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I saw this beautiful stand of wildflowers, which I later learned are called Scarlet Buglers, while we were training our dogs and I decided to go back later on to try to capture them. While I was shooting, a couple of Hummingbirds showed up, followed by dozens, to chase each other all over the sky at break-neck speeds and amazingly abrupt changes of direction, and to feed on the wildflowers. I was naturally excited, but I didn't have my long lens with me, and every time that I tried to move in close enough, they would fly away.
Finally, I decided to sit on the ground and wait for them to come back, which they did, eventually, but they were still too far away, except for the one that was hovering about two feet behind my head, where it would have been an impossible catch, since it was too close and because I'm sure it would have flown off, even it I was able to twist around enough to see it, which I wasn't.
I went ahead and shot them, even though they were too far away and the light wasn't right, because I figured that I might be able to zoom in close enough in post-processing to make acceptable shots and since it was easy enough to delete them, if I couldn't. They didn't come out that great, but at least I'll have them to remind me of the fun I had, sitting on the ground, with the aerial show and interesting feeding going on.
Check it out on black or at 1280 x 800 pixel if you wish.
Today three years ago...
Bittersweet Symphony <<Cool video linky
'Cause it's a bittersweet symphony, this life
Try to make ends meet, you're a slave to the money then you die...
...Have you ever been down!?
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Bitter...
I dearly miss my younger brother John, he died a *very* unfortunate death, like probably thousands of others today. His wife and kids miss him even more, they need him, it's not easy at all going on without him. But they have no choice at the moment, it's *so* unjust.
Justice will prevail though, in the end. I firmly believe I will see him again, face to face in excellent shape. Yet, people keep repeating that death is a 'natural part of life'. I can only hope people will keep on thinking wheter that 'idea' is true. Meanwhile I keep on proclaiming the opposite. Stay awake, enjoy your day! :-)
Sweet...
Bitter? Yes, but not without hope. I'm so glad to be able to study what the Bible really teaches, instead of what 'religion' is trying to teach people for centuries. Listen up - if you care: Humanity, including the dead will be able to live forever on a renovated earth.
Revelation 21:3-5
I heard a loud voice shout from the throne: God's home is now with his people. He will live with them, and they will be his own. Yes, God will make his home among his people. He will wipe all tears from their eyes, and there will be no more death, suffering, crying, or pain. These things of the past are gone forever. 5 Then the one sitting on the throne said: I am making everything new. Write down what I have said. My words are true and can be trusted.
1 Corinthians 15:25,26
Christ will rule until he puts all his enemies under his power, and the last enemy he destroys will be death.
Psalm 37:11
But the meek shall inherit the earth; and shall delight themselves in the abundance of peace.
Preachy? A bit maybe, yes indeed. Sorry to bother you if you don't want to know. We (still) live in a free world though - most of us anyway. Away with bias and ignorance, I'd say. Enjoy your day!
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A Ponte Vecchio (Ponte Velha) é uma Ponte em arco medieval sobre o Rio Arno, em Florença, na Itália, famosa por ter uma quantidade de lojas (principalmente ourivesarias e joalharias) ao longo de todo o tabuleiro.
Acredita-se que tenha sido construída ainda na Roma Antiga e era feita originalmente de madeira. Foi destruída pelas cheias de 1333 e reconstruída em 1345, com projecto da autoria de Taddeo Gaddi. Consiste em três arcos, o maior deles com 30 metros de diâmetro. Desde sempre alberga lojas e mercadores, que mostravam as mercadorias sobre bancas, sempre com a autorização do Bargello, a autoridade municipal de então. Diz-se que a palavra bancarrota teve ali origem. Quando um mercador não conseguia pagar as dívidas, a mesa (banco) era quebrada (rotto) pelos soldados. Essa prática era chamada bancorotto.
Durante a Segunda Guerra Mundial, a ponte não foi danificada pelos alemães. Acredita-se que tenha sido uma ordem direta de Hitler.
Ao longo da ponte, há vários cadeados, especialmente no gradeamento em torno da estátua de Benvenuto Cellini. O facto é ligado à antiga ideia do amor e dos amantes: ao trancar o cadeado e lançar a chave ao rio, os amantes tornavam-se eternamente ligados. Graças a essa tradição e ao turismo desenfreado, milhares de cadeados tinham de ser removidos com frequência, estragando a estrutura da ponte. Devido a isso, o município estipulou uma multa de 50 euros para quem for apanhado, em flagrante, a colocar cadeados na ponte.
Fonte: pt.wikipedia.org/wiki/Ponte_Vecchio
Ponte Vecchio, the oldest of Florence's six bridges, is one of the city's best known images. Probably going back to Roman times with its stone pillars and wooden planks; it was built in stone but then newly destroyed by a flood in 1333. It was built again twelve years later, perhaps by Neri da Fioravante (or Taddeo Gaddi, according to Giorgio Vasari).
The five arches became three and the main part was widened. The shops, housed under the porticos, first belonged to the Commune which then rented them out. But later on, towards the 15th century, they were sold to private owners and began to change through subsequent additions, raised parts and external terraces, extending towards the river and altering the original architecture in an anarchical, suggestive way.
In the 15th century these shops were greengrocers, butchers, fishmongers. But then perhaps because of their bad smell, Ferdinando I replaced them with goldsmiths, making the road more elegant and cleaner.
In 1565, Cosimo I de' Medici, Duke of Florence, had the famous Corridor built by Vasari on the upper side passing over the shops. There's a curious story about that. The Mannelli family who owned a medieval tower at the southern end, towards Pitti Palace, did not want to give the Duke right of passage. So the corridor had to be deviated, as we can still see today, around the tower.
The row of shops is interrupted in the center and the bridge opens over the Arno with two splendid, panoramic terraces. Here in 1900, they put up the bust of Benvenuto Cellini, that ingenious Florentine goldsmith and sculptor.
Font: www.italyguides.it/us/florence/ponte_vecchio/old_bridge.htm
Hilo de la Fotohistoria en Pullip .es: DATING AT CINEMA (3 of 5): The movie: Interlude /
CITA EN EL CINE (3 de 5): La Peli: Intermedio
(Read in this order) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286.
PHOTOSTORY:
Take: …
COLLABORATION:
- Dom y Akari en el Foro de Pullips: Pullip .es
- Cinema's diorama by Minao. Sweets shop's diorama by Sheryl and Minao Collaboration.
- Little interpretation of Mad_Pullip's Emily as a MUSE fan.
SHERYL LINKS:
- Pullip .es: Las Fotohistorias de Sheryl
- Sheryl's Flickr: Photostories 2011 - Sketches 2011 / Photostories 2012 - Sketches 2012
Hilo de la Fotohistoria en Pullip .es: DATING AT CINEMA (2 of 5): The movie /
CITA EN EL CINE (2 de 5): La Peli
(Read in this order) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286.
FOTOSTORY: In English / En Español
Dom: (Stupid asshole! You screwed it up!)
/
Dom: (Pedazo capullo! Ya la has cagado!)
COLLABORATION:
- Dom y Akari en el Foro de Pullips: Pullip .es
- Cinema's diorama by Minao. Sweets shop's diorama by Sheryl and Minao Collaboration.
- Little interpretation of Mad_Pullip's Emily as a MUSE fan.
SHERYL LINKS:
- Pullip .es: Las Fotohistorias de Sheryl
- Sheryl's Flickr: Photostories 2011 - Sketches 2011 / Photostories 2012 - Sketches 2012
welcome to trekking in Nepal
Mountain Air Guided Adventures(p.)Ltd.
Everest base Camp Trekking:
Everest base camp chola pass gokyo lake
Everest base camp trek with island peak climb
Ampu lapcha la pass and mera peak Adventure
Gokyo lake and Renjo pass trekking
Jiri everst base camp-kalapather trekking
Jiri Everst base camp-Chola pass
Jiri to Everest base camp trek
Gokyo lake to Everest base camp trek
Phaplu to Everest base camp trek
Langtang valley trekking
Manaslu region trekking
dolpo trek
Dhaulagiri Trekking region
Ganesh himal Trekking
Mustang trekking region
Upper mustang lomanthang trekking
Rolwaling Trekking
Arun valley trekking
Rara lake trekking
Nepal holidays trek
Nepal short Trekking
Village trekking Nepal
Newly open trekking
Nepal Tour
Kanchenjunga Trekking
Taplejung Kanchenjunga base camp trek
Basantapur –kanchenjunga base camp trekking
Hotel in Nepal
Domestic flight in Nepal
Helicopter tour and Trek
Heli trek to Annapurna sancatury
Everest Discover helicopter Tour
Destination
Wildlife safari
Travel Service
Annapurna Trekking
*
*
Lleva a cuestas su nombre y también su casa, aunque es sencillamente una ameba, se trata de Euglypha , una refinada ameba de pies y brazos finos con una vivienda de mirador, en la que desde de su vidriera transparente y exactamente ensamblada viaja por el mundo de fondos acuáticos de musgos y algas verdes.
Las placas de la vidriera de Euglypha son perfectas, elípticas y se superponen por sus bordes creando así un marcado capricho de hexágonos. En nada se parece la ameba de hoy a la rústica Difflugia de gruesos pies y tosca vivienda de granos de cuarzo sin tallar, Euglypha los fabrica y casi los teje para construir su armazón transparente y protector. A pesar de sus diferencias les unen muchas cosas, la vida acuática, su alimentación a base de algas, la búsqueda de un refugio y el pasar desapercibidas, Difflugia camuflada formando del paisaje de los fondos y Euglypha dejándolos ver a través de su cubierta y su cuerpo transparente.
Euglypha alveolata tiene una coraza -teca- alargada y estrecha y vive sobre el musgo y los fondos de charcas, arroyos y regatos de aguas limpias apenas contaminadas, la de hoy procede de una muestra recolectada por África en el Barranc Fondo en el Coll D’Alforja en Tarragona y gracias a ella nuevamente, la vemos hoy aquí fotografiada a 400 aumentos con la técnica de contraste de interferencia.
Con nuestra gratitud para Pilar Gil por la publicación en Qúo, a Antonio Martínez Ron ...y también Paul/
Puedes tener otra infomación en la exposición LA VIDA OCULTA DEL AGUA
Y en este catálogo
También en la galería de Fotolog
Y nuestro granito de arena por la Paz
In de Poelestraat 30 is eeuwen lang het Concerthuis gevestigd, vermoedelijk ontstaan in een huis van een lid van de regentenfamilie De Sitter.
hdl.handle.net/21.12105/2bc222e8-a902-cc10-52ec-04ceac3d0217
hdl.handle.net/21.12105/eccdb959-3119-acd2-bae7-fb79c4d263f7
www.kng-groningen.nl/conchuis.htm
"Etta Palm (barones Aelders). Nederland's eerste féministe tijdens de Fransche Revolutie te Parijs", door Dr. W.J. Koppius; Ploegsma, Zeist 1929.
"Etta Palm. Een Hollandse Parisienne 1743 - 1799", door Mr. H. Hardenberg; Van Gorcum & Comp. N.V., Assen 1962.
Mr. Wolter Reinold de Sitter (1709-1780) zou in de Poelestraat geboren zijn: www.genealogieonline.nl/en/stamboom-ocken/I05258.php
Zie voor de familie De Sitter, de Drews en van Swinderen:
www.parlement.com/id/vg09llwlzczu/w_de_sitter
Buitenverblijven in Midlaren: www.flickr.com/photos/148859204@N07/36030249171/in/datepo...
"De Joodse gemeenschap in de stad Groningen, 1689-1796",
door E. Schut, Groninger Historische Reeks 12, Van Gorcum 1995, blz. 77 (Google Books).
"Een nieuw gebouwde Concertzaal in de Poelestraat", door Wija Frso, Stichting Monument & Materiaal: www.stichtingmenm.nl/images/hervondenstad/pdf/HS_2007/HS_...
Foto met bijschrift in het Nieuwsblad van het Noorden van 2-11-1929: resolver.kb.nl/resolve?urn=ddd:010675557:mpeg21:a0184
Agata de Sitter, Wed. Aalders, bood op 20-9-1753 ten Huyze van Monsr. Langefeld een Pakhuys en 2 Vrouwen Zit Plaatsen in de Martini Kerk te koop aan. Opregte Groninger Courant van 18-9-1753: resolver.kb.nl/resolve?urn=ddd:010258953:mpeg21:a0006
Jacobus Aalders bood een Extra Wit Papier Moolen met de Wooningen voor de Eygenaar en 10 Wooningen voor de Bedieners te koop aan. Opregte nieuwe Groninger Courant van
6-1-1747: resolver.kb.nl/resolve?urn=ddd:011022543:mpeg21:a0008
Verkoop op 24-11-1768 en 1-12-1768 "in 't Heere Wynhuis by branden der Keersen uitdoen", twee Behuyzingen en een Hof ten Noorden in de Poele Straat, deels bewoond door J.M. Goldsmit, met een Leenbank en bewoond geweest door Juffrouw de Weduwe Aalders. Zij is Agata Petronella de Sitter, weduwe van Jacob Aalders (Alderts). Hun dochter Etta Lubbina Johanna, geb. Poelestraat, ged. Martinikerk 3-5-1743, ovl. Den Haag 28-3-1799, was courtisane, spion en feminist in Parijs.
Op 17-7-1746 werd hun zoon Willem Peter de Sitter in de Martinikerk gedoopt. Opregte Groninger Courant van 25-11-1768: resolver.kb.nl/resolve?urn=ddd:010260423:mpeg21:a0006
Overlijdensbericht van Etta Lubina Johanna D'Aelders, Weduwe Palm, in de Haagsche Courant van 10-4-1799:
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Verkopingen in de Oude Bank van Leening. Opregte Groninger Courant van 6-6-1766, 13-3-1767 en 11-9-1767:
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Epharaim Symon van Praag met extra Fine Galanteryen heeft in de May Markt in de Roef gestaan en is verplaatst naar de Jooden Nedeldoeks Kraamen, en logeert in de Bank van Leening in de Poele Straat. Opregte Groninger Courant van 26-9-1752:
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De Heer Riedel woonde in de Geltering Straat. De eigenaar Dr. W. Swyghuisen bood het huis per 1-5-1762 te koop of te huur aan. Hij is Cantor Johan Philip Riedel, afkomstig uit Nassau Dillenburg, gehuwd met Margaretha Henrietta Bruinewold. Opregte Groninger Courant van 9-10-1761:
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De heer Tessarini, violist en componist, geeft op 13-12-1762 een concert ten huyse van den Heer Riedel in de Poele Straat. Opregte Groninger Courant van 10-12-1762:
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Concert van de Heer Distel, Luitenist van zyne Doorl. Hoogh. de Regerende Hertog van Saxen Gotha, ten Huize van Cantor Riedel. Opregte Groninger Courant van 16-12-1766:
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Concert van de Heer Bach van Berlyn bij Cantor Riedel. Opregte Groninger Courant van 6-1-1767:
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Concert van de Heer Esser ten huyze van Cantor Riedel. Opregte Groninger Courant van 22-4-1768:
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Concert van de Heer Marsiany ten huyze van de Heer Riedel. Opregte Groninger Courant van 17-10-1769:
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Concerten van Monsieur Ferrini en Monsr. Sibilla en Monsr. Andriolo, ten huyze van Cantor Riedel in de Poelen Straat. Opregte Groninger Courant van 20-3-1770 en 9-4-1771:
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Cantor Riedel en zyne Huisvrouw boden hun ruime en nieuws vertimmerde moderne Behuizing met 9 Vertrekken, waar van de meeste behangen....vrye uitvaart agter deeze Behuizing.....met of zonder Stal en Wagenhuis, staande in het wyde der Poelen Straat te koop aan. Opregte Groninger Courant van 12-6-1772:
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Verkoop van huis en hof, mobilia, muziek stukken en instrumenten van Cantor Riedel in de Poelen Straat. Groninger Courant van 15-7-1777, 26-8-1777, 10-10-1777 en 17-10-1777:
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Concert ten huize van Cantor Riedel. Groninger Courant van
15-4-1783: resolver.kb.nl/resolve?urn=ddd:010107101:mpeg21:a0009
Goederen van Cantor J.P. Riedel. Groninger courant van 25-3-1785: resolver.kb.nl/resolve?urn=ddd:010107347:mpeg21:a0005
Overlijdensbericht van Johan Philip Riedel, Veendam 15-10-1808, oud 81 jaar. Ommelander Courant van 18-10-1808: resolver.kb.nl/resolve?urn=ddd:010216220:mpeg21:p002
Zijn zoon Johannes Martinus Riedel, geb. Groningen 15-9-1760, ovl. Ommelanderwijk (Veendam) in het huis met nr. 226 op 26-4-1818, was kostschoolhouder.
Elisabeth Margaretha Paulina Riedel, geb. Nassau Dillenburg, Duitsland, ovl. Veendam (Kerkstraat) 17-2-1841, oud 103 jaar en 9 maanden, is een dochter van Johannes Martinus Riedel en Christina Elizabeth Beel (ouders gewoond hebbende en overleden te Nassau Dillenburg).
Concert van J.C.D. Roeder in de Concertzaal in de Poelen Straat bij Monfr. Muller. Groninger Courant van 21-2-1794:
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Het verbouwde Concerthuis, vroeger bewoond door de kok Muller en thans door Adam Ekkart, kastelein, koopman, geb. Groningen, ovl. Groningen 11-2-1833, oud 75 jaar, zoon van Simon Georg Ekkart, en Agatha Maria Baugnich.
Groninger Courant van 16-8-1805: resolver.kb.nl/resolve?urn=ddd:010159671:mpeg21:a0008
Gezocht een Kok en Castelein. Groninger courant van 8-6-1810: resolver.kb.nl/resolve?urn=ddd:010170762:mpeg21:a0010
Bal, onder Directie van den Heer J.A. Heuser in 't Concerthuis in de Poele-straat.......De Entrée voor een Heer met of zonder Dames, is Elf stuivers. Feuille d'affiches, annonces et avis divers de Groningue = Advertentieblad, bekendmakingen en onderscheidene berigten van Groningen van 22-5-1812:
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Het Concerthuis wordt te huur aangeboden in de Groninger Courant van 22-11-1814:
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In mei 1825 was de bovenwoning van het Concerthuis te huur, bewoond door luitenant-generaal Theophile Briatte, ovl. Utrecht 10-5-1844, oud 68 jaar, echtgenoot van
Campegia Wilhelmina Gockinga, ovl. Martenshoek (Hoogezand) 20-8-1832, oud 51 jaar, resp. zoon van J.B. Briatte en Susanna Julie Chamband, en dochter van Campegius Hermannus Gockinga, lid Staten-Generaal der Verenigde Nederlanden, lid Tweede Kamer der Staten-Generaal, en van Allegonda Maria van Sijsen:
www.parlement.com/id/vg09llsp1hwy/c_h_gockinga
Groninger Courant van 5-4-1825:
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Verkoop en vertimmeren van het Concerthuis. Groninger Courant van 30-6-1840:
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Het Genootschap ter bevordering der Natuurkundige Wetenschappen te Groningen koopt het Concerthuis. Groninger Courant van 27-11-1840: resolver.kb.nl/resolve?urn=ddd:010770976:mpeg21:a0018
Het Concerthuis werd verbouwd om het Koninklijk Natuurkundig Genootschap te huisvesten:
"Het vijftigjarig bestaan van het Genootschap ter bevordering der Natuurkundige Wetenschappen te Groningen, gevierd op de 26 Februariij 1851"; A.L. Scholtens 1851 (Google Books).
"Het vijf-en-zeventigjarig bestaan van het Natuurkundig Genootschap te Groningen, feestelijk herdacht op vrijdag en zaterdag den 25 en 26 Februarij 1876"; R.J. Schierbeek 1876.
"Het vijfentwintigjarig bestaan van het Natuur- en Scheikundig Genootschap te Groningen, plegtig gevierd op den 1 Maart 1826, Door Th. van Swinderen, Secretaris van voornoemd Genootschap"; J. Oomkens 1826. Prof. mr. Theodorus van Swinderen overleed in Groningen op 11-1-1851, oud 66 jaar.
Plegtige inwijding van de nieuw ingerigte gehoorzaal. Groninger Courant van 8-10-1841:
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Overlast van paarden en koetsen in de omgeving van het Concerthuis. Groninger Courant van 18-11-1842: resolver.kb.nl/resolve?urn=ddd:010779688:mpeg21:a0001
Reglement van Politie c.a. Groninger Courant van 6-8-1856:
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"Plan voor bioscoop in Concerthuis". Nieuwsblad van het Noorden van 8-6-1967: resolver.kb.nl/resolve?urn=ddd:010870200:mpeg21:a0233
"Concerthuis wordt bioscoop". Nieuwsblad van het Noorden
van 27-6-1967: resolver.kb.nl/resolve?urn=ddd:010870216:mpeg21:a0189
Verbouwing van het Concerthuis in 1967. "Bioscoop Concerthuis start met De getemde feeks”:
hdl.handle.net/21.12105/13e83f56-a8ad-4330-0091-60b2c0e2f72a
Nieuwsblad van het Noorden van 21-11-1967 en 24-10-1968:
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"Concerthuis volledig getransformeerd Weer 6 bioscopen in stad". Nieuwsblad van het Noorden van 21-12-1967:
resolver.kb.nl/resolve?urn=ddd:010869773:mpeg21:a0069
"Einde voor cultuur in Concerthuis": RTVOOG 26 okt. 2011 op YouTube:
www.youtube.com/watch?v=9kWxG34fVd4
Eltjo Kniphuisen heeft zijn winkel verplaatst van Tussen de beide Markten naar het "wyde van de Poelen Straat, daar de drie Roozen weer uithangen". Groninger courant van 13-7-1779:
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In 1875 liep er nog een kudde schapen door de Poelestraat. Een schaap sprong toen door een spiegelruit van juwelier B. Oving.
Provinciale Noordbrabantsche en 's Hertogenbossche courant
28-8-1875: resolver.kb.nl/resolve?urn=MMSADB01:000009425:mpeg21:a0029
Het Logement "De Oude Munster" (later Hotel "Friesland") in de Kleine Pelsterstraat 4, was in 1822 in het Reglement van Politie aangewezen als Schutstal voor vee dat zonder vergunning werd geweid op Stads of andere openbare gronden. Het Logement "De Nieuwe Munster" in de Herestraat 72, bekend als Hotel "Frigge", lag vlakbij: www.flickr.com/photos/148859204@N07/34601955931/
Groninger Courant van 29-11-1822 en 1-5-1849:
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Juwelier Bruins Oving, ovl. Groningen 2-7-1959, oud 77 jaar zat in de Poelestraat C 122.
Provinciale Drentsche en Asser Courant van 8-11-1881:
resolver.kb.nl/resolve?urn=MMDA03:000097464:mpeg21:a0020
Zijn broer Hermannus Ellen Oving, ovl. Groningen 22-12-1954, oud 78 jaar, zat in de Poelestraat NZ D6, later Poelestraat 2, bij de hoek met de Grote Markt. In 1860 vroeg hij vergunning voor het plaatsen van een winkelpui.
Provinciale Drentsche en Asser Courant van 23-4-1861:
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Zij zijn zonen van juwelier Bruins Oving (1841-1922), kleinzonen van goud- en zilversmid Hermannus Ellens Oving (1810-1890), en achterkleinzonen van goud- en zilversmid Jan Hermanus Oving, ovl. Groningen 15-1-1848, oud 74 jaar.
Portretten:
hdl.handle.net/21.12105/1dfe3934-638d-3a9b-ccb4-dc55b0264c68
hdl.handle.net/21.12105/b9431acc-5b50-8688-4613-ca882ae7cf81
hdl.handle.net/21.12105/e76c2aea-c9ba-e7fb-6b90-6b25337926c5
Groninger Courant van 9-5-1837:
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Provinciale Drentsche en Asser Courant van 24-8-1925:
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Afbeeldingen juwelier Oving:
hdl.handle.net/21.12105/b80282da-d593-4c90-e83f-3355b3ac4230
hdl.handle.net/21.12105/c81cfce3-ebcd-b625-f78b-832600567b56
hdl.handle.net/21.12105/c126560a-affb-2823-c9b5-f3020fa739b6
hdl.handle.net/21.12105/5e752f9b-9473-a2db-06c7-8eb580dc04b8
hdl.handle.net/21.12105/4b8a99dd-2674-780a-8de6-30c5256ba337
hdl.handle.net/21.12105/92bcc2a1-9de0-1914-0a0f-7d15242eeb68
"Vrij in vuur en puin". Nieuwsblad van het Noorden van 4-4-1980: resolver.kb.nl/resolve?urn=ddd:011018992:mpeg21:a0346
Na de oorlog zat juwelier H.E. Oving tijdelijk in de Oude Ebbingestraat 61 (Ebbingehuis). In 1955 verhuisde de winkel weer terug naar de Grote Markt. Nieuwsblad van het Noorden van 26-11-1955 en 9-12-1955:
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hdl.handle.net/21.12105/74206fdf-8989-781e-dabb-487b064503ad
"Juwelier Oving in andere handen". Nieuwsblad van het Noorden van 25-10-1974:
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"Begeer, Van Kempen en Vos zou al verkocht zijn. Juwelier Oosterhof neemt Groninger zaken over". Nieuwsblad van het Noorden van 11-2-1977:
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"Historie Oostwand wordt weggebikt", door Frank von Hebel in het Dagblad van het Noorden van 18-3-2017, blz. 16.
Op 12-5-1875 vroeg Jacobus Bartholomeus Petrus Joannes Dado, winkelier in modeartikelen, geb. Groningen 24-6-1835, ovl. Groningen 12-5-1905, zoon van koopman Joannes Petrus Dado en Maria Dominica Bartels, dochter van winkelier/knoopmaker Lambertus Bartels, vergunning voor het verbouwen van de panden Grote Markt C 10-11/Poelestraat. Joannes Petrus Dado, geb.
Cavergno in Zwitserland, overleed in Groningen op 28-2-1843, oud 41 jaar. Deze familie zat al in 1860 met een zaak in de Poelestraat C 11. Op 11-4-1866 vroeg dhr. Dado vergunning voor het bouwen van een winkelpui in de Herestraat F 222, onder architectuur van Nicolaas Willem Lit (1833-1907), de architect van het pakhuis op de hoek van de Poelestraat en het Schuitendiep: www.flickr.com/photos/148859204@N07/32824414883/
De winkel werd in 1884 voortgezet door de Gebr. Holtmann.
Algemeen Handelsblad van 13-12-1883:
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Nieuwsblad van het Noorden van 21-4-1895:
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In 1955 verhuisde de modewinkel J. Boterweg van de Grote Markt 33, hoek Poelestraat, naar de Grote Markt, hoek Ebbingestraat, naast Vroom en Dreesman. Jelle Boterweg, geb. Harlingen 22-6-1869, overleed in Groningen op 30-6-1931. De zaak werd voortgezet door de wed. E. Boterman-Molenaar, onder de handelsnaam Firma J. Boterweg (in 1912 Firma Boterweg & Melles). Nieuwsblad van het Noorden van 1-8-1931: resolver.kb.nl/resolve?urn=ddd:010675165:mpeg21:a0229
hdl.handle.net/21.12105/6e8a7db3-a8e0-d6e2-94e9-d7208eb8440a
Het pand aan de Grote Markt 33 werd gesloopt:
hdl.handle.net/21.12105/4b8a99dd-2674-780a-8de6-30c5256ba337
hdl.handle.net/21.12105/b80282da-d593-4c90-e83f-3355b3ac4230
"Hé, is Boterweg zomaar weg?". Nieuwsblad van het Noorden van 19-7-1955:
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"In Groningen wordt gebouwd!". Leeuwarder courant: hoofdblad van Friesland van 22-10-1955:
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"Oostwand kan breder en groter. Gemeente koopt hoekpand Poelestraat", door Menno Hoexum. Dagblad van het Noorden, Groningen stad, 5-6-2013, blz. 18.
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hdl.handle.net/21.12105/65a43fab-4a5d-047b-3054-9cdea3886bb0
www.nlarchitects.nl/ucslideshow/207
gemeente.groningen.nl/ro/grote-markt/planbeschrijving
gemeente.groningen.nl/grotemarkt/beeldkwaliteitsplan/beel...
gemeente.groningen.nl/winkelen/gemeente-koopt-pand-op-hoe...
"De herbouw van de Grote Markt" (ingezonden), in het Nieuwsblad van het Noorden van 7-6-1952 en 11-6-1952:
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"Ir. Vegter kan geen Raadhuis bouwen" (ingezonden), in het Nieuwsblad van het Noorden van 6-6-1953:
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hdl.handle.net/21.12105/15f56b06-3e2d-a737-7584-0e398bfae0a3
hdl.handle.net/21.12105/b3ea67db-143f-3204-fe03-5b1f66c9ca13
hdl.handle.net/21.12105/8f0f8660-3501-040c-d910-42806f4c4eb9
Hoek Oosterstraat-Poelestraat:
hdl.handle.net/21.12105/82732ca7-7447-ee95-581e-bd968a390da9
hdl.handle.net/21.12105/629ab32f-0e95-37f9-3c68-f90b7e8ea5e6
hdl.handle.net/21.12105/eea96be7-13dd-9c71-c74a-edf0f0c7476d
Hoek Grote Markt-Poelestraat:
hdl.handle.net/21.12105/4b8a99dd-2674-780a-8de6-30c5256ba337
hdl.handle.net/21.12105/155c53c4-2214-02c6-2b74-1e4dfcbfc04d
hdl.handle.net/21.12105/b80282da-d593-4c90-e83f-3355b3ac4230
Het hoekpand Oosterstraat 2/Poelestraat 1 (Kad. H 1231 en H 3414) is in 1898 ontworpen door architect A.Th. van Elmpt (1866-1953), in opdracht van Adolf Witte, drogist, geb. Groningen 1-3-1830, ovl. Groningen 7-10-1916, en van Johann Carl Christoph Schlichter, geb. Meppen, ovl. Groningen 18-8-1924, oud 59 jaar, echtgenoot van Hinderika Maria Schattenberg, geb. Groningen 6-10-1860, ovl. Groningen 23-11-1902, dochter van schoenmaker Egbert Schattenberg (1821-1892).
Het naastgelegen pand in de Poelestraat 3 is ook door Van Elmpt ontworpen, in opdracht van J.C.C. Schlichter. De winkel droeg de naam "Schattenberg's Schoenen- en Laarzenmagazijn"; meer dan 50 jaar gevestigd te Groningen.
Ook het hoekpand Oosterstraat-Carolieweg is van architect Van Elmpt:
www.staatingroningen.nl/bedrijf/87/elmpt-ath-van
zoeken.hetnieuweinstituut.nl/nl/personen/detail/c51a9b0c-...
web.archive.org/web/20161025113435/http://www.panoramio.c...
Egbert Schattenberg vroeg op 26-8-1875 vergunning voor het aanbrengen van een winkelpui aan het pand Poelestraat D 133 (Groninger Archieven).
Op 11-7-1872 werden de twee woningen Poelestraat D 122 en D 123, hoek Peperstaat, te koop aangeboden, van oudsher in gebruik als Affaire in Pelterijen en als Schoenmakersaffaire, en bewoond (geweest) door wijlen Th. Doesburg, bontwerker, en E. Schattenberg, schoenmaker (Leeuwarder Courant en het Algemeen Handelsblad).
In de periode 1858-1866 vroeg J. Houttuin bouwvergunningen aan voor het perceel Poelestraat D 133 (Groninger Arrchieven).
Nieuwsblad van het Noorden van 20-12-1904: resolver.kb.nl/resolve?urn=ddd:010891001:mpeg21:a0072
Leeuwarder Courant van 5-7-1872:
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Algemeen Handelsblad van 21-12-1872: resolver.kb.nl/resolve?urn=ddd:010101689:mpeg21:a0029
De winkelpui van het pand Poelestraat 5 (D 131) is in 1902 ontworpen door architect P.M.A. Huurman (1863-1944), in opdracht van de Handelsvennootschap v/h R. Muller (J.B. Vogt):
www.staatingroningen.nl/bedrijf/90/huurman-pma
zoeken.hetnieuweinstituut.nl/nl/personen/detail/048e7a21-...
Tot 1925 zat "De Roode Winkel (J.B. Vogt)" in de Poelestraat 5-7. Nieuwsblad van het Noorden van 8-6-1925:
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Johann Bernard Vogt, geb. Ramsloh (Dld), ovl. Groningen 12-4-1880, oud 50 jaar, zat in 1869 al in de Poelestraat D 131 en 132.
Op 31-5-1869 vroeg hij vergunning voor "werk aan voorgevel en stoep" Poelestraat D 132 (D 131 is Poelestraat 5).
Op 19-8-1925 vond de aanbesteding plaats van het "opnieuw indeelen van de gebouwen Poelestraat 5 en 7", onder architectuur van Evert van Linge, en in opdracht van Albert Woest, vleeschhouwer te Groningen. Nieuwsblad van het Noorden van 15-8-1925:
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Architect Evert van Linge: www.staatingroningen.nl/bedrijf/88/linge-evert-van
Archief bij Het Nieuwe Instituut:
zoeken.hetnieuweinstituut.nl/nl/
Het pand Oosterstraat 4 (Kad. H 248) is in 1899 ontworpen door architect Wilhelmus Petrus Ros, geb. Groningen 14-6-1869, ovl. Groningen 17-11-1934, in opdracht van Cornelis Paanakker, geb. Loon op Zand, ovl. Groningen 14-3-1902, oud 46 jaar.
In 1842 had H. Depaifve Ainé een Fabrijk van Stroohoeden, in het Groot en Klein en was hij Magazijnhouder van Gevlochten Stroo, in de Poelestraat 10 en 38, met Stroohoeden, Italiaansche en Agrementstroohoeden.
Mej. F. van Slogteren verkocht Stroohoeden e.d., in de Poelesstraat D 121, op den hoek van de Peperstraat.
Groninger Courant van 25-3-1842, 24-3-1843, 20-5-1845, 1-5-1849 en 22-3-1853 (verkoop inboedel):
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In maart 1853 droeg Mej. F. van Slogteren de Dameshoeden- en Mutsenaffaire in de Poelestraat D 121, in het wijde van de Poelestraat, op den hoek van de Peperstraat, over aan Mej. Trientje van der Veen, geb. Aduard 30-12-1821, ovl. Groningen 20-2-1877, weduwe van Bernardus Pekelaar, sigarenfabrikant, geb. Thesinge 22-3-1826, ovl. Groningen 1-10-1852. Groninger Courant van 4-3-1853 en 3-5-1853: resolver.kb.nl/resolve?urn=ddd:010772965:mpeg21:a0006
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Zij is te relateren aan "mutzemaakster" (1814) Follegien/Tolligin/Tollegyn van Slogteren, ovl. Millingen 15-7-1841, oud 54 jaar, dochter van wafelbakker Martinus van Slogteren en Sara Jans Kreima/Krijns, echtgenote van kleermaker en rijksambtenaar, Jacob Chevalier, geb. Rotterdam, ovl. Groningen 14-8-1874, oud 81 jaar, zoon van sergeant-majoor en tolgaarder Denijs Chevalier, ovl. Arnhem 28-2-1839, oud 76 jaar, en Rijke Wenteler.
Zie ook Eisse Abrahams van Slogteren, wolkammer in de Nieuwe Ebbinge-straat, en echtgenote Sara van Bruggen, ovl. Groningen 19-9-1828, oud 46 jaar. Ommelander Courant
van 20-4-1810: resolver.kb.nl/resolve?urn=ddd:010216367:mpeg21:a0007
Op 9-11-1824 overleed zijn vader Abraham van Slogteren, oud 88 jaar en vier maanden, echtgenoot van Anna Gardee, zoon van Eise Hindriks van Slogteren, stelmaker, en van Cornelissien Hulsebosch. Groninger Courant van 12-11-1824: resolver.kb.nl/resolve?urn=ddd:010774386:mpeg21:a0015
Abraham van Slogteren bood zijn Behuisinge c.a., Pakhuis met 2 Zolders, en 2 Korenzolders over het geheele Huis, en een Stal voor 4 Paarden en 4 Beesten te koop aan, gelegen aan de Oostkant van der Aa, met uytvaart op de Laane. Opregte Groninger Courant van 16-5-1766:
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Abraham van Slogteren en Vrouw boden op 18-1-1779 Hunne wel ter Neering staande Behuizinge aan de W. zyd in de N. Ebbinge Straat en een Woonkamer met een Stalle, staande in de Pluimers Gang aan 't Schuitendiep, te koop aan ten Huize van G.J. Dubbelboer, Kastelein in het Blauwe Peert. Groninger courant van 1-1-1779: resolver.kb.nl/resolve?urn=ddd:010106607:mpeg21:a0008
Predikant Johannes van Slogteren, geb. Groningen Oostzijde van de A, ged. Groningen 12-2-1766, ovl. Amsterdam 7-8-1841, oud 75 jaar, is een zoon van Abraham van Slogteren en Anna Gardee.
De Wed. van Monsr. R. van Slogteren, woonende in de Oude Botteringe Straat, bood haar Hof met Vrugtdraagende Bomen en een Steenen Zomerhuys in 't Appel-Straatje in de Steeg, te koop aan Opregte Groninger Courant van 15-7-1750:
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Op 21-1-1842 bood Mejufvr. de Wedw. H.E. van Slogteren de Behuizing, S 106, met opene Plaats en vrijen Uitgang in de Donkersgang en onder en boven Pakhuis, Oostzijde in de Gelkingestraat, te koop aan. Zij is vermoedelijk Betje Egberts Buirema van Eexta (Scheemda), ovl. Groningen 29-12-1860, oud 73 jaar, weduwe van Hinderk Eisse van Slogteren, verwer/glazemaker, ovl. Groningen 9-8-1839, 52 jaar, zoon van Eisse van Slogteren, verwer/glazemaker, en van Allegonda Bekkering. Groninger Courant van 21-1-1842: resolver.kb.nl/resolve?urn=ddd:010779608:mpeg21:a0015
Commies P. van Slogteren en Vrouw hadden in 1776 en 1781 een winkel "bestaande in Linnen, Vers en gerookt Spek en Kaas & c., in de Heerestraat waar het witte Hoofd uithangt.
Groninger Courant van 27-2-1776 en 25-12-1781:
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Groninger Courant van 7-11-1783:
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Verkoop van zijn huis in de Heerestraat, en dat van Hindrik van Slogteren en Vrouw, staande aan de Westkant van het Boterdiep nabij het Klokhuisje. Groninger Courant van 22-1-1782: resolver.kb.nl/resolve?urn=ddd:010106956:mpeg21:a0009
In 1783 woont hij in het Ooster Poorten Gasthuis en verkoopt hij Coevorder Linnen.
De Wed. van Monsr. J. Slogteren verkocht op 22-12-1768 ten huyze van Monsr. J. Pot in de Gulden Straat in de Soppige Peer, haar deftige Huis ten oosten in de oude Botteringe Straat, zijnde een voorname Keersemakerye met Gereedschappen en Winkel Goederen. Opregte Groninger Courant van 20-12-1768: resolver.kb.nl/resolve?urn=ddd:010260430:mpeg21:a0008
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No se te ocurra usar una foto de mi hijo, porque te encuentro y te....
Historia:
Escena 1: Hola, como estas?
Escena 2: Que? de que hablas?
Escena 3: Si, si, luego te llamo... chau!
Desde chiquitos los hombres son asi... encantan con su sonrisa, se acercan, coquetean y luego cuando la cosa se pone seria.... SE VAN!
El mio no se ha ido aun .... vamos a ver cuanto se queda ;)
La foto anterior muestra mejor el final ;)
AY-brus or AY-bruhs -- possibly from the Arabic name ... Dave's Botanary
prek-uh-TOR-ee-us -- Latin precari (to pray); supplication; prayerful ... Dave's Botanary
commonly known as: black-eyed Susan, coral pea, country licorice, crab's eye, Indian liquorice, Jamaica wild licorice, jequerity seed, John Crow bead, jumbie beans, love pea, lucky bean, paternoster bean, prayer bead, precatory bean, red-bead vine, rosary pea, weather plant, wild licorice • Arabic: قيراط qirat • Assamese: কাঁচমণি kansmoni, লাটুমণি latumani • Bengali: চিরমিতি chiramiti, চুনহাতি chunahati, গুঞ্জা gunja, কাইচ kaicha, কুঁচ kuncha, রতি rati • Bodo: jinjree • Dogri: चड़ेंनू दी बेल chadennoo di bel, गुंझा gunja, रत्ती ratti • Garo: menggo micron budu • Gujarati: ચણોઠી chanoti, ગુંજા gunja • Hajong: kunjumala • Hindi: चिर्मिठी chirmithi, घुंघची ghunghchi, गुंज gunj, कौवा डोंडी kauwa-dondi, पाटहिका patahika, रत्ती ratti, तुला tula • Kachchhi: અછી ચણોઠી achi chanoti, ચણોઠી જી વલ chanoti ji val, રતી ચનોટી rati chanoti • Kannada: ಗುಲಗಂಜಿ gulaganji, ಗುರುಗಂಜಿ gurugunji, ಹಾಗ haaga • Karbi: চুচেলক chuselok • Kashmiri: रछ् ratsh • Khamti: mikiakuiang • Konkani: गुंजी gunji, ಗುರ್ಗುಂಜಿ gurgunji, मंजोटी manjoti • Malayalam: ഗുഞ്ജ gunja, കുന്നി kunni • Manipuri: ꯆꯅꯤꯡ ꯃꯩꯃꯨꯕꯤ chaning meimubi • Marathi: गुंज gunja, मधुयष्टि madhuyashti, रती rati • Mizo: sentet • Nepali: आँखीगेडी ankheegedee, रतिगेडी ratigedee • Nyishi: raho • Odia: ଭୀଲ ଭୂଷଣ bhila bhushana, ଗୁଞ୍ଜା gunja, କାଌଞ୍ଚ kaincha, କାକଚିଞ୍ଚା kakachincha, କାକଜଂଘା kakajangha,କଇଁଚିକାକୁଡ଼ି kainchikakurdi, କୃଷ୍ଣଚୂଡ଼ିକା krushnachurdika, ଲାଙ୍ଗଳିକା langalika, ରକ୍ତଲା raktala, ସାଧାରଣୀ sadharani, ସଞ୍ଚାଳୀ sanchali, ଶାଙ୍ଗୁଷ୍ଠା sangushtha, ସପ୍ତଳା saptala, ଶାରଙ୍ଗଷ୍ଟା sarangashta, ସୌମ୍ଯା saumya, ଶିଖଣ୍ଡୀ shikhandi, ଶୁକ୍ରଳା shukrala, ରତି rati, ତାମ୍ରିକା tamrika, ତୁଳା ବୀଜ tula bija • Pali: गुञ्जा gunja, जिञ्जुक jinjuka • Persian: خاکشي khakshi, سرخ surkh • Punjabi: ਘੂੰਚੀ ghunchi, ਰੱਤੀ ratti • Rabha: tukhur neken • Rajasthani: चिरमी chirmi, रत्ती चिरमू ratti chirmu, सरमाई sarmaiee • Sanskrit: अङ्गारवल्लरी angaravallari, अरुणा aruna, बादर badar, बहुविस्तीर्णा bahuvistirna, भिल्लभूषणा bhillabhushana, चिञ्ची chinchi, चूडाल chudala, चूडामणि chudamani, गह्वर gahvara, गोपी gopi, गुञ्जा gunja, इन्द्राशन indrashana, काका kaka, काकचिञ्चा kakachincha, काकादनी kakadani, काकजङ्घा kakajangha, काकणाह्वा kakanahva, काकणन्तिका kakanantika, काकपीलु kakapilu, काकतिक्ता kakatikta, काकवल्लरी kakavallari, कक्ष्या kakshya, काम्बोज kamboja, काञ्ची kanchi, कणीचि kanichi, कृष्णला krshnala, कृष्णचूडिका krshnachudika, पाटहिका patahika, रक्त rakta, रिपुघातिनी ripughatini, सञ्चाली sanchali, साङ्गुष्ठा sangustha, शिखण्डी shikhandi, सितगुञ्जा sitagunja, श्यामलकचूडा shyamalakachuda, ताम्र tamra, तुलाबीजम tulabijam, उच्चटा uchchata, वक्रशल्या vakrashalya, वार्दर vardara • Santali: ᱯᱳᱱᱰ ᱠᱟᱣᱮᱛ pond kawet • Sindhi: ڪانگڙي kangiri, لالڙي laliri • Tamil: சிகண்டிகை cikantikai, குன்றி kunri, குன்றுமணி kunrumani, குருவிந்தம் kuruvintam • Telugu: అతిమధురము atimadhuramu, గుంజ gunja, గురిగింజ guriginja, గురువింద gurivinda, కుక్కుటము kukkutamu, ముక్కుటము mukkutamu, రక్తిక raktika, సిన్న గురుగింజ sinnaguruginja • Tulu: ಗುರ್ಗುಂಜಿ gurgunji • Urdu: چرمٿهي chirmithi, گهنگچي ghunghchi, گنج gunj, رتي ratti
botanical names: Abrus precatorius L. ... accepted infraspecifics: Abrus precatorius subsp. precatorius ... heterotypic synonyms ... POWO, retrieved 09 October 2024
Names compiled / updated at Names of Plants in India.
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Sumergidas como las ánforas griegas, fenicias, romanas o las de cualquier otro pueblo que navegó por el Mediterráneo, dos pequeñas ánforas hermanas han sido nuestro hallazgo para hoy, más pequeñas que las de barro, modeladas y talladas en cristal, acaso tan hermosas y también con tantos misterios escondidos y muchas historias que contar…estas dos pequeñas ánforas son de tierra adentro, de agua dulce y están rellenas, no de vino, ni de aceite, ni de uvas ni de olivas pero sí de otros jugos de la vida.
Son dos diatomeas ánfora, Amphora ovalis, con su verdoso interior de cloroplasto y dos gotitas de grasa que son su salvavidas y las mantienen en equilibrio cerca de la superficie, próximas a la luz.
Cuando las diatomeas se multiplican, su caja de estuche se abre por la mitad para reconstruir la parte que les falta, y para que encaje, fabrican una mitad un poco más pequeña, y así, división tras división el tamaño va disminuyendo progresivamente generación tras generación, hasta que la talla se ve tan disminuida que constituye un inconveniente. Es entonces cuando las diatomeas, cambian de comportamiento y optan por un proceso de reproducción sexual que originará no diatomeas sino unas esporas especiales, las auxosporas. Estas auxosporas harán nacer diatomeas de talla grande. Y aquí tenemos a las dos, a una recién nacida y a otra con larga experiencia.
Un segundo secreto bien guardado y estudiado parcialmente en Amphora ovalis es que a ritmo de luz asciende a la superficie del agua para volver a descender, quizá para descansar, repitiendo estos movimientos de ascenso y descenso un par de veces a lo largo del día, igual que los girasoles tuercen su cuello para seguir al sol. En Amphora es la fuerza de gravedad de la Tierra la que parece influir en su descenso y el sol la que tira de ella como queriéndola llevar fuera. Y así, Amphora, en movimiento lento y continuo se reparte entre el fondo y las aguas someras.
Estas ánforas tan especiales parecen vivir en cualquier tipo de aguas y aunque está escrito que son sensibles a la contaminación, en estas del río Foix , parecen vivir muy a gusto entre las cargas de sales y de nitratos. Quizá esperen mejores tiempos de aguas más limpias y mientras tanto adornan con su presencia este pequeño río. Gracias a África la podemos ver hoy aquí fotografiada a 400 aumentos con la técnica de contraste de interferencia.
Con nuestra gratitud para Pilar Gil por la publicación en Qúo, a Antonio Martínez Ron ...y también Paul/
Puedes tener otra infomación en la exposición LA VIDA OCULTA DEL AGUA
Y en este catálogo
También en la galería de Fotolog
Y nuestro granito de arena por la Paz
Morning Light on The Back of Nebo is spectacular....I hope that my photos did it justice....please View Large
Madrid (Spain).
ENGLISH
The Jardines del Buen Retiro or Parque del Buen Retiro (literally "Gardens" or "Park of the Pleasant Retreat"), or simply El Retiro, the "Lungs of Madrid", is the main park of the city of Madrid, capital of Spain.
The Parque del Buen Retiro is a large and popular 1.4 km² (350-acre) park at the edge of the city center, very close to the Puerta de Alcalá and not far from the Museo del Prado. A magnificent park, filled with beautiful sculpture and monuments, galleries, a peaceful lake and host to a variety of events, it is one of Madrid's premier attractions. The park is entirely surrounded by the present-day city.
In 1505, at the time of Isabella I (r. 1474–1504) the Monasterio de Jerónimos was moved from an unsuitable location elsewhere to the present site of Iglesia de San Jerónimo el Real, and a new monastery built in Isabelline Gothic style. The royal family had a retreat built as part of the church.
King Philip II (r. 1556–1598) moved the Spanish court to Madrid in 1561. Philip had the Retiro enlarged by his architect Juan Bautista de Toledo, and formal avenues of trees were laid out. Here, at the Palacio del Buen Retiro, the king could withdraw during Lent, bringing the court with him.
The "Jardines del Buen Retiro" were extended in the 1620s, when Gaspar de Guzmán, Count-Duke of Olivares, Philip IV's powerful favourite, gave the king several tracts of land in the vicinity for the Court's recreational use. Olivares determined to build, in a place that the king liked, a royal house which should be superior to those villas that Roman nobles had lately been setting up in the hillyt outskirts of Rome. Although this second royal residence was to be built in what were then outlying areas of Madrid, it was actually not far from the existing Alcázar or fortress residence, and the location in a cool, wooded area proved to be ideal.
More info: en.wikipedia.org/wiki/Parque_del_Buen_Retiro
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CASTELLANO
Los Jardines del Buen Retiro, popularmente conocidos como El Retiro, son un parque de 118 hectáreas situado en Madrid. Es uno de los lugares más significativos de la capital española.
Los Jardines tienen su origen entre los años 1630 y 1640, cuando el Conde-Duque de Olivares (Don Gaspar de Guzmán y Pimentel), valido de Felipe IV (1621–1665), le regaló al rey unos terrenos que le habían sido cedidos por el Duque de Fernán Núñez para el recreo de la Corte en torno al Monasterio de los Jerónimos de Madrid. Así, con la reforma del Cuarto Real que había junto al Monasterio, se inició la construcción del Palacio del Buen Retiro. Contaba entonces con unas 145 hectáreas. Aunque esta segunda residencia real iba a estar en lo que en aquellos tiempos eran las afueras de la villa de Madrid, no estaba excesivamente lejos del alcázar y resultó ser un lugar muy agradable por estar en una zona muy boscosa y fresca.
Bajo la dirección de los arquitectos Giovanni Battista Crescenzi y Alonso Carbonell se construyeron diversos edificios, entre ellos el teatro del Buen Retiro que acogió representaciones teatrales de los grandes del Siglo de Oro, Calderón de la Barca y Lope de Vega. Perduran aún el Casón del Buen Retiro, antiguo Salón de Baile, el Museo del Ejército, antaño Salón de Reinos con sus paredes decoradas con pinturas de Velázquez, Zurbarán y frescos de Lucas Jordán y los jardines.
Éstos se levantaron al mismo tiempo que el palacio, trabajando en ellos, entre otros, Cosme Lotti, escenógrafo del Gran Duque de Toscana, y edificándose una leonera para la exhibición de animales salvajes y una pajarera para aves exóticas. El estanque grande, escenario de naumaquias y espectáculos acuáticos, el estanque ochavado o de las campanillas y la ría chica pertenecen a este período inicial.
A lo largo de la historia, en este conjunto se han ido efectuando modificaciones, no siempre planificadas, que cambiaron la fisonomía del jardín, como el Parterre diseñado durante el reinado de Felipe V (1700–1746), la Real Fábrica de Porcelana del Buen Retiro en tiempos de Carlos III (1759–1788) o el Observatorio Astronómico, obra de Juan de Villanueva, reinando Carlos IV (1788–1808). El rey Carlos III fue el primero en permitir el acceso de los ciudadanos al recinto, siempre que cumpliesen con la condición de ir bien aseados y vestidos.
Más info: es.wikipedia.org/wiki/Buen_Retiro
The 2nd day of our trip to Yellowstone National Park featured a guided safari by Safari Yellowstone safariyellowstone.com/index.php. Our guide was the owner and very knowledgeable Carl Swoboda. His keen eyes and knowledge of the park, animals and connections to people gave us once in a lifetime experience.
We started early in the morning driving into the park. First animal spotted was an elk in Mammoth Hot Springs. From there we headed to the Lamar Valley where we saw bison after bison. First time you see a bison - cool! By the 200th time you're yelling at the tourists that stop in the middle of the road to take a picture for their first sighting.
Carl got a signal in passing from one his friends that wolves had been sighted in the valley. We drove to where the wolf watchers had gathered. Luckily Safari Yellowstone provides scopes since we didn't own any at them time. We were able to spot and track the Lamar Valley pack with about 10 other regular wolf watcher enthusiasts. Rick McIntyre, a Biological Technician for the Yellowstone Wolf Project, was there as well recording everything that each person narrated that they saw the wolves doing.
Everyone was very friendly and helpful. If you couldn't find them in your scope they would give you directions for aiming your scope or come over and find them for you. I learned how to take pictures using my Panasonic Lumix ZS7 through the scope. Setting it to Macro Zoom was the key.
We followed the wolves as they traveled a couple of miles through the valley. At one point they came across a coyote that was in their path. We saw them kill it. Afterward they came down into the grassy valley floor for nap. It appeared to the wolf watchers that the wolves had eaten previously that morning.
Carl then took us to look for the carcass of the wolf kill. We learned what kind signs to look for in a recent kill. We also learned a lot about Yellowstone National Park. Carl shared his knowledge about conservation, the animals in the park, geological makeup and history of the park. We never found the carcass but the lessons we learned stayed with us the rest of our trip.
We were able to see mountain goats and bighorn sheep through the scopes before having a nice sandwich lunch. Before our safari ended Carl pulled out a map and marked out must-see locations and tips and tricks to catching the best views.
Looking back on our trip, having the experience of the tour with Safari Yellowstone at the beginning of trip totally changed the trip for the better. We noticed things we would not have noticed before. We looked for things would never have looked for. We came away from our trip knowing, seeing and remembering so much more than if we had just gone in cold as newbie tourists. Definitely consider spending a little extra on your trip if you want a much more memorable trip to Yellowstone.
São Julião da Barra Fort is considered to be the biggest existing construction of maritime defense in Portugal. The Fort began to be built in the 16th century with prestigious military architects of that time working on the project, such as Miguel de Arruda and Leonardo Turriano.
The Fort was extended for two centuries since its strategic position was considered of high importance for the defense of the Tagus River entrance.
The Fortress was also utilized as a political prison. Even nowadays the awful conditions that the prisoners had at that time can be observed in the inhumanity of its cells.
As military building, it is of the most imposing works that can be visited, although only a part of it is open to the public, as the Fort is nowadays propriety of the Portuguese Defense Department.
Click here to view larger size photo on black
Nikon D7000 with Lens Leica 80-200mm f/4 R mounted with Leitax adapter. Taken hand-held with ISO 800 f/5.6, 1/250s. In order to reduce the minimum focusing distance, I added a Nikon 62mm close-up lens No 5T on a step-up adapter ring 60/62 (the Leica lens has a 60mm filter thread).
It has been a while since I took one of my Leica lenses out for a walk in the forest. I remembered an excellent macro shot of a bee I took with the same set-up. I wanted to test it again and see how crispy the details look under a 100% magnification (actual pixel) of my newly acquired 16 Megapixel camera Nikon D7000.
Under photoshop I enlarged two zones of this picture of a dead tree trunk and the results are amazingly crisp. The DX format of the camera uses only the center of the lens optics therefore making the image very sharp even in the corners/borders. The Leica 80-200mm was already very sharp on FX format starting at aperture f/5.6 and above (vignetting and little soft at f/4). This lens on DX format is sharper at f/4 and eliminates vignetting.
I was thinking of selling it for lack of use due to its manual focus constraint but I think that I should use it more often for these Macro situations where only Manual Focus works anyway. The focus distance of this set-up is about 30cm which is convenient for insects photography.
Clouds again
Lääne-Austrias sadas täna 35 mm (või cm? - täitsa paks ja märrrrrg kiht paistis) lund. Aga ülehomsest hakkavat soojemaks ja suvisemaks minema.
35 mm (or cm? - looked deep and wet) snow in Western Austria today, just rain here in the East. Summer taking another start on Tuesday, they say. A slow one this time.
youtu.be/kVIbgs1DBaA Trailer
www.rayharryhausen.com/index.php The Official Ray Harryhausen Website
Additional Photos in Set.
www.flickr.com/photos/morbius19/sets/72157635347368507/wi...
Suggested by the book Flying Saucers from Outer Space by retired U.S. Marine Corps Major Donald F. Keyhoe, this story, about an alien invasion of Earth, is highlighted by spectacular special effects by Ray Harryhausen.
Hugh Marlowe as Dr. Russell A. Marvin
Joan Taylor as Carol Marvin
Donald Curtis as Major Huglin, the liaison officer
Morris Ankrum as Brig. Gen. John Hanley
John Zaremba as Prof. Kanter
Thomas Browne Henry as Vice-Admiral Enright
Grandon Rhodes as General Edmunds
Larry J. Blake as a motorcycle policeman
Charles Evans as Dr. Alberts
Paul Frees as Alien (voice)
Harry Lauter as Cutting - Generator Technician
Charles was always cutting out stories from newspapers and in the mid-fifties there were a spat of flying saucer sightings. Charles thought this phenomenon would make a good feature and so Earth Vs the Flying Saucers was the result.
The design of the saucers was based on what most people would expect but Ray added an animated section into the top and underside that also had flutes in them so that people could see it was moving.
The various sizes of saucers (there are seven in total) were made from aluminium by Ray’s father and then anodised giving them a matt finish so they didn’t reflect light.
Ray never liked the latex alien suits used in the film even though he designed them. He would have preferred to animate models of the aliens but because of budget restrictions this was never possible.
Instead of drawing entire storyboards for the action, Ray used location photographs and executed rough sketches on them and then mounted them for storyboards.
As with The Beast From 20,000 Fathoms, a great number of the rear project plates were stills.
For all the aerial model work Ray used old recording wire on which to suspend the saucers.
The miniatures sets – The Capitol and the Supreme Court buildings cost $1500 each and the Washington Monument cost just $500. Compare those costs with today’s budgets
Earth vs. The Flying Saucers (EvFS) is the flagship of 50s sci-fi B movies. It has all the hallmarks of a typical B movie: shot in black and white, much stock footage, low-budget props, etc. That said, EvFS is still the best of its breed. The acting is good (for the most part). Ray Harryhausen's stop-motion animation of the saucers is great. His saucers have more "life" than any model on a string could attain. The basic premise of hostile aliens invading the earth with flying saucers was a classic. EvFS would be a significant influence in Tim Burton's 1996 movie Mars Attacks.
Dr. Marvin (Hugh Marlowe) heads a nascent satellite program, but all of his satellites blow up or fall from orbit. A saucer buzzes Dr. Marvin and his wife as they drive to the base. Despite a call from Dr. Marvin's father-in-law (Morris Ankrum), they launch the next rocket. A saucer descends on the base. Troops open fire. The saucer is invulnerable, but one of the robot-like aliens is hit. The other alien-bots use heat beams to destroy the base. Only Dr. Marvin and his wife escape because they were in a deep bunker. The aliens came from a defunct solar system, intent on taking over the earth. They want earthlings to surrender peacefully so their new home won't be a ruin from the battle. Mankind is defiant. The aliens give earth 56 days to think it over. The time is used, instead, to develop an anti-saucer weapon. Dr. Marvin and staff develop a magnetic disruptor which makes the saucers unstable. When the fleet of saucers finally arrive over Washington DC, a whole fleet of disrupter-beam equipped Ford flatbed trucks is there to greet them. A mighty battle rages. Saucer heat beams destroy much, but the trucks take their toll too. Saucers wobble and fall into a variety of DC landmarks, including the Washington Monument. Finally, the last saucer falls. Earth is saved! The end.
It's hard not to enjoy this classic of 50s B sci-fi. It has everything a 50 sci-fi fan loves. The acting is reasonably good, the pacing is pretty good too, so even someone who isn't a fan of the genre could be suitably entertained.
EvFS is a classic allegory of Cold War tensions. A hostile force seeks to invade and take over. In the mid-50s, the threat from communism was never far from viewers' minds. The caustic Soviet leader Nikita Khrushchev would say, later in 1956 "We will bury you!" would say later. When, in the movie, the earthlings decide to fight the saucers, an Army general says: "When an armed and threatening power lands uninvited in our capitol, we don't meet him with tea and cookies!" Such was American popular sentiment towards the threat of communism.
Stock Footage Fun -- amid the usual clips of P-80s and V-2s (Checkers!) and other military clips, are stock disaster clips. Storms, fires, destruction. For the sci-fi fan, there are also snippets recycled from earlier sci-fi movies. There are battle scenes cut from War of the Worlds ('53) and The Day the Earth Stood Still ('51).
Cheap Suit -- The aliens walk about in crude robot-like suits with faceless bullet-shaped helmets. The fit and finish of these suits is quite poor when you get a good look at them.
Alien Glimpse -- The brief scene in which the real alien (head) is exposed, reveals the taxonomy that would become archetypal: big head, tapering to a small neck, large almond-shaped eyes, tiny mouth. They're also said to weigh little, being fairly weak and frail. Of the many sorts of invading aliens seen thus far in the 50s, some were simple -- men in leotards Killers from Space, if not just plain people Devil Girl from Mars and Flight to Mars and giant humanoids: The Thing. A very few hostile (or at least frightening) invaders were not humanoid: Invaders from Mars and War of the Worlds. The alien in EvFS appears to be an early showing of what would later become the presumed "true" shape of alien life forms.
Bottom line? EvFS is well worth watching. Fans of 50s sci-fi will enjoy it. Family members of fans of 50s sci-fi can tolerate it. In many ways, it is the epitome of the B grade 50s science fiction movie.
Sparked by the arrest of Rosa Parks on 1 December 1955, the Montgomery bus boycott was a 13-month mass protest that ended with the U.S. Supreme Court ruling that segregation on public buses is unconstitutional. The Montgomery Improvement Association (MIA) coordinated the boycott, and its president, Martin Luther King, Jr., became a prominent civil rights leader as international attention focused on Montgomery. The bus boycott demonstrated the potential for nonviolent mass protest to successfully challenge racial segregation and served as an example for other southern campaigns that followed.
The roots of the bus boycott began years before the arrest of Rosa Parks. The Womens’ Political Council (WPC), a group of black professionals founded in 1946, had already turned their attention to Jim Crow practices on the Montgomery city buses. In a meeting with Mayor W. A. Gayle in March 1954, the council's members outlined the changes they sought for Montgomery’s bus system: no one standing over empty seats; a decree that black individuals not be made to pay at the front of the bus and enter from the rear; and a policy that would require buses to stop at every corner in black residential areas, as they did in white communities. When the meeting failed to produce any meaningful change, WPC president Jo Ann Robinson reiterated the council’s requests in a 21 May letter to Mayor Gayle, telling him, ‘‘there has been talk from twenty-five or more local organizations of planning a city-wide boycott of busses’’.
A year after the WPC’s meeting with Mayor Gayle, a 15-year-old named Claudette Colvin was arrested for challenging segregation on a Montgomery bus. Seven months later, 18-year-old Mary Louise Smith was arrested for refusing to yield her seat to a white passenger. Neither arrest, however, mobilized Montgomery’s black community like that of Rosa Parks later that year.
King recalled in his memoir that ‘‘Mrs. Parks was ideal for the role assigned to her by history,’’ and because ‘‘her character was impeccable and her dedication deep-rooted’’ she was ‘‘one of the most respected people in the Negro community’’ (King, 44). Robinson and the WPC responded to Parks’ arrest by calling for a one-day protest of the city’s buses on 5 December 1955.
Robinson prepared a series of leaflets at Alabama State College and organized groups to distribute them throughout the black community. Meanwhile, after securing bail for Parks with Clifford and Virginia Durr, E. D. Nixon, past leader of the Montgomery chapter of the National Association for the Advancement of Colored People (NAACP), began to call local black leaders, including Ralph Abernathy and King, to organize a planning meeting. On 2 December, black ministers and leaders met at Dexter Avenue Baptist Church and agreed to publicize the 5 December boycott. The planned protest received unexpected publicity in the weekend newspapers and in radio and television reports.
On 5 December, 90 percent of Montgomery’s black citizens stayed off the buses. That afternoon, the city’s ministers and leaders met to discuss the possibility of extending the boycott into a long-term campaign. During this meeting the MIA was formed, and King was elected president. Parks recalled: ‘‘The advantage of having Dr. King as president was that he was so new to Montgomery and to civil rights work that he hadn’t been there long enough to make any strong friends or enemies’’ (Parks, 136).
That evening, at a mass meeting at Holt Street Baptist Church, the MIA voted to continue the boycott. King spoke to several thousand people at the meeting: ‘‘I want it to be known that we’re going to work with grim and bold determination to gain justice on the buses in this city. And we are not wrong.… If we are wrong, the Supreme Court of this nation is wrong. If we are wrong, the Constitution of the United States is wrong. If we are wrong, God Almighty is wrong’’ (Papers 3:73). After unsuccessful talks with city commissioners and bus company officials, on 8 December the MIA issued a formal list of demands: courteous treatment by bus operators; first-come, first-served seating for all, with blacks seating from the rear and whites from the front; and black bus operators on predominately black routes.
The demands were not met, and Montgomery’s black residents stayed off the buses through 1956, despite efforts by city officials and white citizens to defeat the boycott. After the city began to penalize black taxi drivers for aiding the boycotters, the MIA organized a carpool. Following the advice of T. J. Jemison, who had organized a carpool during a 1953 bus boycott in Baton Rouge, the MIA developed an intricate carpool system of about 300 cars. Robert Hughes and others from the Alabama Council for Human Relations organized meetings between the MIA and city officials, but no agreements were reached.
In early 1956, the homes of King and E. D. Nixon were bombed. King was able to calm the crowd that gathered at his home by declaring: ‘‘Be calm as I and my family are. We are not hurt and remember that if anything happens to me, there will be others to take my place’’ (Papers 3:115). City officials obtained injunctions against the boycott in February 1956, and indicted over 80 boycott leaders under a 1921 law prohibiting conspiracies that interfered with lawful business. King was tried and convicted on the charge and ordered to pay $500 or serve 386 days in jail in the case State of Alabama v. Martin Luther King, Jr. Despite this resistance, the boycott continued.
Although most of the publicity about the protest was centered on the actions of black ministers, women played crucial roles in the success of the boycott. Women such as Robinson, Johnnie Carr, and Irene West sustained the MIA committees and volunteer networks. Mary Fair Burks of the WPC also attributed the success of the boycott to ‘‘the nameless cooks and maids who walked endless miles for a year to bring about the breach in the walls of segregation’’ (Burks, ‘‘Trailblazers,’’ 82). In his memoir, King quotes an elderly woman who proclaimed that she had joined the boycott not for her own benefit but for the good of her children and grandchildren (King, 78).
National coverage of the boycott and King’s trial resulted in support from people outside Montgomery. In early 1956 veteran pacifists Bayard Rustin and Glenn E. Smiley visited Montgomery and offered King advice on the application of Gandhian techniques and nonviolence to American race relations. Rustin, Ella Baker, and Stanley Levison founded In Friendship to raise funds in the North for southern civil rights efforts, including the bus boycott. King absorbed ideas from these proponents of nonviolent direct action and crafted his own syntheses of Gandhian principles of nonviolence. He said: ‘‘Christ showed us the way, and Gandhi in India showed it could work’’ (Rowland, ‘‘2,500 Here Hail’’). Other followers of Gandhian ideas such as Richard Gregg, William Stuart Nelson, and Homer Jack wrote the MIA offering support.
On 5 June 1956, the federal district court ruled in Browder v. Gayle that bus segregation was unconstitutional, and in November 1956 the U.S. Supreme Court affirmed Browder v. Gayle and struck down laws requiring segregated seating on public buses. The court’s decision came the same day that King and the MIA were in circuit court challenging an injunction against the MIA carpools. Resolved not to end the boycott until the order to desegregate the buses actually arrived in Montgomery, the MIA operated without the carpool system for a month. The Supreme Court upheld the lower court’s ruling, and on 20 December 1956 King called for the end of the boycott; the community agreed. The next morning, he boarded an integrated bus with Ralph Abernathy, E. D. Nixon, and Glenn Smiley. King said of the bus boycott: ‘‘We came to see that, in the long run, it is more honorable to walk in dignity than ride in humiliation. So … we decided to substitute tired feet for tired souls, and walk the streets of Montgomery’’ (Papers 3:486). King’s role in the bus boycott garnered international attention, and the MIA’s tactics of combining mass nonviolent protest with Christian ethics became the model for challenging segregation in the South.
+2 in comments..
I dunno which one was the best.. but I kinda like the first one in comments,.. i dunno the decision is up to you guys((:
i kinda had a rotten day.. but its all good now! teeeheee.., well im gonna check you guys' streams right now so.. byebye for now!
ANDANDANDAND!!!!
i wanna thank EVERY SINGLE PERSON who wrote me a testimonial, i love you guys so much! please check them out i spent like a whole lotta time tagging them(:
ALSO thank you for viewing and commenting!! YOU GUYS RULE:DD
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“I know that you believe you understand what you think I said, but I'm not sure you realize that what you heard is not what I meant.”
Robert McCloskey quotes
======================
Happiness.Is.You :] / © All rights reserved. Any use without my permission is illegal.
www.familistere.com/site/index.php
fr.wikipedia.org/wiki/Familistère_de_Guise
de.wikipedia.org/wiki/Familistère_(Guise)
en.wikipedia.org/wiki/Jean-Baptiste_André_Godin
« Ne pouvant faire un palais de la chaumière ou du galetas de chaque famille ouvrière, nous avons voulu mettre la demeure de l’ouvrier dans un palais ; le Familistère, en effet, n’est pas autre chose, c’est le palais du travail, c’est le PALAIS SOCIAL de l’avenir.
Ce qu’il n’est pas possible de faire au profit de familles éparpillées et sans lien, les améliorations qu’on ne peut introduire dans le tohu-bohu des habitations ouvrières, ni à la ville, ni à la campagne, ni dans les caves, ni dans les mansardes habitées ; ce que ne permettent pas même les habitations ouvrières isolées les mieux construites, quel qu’en soit le système : le Familistère le permet, le palais social le rend possible, bien plus, il le rend nécessaire. »
Jean-Baptiste-André Godin La Richesse au service du peuple, le Familistère de Guise. 1875.
Les chiffres du Familistère : ( source Wikipédia )
10 millions de briques sont nécessaires à la construction des trois pavillons du Palais Social.
30 000 m² de surfaces sont offerts par l’ensemble des trois pavillons.
1 kilomètre de coursives parcourt les trois pavillons du Palais.
500 fenêtres percent les façades des trois unités d’habitation.
495 appartements sont aménagés dans l’ensemble des cinq pavillons du Familistère avant 1918.
1 748 personnes habitent au Familistère en 1889.
50 berceaux peuvent être installés dans la nourricerie du Familistère.
796 invités participent au banquet de la cinquième fête du Travail dans la cour du pavillon central en 1872.
1 000 spectateurs prennent place au théâtre en 1914.
1 526 employés travaillent dans les usines de la Société du Familistère en 1887.
2 500 est le nombre de record d’employés de l’Association du Familistère de Guise et à Bruxelles en 1930.
4 000 modèles d’appareils et d’accessoires sont fabriqués par la Société du Familistère en 1914.
210 000 appareils sont expédiés par les usines de Guise et Bruxelles en 1913-1914.
664, c’est le nombre de pages qui composent le livre Solutions Sociales publié par Godin en 1871.
JEAN-BAPTISTE GODIN ( ENGLISH )
Jean-Baptiste André Godin (26 January 1817 -29 January 1888) was a French industrialist and social experimentor born on the 26th of January 1817 at Esquéhéries (Aisne).
The son of an artisan, he entered an iron-works at an early age, and at seventeen made a tour of France as journeyman. Returning to Esquéhéries in 1837, he started a small factory for the manufacture of castings for heating-stoves. The business increased rapidly, and for the purpose of railway facilities was transferred to Guise in 1846. At the time of Godin's death in 1888 the annual output was over four millions of francs (4,160,000), and in 1908 the employees numbered over 2000 and the output was over 280,000.
An ardent disciple of Charles Fourier, he advanced a considerable sum of money towards the disastrous Fourierist experiment of V. P. Considerant (q.v.) in Texas (known as La Reunion. He profited, however, by its failure, and in 1859 started the Familistère, or community settlement, of Guise on more carefully laid plans.
The Familistère forms a town within the town of Guise. It comprises, in addition to a large factory, three large buildings, each four stories high, capable of housing all the work-people, each family having two or three rooms. The main building consists of three rectangular blocks joined at the corners. Each of these blocks has a central court covered with a glass roof under which children can play in all weather. There is no church of any sort. (There are, of course, churches within the rest of Guise). At the back of the main block there was a nursery. There is a separate block, known as the "economat", containing various shops, refreshment rooms and recreation rooms of various kinds(?), stores for the purchase of groceries, drapery and every necessity. This has recently (2008) been restored and is now a cafe, a shop selling books, postcards etc and an exhibition area. There were also allotments for the workers.
Opposite the main block there was a building containing a theater for concerts and dramatic entertainments and a primary school. There was also a communal laundry and swimming pool. This was a few years ago derelict but has now been restored. The swimming pool is still a swimming poll but the laundry is a meeting room and the drying room is now (2008) an exhibition room. In 1880 the whole was turned into a co-operative society, with provision by which it eventually became the property of the workers.
Godin manufactured cookers and heating stoves of many kinds mainly made from cast iron castings. Sometimes these were enameled. These are still to be found in use all over France. They can be found for sale on eBay.
This business was still owned by the workers in the 1950s but soon after was taken over by Le Creuset. It is not obvious that the factory is still functioning. It is seems the domestic building were privatised. The state of the domestic buildings was deteriorating but has recently been awarded EU money for it to be restored.
In 1871 Godin was elected deputy for Aisne, but retired in 1876 to devote himself to the management of the Familistère. In 1882 he was created a Knight of the Legion of Honor.
Godin was the author of Solutions sociales (1871); Les Socialistes et les Droits du travail (1874); Mutualité sociale et association du capital et du travail (1880); La Republique du travail et la reforme parlementaire (1889). See Bernardot, Le Familistère de Guise et son fondateur (Paris, 1887); Fischer, Die Familistère Godins (Berlin, 1890); Lestelle, Etude sur le Familistère de Guise (Paris, 1904); D. F. P., Le Familistère illustr, résultals de vingt ans d'association, 1880-1900 (Eng. trans., Twenty-eight years of co-partnership at Guise, by A. Williams, 1908).
Dahlia petals start green, but gain color as they mature towards blooming.
Looks good enough to eat when you View LARGE On Black.
Awards count for this photo.
Nikon D5000 at ISO 200, Nikkor 105-mm macro lens, 1/200-sec at f/11, Overcast sky & Nikon SB-600 flash unit with O-Flash 3/4-ringlight attachment (fill). 1:1 magnification.
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i bet you wouldn't like what i had in store for you.
so i've decided to start a mini series called "Secret Santa". inspired by this lovely girl.
i thought i'd start trying to get everybody into the "christmasy" theme, and happy. so for the next few days you'll see christmas shots kind of counting down until christmas. :)
i'm really excited to start this, and i'm hoping you guys could all support me on this. i'm going to use these photos as my 365's as well.
(one more in comments)
[december 7th, 2009]
20/365
I really love this song.....and it can be interpretated many ways.
For myself, I find that I am my own worst enemy. I have a hard time forgiving myself of things in my past....or even though I may have forgiven somebody else for things done to me....there is a scar that remains. Sometimes I feel like the"old" me has a grip on the "present" me...and I just want her to LET GO, so that I don't lost myself.
"Let Go" - RED
Hey you, look what you do to me
You bend and you bruise me
Why you try to control me?
But you don't know me
How come you just want to hurt me?
How come you just want to push me?
I can't ignore you anymore
Cause everywhere I turn you
You burn me, you break me
You always want to take me down with you
What do you want from me?
I don't wanna be afraid, I don't wanna run away
I don't want to be here fading it's more that I can take
I'm never gonna be the same
I threw it all away
I don't want to be here fading
Just let go! (look what you do to me)
Let go! (look what you do to me)
Hey you, look what you do to me
You burnt and you scared me
With all that you tell me (but I don't listen!)
You love me, you hate me
You always want to take me down with you
What do you want from me?
I don't wanna be afraid I don't wanna run away
I don't want to be here fading it's more that I can take
I'm never gonna be the same
I threw it all away
I don't want to be here fading
Just let
You kept pushing me
You keep using me
You keep twisting me
You keep breaking me
You can't have me anymore [x3]
You can't have me, let go!
I don't wanna be afraid, I don't wanna run away
I don't want to be here fading it's more that I can take
I'm never gonna be the same
I threw it all away
I don't want to be here fading
Just let go! Let go! Just let go!
I don't wanna be afraid
Let go! (I don't wanna run away!)
Just let go! Let go! Let go!
**I used two textures, one each from
Haeretik and Ghostbones.
Thank you both for sharing these great textures!!!
***Listen to the song here!
Thank you for comments, adding to fav's - and your time :-)
© All Rights Reserved - no usage allowed in any form without my written permission.
Jardin au centre-ville - Garden in the centre of downtown
- If you come to Montréal, it is guaranteed that you will come here because Place Ville-Marie is a famous building in the heart of downtown. Photo taken from the steps going down to the street.
- Si vous venez à Montréal, c'est garanti que vous allez venir ici car Place Ville-Marie est un édifice renommé au coeur du centre-ville de Montréal. La photo fut prise en descendant vers la rue.
Place Ville-Marie comprises two short buildings, a tall cross-shaped one as you see here and a beautiful shopping plaza underneath this raised area. As you can see behind the sculpture, there are entrances covered by huge skylights. The sculpture is in a fountain and there are grassed squares with trees. There is of course an underground parking lot. The Place Ville-Marie shopping plaza was the start of the city's also famous underground city which now comprises of many interconnecting underground areas throughout the downtown core. The famous Queen Elizabeth Hotel can be seen in the background (right). The architecture is very simple but this hotel is a very luxurious one. Hôtel Le Reine Elizabeth
El monumento al rey Alfonso XII es un conjunto escultórico situado casi en el centro del parque del Retiro.
En 1902 se convocó un concurso nacional para construir un monumento al rey Alfonso XII, a iniciativa de la reina madre María Cristina. El ganador fue el arquitecto José Grases Riera con un grandioso proyecto en uno de los lados mayores del Estanque del Retiro, compuesto por una gran columnata con gran número de esculturas que rodearía a la estatua ecuestre del rey, inmediata al estanque, todo ello en bronce y mármol. Al fallecer, fue sustituido en la dirección por Teodoro Anasagasti, que no introdujo modificaciones. El monumento, financiado por suscripción popular, fue inaugurado el 6 de junio de 1922.
Todo el conjunto mide 30 metros de alto, 86 metros de largo y 58 metros de ancho, y participaron en su elaboración más de veinte escultores. Fue la primera estatua conmemorativa de las que durante el pasado siglo fueron poblando los jardines: obras como las de Benlliure, Clará y Mateo Inurria entre otros.
En primer término aparece la estatua ecuestre del rey, fundida en bronce, realizada por Mariano Benlliure en 1904. En el basamento central, «La Paz» de Miquel Blay, «La Libertad» de Aniceto Marinas y «El Progreso» de Miguel Ángel Trilles. En el zócalo, tres relieves de bronce. Del monumento central avanzan unas escalinatas hacia el estanque, con cuatro leones de piedra que labraron Vallmitjana y Estany. Debajo de sus pedestales, en bronce, cuatro sirenas, obra de Parera, Atche, Coll y Alsina. También hay dos leones con amorcillos en cada uno de los accesos laterales al hemiciclo, obras de Francisco Javier Escudero Lozano, Bofill, Arnau y Campmany. A ambos lados del acceso central en la columnata, «El Ejército» de Montserrat y «La Marina» de Mateo Inurrria. En la cara interna, frente al estanque aparecen representadas, en bronce, «Las Ciencias» de Fuxá, «La Agricultura» de Alcoverro, «Las Artes» de Bilbao y «La Industria» de Clará. La ornamentación de frisos y basamento central fue realizada por Estany
Mark Hill, a member of Zen Zen Zo, during a promotional performance of Zeitgeist at the Festival Fringe.
I was spell-bound.
Mark Hill of Zen Zen Zo performs a dance from Zeitgeist. This was taken on the Royal Mile.
MARK HILL has been performing with Zen Zen Zo Physical Theatre since 2003. He will perform in Zeitgeist at the Edinburgh Fringe Festival in August this year. Other credits with the company include: The Dairakudakan Project (09); Zeitgeist (08); Tokyo Vogue (08/07); Dracula (07); An End to Dreaming (06); World Shakespeare Congress (06); …those with Lucifer (05) and; The Odyssey (04).
Mark has performed with Amanda Palmer (The Dresden Dolls) as part of The Danger Ensemble (World Tour 08 -09, Australian Tour 08, Edinburgh 07). He has been a Butoh dancer with Dairakudakan (Japan, 07); Yoshimoto Daisuke (Japan, 06); SU-EN Butoh Company (Sweden, 05) and; Yoshioka Yumiko (Germany, 05).
Mark has a Bachelor of Education and teaches Physical Theatre nationally and internationally (Thailand 07, Japan 06). He was the Adult Education Co-ordinator for Zen Zen Zo (08). He teaches at all levels of education (including QUT 08) and has taught the professional year students at the Queensland Ballet (08).
(information from Zen Zen Zo's official site)
Hilo de la Fotohistoria en Pullip .es: DATING AT CINEMA (1 of 5): Minao Theatre /
CITA EN EL CINE (1 de 5): Cines Minao
(Read in this order) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 256, 257, 258, 259, 260, 261, 262, 263, 264, 265, 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286.
FOTOSTORY: In English / En Español
Dom: Okay, so, what do you want?
/
Dom: A ver, que quieres?
COLLABORATION:
- Dom y Akari en el Foro de Pullips: Pullip .es
- Cinema's diorama by Minao. Sweets shop's diorama by Sheryl and Minao Collaboration.
- Little interpretation of Mad_Pullip's Emily as a MUSE fan.
SHERYL LINKS:
- Pullip .es: Las Fotohistorias de Sheryl
- Sheryl's Flickr: Photostories 2011 - Sketches 2011 / Photostories 2012 - Sketches 2012
Trekking in Nepal is part of adventure trekking tourism and Adventure Trekking in Nepal and Trekking in Himalaya. Natures to renew one’s own self regard, to relive oneself, to realize Nepal beauty, to interact with its generous, friendly peoples are highlights of trekking in Nepal. Trekking is one long term activity that draws repeat visitors. So, Nepal is final purpose for trekking. Offers numerous options walking excursion to meet snowy peaks, their foot hills, valleys but however there is amazing for each who hope trek in Nepal hill, mountain area. Typical trekking and hiking in Nepal as unique combination of natural glory, spectacular trekking trips to hard climbing and Everest Base Camp Trek is most rewarding way to skill Nepal natural beautification and cultural array is to walking, trekking, width and the height of country. Trekking is important of travel Nepal for trekking tours Himalaya on description Nepal tour of large range of ecological features for Nepal Travel Holiday. The country nurtures a variety of flora and scenery. Addition to natural atmosphere is rich Himalayan culture. Many of visitor trek to different part of Nepal every year to experience its rustic charm, nature and culture. Most treks through areas between 1000 to 5185m, though some popular parts reach over 5648 meters. Trekking is not climbing, while the climb of Himalayan peaks and enjoy walking holiday in Nepal and trekking tours Nepal might be an attraction for travelers. Every travelers knows for the trekking in Nepal from all over the words an inspiring knowledge. Attraction for your Travel Holiday in Nepal of beauty and its excellent culture.
Annapurna trekking www.trekshimalaya.com/annapurna_region.php region of Nepal enjoy with magnificent view close to highest and impressive mountain range in the world. Day exploration in Pokhara and morning morning flight to Jomsom or drive to Besishisahar from Kathmandu begin of trek. High destination, Muktinath 3800m and in generally highest point of whole Annapurna is 5416m. Thorangla la is situated in Buddhist Monastery, an eternal flame, and Hindus Vishnu Tempe of Juwala Mai making it a pilgrimage site for both Hindus and Buddhists and Muktinath is on the way down from popular trekking it call Thorang la pass which is incredible view in Annapurna region. Whenever possible we will arrive at lodging mid-afternoon, which should www.adventurestrekking.com leave plenty time for explore the local villages, enjoy the hot springs at Tatopani, continue to Ghorepani where there is forever the possibility of sunrise hike to Poon Hill for spectacular views of Dhaulagiri, Fishtail, Nilgiri and the Annapurna Himalaya range. Continue on to Birethanti finally between with the Baglung road where we will catch cab to Pokhara, next day drive or fly to Kathmandu.
Everest trekking www.trekshimalaya.com/everest_region.php region, although fairly effortless compare to some of other trek, takes you high along trails to Tengboche monastery Everest Solu Khumbu is the district south and west of Mount Everest. It is inhabited by sherpa, cultural group that has achieve fame because of the develop of its men on climbing expeditions. Khumbu is the name of the northern half of this region above Namche, includes highest mountain (Mt. Everest 8848m.) in the world. Khumbu is in part of Sagarmatha National Park. This is a short trek but very scenic trek offers really superb view of the world's highest peaks, including Mt. Everest, Mt. Lhotse, Mt. Thamserku, Mt. Amadablam and other many snowy peaks. Fly from www.adventurestrekking.com Kathmandu to Lukla it is in the Khumbu region and trek up to Namche Bazzar, Tyangboche and into the Khumjung village, a very nice settlement of Sherpas people. This trek introduction to Everest and Sherpa culture with great mountain views, a very popular destination for first time trekkers in Nepal. Justifiably well-known world uppermost mountain (8848m.) and also for its Sherpa villages and monasteries. Few days trek from Lukla on the highland, takes you to the entry to Sagarmatha National Park and town of Namche Bazaar is entrance of Everest Trek. Environment of the towering Himalayas is a very delicate eco-system that is effortlessly put out of balance.
Langtang trekking www.trekshimalaya.com/langtang_region.php region mixture of three beautiful trek taking us straight into some of the wildest and most pretty areas of Nepal. Starting from the lovely hill town of Syabrubensi our trek winds during gorgeous rhododendron and conifer forests throughout the Langtang National Park on the way to the higher slopes. Leads up to the high alpine yak pastures, glaciers and moraines around Kyanging. Along this route you will have an chance to cross the Ganja La Pass if possible from Langtang Valley. Trail enters the rhododendron (National flower of Nepal) forest and climbs up to alpine yak pastures at Ngegang (4404m). From Ngegang we make a climb of Ganja La Pass (5122m). We start southwest, sliding www.adventurestrekking.com past Gekye Gompa to reach Tarkeghyang otherwise we take a detour and another unique features of trekking past, the holy lakes of Gosainkund (4300 m.) cross into Helambu via Laurebina to Ghopte (3430 m) and further to Trakegyang. Northern parts of the area mostly fall within the boundaries of Langtang National park.
Peak Climbing in Nepal www.trekshimalaya.com/peak_climbing.php is great view of Himalayas and most various geological regions in asia. Climbing of peaks in Nepal is restricted under the rules of Nepal Mountaineering Association. Details www.adventurestrekking.com information and application for climbing permits are available through Acute Trekking. First peak climbing in Nepal by Tenzing Norgey Sherpa and Sir Edmund Hilary on May 29, 1953 to Mt. Everest. Trekking Agency in Nepal necessary member from Nepal Mountaineering Association. Our agency will arrange equipment, guides, high altitude porters, food and all necessary gears for climbing in Nepal. Although for some peaks, you need to contribute additional time, exertion owing to improved elevation and complexity. Climbing peaks is next step beyond simply trekking and basic mountaineering course over snow line with ice axe, crampons, ropes etc under administration and coaching from climbing guide, who have substantial mountaineering knowledge and for your climbing in mountain.
www.trekshimalaya.com/trekking_in_nepal.php
www.trekshimalaya.com/teahouse_trek.php
www.trekshimalaya.com/annapurna_region.php
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www.trekshimalaya.com/high_pass_treks.php
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www.trekshimalaya.com/three_pass_trekking.php
www.adventurestrekking.com/package-tour.php
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The Magnificent and beautiful lady, the Statue of Liberty, Liberty Island, New York City. I was so moved by her stunning beauty and impressed by the absolute perfection of this marvelous representation of liberty. I took this photo of the magnificent Statue of Liberty on my first trip to Liberty Island and New York City in October 2004. She is of utmost beauty and I was totally blown away by her magnifigance.
THE STATUE OF LIBERTY
Liberty Enlightening the World (French: La liberté éclairant le monde), known more commonly as the Statue of Liberty (Statue de la Liberté), is a large statue that was presented to the United States by France in 1886. It stands at Liberty Island, New York in New York Harbor as a welcome to all visitors, immigrants, and returning Americans. The copper-clad statue, dedicated on October 28, 1886, commemorates the centennial of the United States and is a gesture of friendship from France to America. Frédéric Auguste Bartholdi sculpted the statue, and Alexandre Gustave Eiffel (designer of the Eiffel Tower) engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper in the statue's construction and adoption of the repoussé technique.
The statue is of a female figure standing upright, dressed in a robe and a seven point spiked rays representing a nimbus (halo), holding a stone tablet close to her body in her left hand and a flaming torch high in her right hand. The tablet bears the words "JULY IV MDCCLXXVI" (July 4, 1776), commemorating the date of the United States Declaration of Independence.
The statue is made of a sheeting of pure copper, hung on a framework of steel (originally puddled iron) with the exception of the flame of the torch, which is coated in gold leaf. It stands atop a rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. The statue is 151' 1" (46.5 m) tall, with the pedestal and foundation adding another 154 feet (46.9 m).
Worldwide, the Statue of Liberty is one of the most recognizable icons of the United States, and, more generally, represents liberty and escape from oppression. The Statue of Liberty was, from 1886 until the jet age, often one of the first glimpses of the United States for millions of immigrants after ocean voyages from Europe. The Statue of Liberty's obviously classical appearance (Roman stola, sandals, facial expression) derives from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Broken shackles lie at her feet. The seven spikes in the crown represent the Seven Seas and seven continents. Her torch signifies enlightenment. The tablet in her hand shows the date of the nation's birth, July 4, 1776.
Since 1903, the statue, also known as "Lady Liberty," has been associated with Emma Lazarus's poem “The New Colossus” and has been a symbol of welcome to arriving immigrants. The interior of the pedestal contains a bronze plaque inscribed with the poem, which reads:
“Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
"Keep ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!"
There are 354 steps inside the statue and its pedestal. There are 25 windows in the crown which comprise the jewels beneath the seven rays of the diadem. The tablet which the Statue holds in her left hand reads, in Roman numerals, "July 4, 1776" the day of America's independence from Britain. The Statue of Liberty was engineered to withstand heavy winds. Winds of 50 miles per hour cause the Statue to sway 3 inches (7.62 cm) and the torch to sway 5 inches (12.7 cm). This allows the Statue to move rather than break in high [wind load] conditions.
Source: Wikipedia
People in they're workplace series - #2
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Sigma EF-530 DG Super EO-ETTL II
- on camera
- bounced of wall behind me and ceiling
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Brittany is a hair stylist at Genesis Salon in Suwanee, GA, a good buddy of mine and the first person to have cut my hair in over a year and a half (just doing it myself until recently). This was shot in her salon of employ in a series I'm doing on people in they're workplace environment.
She is a phenomenal hairstylist with the example of expertise spreading throughout our certain crowd of friends, as well as an aspiring videographer interning with the company "Point. Click. Shoot."
Check her photostream here: Brittany Loraine Crawford
I seriously owe her one. My hair looks sick!
There is this awesome, amazing, epic band that is known as Jack's Mannequin. On their latest album, The Glass Passenger, one of the tracks is 'Annie Use Your Telescope'. My dear friend Megan, who is hopelessly in love with Andrew McMahon, the brains behind Jack's Mannequin and my obsession, /Something Corporate. (I was turned on to SoCo when I was 12, hardcore love.) Soon after their most recent album was released, I turned Megan on to Flickr, and that is why her Flickr name is Megan Use Your Telescope.
benjifriedman, ishkamina, pareeerica, sxc.hu
I'm all linked out now.
Back log. Still have 3 more days to edit and upload. Gah.
Oh, and one last thing. Have to give credit to Caitlin for the Post-It note idea. I was just going to use a Sharpie on my shirt :p
www.axiomestates.com/real-estate/properties.php?city=Kolk... Town Rajarhat&property=Siddha Xanadu&curr=inr
Set in New Town Rajarhat, Siddha Group is here with their new offering Xanadu with immaculate home studios for those who lead a fast-track life. The realty project is first of its kind in the country, matching New York standards for studio apartments. Meticulously planned, every detail is thoughtfully taken care of at each Xanadu apartment. These 1BHK studio apartments present the last word in technology being cosy, comfortable zone far from the din of city traffic yet having every day need & convenience in hand.
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This is one of my personal favourites to date. As much as I am happy with the photo it also reminds me of the day. Me and Im Regen spent the evening in a wonderful place called Övra-lid on the east side of lake Vättern. It was a glorious and sunny day that ended with the two of us sitting barefoot on a couple of rocks with warm water up to our knees, overlooking the sunset. Finishing up some final photos in that spot we headed up the hill to the car. At the top we stopped to turn around and have a look down on the lake and was presented with this view. The perfect end to the day. Five more minutes for this final image and then home to go through the day's rewards. Among other things, that is precisely what I love about photography.
Where: Sweden, Östergötland, Övra-lid, Lake Vättern: google maps
When: 20090806, A photo walk with Im Regen on a sunny summer's eve.
How and why: Exposing once for land and once for sky, including a lot of the road to allow the texture to make its impact. Also the contrast between the blue road and the red sky.
Editing: Combining the exposures and some tweaking with layers.
HiddenBrains, an offshore web development company offers php web development, asp.net application development, open source customization, ecommerce application development, java development, web designing, hire web developer, hire web programmer, mobile application development, software application development, SEO services to global clients.
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Nueva etapa dentro de poco también en Biodiversidad virtual
Un huevo verde y estrellado es esta zigospora, pequeño embrión de alga que ha crecido dentro de su esférica placenta gelatinosa. Asistimos a la formación de un nuevo ser en el mundo de las algas. Cosmarium es un désmido de contornos redondeados, primo hermano de los alrgados y sonrientes Closterium y de las algas estrella, Staurastrum Micrasterias o Euastrum y esa estrella va en los genes, aunque en Cosmarium el paso del tiempo borre su huella.
Con frecuencia los désmidos se reproducen asexualmente, se quiebran por la mitad para reconstruir después la otra parte de la que han prescindido y que las complementa, así vuelven a regenerar su otra mitad hasta alcanzar el equilibrio en un cuerpo formado por dos porciones que se miran al espejo, exactamente gemelas y este proceso de división asexual y reconstrucción exacta se va repitiendo una y otra vez hasta que algo cambia. Es entonces cuando los désmidos se emparejan, se unen y funden sus cuerpos por completo y así, mezclándose, desaparecen.
Es algo mágico, la unión, aparentemente extinguió dos vidas para formar ahora una sola, ésta, una estrella, armada y protegida aguantará el sol y el hielo, el agua y el polvo y cuando el tiempo mejore se dividirá dos veces para formar no dos, sino cuatro nuevas vidas que serán la mezcla de sus padres y al mismo tiempo sus padres mismamente.
Cosmarium botrytis es un désmido relativamente común en cualquier tipo de medio acuático. Las hormonas vegetales determinan que aparezcan en estas algas fenómenos de reproducción sexual. Dos individuos se aproximan, fabrican una envuelta gelatinosa y transparente que los envuelve como en una burbuja, su cuerpo se romperá por la mitad liberando el interior verde que se funde con el de su pareja, los cascarones de sus antiguos cuerpos quedarán vacíos y se formará así esta forma resistente y estrellada, la zigospora. Como contiene una información genética doble, para poder generar nuevas algas tendrá que dividirse por meiosis formando así cuatro y no dos células hijas.
Cosmarium botrytis , ha sido encontrado así, comenzando a nacer en unas muestras recogidas hace un par de días en unas praderas encharcadas próximas a la localidad zamorana de Villaflor y se ha fotografiado a 400 aumentos empleando la técnica de contraste de interferencia.
Gracias a Santiago Ortiz por incorporar nuestro proyecto a su magnífico Bestiario.
Con nuestra gratitud también para Pilar Gil por la publicación en Qúo, a Antonio Martínez Ron ...y también Paul/
Puedes tener otra infomación en la exposición LA VIDA OCULTA DEL AGUA
Y en este catálogo
También en la galería de Fotolog
Y nuestro granito de arena por la Paz
Sant Romà de Sau, Girona (Spain).
ENGLISH
The reservoir of Sau, constructed between 1949 and 1962, covered the town of Sant Romà de Sau, the rest of which, specially of the bell tower of the romnesque church of 11th century, they are visible when the level of the dammed water is low and at times of drought prolonged the town is in the open and even it is possible to visit.
The origins of Sau go back to year 917, and the parochial church to 11th century. The present population formed in 1962 when finalizing the construction of the dam and the waters had to cover the old town of Sant Romà de Sau. Although he was enough uninhabited (in the nomenclator of 1860 the parish appeared like “uninhabited”), counted with some masias, a Romanesque bridge and a Romanesque church of 11th century of Lombard style.
At the moment of the photos the reservoir is approximately at 10% of its capacity, its historical minimum, mainly because the long run drought that has been undergoing this part of Catalunya for years. The proliferation of nonnative fish introduced by practisers of sport fishing, the low water level and the high insolation of the zone cause a high level of plancton and microscopic seaweed that contaminates the water, reason why in autumn of the 2005 began a draining of this dam in the one of Susqueda to improve the quality of the drinking water, and the collection of fish before they die by lack of oxygen and gets worse still more the quality of the water. Rains of October 2005 temporarily interrupted the draining, that has become to reactivate at beginning of 2008.
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CASTELLANO
El pantano de Sau, construido entre 1949 y 1962, cubrió el pueblo de Sant Romà de Sau, los restos del cual, especialmente del campanario de la iglesia románica del siglo XI, son visibles cuando el nivel del agua embalsada es bajo e incluso en épocas de sequia prolongada el pueblo queda al descubierto y es posible visitarlo.
Los orígenes de Sau se remontan al año 917, y la iglesia parroquial al siglo XI. La población actual se formó cuando en 1962 al finalizar la construcción del embalse y las aguas debían cubrir el antiguo pueblo de Sant Romà de Sau. Aunque estaba bastante despoblado (en el nomenclátor de 1860 la parroquia figuraba como "deshabitada"), contaba con algunas masías, un puente románico y una iglesia de estilo románico lombardo del siglo XI.
En el momento de las fotos el embalse está aproximadamente al 10% de su capacidad, su mínimo histórico, debido principalmente a la larga sequía que sufre esta parte de Catalunya desde hace años. La proliferación de peces no autóctonos introducidos por practicantes de pesca deportiva, el bajo nivel de agua y la alta insolación de la zona provocan un alto nivel de plancton y algas microscópicas que contaminan el agua, por lo que en otoño del 2005 se inició un vaciado de este embalse en el de Susqueda para mejorar la calidad del agua potable, y la recogida de peces antes de que mueran por falta de oxígeno y empeore aún más la calidad del agua. Las lluvias de octubre del 2005 interrumpieron temporalmente el vaciado, que se ha vuelto a reactivar a primeros del 2008.
I've been doing a lot of wedding and portrait photography recently, some of which I will post here in the near future. I also have 16 GB of photography from a recent trip to Paris to work through, so expect a flavour of France too. For now, here's a selfie as I had no models to work with today :-(
I like this one with a black background
I seem to be doing a lot of mosaics and such lately. I won't do this forever - I promise! I shamelessly stole the idea for the inserts from TrubbleShots here.
Today I went shopping. I bought lots of stripy socks. I know they're cliche - but I just love the stripy socks pictures! I had to do some of my own (so expect more in the future - there are more socks!).
Today was the first day I took my photos outside. This is mostly because I tend to take them late in the evening. I took a fair few photos - you can see the originals here. The ones I used in this compilation are here (this one has a neat shadow of my camera and tripod), here (you can see me pulling the socks up in this one), here and here.
I'm very happy with today's picture. Let me know what you think!
Day twelve of my 365 Days challenge.
Sunday, 16th November, 2008
Parc Natural del Garraf - Olivella, Barcelona (Spain).
ENGLISH
Prayer flags are colorful panels or rectangular cloths often found strung along mountain ridges and peaks high in the Himalayas to bless the surrounding countryside or for other purposes. Unknown in other branches of Buddhism, prayer flags are believed to have originated with Bön, which predated Buddhism in Tibet. Traditionally they are woodblock-printed with texts and images.
The Indian Buddhist Sutras, written on cloth in India, were transmitted to other regions of the world. These sutras, written on banners, were the origin of prayer flags. Legend ascribes the origin of the prayer flag to the Shakyamuni Buddha, whose prayers were written on battle flags used by the devas against their adversaries, the asuras. The legend may have given the Indian bhikku a reason for carrying the 'heavenly' banner as a way of signifying his commitment to ahimsa. This knowledge was carried into Tibet by 800 CE, and the actual flags were introduced no later than 1040 CE, where they were further modified. The Indian monk Atisha (980-1054 CE) introduced the Indian practice of printing on cloth prayer flags to Tibet.
Lung Ta (meaning "Wind Horse") horizontal prayer flags are of square or rectangular shape and are connected along their top edges to a long string or thread. They are commonly hung on a diagonal line from high to low between two objects (e.g., a rock and the top of a pole) in high places such as the tops of temples, monasteries, stupas or mountain passes.
Traditionally, prayer flags come in sets of five, one in each of five colors. The five colors represent the elements, and the Five Pure Lights and are arranged from left to right in a specific order. Different elements are associated with different colors for specific traditions, purposes and sadhana:
- Blue (symbolizing sky/space)
- White (symbolizing air/wind)
- Red (symbolizing fire)
- Green (symbolizing water)
- Yellow (symbolizing earth)
More info: en.wikipedia.org/wiki/Prayer_wheel
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CASTELLANO
Las banderas de oración son coloridos paneles o paños rectangulares a menudo encadenados a lo largo de las crestas y de los picos de las montañas en el Himalaya para bendecir el terreno circundante o para otros propósitos. Desconocido en otras ramas del Budismo, se cree que las banderas de oración se originaron con Bön, que precedió el Budismo en el Tíbet. Tradicionalmente los textos y las imágenes son impresiones con plancha.
El Sutras budista indio, escrito en el paño en la India, fue transmitido a otras regiones del mundo. Estos sutras, escritos en banderas, eran el origen de las banderas de oración. La leyenda atribuye el origen de la bandera del rezo al Buda Shakyamuni, cuyos rezos fueron escritos en las banderas de batalla usadas por los devas contra sus adversarios, los asuras. La leyenda pudo haber dado al bhikku indio una razón para llevar la bandera “divina” como manera de significar su compromiso al ahimsa. Este conocimiento fue llevado en Tíbet por el año 800 DC, y las banderas reales fueron introducidas antes del 1040 DC, donde fueron modificadas más a fondo. El monje indio Atisha (980-1054) introdujo en el Tíbet la práctica india de la impresión en banderas de oración.
Las banderas horizontales de oración Lung Ta (significa “caballo del viento”) son de forma cuadrada o rectangular y están conectadas a lo largo de sus bordes superiores con una larga cuerda o hilo. Normalmente se cuelgan en una línea diagonal de arriba a abajo entre dos objetos (por ejemplo, de una roca a la punta de un poste) en lugares altos tales como las puntas de templos, de monasterios, de estupas o de pasos de montaña.
Tradicionalmente, las banderas de oración van en grupos de cinco, cada una de uno de cinco colores. Los cinco colores representan los elementos, y las cinco Luces Puras se disponen de izquierda a derecha en un orden específico. Los diversos elementos se asocian a diversos colores para tradiciones, los propósitos y el sadhana específicos:
- Azul (simbolizando cielo/espacio)
- Blanco (simbolizando aire/viento)
- Rojo (simbolizando fuego)
- Verde (simbolizando agua)
- Amarillo (simbolizando tierra)
The Vines, 81 Lime Street, Liverpool, 1907.
By Walter William Thomas (1849-1912).
Walkers Ales of Warrington.
Grade ll* listed.
See also:-
pubheritage.camra.org.uk/pubs/112
breweryhistory.com/wiki/index.php?title=Vines,_Liverpool
www.govserv.org/GB/Liverpool/236929139665303/The-Vines-%2...
m.facebook.com/The-Vines-the-Big-House-236929139665303/
ymliverpool.com/historic-lime-street-pub-vines-plans-attr...
www.theguardian.com/artanddesign/2020/feb/07/liverpool-pu...
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The Vines public house
Statutory Address: 79-87 Lime Street, Liverpool, L1 1JQ
Grade II* Listed
List Entry Number: 1084210
National Grid Reference: SJ3505890334
Summary
Public house, 1907, by Walter Thomas for Robert Cain & Sons. Neo-Baroque style.
Reasons for Designation
The Vines, constructed in 1907 to the designs of Walter W Thomas for Robert Cain & Sons, is listed at Grade II* for the following principal reasons:
Architectural interest:
* it has an impressive neo-Baroque design with flamboyant principal elevations that maximise its prominent corner location;
* its imposing composition and highly ornate interior reflect the status, wealth and ambition of Robert Cain who sought to create public houses of great beauty;
* the interior decoration is of a superior quality and includes plasterwork by the Bromsgrove Guild and H Gustave Hiller, carved mahogany woodwork throughout, repousse copper panels, and a stained-glass dome in the former billiards room;
* the interior retains high-quality original fixtures and fittings, including elaborate fireplaces, carved baffles with Art Nouveau stained glass, ornate wall panelling, arcaded screens, a striking wave-shaped beaten-copper bar counter in the lounge, and Art Nouveau fireplaces in the upper-floor accommodation.
Group value:
* it has strong group value with its sister building, the nearby Grade I-listed Philharmonic Dining Rooms, which was also designed by Walter W Thomas for Robert Cain & Sons, as well as other listed buildings on Lime Street and Ranelagh Place, including the Grade II-listed Crown Hotel, Adelphi Hotel and former Lewis's department store.
History
The Vines was constructed in 1907 to the designs of Walter W Thomas for the Liverpool brewery Robert Cain & Sons and replaced an early-C19 pub operated by Albert B Vines from 1867; hence the current pub's name. The interior decoration includes works by the Bromsgrove Guild and H Gustave Hiller.
Walter W Thomas (1849-1912) was a Liverpool architect who is best known for his public house designs, but who also produced designs for Owen Owen's department store known as Audley House, and houses around Sefton Park. As well as The Vines, Thomas also designed The Philharmonic Dining Rooms (1898-1900, Grade I) on Hope Street for Robert Cain & Sons, and rebuilt The Crown (1905, Grade II) for Walkers Brewery of Warrington, which is also on Lime Street.
Robert Cain (1826-1907) was born in Ireland but grew up in Liverpool. As a teenager he became an apprentice to a cooper on board a ship carrying palm oil from West Africa and after returning to Liverpool in 1844 he established himself first as a cooper, and then subsequently as a brewer in 1848. Cain began brewing at a pub on Limekiln Lane, but soon moved to larger premises on Wilton Street, and finally to the Mersey Brewery on Stanhope Street in 1858, which Cain extended in the late C19 and early C20. As well as brewing Cain also invested in property, built pubs, and ran a hotel adjacent to the Mersey Brewery. As his brewery business grew (known as Robert Cain & Sons from 1896) it bought out smaller brewers and took control of their pubs, evolving into a company that owned over 200 pubs in Liverpool by the late 1880s. In 1921 Robert Cain & Sons merged with Walkers Brewery to become Walker Cains and the Liverpool brewery at Stanhope Street was sold to Higsons in 1923. After a succession of owners from the 1980s onwards the brewery is being converted for mixed use.
The Bromsgrove Guild of Fine Arts was established in 1898 by Walter Gilbert as a means of promoting high-qualify craftsmanship in metal casting, woodcarving and embroidery in the style of a medieval guild, and included the creation of apprenticeships. The Guild subsequently expanded into other areas of art and design, including jewellery, enamelling, and decorative plasterwork, and recruited the best craftsmen. In 1900 the Guild was showcased at the British Pavilion at the Exposition Universelle in Paris and in 1908 it received a royal warrant. Famous works included the gates at Buckingham Palace, interior decoration on RMS Lusitania and RMS Queen Mary, and the Liver bird statues on the Royal Liver Building in Liverpool. Although the Guild survived the loss of key craftsmen and the Great Depression of the late 1920s it was finally wound up in the 1960s.
Henry Gustave Hiller (1864-1946) was a Liverpool-based designer and manufacturer of stained glass who trained at the Manchester School of Art under Walter Crane. He established a studio in Liverpool in around 1904 and retired in 1940. Although primarily known for his stained glass he worked in a wide variety of mediums, including plasterwork.
Details
Public house, 1907, by Walter W Thomas for Robert Cain & Sons. Neo-Baroque style.
MATERIALS: sandstone ashlar with a pink-granite ground floor, slate roof coverings.
PLAN: The Vines has a V-shaped plan with a north corner in-filled at ground-floor level by a former billiards room. It occupies a corner plot at the junction of Copperas Hill and Lime Street with principal elevations onto both streets. It is bounded by Copperas Hill to the south-east, Lime Street to the south-west, and adjoining buildings to the north-east and north-west.
EXTERIOR: The Vines is of three-storeys plus attic and basement with a nine-bay elevation onto Lime Street, a canted south corner bay, and a six-bay return on Copperas Hill, and entrances on each elevation. The pub has a steep slate roof set behind ornate Dutch gables and a balustraded parapet, and the ground floor has banded rustication to the pink-granite facings. The ground floor is lit by large bow windows containing original patterned brilliant-cut glass and replaced etched glass, whilst the upper-floors have casement windows set within carved surrounds. A cornice projects out from the main face of the building above the ground floor and stood atop it to both the Lime Street and Copperas Hill elevations are later gold letters that read 'WALKERS WARRINGTON ALES', with additional letters to Lime Street that read 'THE VINES'. Above the first floor is a stringcourse interrupted by segmental floating cornices over some of the windows, and in between the windows are floriated drops attached to corbelled pedestals that support Ionic engaged columns between the second-floor windows. The Lime Street elevation has two large Dutch gables with scroll detailing, elaborate finials, paired casement windows with elaborate surrounds, and oculi to the gable apexes, whilst the Copperas Hill elevation has a single gable in the same style. Projecting out from the right gable on Lime Street is a large bracketed clock.
SOUTH CORNER The south corner has a tall doorway to the ground floor accessing the public bar with a decorative wrought-iron and gilded-copper gate with a vestibule behind containing a patterned mosaic floor incorporating the lettering 'RCS' (Robert Cain & Sons) and two partly-glazed and panelled doors; that to the right is no longer in use. The entrance doorway itself is flanked by engaged Ionic columns with copper capitals and drops, and above are large triple keystones and a segmental open pediment, all exaggerated in size. Inscribed to the central keystone is 'The Vines' in gilded lettering. To the south corner's first floor is a glazed oculi with a festoon above incorporating a figurative head keystone, whilst the second-floor window mirrors that of the other elevations. Rising from the top of the corner bay behind the parapet and sandwiched by the Dutch gables on Lime Street and Copperas Hill is a tall round tower topped by a dome with a squat obelisk finial.
LIME STREET The Lime Street elevation incorporates a further entrance to the centre of the ground floor, which is identically styled to that to the south corner, but the lower section of the original gate has been removed and replaced by late-C20 concertina gates. The vestibule behind is lined with pink granite and has a decorative plasterwork ceiling and a small bow-shaped window (possibly an off-sales opening originally and in 2019 now covered with an advertising sign) directly opposite the doorway with a multipaned segmental overlight above. Partly-glazed panelled doors to each side lead into the lounge and public bar to the left and right respectively; both doors are multipaned to their upper halves with panes of brilliant-cut glass. To the left of the main building on Lime Street is an additional lower, rendered single-bay that comprises 79 Lime Street; part of an earlier (now demolished) building that was partly raised, altered and re-used in the early C20 to house The Vines' main accommodation stair. It has a tall doorway to the ground floor flanked by Corinthian columns with two panelled doors with overlights; that to the left previously served a now-demolished part of the building to the left whilst that to the right accesses the stair for The Vines. Single plate-glass sash windows exist to the right on two floors above; that to the second floor has been altered and made smaller, presumably when the stair was inserted internally. Corresponding windows to the left have been blocked up, but are partly visible internally.
COPPERAS HILL The ground floor of the pub's Copperas Hill elevation also has a number of entrances, including one with a doorway incorporating a scrolled floating cornice and prominent keystone that leads into the public bar and originally also a former snug (now altered into a kitchenette). A plainer doorway to the right leads to a stair accessing the upper floors at this end of the building. A single-storey flat-roofed section to the far right of the elevation with a plain recessed doorway is a later addition and provides external access to the former billiards room.
REAR ELEVATIONS The rear (north-east and north-west) elevations are plainer and of brick with large casement windows, some of which incorporate Art Nouveau stained glass. The entire rear yard area is occupied by a flat-roofed billiards room with a large lantern roof over a stained-glass dome visible internally. A cast-iron fire escape provides access down onto the roof of the billiards room.
INTERIOR: internally the pub has a linear sequence of rooms from south-east to north-west formed by a public bar, lounge and smoke room, with a large former billiards room at the rear. There are high ceilings and carved mahogany woodwork throughout the ground floor, and plasterwork by the Bromsgrove Guild and H Gustave Hiller.
PUBLIC BAR The south corner entrance leads into a large public bar with a richly moulded plasterwork ceiling and a panelled mahogany bar counter to the north corner that originally ran down the north-east side of the room, but was shortened in 1989. Rising from the bar counter are short mirror-panelled piers supporting a pot shelf surmounted by three twin-armed brass lamps, and in front of the counter is a brass foot rail. The bar-back behind forms part of a carved, arcaded and panelled screen that runs down the north-east side of the public bar and incorporates stained, leaded, and cut glass, and two openings; the opening to the right has lost its original panelled infill, which would have been in similar style to the bar-back, whilst that to the left is an original open doorway with a broken segmental pediment above containing a clock face that gives the appearance of an outsized grandfather clock with the doorway through the pendulum case. The screen separates the public bar from a rear corridor cum drinking lobby that accesses toilets and leads through to the lounge and smoke room at the opposite end of the pub. Bench seating and a mahogany and tiled fireplace with a carved overmantel exist to the public bar's south-west wall, and a small late-C20 stage has been inserted at the south-east end of the room. At the north-west end of the room adjacent to the Lime Street entrance is a panelled and stained-glass arcaded screen with an integral drinking shelf that conceals the bar service area, possible off-sales and basement access from view. In the eastern corner of the bar adjacent to a lobby off the Copperas Hill entrance is an altered glazed screen covered with modern signage chalkboards that probably originally led through to another small room/snug, which is now a kitchenette.
Behind the public bar the corridor/drinking lobby's north-east wall is panelled and incorporates a wide arched opening to the centre with early-C20 signage plaques with incised and gilded lettering and arrows pointing towards the ladies and gents lavatories, which are accessed through an inner screen with Art Nouveau stained glass and a vestibule with panelled doors. Off to the right is a doorway through to the altered snug and access to a stair leading up to the first floor.
LOUNGE The lounge is accessed from the Lime Street entrance and shares a bar servery with the public bar, although the bar counter in the lounge is set within a wide arched opening and is more elaborate and wave-shaped with a decorative beaten-copper front. Above the counter are brass lighting rails with paired globe lights. Ornate carved and fluted Corinthian columns stood atop panelled pedestals support the room's ceiling, which continues the same richly decorated plasterwork as the public bar. Similarly detailed pilasters also exist to the walls, which are panelled. To the room's north-west wall is a tall mahogany and marble fireplace with a decorative beaten-copper panel depicting torches and swags, and a beaten-copper Art Nouveau fire hood, and large caryatids to each side supporting an entablature and segmental pediment above. Two doorways either side of the fireplace with their doors removed (one of the doors with an etched-glass upper panel that reads 'SMOKE ROOM' survives on the second floor in the Lime Street range) lead through into the smoke room, which has a back-to-back fireplace with the lounge.
SMOKE ROOM The smoke room has booth seating set around three walls separated by baffles with Art Nouveau stained-glass panels and fluted octagonal uprights surmounted by paired lamps. The walls above the seating have highly decorative mahogany panelling with fluted pilasters, carved mouldings, marquetry detailing and built-in bell pushes set within decorative plates. To the top of the walls, and set below a coffered ceiling that incorporates a large plasterwork oval to the centre depicting the signs of the zodiac, is a deep plasterwork frieze depicting putti in various Arcadian scenes. The room's elaborate fireplace is also of mahogany, marble and beaten copper, with a semi-circular panel depicting Viking ships in relief and flanking fluted octagonal columns with Art Nouveau floriate capitals supporting an entablature.
FORMER BILLIARDS ROOM At the rear (north-east side) of the ground floor, and accessed from the lounge and rear corridor, is a vast room (probably a billiards room originally and now known as the Heritage Suite) with an exposed floorboard floor, wall panelling incorporating doorcases with shaped heads, giant Corinthian pilasters, carved festoons and cartouches, and a coffered ceiling with a massive, oval, stained-glass domed skylight to the centre with a plasterwork frieze at its base depicting apples, foliage and lion's heads. To the south-west wall is an elaborate carved mahogany and marble fireplace with a large mirror built into the panelling above and surviving to the south-east wall is original built-in bench seating. At the north-west end of the room is a later panelled bar counter with a substantial bar-back behind incorporating Roman Doric columns supporting a deep entablature and flanked by later shelving. A doorway in the east corner leads through to an altered entrance foyer off Copperas Hill.
UPPER FLOORS A steep, narrow stair off Copperas Hill leads up to the first floor and rooms in the south corner and south-east end of the building. The stair has modern tread coverings and has lost its balusters, but an original newel post and handrail survive. The main accommodation stair serving the upper floors in the Lime Street range is contained within the neighbouring single-bay property of 79 Lime Street and rises from a ground-floor foyer with later inserted partitioning. The stair is a wide dog-leg stair with substantial carved newel posts and balusters, pendant drops, a closed string, and a glazed-tiled dado.
The upper floor rooms at the south-east end of the building have been modernised to accommodate en-suite bathrooms and toilets, but the floor plan largely survives with only minor alteration, including boxing-in on the second-floor landing. The rooms and landings retain plain moulded cornicing and door architraves, and a mixture of original four-panel and modern doors. Chimneybreasts also survive, and most rooms retain Art Nouveau cast-iron and tiled fireplaces. A stair flight up to the second floor survives with closed strings and turned balusters and newel posts. On each of the first and second floor landings is a doorway through to the upper-floor rooms facing onto Lime Street, which are no longer in use. These spaces, except for the main stair at the north-west end, have been altered and modernised, along with the attic rooms.
The attic at the south-east end of the building and the basement were not inspected.
Legacy
The contents of this record have been generated from a legacy data system.
Legacy System number: 359023
Legacy System: LBS
Sources
Books and journals
Brandwood, G, Davison, A, Slaughter, M, Licensed to Sell. The HIstory and Heritage of the Public House, (2004), 77, 78, 115, 147, 150
Brandwood, G, Britain's Best Real Heritage Pubs. Pub Interiors of Outstanding Historic Interest, (2013), 118
Pye, K, Liverpool Pubs, (2015), 68-72
Sharples, J, Pevsner Architectural Guides: Liverpool, (2004), 184
Websites
The Bromsgrove Guild, accessed 7 November 2019 from www.architectural-heritage.co.uk/garden-ornament-history
View On Black------------------------------------------- Clika aquí para ver Mejor
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El papamoscas cerrojillo, (Ficedula hypoleuca), es una especie de ave paseriforme de la familia de los papamoscas (Muscicapidae), extendido por la mayor parte del Viejo Mundo. No está amenazada y su población europea se estima entre 24.000.000 y 39.000.000 ejemplares.
Descripción
Es un pájaro pequeño, mide entre 12 y 13,5 cm de largo. La especie presenta dimorfismo sexual. El macho en época de cría es principalmente negro en sus partes superiores y blanco en las inferiores. En otoño e invierno su plumaje es más parecido al de la hembra, con el dorso y la cabeza pardas y las alas negras. En ámbos plumajes el macho presenta una mancha blanca en la frente, justo encima del pico. La hembra es blanca por debajo, y de color pardo por encima, excepto las alas que son negruzcas. En ámbos sexos las las tienen una mancha blanca en las terciarias siendo de mayor tamaño en los machos. El pico es negro, alargado, fino y puntiagudo.
Su reclamo es un "pik" corto, metálico y lo repite incansablemente.
Distribución y hábitat
Cría por la mayor parte de Europa y del oeste de Asia. En invierno migra al oeste de África.
Son aves forestales, sobre todo de bosques de frondosas, también en parques con árboles maduros.
Distribución y hábitat
Comportamiento
Es un pájaro muy inquieto y activo. Cuando está posado, suele chasquear el ala hacia arriba, rápidamente y bastantes veces. Son insectívoros, cazando al vuelo buena parte de su alimentación.
www.herpfrance.com/reptile/spanish_terrapin_mauremys_lepr...
History and origin
The Spanish Terrapin was first described by Schweigger in 1812, the scientific name of this species is Mauremys leprosa. Mauremys from Greek meaning "Mauritanian" and "Terrapin". Leprosa comes from Greek and means "leprosy" Schweigger first examined old specimens which had infected structures on the scales making him think that the animals were infected with leprosy.
Characteristics
They are one of the larger Mauremys species.
Description
=Size=
Their eggs are about 35 mm by 21 mm in size. The young hatch out measuring around 32 mm long. They will grow up to 250 mm long in their 20 year life.
=Morphology=
Their shell is quite flat, and oval. The edges of the shell are smooth and have no spikes or teeth.
=Patterns & colours=
Their colours range from orange-brown to olive, the young also have small orange or yellow markings on every scale. Their plastron is yellow with a dark patch sometimes with a light line running down the middle. Their head resembles American terrapins with a light pattern running from the neck to the tympan. The young have a bluish back colour on their skin.
Geographical range
In France they are only fond in the southernmost department called the Pyrénées Orientales, and within that range they can only be the Albères region.
Subspecies
In Europe this species has no sub-species. Their sub-species are all found in Morocco, and they are distinguished only by very small morphological variations. These sub-species are: M. l. atlantica, M. l. erhardi, M. l. saharica, M. l. marokkensis, M. l. vanmeerhaeghei, M. l. wernerkaestlei and M. l. zizi.
Sexual differences
None.
Seasonal variations
None.
Diet
They feed on small fish, amphibians, tadpoles and insects. They sometimes feed on reeds and other plants.
Defensive habits
They will dive into the water and hide in the vegetation or in the mud.
Reproduction
Breeding occurs in March or April, this happens under the water. The mating is fast and they do a simple ritual, the male moves around the females head while he also stretches his legs. The females can lay up to 3 clutches a year, the eggs are laid only a few meters away form the water in a dry place. The eggs hatch after approximately 60 days.
Sexual maturity, life span
The average life span for Mauremys leprosa is about 20 years, the males reach their sexual maturity in their seventh year whereas the females are mature in around their tenth year.
Habits
They are very secretive, they enjoy sunbathing on the banks but are always on guard and dive when alerted.
Habitat
They enjoy water holes with a clay floor, usually with a lot vegetation debris. Their habitat is usually stagnant water. They are very tolerant to pollution and may withstand very polluted water.
Predators
Their only threat is loss of habitat.
I have had kind of this shot in my head for a while, but in mono. This was the original idea today as well, but the striking blue color at dusk was to good to throw away.
Believe it or not, this is straight out of the raw file. No color boosting. Should really be viewed large on black
Taken for my Project 365. Your comments are appreciated, it gives me the motivation to continue.