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Here is a breeding pair of Painted Storks (Mycteria leucocephala) seen at Vedanthangal.
Though there is no significant change in the bird's plumage in breeding season, their reds and pinks (on necks and rumps) become redder and pinker, respectively.
Just as any other stork, they make a clattering sound by stroking their bills against each other very quickly, especially while mating and greeting one another.
Katiebread and I had a dolly afternoon in Fredericksburg. It seemed the logical meeting point when one is coming from Northern Virginia and the other from Central Virginia (as proven by the number of battles in the area).
I think it's exceptional case that two CHON DOLLERS dance in pairs. Their performance is really professional!
Click here to see in a large size.
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The monument includes a late 16th century artillery fort, superseded by and partially incorporated into a mid 17th century bastioned artillery defence, called the Citadel, with associated outworks. The monument also includes a series of alterations and additions made to the Citadel during subsequent centuries, and a statue of George II erected in 1728. The monument is situated on the eastern part of Plymouth Hoe, a limestone cliff overlooking the strategically important entrance to the Cattewater in Plymouth Sound on the south west coast of Devon.
Historical sources provide the context for the construction of the late 16th century artillery fort between 1592-1598 in response to a perceived threat of attack by sea from the Spanish. Although the Armada had been defeated in 1588, fears that Spain would attempt to invade England again led to a strengthening of English defences. The construction of the fort at Plymouth was part of these works. Situated at the east end of the Hoe, it protected the entrance to the important sheltered anchorage of the Cattewater and the harbour in Sutton Pool. Contemporary plans show this fort consisted of two parts: a roughly triangular fort with two bastions pointing to the north and west to defend against landward attack from the Hoe, and the lower fort containing the main armament in ramparts of earth and stone, called bulwarks, along the shore. The stone walls of this fort were about 4m high, and 1.4m thick at the base, accompanied by an outer ditch 6m wide. Guns were mounted on timber staging on earth platforms. The main fort contained the captain's lodgings, barracks, a storehouse, stables, guardhouse, powderhouse and the medieval Chapel of St Katherine on the Hoe, an important landmark for shipping. Parts of this fort have been revealed by partial excavation.
The late 16th century artillery fort was partially incorporated into the mid 17th century Citadel. Although much of the walling around the main area of the earlier fort was demolished as the Citadel was constructed, the lower fort, at the south eastern end of the main 16th century fort was retained. Within the Citadel, the south curtain wall from and including the Cumberland Battery to Prince Henry's Demi-Bastion follows the line of the dividing wall between the 16th century main fort and its lower fort. The Citadel's curtain wall between Prince Edward's Bastion and Prince Henry's Demi-Bastion may also preserve the line of the earlier main fort's east wall. The base of the point of Prince Henry's Demi-Bastion and the sides of Piper's Platform contain some original 16th century stonework and the wall running south east from Piper's Platform towards Fisher's Nose continues the line of the 16th century lower fort wall. Beyond this monument, further walling of the 16th century lower fort is likely to survive along the coastal margin by the blockhouse at Fisher's Nose.
The mid 17th century Citadel was constructed between 1665-1675 in response to another perceived threat of war, this time with the Dutch, rivals for overseas trade with the colonies. Charles II wished to secure Plymouth as a naval base, whose town and hinterland was large enough to victual a large number of ships, and which had a large sheltered anchorage. The Citadel was situated at the east of the Hoe on the site of the late 16th century fortress, retaining the earlier lower fort at its south east end. Designed by Sir Bernard de Gomme, the King's Engineer General, the original plan had been for a regular five bastioned fort to the west of the Elizabethan fort, but was adapted to incorporate as much as possible of the earlier fort and to maintain defence of the Cattewater while it was being built. The resulting Citadel was constructed as a six bastioned walled fortification. The wall was backed by an earth rampart. Beyond the wall was a broad flat-bottomed ditch except on the south east side where it was adjoined by the lower fort. The surface against the outer side of the ditch was levelled to create a covered way, protected by a raised outer lip from which a long outer slope, called a glacis, descended to the surrounding ground surface. Within the ditch, a triangular outwork, called a ravelin, protected the main entrance to the north; the covered way outside the ditch was enlarged on the east and west to create two assembly points for troops, called place d'armes. Beyond this monument, a small rock cut harbour was constructed to the south of the lower fort to supply ships under cover of the Citadel.
By the end of 1667 most of the defensive works had been completed, as had the impressive main gateway, though the interior still required the completion of the ramparts and construction of the buildings needed to house the garrison. Work finished on the Citadel in 1675.
The walls of the Citadel enclose an area approximately 280m east-west by 270m north-south, and survive as an almost complete circuit meeting either side of the northern main entrance. The walls are constructed of limestone quarried from the ditch supplemented by limestone from the two nearby quarries of Lambhay and Tinside. Dartmoor granite was used for the quoins on the corners of the bastions, for the sides of the gun ports, called embrasures, and for the cordon, a rounded horizontal moulding running around the exterior face of the Citadel just below the embrasures. There were also granite corbels or moulded supports for sentry boxes close to the top of the bastions, one of which survives on the north east point of Prince of Wales' Bastion. Originally there were stone sentry boxes on the top of the walls at various points around the Citadel. The only portion of wall which has not survived to its original height is along Prince of Wales' Curtain where it was lowered in the 1890s. The walls are capped with turf, except between Bath's Bastion and Prince Henry's Demi-Bastion where it is capped with asphalt above the later casemates.
The walls form six bastions and one demi-bastion linked by sections of curtain wall; of these only Prince George's Bastion to the north west and King Charles' Bastion to the south west are of regular design. Prince of Wales' Bastion to the north east is truncated because of the steep slope of the ground to the east. Bath's Bastion is extended to link with the line of the earlier fort. The curtain wall from Prince Edward's Bastion towards Prince Henry's Demi-Bastion also links with or possibly follows the line of the earlier fort. The other bastion and the demi-bastion follow the line of the earlier fort. There are several large water tanks, now disused, within Prince George's and King Charles' Curtain walls. Originally there were probably five entrance ways, called sallyports, through the walls. The sallyports have granite doorways or lintels, decorated in each corner above their arched entrance. One sallyport is in the west wall facing the Hoe with a plain arched entrance; another to the south west has a later doorway; one faces south into the lower fort, now facing the Queen's Battery, and another faces south east to Piper's Platform. There was probably a sallyport facing north east before the Prince of Wales' Curtain was taken down. The Queens Battery is a tenaille, a low wall enclosing the area between Cumberland Battery and Prince Henry's Demi-Bastion in front of the curtain wall, it was constructed to provide extra cover for the curtain wall above the lower fort and also gave access to the lower fort.
The ramparts were constructed of earth and stone immediately behind the inner face of the walls and provided platforms for the guns for the defence of the Citadel. The ramparts survive as steep turfed banks and are approximately 8m to 12m thick and 4m to 5m high. Gently sloping inclines or paths up the ramparts' inner faces provided access for the guns and gun carriages; these are now tarmacked but were originally cobbled, as survives in a small area on one incline. Four inclines survive in all: to the west of the main entrance, to King Charles' Bastion, to Bath's Bastion and to Prince Edward's Bastion. Originally there was an incline east of the main entrance and two more between King Charles' Bastion and Prince George's Bastion. The north side of the incline to Prince Edward's Bastion forms three wide shallow steps.
On the ramparts, the gun ports, called embrasures, are backed by granite paved gun platforms, a rectangular area paved with large granite blocks, on which a gun on its carriage would stand. There were embrasures around King Charles' Bastion to the south west, Prince George's Bastion to the north west, Prince Edward's Bastion to the south east and Prince of Wales' Bastion to the north east, and along the west curtain. On the wall facing the ramparts between Cumberland Battery and Prince Henry's Demi-Bastion is a rectangular stone plaque which was probably a name plate for the battery or curtain wall. On King Charles' Bastion four traversing guns were positioned, their metal racers surviving. Similar racers for another traversing gun survive on Prince Henry's Demi-Bastion. Both Bath's Bastion and Queen's Battery have grooves in the granite where the racers for a traversing gun have been. The full length of Cumberland Battery is paved with granite forming interlocking wedge shapes, reflecting its use also as a saluting battery. The positions of former merlons (the solid part of a parapet, between two embrasures) can be seen where the parapet has been made good upon their removal. The brick sills of the former embrasures remain, well weathered, each opposite the earlier phase of wedge shaped granite platforms. Remains of paved gun platforms also survive on the Queen's Battery.
There are four surviving magazine stores on the inner edge of the ramparts, a short length of high wall against which ammunition may have been stored. However the lengths of these walls and the fixing positions for lean to roofs and racking suggest that these may have been side-arms sheds, or stores for ramrods, sponges, traversing staves and ropes. The one along Prince Edward's Bastion is wider than the other three, which are between Prince George's Bastion and King Charles' Bastion. The only section of the ramparts which has been removed, during the 1890s, is along Prince of Wales' Bastion and Curtain wall. The ramparts between Bath's Bastion and Prince Henry's Demi-Bastion were not completed in 1665-1670, when only some masonry arches and piers were built.
The main entrance to the Citadel is in the north wall. It was designed by Sir Thomas Fitch or Fitz, an associate of Sir Christopher Wren. Flanking the arch are paired Ionic pilasters with carved motifs between them. The keystone is adorned with the coat of arms of John Grenville, Earl of Bath. Above the arch is a large niche which probably displayed a statue of Charles II until the early 19th century, when it appears to have fallen and never been replaced; the niche now contains a small pile of four cast-iron spherical mortar bombs. Above the niche is the date 1670 and to either side, a Corinthian column and carved motifs of trophies of arms. The pediment bears the royal coat of arms in relief. Between the large niche and the royal arms is a rectangular stone tablet inscribed `Carolus secundus dei gratia magnae brittaniae franciae et hiberniae'. Originally a guardroom occupied the floor over the arch, later taken down, leaving the decoration above the arch fronting a facade. The interior face of the entrance displays the royal coat of arms above the archway.
EH Listing
© Michael Fellner 2010 all rights reserved
one of my first pics back in Ocotber 2009
tunes: www.youtube.com/watch?v=aMfkVGCU_BA&feature=related
and a well known interpretation: www.youtube.com/watch?v=sLmqjcYtH3c
A pair of zebra in a scene from the music video “Mass Extinction No. 6” by Whisperado, directed by Daniel Azarian.6
"Never give up on a dream just because of the time it will take to accomplish it. The time will pass anyway."
(Earl Nightingale)
I love these colors. Pattern is "Perching Doves" by Amanda Carestio in "Fa La La La Felt." These are the first ornaments I made from the book and I adore them.
Detail of one of the second pair of nave windows, predominantly red in colour and designed by Lawrence Lee. The red windows symbolise the soul's journey into maturity.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Rover 75 (1948-49) Engine 2103 cc S4 IOE Production 7837
Registration Number HNX 23
Introduced alongside the smaller engined P3 60 and sharing the same body shape with its predecessors. The pair arrived with new engines, hydro-mechanical brakes electric fuel pump and coil spring independant suspension
Shot at the Smallwood Steam Rally 23.04.2009 Ref 37-107
These are stereo pairs. You can watch them by crossing your eyes. Or by downloading the original picture, renaming it into JPS, and opening with the nVidia 3D Photo Viewer.
nVidia 3D Vision is recommended for comfortable viewing.
The pictured event is Vappu Day celebrations in Tampere, Finland. 1.5.2010.
Little River Railroad 0-4-0T No. 1 sits next to Nickel Plate Road 2-8-4 No. 765 outside the locomotive shop of the Indiana Northeastern Railroad during an open house that was part of the Indiana Rail Experience.
The geese talk to each other as the fly into the marsh. The back one is honking in this picture. Amazing birds.
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I was asked if I could get some photos of the swallows.Not a easy subject as I did not want to spook the birds.So short trips by the barn door to see what was there.Here are three shots so far.
Pattens were worn to raise the walker above muddy or wet ground. They are worn with Japanese socks, or tabi, which have with one socket for the big toe. The socks are white for women and black and sometimes white for men. Japanese footwear has been designed so that it is easy to slip off, necessary in the country where footwear is removed before entering a house.
Presented by the Birmingham University Medical School.