassy in Venice.
To the east, we have the Donà Palaces (Palazzi Donà), three noble residences built between the 15th and 16th centuries for the Donà family..
Next, there is Casa Venier, built in the 15th century in Venetian-Gothic style. The palace was the residence of the Doge Sebastiano Venier, a glorious leader of Venice known for the victory of Lepanto of 1571.
Adjacent to Casa Venier, there is Palazzo Vitturi, an ancient structure built in the second half of the 13th century.
In the southern part of the square, we can find the Malipiero Trevisan Palace, the residence of the Malipiero family until the end of the 15th century, when it passed, by marriage, to the Trevisan family.
Also in the southern part of the square, there is Palazzo Querini Stampalia, built at the beginning of the 16th century for the noble Querini Stampalia family. The last member of the family, Count Giovanni, ordered that all his possessions will be donated to the city of Venice after his death.
The most important building in the square is the Church of Santa Maria Formosa. According to tradition, the church was built in 639, renovated in 864 and, after it was damaged by a fire, restored again in 1106. The church was rebuilt in 1492 by Mauro Codussi, in Renaissance style. The two facades of the church were built in the 16th century.
Information Source:
www.italyscapes.com/places/veneto/venice/squares/campo-sa...
For our day out in Venice, Mike and I made our way from the bus stop at Piazzale Roma to Piazza San Marco. After taking in the views from the piazza, we visited the Doge's Palace (Palazzo Ducale).
Upon entering through the Porta del Frumento -- the main entrance on the south side of the palace -- we headed to the central courtyard. This photo faces toward the north end of the courtyard; you can see the ornate facade of the Foscari Portico, which was commissioned by Doge Francesco Foscari in the mid-15th century. It combines elements of both Gothic and Renaissance architecture; the facade is decorated with ancient Roman sculptures, and the clock was added by Bartolomeo Manopola in the 17th century. The statue featured in the lower center of the tower depicts the Duke of Urbino. In the background, you can see one of the domes of Basilica di San Marco (St. Mark's Basilica), which used to be the doges' chapel before it became a public place of worship.
To the left, you can see the palace's Piazzetta wing, which was designed in the building's original Venetian Gothic style. To the right is the Renaissance wing, which features a richly decorated marble facade; it was designed by Antonio Rizzo following the fire of 1483. Near the northeast corner of the courtyard, you can see the Giants' Staircase, which is situated opposite the Foscari Arch. The upper level landing features two colossal statues of Mars and Neptune, which were sculpted by Jacopo Sansovino and placed here in 1567. Finally, in the center of the courtyard, there are two elaborately sculpted bronze wellheads dating to the mid-16th century.
Today, the Doge's Palace is managed by the Fondazione Musei Civici di Venezia (Civic Museums of Venice, or MUVE). The MUVE website has detailed information on the palace and its history, its layout and collections, special exhibitions, opening times, admission fees, and more. We purchased a Museum Pass for €24 that allowed access to the palace and a number of other museums.
For our day out in Venice, Mike and I made our way from the bus stop at Piazzale Roma to Piazza San Marco. After taking in the views from the piazza, we visited the Doge's Palace (Palazzo Ducale).
Our self-guided tour of the palace began with the Institutional Chambers (Le Sale Istituzionali). The largest of these chambers is the Sala del Maggior Consiglio (Hall of the Great Council). Located on the first floor (or second floor, by American standards) of the southern wing of the palace, the chamber has windows overlooking the Venetian Lagoon and the palace's courtyard.
I took this photo of the central courtyard from a window in the Hall of the Great Council. At the north end of the courtyard, you can see the ornate facade of the Foscari Portico, which was commissioned by Doge Francesco Foscari in the mid-15th century. It combines elements of both Gothic and Renaissance architecture; the facade is decorated with ancient Roman sculptures, and the clock was added by Bartolomeo Manopola in the 17th century. The statue featured in the lower center of the tower depicts the Duke of Urbino. In the background, you can see two of the domes of Basilica di San Marco (St. Mark's Basilica), which used to be the doges' chapel before it became a public place of worship.
To the left, you can see a partial view of the palace's Piazzetta wing, which was designed in the building's original Venetian Gothic style. To the right, the Giants' Staircase, situated opposite the Foscari Arch, leads to the Renaissance wing. This wing's richly decorated marble facade was designed by Antonio Rizzo following the fire of 1483. Finally, in the center of the courtyard, you can see one of two elaborately sculpted bronze wellheads dating to the mid-16th century.
For our day out in Venice, Mike and I made our way from the bus stop at Piazzale Roma to Piazza San Marco. After taking in the views from the piazza, we visited the Doge's Palace (Palazzo Ducale).
Upon entering through the Porta del Frumento -- the main entrance on the south side of the palace -- we headed to the central courtyard. This photo, taken from the second-floor loggia of the Renaissance wing, faces toward the northwest corner of the courtyard.
To the left, you can see the palace's Piazzetta Wing; its facade was designed in the building's original Venetian Gothic style. Peeking above its roofline is the pyramidal spire of the Campanile di San Marco (St. Mark's Bell Tower). To the lower right is the ornate facade of the Foscari Portico, which was commissioned by Doge Francesco Foscari in the mid-15th century. It combines elements of both Gothic and Renaissance architecture. The facade is decorated with ancient Roman sculptures, and the clock was added by Bartolomeo Manopola in the 17th century. Beyond the Foscari Portico, you can see three of the five domes of Basilica di San Marco (St. Mark's Basilica). The basilica once served exclusively as the doges' chapel before it became a public place of worship.
Today, the Doge's Palace is managed by the Fondazione Musei Civici di Venezia (Civic Museums of Venice, or MUVE). The MUVE website has detailed information on the palace and its history, its layout and collections, special exhibitions, opening times, admission fees, and more. We purchased a Museum Pass for €24 that allowed access to the palace and a number of other museums.
© All rights reserved. Use without permission is illegal
Per una visione migliore, tasto “L”- For a better view press “L”
Manopola di un erogatore di birra alla spina - Knob of a draft beer dispenser - STAND "BAD ATTITUDE CRAFT BEER"
Corpo Mamiya C220 incidentato. Ho eliminato tutto il meccanismo di avanzamento, il volet che permetteva di cambiare le ottiche con relativi blocchi, la manopola di messa a fuoco di sinistra e le coperture laterali danneggiate ottenenedo un notevole alleggerimento.
L'avanzamento pellicola si fà tramite la finestrella rossa come nelle vecchie macchine.
Ho montato fisso uno Schneider Symmar 100 mm F5,6 e per mirino un Tessar 105 mm F 3,5 di una Ercona malandata accorciando la focale spostando la lente di messa a fuoco.
La focale di 100 mm in 6x6 corrisponde a 55 mm in formato Leica.
P.S: Il Symmar 100 marchiato Linhof è un po migliore del 105D di Mamiya.
Mi è stata rubata nel luglio 2023.
Body Mamiya C220 crashed. I deleted all the feed mechanism, the dark slide which allowed to change the optics with corresponding blocks, the knob of focus of the left and the side covers damaged with a considerable lightening.
The film advance gets through the red window like in the old camera.
I mounted fixed a Schneider Symmar 100 mm F5, 6 and a viewfinder Tessar 105 mm F 3.5 of a Ercona tatty shortening the focal length by moving the lens focus.
The focal length of 100 mm in 6x6 corresponds to 55 mm format Leica.
P.S: The Linhof branded Symmar 100 is a bit better than Mamiya's 105D.
Negli ultimi anni abbiamo visto un forte cambiamento nei nostri bambini, sono sempre più attirati alla vita virtuale dei giochi elettronici e su questo ci sono due grandi schieramenti
Da un lato ci sono i sostenitori, che dicono che, si aiuta la coordinazione oculo-manuale, la memoria, la capacità di pensiero induttivo, il processo cognitivo in parallelo, nonché facilitano l’approccio alla cultura e alla tecnologia del computer.
Oltre a permettere al bambino di superare la frustrazione che prova guardando i cartoni animati senza poter intervenire.
Inoltre, sviluppano la capacità di scelta decisionale, il pensare nella simultaneità, il porre attenzione su più variabili per volta e le loro relazioni, la capacità di calcolo su come un sistema complesso lavora, a formulare strategie vincenti, ad acquisire maggiore destrezza e sicurezza sviluppando fiducia in se stessi e nelle proprie capacità.
In poche parole, amplificatori delle capacità motorie, percettive e cognitive, nonché occasioni per apprendere conoscenze geografiche e scientifiche.
Dall’altra parte ci sono gli oppositori, secondo i quali sostengono che alimentano nei bambini una visione meccanicistica della vita, generano fenomeni di estraniamento dalla realtà e passività fisica e psichica.
Inoltre, una prolungata esposizione può interferire nel processo di maturazione e lateralizzazione degli emisferi cerebrali e sulla memorizzazione, con la conseguente incapacità a fissare e a memorizzzare un contenuto per lungo tempo.
Sono ad arrivare a causare vere e proprie patologie come problemi di vista, contrazione muscolare, obesità, epilessia fotosensibile, dipendenza, perdita di contatto con la realtà e isolamento.
Io sono madre e credo che reale e virtuale fanno parte dell’esperienza infantile ed è importante che noi sappiano scegliere, tra le tante offerte del mercato, quei videogiochi capaci di sviluppare varie abilità e importanti per il suo sviluppo emotivo-affettivo ed evitare quelli nocivi.
Mi scuso per la traduzione fatta con: translate.google.it/#
Recent years have seen a great change in our children, are increasingly attracted to the virtual life of electronic games and on this there are two major camps
On one side are the supporters, who say that it helps the eye-hand coordination, memory, inductive thinking skills, cognitive processing in parallel, and facilitate the approach to culture and computer technology.
In addition to allowing the child to overcome the frustration he feels watching cartoons without being able to intervene.
In addition, the ability to develop decision-making, to think the simultaneity, the more variables to pay attention to time and their relationships, the ability to calculate how a complex system works, to formulate winning strategies to acquire more skill and safety by developing confidence in themselves and in their abilities.
In short, amplifiers of motor skills, perceptual and cognitive and learning opportunities for geographic and scientific knowledge.
On the other hand there are the opponents, who argue that the second feeding in children a mechanistic view of life, generate phenomena of alienation from reality and the physical and mental liabilities.
In addition, prolonged exposure can interfere in the process of maturation and lateralization of the cerebral hemispheres and storage, with the consequent inability to set and memorizzzare content for a long time.
They are coming to cause actual disease as problems with vision, muscle contraction, obesity, epilepsy, addiction, loss of contact with reality and isolation.
I am mother and I believe that real and virtual part of childhood experience and it is important that we know how to choose among the many offerings of the market, these games are able to develop various skills and important for his development of emotional-affective and avoid the bad .
Novità! Fai clic sulle parole riportate sopra per visualizzare le traduzioni alternative. Elimina
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Aziende:Translator ToolkitStrumento a supporto dell'exportTraduttore di siti web
Informazioni su Google TraduttoreDisattiva traduzione istantaneaPrivacyGuida
I apologize for the translation done by: translate.google.it/#
Saint Euphemia's basilica is a Baroque church located in the heart of the historic part of Rovinj, Croatia, dominating the town.
This three-nave church was built in 1736 over the remains of older, early Christian structures. Its façade dates from 1883.
The relics of Saint Euphemia are preserved in a Roman sarcophagus from the sixth century (but adapted in the 15th century). The church contains several treasures and works of art: Gothic statues from the 15th century, paintings from the 16th and the 17th centuries: Last Supper and Christ in the Gethsemane.
The bell tower resembles the tower of St Mark's Basilica in Venice. It was built during 1654–1680, to the plans by Antonio Manopola. On top of this 60 m-high tower stands the statue of St. Euphemia, serving as a wind vane.
The leather lining and the fingers are modern replacements.
Info from the website of the Germanisches Nationalmuseum:
" L. 35 cm
Handschuhpaar. Beide haben spitz zulaufende Stulpen, mit glatter Untereite und gekehlter Oberseite. Auch die Handrücken sind gekehlt. Der vierteilige Daumen ist mit einem Scharnier befestigt und trägt an den Außenseiten eine Schnalle. Am Stulp ist ein Riemen vernietet."
The leather lining and the fingers are modern replacements.
Info from the website of the Germanisches Nationalmuseum:
" L. 35 cm
Handschuhpaar. Beide haben spitz zulaufende Stulpen, mit glatter Untereite und gekehlter Oberseite. Auch die Handrücken sind gekehlt. Der vierteilige Daumen ist mit einem Scharnier befestigt und trägt an den Außenseiten eine Schnalle. Am Stulp ist ein Riemen vernietet."
The Church of St. Euphemia, often known as the Basilica of St. Euphemia, although it is not formally a basilica minor, is a Baroque church located in the heart of the historic part of Rovinj, Croatia, dominating the town.
This three-nave church was built in 1736 over the remains of older, early Christian structures. The dedication was originally to Saint George, later to Saints George and Euphemia; the present building is dedicated to Euphemia only. Its façade dates from 1883.
The relics of Saint Euphemia are preserved in a Roman sarcophagus from the sixth century (but adapted in the 15th century). The church contains several treasures and works of art: Gothic statues from the 15th century, paintings from the 16th and the 17th centuries: Last Supper and Christ in the Gethsemane.
The bell tower resembles the tower of St Mark's Basilica in Venice. It was built during 1654–1680, to the plans by Antonio Manopola. On top of this 60 m-high tower stands the statue of Saint Euphemia, serving as a wind vane
Rovinj, Istria, Croatia
The leather lining and the fingers are modern replacements.
Info from the website of the Germanisches Nationalmuseum:
" L. 35 cm
Handschuhpaar. Beide haben spitz zulaufende Stulpen, mit glatter Untereite und gekehlter Oberseite. Auch die Handrücken sind gekehlt. Der vierteilige Daumen ist mit einem Scharnier befestigt und trägt an den Außenseiten eine Schnalle. Am Stulp ist ein Riemen vernietet."
The leather lining and the fingers are modern replacements.
Info from the website of the Germanisches Nationalmuseum:
" L. 35 cm
Handschuhpaar. Beide haben spitz zulaufende Stulpen, mit glatter Untereite und gekehlter Oberseite. Auch die Handrücken sind gekehlt. Der vierteilige Daumen ist mit einem Scharnier befestigt und trägt an den Außenseiten eine Schnalle. Am Stulp ist ein Riemen vernietet."
The leather lining and the fingers are modern replacements.
Info from the website of the Germanisches Nationalmuseum:
" L. 35 cm
Handschuhpaar. Beide haben spitz zulaufende Stulpen, mit glatter Untereite und gekehlter Oberseite. Auch die Handrücken sind gekehlt. Der vierteilige Daumen ist mit einem Scharnier befestigt und trägt an den Außenseiten eine Schnalle. Am Stulp ist ein Riemen vernietet."
The leather lining and the fingers are modern replacements.
Info from the website of the Germanisches Nationalmuseum:
" L. 35 cm
Handschuhpaar. Beide haben spitz zulaufende Stulpen, mit glatter Untereite und gekehlter Oberseite. Auch die Handrücken sind gekehlt. Der vierteilige Daumen ist mit einem Scharnier befestigt und trägt an den Außenseiten eine Schnalle. Am Stulp ist ein Riemen vernietet."
The leather lining and the fingers are modern replacements.
Info from the website of the Germanisches Nationalmuseum:
" L. 35 cm
Handschuhpaar. Beide haben spitz zulaufende Stulpen, mit glatter Untereite und gekehlter Oberseite. Auch die Handrücken sind gekehlt. Der vierteilige Daumen ist mit einem Scharnier befestigt und trägt an den Außenseiten eine Schnalle. Am Stulp ist ein Riemen vernietet."
This is a general view of my depth stop / quill lock.
The handwheel on the top is the depth stop, the one at the bottom is the quill lock.
The red plastic support for the chuck protection has two 6 mm holes on the sides: the left one was originally used to host a depth scale.
I found in the mechanic junk the sort of golden big washer at the bottom and the funny black cylinder at the top, but they can be replaced with short pieces of iron rod where you can drill 6 mm holes.
I made a transversal hole in each of them, tap them and found a couple of small handwheels to be used as a sort of set screw.
Inside the big washers there is a 6 mm roofing screw, 10 cm long.
When I lower the chuck, for example to check the center of a work piece, I can lock the quill with a single hand just lifting the handwheel and closing it.
If I want to lock the depth I have just to lower the upper handwheel and to close it at the desired point.
The 6 mm nut over the red plastic is just to avoid the roofing screw to fall down. I must make a thinner one, since it don't have to be robust.
There is just a drawback: the plastic is not very solid, so it bend a little. If some machinist or CNCist find this idea really great and want to reward me, a metal support sized to fit would be a great gift ;-)
Read more about my drill press.
Un altro blocco di discesa per il mandrino di un trapano a colonna.
Il supporto di plastica rossa per la protezione del mandrino ha due buchi da 6 mm sui lati: quello a sinistra originariamente era usato per un misuratore della profondità dei fori.
Nei ravatti meccanici ho trovato la specie di rondellona dorata che sta sotto e il buffo cilindretto nero che sta sopra, ma possono essere sostituiti da un paio di pezzi di tondino dove trapanerete buchi da 6 mm.
In ognuno di questi pezzi ho fatto un buco trasversale, l'ho filettato e ho trovato queste manopole che vengono usate come viti di fermo.
Dentro alla rondellona ci passa una barra parzialmente filettata da 6 mm, lunga circa 10 cm, di quelle usate per fissare le lamiere ondulate sui tetti.
Quando abbasso il mandrino, per esempio per verificare il centro di un pezzo, posso bloccarlo con una mano sola semplicemente sollevando la manopola e stringendola.
Il dado da 6 mm sopra la plastica rossa serve solo ad impedire che la barra filettata caschi di sotto. Devo farne uno più sottile, visto che non deve essere robusto.
Questo marchingegno ha solo un problema: la plastica non è molto solida, quindi flette un po'. Se qualche meccanico trova questa idea brillante e vuole ricompensarmi, un supporto di metallo fatto su misura sarebbe un bel regalo ;-)
Per saperne di più sul mio trapano a colonna.
_
lacanteraliteraria.blogspot.com/2010/03/en-al-gun-lugar-d...
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Cuesta bastante trabajo creer
En un dios que deja a sus creaturas
Abandonadas a su propia suerte
A merced de las olas de la vejez
Y de las enfermedades
Para no decir nada de la muerte.
-----------------------------------
Nicanor Parra
----------------------------------
Yet another depth stop / quill lock on a drill press.
The red plastic support for the chuck protection has two 6 mm holes on the sides: the left one was originally used to host a depth scale.
I found in the mechanic junk this sort of golden big washer, but it can be replaced with a short piece of iron rod where you can drill a 6 mm hole.
I made a transversal hole, tap it and found this small handwheel to be used as a sort of set screw.
Inside the big washer there is a 6 mm roofing screw, 10 cm long.
When I lower the chuck, for example to check the center of a work piece, I can lock the quill with a single hand just lifting the handwheel and closing it.
The 6 mm nut over the red plastic is just to avoid the roofing screw to fall down. I must make a thinner one, since it don't have to be robust.
There is just a drawback: the plastic is not very solid, so it bend a little. If some machinist or CNCist find this idea really great and want to reward me, a metal support sized to fit would be a great gift ;-)
Read more about my drill press.
Un altro blocco di discesa per il mandrino di un trapano a colonna.
Il supporto di plastica rossa per la protezione del mandrino ha due buchi da 6 mm sui lati: quello a sinistra originariamente era usato per un misuratore della profondità dei fori.
Nei ravatti meccanici ho trovato questa specie di rondellona dorata, ma può essere sostituita da un pezzo di tondino dove trapanerete un buco da 6 mm.
Ho fatto un buco trasversale, l'ho filettato e ho trovato questa specie di manopola che viene usata come vite di fermo.
Dentro alla rondellona ci passa una barra parzialmente filettata da 6 mm, lunga circa 10 cm, di quelle usate per fissare le lamiere ondulate sui tetti.
Quando abbasso il mandrino, per esempio per verificare il centro di un pezzo, posso bloccarlo con una mano sola semplicemente sollevando la manopola e stringendola.
Il dado da 6 mm sopra la plastica rossa serve solo ad impedire che la barra filettata caschi di sotto. Devo farne uno più sottile, visto che non deve essere robusto.
Questo marchingegno ha solo un problema: la plastica non è molto solida, quindi flette un po'. Se qualche meccanico trova questa idea brillante e vuole ricompensarmi, un supporto di metallo fatto su misura sarebbe un bel regalo ;-)
Per saperne di più sul mio trapano a colonna.
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MANOPOLA - ARMATURA ATTRIBUITA A ROBERTO SANSEVERINO, CONTE DI CAIAZZO - Italia, 1485 c.
KHM Hofjagd-und Rustkammer / KHM Armeria
Kunsthistorisches Museum (Wien - Vienna)
Un particolare del Mixer Behringer in dotazione sulla consolle del Ueuè.
Via degli Statuti Marittimi - Trani (Ba)
Oratorio di Santo Stefano, Lentate sul Seveso (MB); parete Sud.
Nella porzione compresa tra il centro e il lato destro, sono ritratti i membri della famiglia Porro inginocchiati di profilo davanti a Santo Stefano, in atto benedicente. Il primo a comparire è Stefano Porro, committente dell'intero Oratorio, che offre al suo patrono il modellino dello stesso (interessante documento delle forme originarie dell'edificio); dietro di lui la moglie Caterina Figini, quindi i tre figli maschi Antonio, Galeazzo e Giovanni, infine le tre figlie.
Al di sopra della famiglia volteggia un gruppo di angeli che regge corone floreali e melograni (attributo di fertilità), un globo d'oro, una corona e una bacchetta bianca, simboli del potere, di cui si voleva sottolineare la legittima derivazione divina ai Porro.
Una finestra murata separa la "Donazione dell'oratorio" da "San Giorgio in lotta con drago che libera la principessa".
Liberamente tratto da:
L. M. GALLI MICHERO (a cura di), "Guida. L'oratorio di Santo Stefano a Lentate sul Seveso", Silvana Editoriale, Comune di Lentate sul Seveso, 2008, pag. 13