View allAll Photos Tagged pigmentation
cal Peel Peeling Success Stories - Inkarn
The chemical peel peeling are intended to help remove the outermost layers of the skin and help in rejuvenating the skin. They are also useful for reducing the uneven skin pigmentation. Find the best clinic in USA by using inkarn.com with affordable prices and Procedure. Read more at www.inkarn.com/blog/ for Unbelievable Chemical Peel Peeling Success Stories.
The Science and Engineering Building is headquarters for the College of Arts and Sciences and the School of the Environment. Think of it as the hub for the natural sciences--biological, molecular, and earth and environmental.
Lots of research happens here. There's a Zebrafish Pigment Cell Biology Lab studying the cell biology, developmental biology and genetics of pigmentation; the Porter Lab studies plant-microbe biology in the onsite greenhouse and in the field; and the famous Titan VanCoug corpse flower lives in the northeast stairwell.
Read more about Titan VanCoug's recent bloom here:
vancouver.wsu.edu/titan-vancoug-live-bloom
Photo: Laura Dutelle
This antioxidant serum helps to restore a younger more youthful skin with improved collagen and elastin production. Magnesium Ascorbyl Phosphate is a stable high dose vitamin C molecule in a ph neutral formulation. Vitamin C has been shown to enhance collagen production and is a potent antioxidant protecting the skin from free radical damage.
An Agera® Rx growth factor peptide complex enhances the production of collagen and elastin. A leucocyte extract helps to suppress unwanted pigmentation. Suitable for all skin types.
Key ingredients
Magnesium Ascorbyl Phosphate (Vitamin C)
Matrixyl® / Collasyn – growth peptides
Size: 30g / 1oz
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972.991.9292
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Laguna Colorada (Red Lagoon) is a shallow salt lake in the southwest of the altiplano of Bolivia, within Eduardo Avaroa Andean Fauna National Reserve and close to the border with Chile.
The lake contains borax islands, whose white color contrasts with the reddish color of its waters, which is caused by red sediments and pigmentation of some algae.
Laguna Colorada is one of the Ramsar Wetlands of International Importance under the Ramsar Convention signed in 1971.
James's Flamingos abound in the area. Also it is possible to find Andean and Chilean flamingos, but in a minor quantity.
(Wikipedia)
-----
We took the backward route from Tupiza northwards to the Reserva Nacional de Fauna Andina Eduardo Avaroa and further to Salar de Uyuni salt plain; snow-covered volcanoes at the horizon line, red-coloured rocks and sand, colorful lagunas, and slow 4WD journey through the land of thin air - that's Bolivia southern part of Altiplano.
Laguna Colorada is most likely the most stunning of the colorful lakes; we spent there a night and thus got a chance for slow silent walks around, admiring its unforgettable stunning beauty...
Contrary to what many people think, freckles and dark spots don’t usually resolve by themselves. In fact, in about 90% of the cases, treatment is necessary to eradicate the problem from within. If you are sick and tired of that uneven skin tone and are desperately looking for a way to remove pigmentation permanently, check […] The post How to Remove Pigmentation From Face Permanently appeared first on One Face Skin & Aesthetics Clinic. ift.tt/2RGeC7u
The display reads:
Masai Giraffe
Giraffa camelopardalis tippelskirchi
Conservation Status: Least Concern
Originally, the Masai giraffe lived throughout Africa. However, due to deforestation and habitat loss, they are only found in the savannahs of Kenya, Ethiopia, Somalia, and Tanzania.
Range:
The savannahs of eastern Africa.
Note: In prehistoric times, this single species ranger over most open areas in Africa. The giraffe range began to shrink 1,400 years ago to its present size.
Diet:
Giraffes are browsers, plucking leaves, buds and fruits from trees such as acacia, mimosa and wild apricot.
Fun Fact!
A giraffe's 18-inch tongue helps extend its reach way up into the treetops and curls in between spiny thorns on acadia trees. It is believed that the black pigmentation prevents the tongue from getting sunburned.
Built in 1919-1920, this Chicago School and Sullivanesque-style building was designed by Louis Sullivan for the Farmers and Merchants Union Bank in Columbus, Wisconsin as one of his late-career “jewel box” bank buildings that are largely located in smaller communities throughout the midwest. The building was the last “jewel box bank” designed by Sullivan, and the second-to-last commission of his career, and was intended to communicate the bank as a modern and progressive institution, rather than employing the stodgier and more traditional Classical design found on most other banks of the era. The bank was commissioned by the president of the bank, J. Russell Wheeler, whose wife, Anna May Wheeler, pushed him to commission Sullivan to design a new home for the bank. In addition to Louis Sullivan, the building’s stained glass windows, were designed by architectural decorator Louis J. Millet, and the terra cotta by clay modeler Kristian Schneider, whom developed moulds for the building’s terra cotta, metal, and plaster details. The two artisans worked alongside Sullivan on several other bank projects. The building was heavily documented in Sullivan’s 1924 “A System of Architectural Ornament”, published shortly before he died.
The building is clad in red tapestry brick, which features blue and green mixed with the red clay mixture in some bricks, creating variation in color and texture across the facade. The brick creates a backdrop to some of the best terra cotta on any of Sullivan’s projects. The terra cotta features many of the floral and geometric motifs found on Sullivan’s other works, and is arranged similarly to other Sullivan banks that utilized brick cladding. The building features two principal facades, with a narrower facade along James Street, and a broader facade facing Dickason Boulevard. The James Street facade features two openings close to ground level, with the eastern bay housing a large plate glass window, and the western bay housing a doorway flanked by skylights, both of which are recessed under a large terra cotta architrave and flanked by square pilasters with decorative Sullivanesque ornament panels at the capitals. The architrave above the doorway and window is divided into three segments by vertical terra cotta elements that feature floral motifs and, like many Sullivan buildings, appear like plants with roots, branches, and crowns. The outer panels of the architrave feature circular cartouches with hexagonal trim, leaves, and geometric elements, with circular central medallions featuring the years 1861, when the bank was founded, and 1919, when the bank was completed. The central panel is clad in marble with the words “Farmers & Merchants Union Bank” and “Louis Sullivan, Architect” engraved into the stone with yellow pigmentation, contrasting against the white and green marble background. Atop the two vertical elements on either side of the central panel are griffin sculptures holding shields, a common element on many of Sullivan’s “Jewel Box Banks,” while the base of the outer vertical elements features the initials of the bank at the base. Above the architrave is an arched bay that houses a stained glass window, trimmed with decorative terra cotta at the inner and outer rings of the arch, with the bay becoming more recessed after each concentric arch, much like the entrances to medieval Romanesque churches. Besides a band of belt coursing that runs on either side of the architrave and wraps the corner to a tapered buttress on the Dickason Boulevard facade, the only other adornment is an eagle sculpture on a vertical trim element at the center of the parapet, which terminates many brick courses above the arched opening below, and another band of terra cotta trim along the top of the parapet, which forms a cap on the parapet around the perimeter of the building’s low-slope roof. On the Dickason Boulevard facade, the building features five recessed clerestory arched bays housing stained glass windows, flanked by tapered buttresses. Surrounding the arched tops of the windows are decorative trim panels with floral motifs, which begin just below the base of the arches, and extend up above the top of the arches, terminating in a band of belt coursing. Atop the buttresses at either end are trim elements featuring large spheres atop rectilinear legs with floral motifs below, undulating in and out with the brick below. Additionally, a band of belt coursing, which wraps the corner of Dickson Boulevard and James Street, runs beneath the windows, only interrupted by the buttresses. Toward the back, on the building’s original rear wing, there are three windows at eye level in the original building, with bands of belt coursing below and at the top of the parapet. The rear window is a recessed bay window flanked by two pilasters with sullivanesque terra cotta panels, while the smaller windows are flanked by sullivanesque relief panels. The rear wing features a roof at multiple heights, and was extended in 1961 with a matching addition by Law, Potter and Nystrom, since removed. The rear of the taller portion of the building features a simple recessed bay with an arched window, and a similar eagle sculpture and vertical trim piece as on the front facade.
Inside, the front wing of the building features a tall banking hall with brick cladding on the walls up to the level of the windows, where it terminates at a wooden sill. The space is split down the middle by a row of brick piers and low walls framing the teller cages, which terminate at the sill line of the windows, dividing the space while still allowing it to read as a single continuous lofty space. The brick forms piers at the teller’s cages, pilasters separating desks on the exterior wall, and low brick walls with marble caps. The upper portion of the walls and the coffered ceiling in this space is finished with white plaster, which gives the space a very vertical and airy feeling, as do the cream-colored terrazzo floors, which feature black edges at the base of the walls, tying the space together. The space features a terra cotta water fountain, or bubbler, also designed by sullivan, which features intricate ornament by Schneider. The space also features two mezzanine balconies with metal railings that run below the arched windows at the front and rear of the space, allowing managers to observe the activities in the lobby and teller area below from the rear balcony, while the front balcony exists solely to balance the space and keep it symmetrical. An office for private conferences with customers was originally located near the front of the space, along with a manager’s office, allowing convenience for customers seeking a meeting with the bank management. The teller’s side of the space also housed the bank’s two vaults and several other private offices. The bank originally featured a large meeting room in the one-story rear wing, behind the vaults, with a women’s waiting room sitting along the Dickason Boulevard side of the rear wing, featuring a bay window and a restroom. The building’s interior has changed in function somewhat due to the growth of the bank, changes in bank operations, and expansion of the building with new additions to house offices and a drive-through in the rear.
The building was listed on the National Register of Historic Places in 1972, was designated a National Historic Landmark in 1976, and is a contributing structure in the Columbus Downtown Historic District, listed on the National Register of Historic Places in 1992. The building saw an addition in 2006, clad in buff brick, which replicated a historic building that formerly stood to the east, and wraps the building to the rear, with a two-story section behind a one-story annex that connects the one-story rear wing of the bank to the new building. This wing replaced older additions made in 1961, which matched the one-story rear wing of the historic building, and 1980, which was modern in appearance and slightly recessed along James Street to give precedence to the historic building. The building still functions as the main office branch of the Farmers and Merchants Union Bank, which has grown substantially. The building has been long considered to be among the best of Sullivan’s “Jewel Box Banks,” and has been kept in excellent condition by the bank’s careful and caring generational stewardship.
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photo courtesy google images
like a poisonous snake in a vipers pit
racism its venom in your eyes
will spit ..
blinding you forever
you are badly hit
gaseous fumes of hatred
emit
rotteness transmit
crimes commit
in a white mans world
black mans beatings
totally legit
they the racist regime
custodians of their society
dont care a least bit
know it but wont admit
to more torture and more horror
the black man submit
the laws of the white man
the white man acquit
pigmentation
the color of your skin
the eternal rift
eternal split
a failed gods creation
on the face of it
god who made man
with a faulty kit.
Built in 1919-1920, this Chicago School and Sullivanesque-style building was designed by Louis Sullivan for the Farmers and Merchants Union Bank in Columbus, Wisconsin as one of his late-career “jewel box” bank buildings that are largely located in smaller communities throughout the midwest. The building was the last “jewel box bank” designed by Sullivan, and the second-to-last commission of his career, and was intended to communicate the bank as a modern and progressive institution, rather than employing the stodgier and more traditional Classical design found on most other banks of the era. The bank was commissioned by the president of the bank, J. Russell Wheeler, whose wife, Anna May Wheeler, pushed him to commission Sullivan to design a new home for the bank. In addition to Louis Sullivan, the building’s stained glass windows, were designed by architectural decorator Louis J. Millet, and the terra cotta by clay modeler Kristian Schneider, whom developed moulds for the building’s terra cotta, metal, and plaster details. The two artisans worked alongside Sullivan on several other bank projects. The building was heavily documented in Sullivan’s 1924 “A System of Architectural Ornament”, published shortly before he died.
The building is clad in red tapestry brick, which features blue and green mixed with the red clay mixture in some bricks, creating variation in color and texture across the facade. The brick creates a backdrop to some of the best terra cotta on any of Sullivan’s projects. The terra cotta features many of the floral and geometric motifs found on Sullivan’s other works, and is arranged similarly to other Sullivan banks that utilized brick cladding. The building features two principal facades, with a narrower facade along James Street, and a broader facade facing Dickason Boulevard. The James Street facade features two openings close to ground level, with the eastern bay housing a large plate glass window, and the western bay housing a doorway flanked by skylights, both of which are recessed under a large terra cotta architrave and flanked by square pilasters with decorative Sullivanesque ornament panels at the capitals. The architrave above the doorway and window is divided into three segments by vertical terra cotta elements that feature floral motifs and, like many Sullivan buildings, appear like plants with roots, branches, and crowns. The outer panels of the architrave feature circular cartouches with hexagonal trim, leaves, and geometric elements, with circular central medallions featuring the years 1861, when the bank was founded, and 1919, when the bank was completed. The central panel is clad in marble with the words “Farmers & Merchants Union Bank” and “Louis Sullivan, Architect” engraved into the stone with yellow pigmentation, contrasting against the white and green marble background. Atop the two vertical elements on either side of the central panel are griffin sculptures holding shields, a common element on many of Sullivan’s “Jewel Box Banks,” while the base of the outer vertical elements features the initials of the bank at the base. Above the architrave is an arched bay that houses a stained glass window, trimmed with decorative terra cotta at the inner and outer rings of the arch, with the bay becoming more recessed after each concentric arch, much like the entrances to medieval Romanesque churches. Besides a band of belt coursing that runs on either side of the architrave and wraps the corner to a tapered buttress on the Dickason Boulevard facade, the only other adornment is an eagle sculpture on a vertical trim element at the center of the parapet, which terminates many brick courses above the arched opening below, and another band of terra cotta trim along the top of the parapet, which forms a cap on the parapet around the perimeter of the building’s low-slope roof. On the Dickason Boulevard facade, the building features five recessed clerestory arched bays housing stained glass windows, flanked by tapered buttresses. Surrounding the arched tops of the windows are decorative trim panels with floral motifs, which begin just below the base of the arches, and extend up above the top of the arches, terminating in a band of belt coursing. Atop the buttresses at either end are trim elements featuring large spheres atop rectilinear legs with floral motifs below, undulating in and out with the brick below. Additionally, a band of belt coursing, which wraps the corner of Dickson Boulevard and James Street, runs beneath the windows, only interrupted by the buttresses. Toward the back, on the building’s original rear wing, there are three windows at eye level in the original building, with bands of belt coursing below and at the top of the parapet. The rear window is a recessed bay window flanked by two pilasters with sullivanesque terra cotta panels, while the smaller windows are flanked by sullivanesque relief panels. The rear wing features a roof at multiple heights, and was extended in 1961 with a matching addition by Law, Potter and Nystrom, since removed. The rear of the taller portion of the building features a simple recessed bay with an arched window, and a similar eagle sculpture and vertical trim piece as on the front facade.
Inside, the front wing of the building features a tall banking hall with brick cladding on the walls up to the level of the windows, where it terminates at a wooden sill. The space is split down the middle by a row of brick piers and low walls framing the teller cages, which terminate at the sill line of the windows, dividing the space while still allowing it to read as a single continuous lofty space. The brick forms piers at the teller’s cages, pilasters separating desks on the exterior wall, and low brick walls with marble caps. The upper portion of the walls and the coffered ceiling in this space is finished with white plaster, which gives the space a very vertical and airy feeling, as do the cream-colored terrazzo floors, which feature black edges at the base of the walls, tying the space together. The space features a terra cotta water fountain, or bubbler, also designed by sullivan, which features intricate ornament by Schneider. The space also features two mezzanine balconies with metal railings that run below the arched windows at the front and rear of the space, allowing managers to observe the activities in the lobby and teller area below from the rear balcony, while the front balcony exists solely to balance the space and keep it symmetrical. An office for private conferences with customers was originally located near the front of the space, along with a manager’s office, allowing convenience for customers seeking a meeting with the bank management. The teller’s side of the space also housed the bank’s two vaults and several other private offices. The bank originally featured a large meeting room in the one-story rear wing, behind the vaults, with a women’s waiting room sitting along the Dickason Boulevard side of the rear wing, featuring a bay window and a restroom. The building’s interior has changed in function somewhat due to the growth of the bank, changes in bank operations, and expansion of the building with new additions to house offices and a drive-through in the rear.
The building was listed on the National Register of Historic Places in 1972, was designated a National Historic Landmark in 1976, and is a contributing structure in the Columbus Downtown Historic District, listed on the National Register of Historic Places in 1992. The building saw an addition in 2006, clad in buff brick, which replicated a historic building that formerly stood to the east, and wraps the building to the rear, with a two-story section behind a one-story annex that connects the one-story rear wing of the bank to the new building. This wing replaced older additions made in 1961, which matched the one-story rear wing of the historic building, and 1980, which was modern in appearance and slightly recessed along James Street to give precedence to the historic building. The building still functions as the main office branch of the Farmers and Merchants Union Bank, which has grown substantially. The building has been long considered to be among the best of Sullivan’s “Jewel Box Banks,” and has been kept in excellent condition by the bank’s careful and caring generational stewardship.
OVERVIEW
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Struggling together with your discolored, darkish neck? Poor hygiene, extended solar publicity, diabetes, weight problems are a few of the main components that trigger discolored, darkish patches and pigmentation across the neck.
These pigmented and darkish, discolored patches can spoil the ...
www.isbeautytips.com/get-rid-of-dark-neck-fast-8-home-rem...
I've been looking for a Crimson Rosella in the sunlight to compare with the one I posted recently taken using on-camera flash - found this one during this week's outing.
On the left is a Rosella illuminated by sunlight, on the right is another one illuminated mostly by flash. The difference is perhaps as surprising (to some of us!) as it is repeatable and something that doesn't seem to get much discussion. Other photos of many parrots including other Crimsons show the same effect.
In this bird, greens appear under flash that aren't there with natural lighting, most of the purples disappear, and many other colours have a washed-out muddy look about them. The image generally looks strange. In other parrots some colours appear much brighter and more yellow so it's not always the same effect. Why is it so? I for one don't really know but my current theory is that it's a combination of:
a) on-camera flash is highly directional. Some colours in birds such as blue are so-called "structural" colours, meaning that the colour comes from interference effects of the microscopic structure of the feather, rather than from pigmentation. It is possible that structural color responds differently depending on the direction and directionality of its illumination.
b) fluorescence may change some colours since camera flash contains more ultraviolet than sunlight. I'm not convinced about its role here though, mostly because it affects more colours than the patches that have been shown to fluoresce on some parrots.
I think this is a Dicyrtomina ornata, I'm sure it's not a Dicyrtomina saundersi due to the more solid pigmentation pattern on the posterior and it seems too pigmented to be a Dicyrtomina minuta.
Anyway, this is a pre-moult individual, it is showing the classic white feet and the mottled pigmentation on the abdomen. Eventually it will enter a pharate state and will begin its moult. This one was found in a woodland environment and I used a white card as a background. This was a x7 magnification handheld focus stack of 18 images using an F/5 aperture.
I hope to try for some more focus stacks this weekend, that's if the weather behaves, still its not too bad for the middle of November.
I hope everyone has a great weekend :o)
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Built in 1919-1920, this Chicago School and Sullivanesque-style building was designed by Louis Sullivan for the Farmers and Merchants Union Bank in Columbus, Wisconsin as one of his late-career “jewel box” bank buildings that are largely located in smaller communities throughout the midwest. The building was the last “jewel box bank” designed by Sullivan, and the second-to-last commission of his career, and was intended to communicate the bank as a modern and progressive institution, rather than employing the stodgier and more traditional Classical design found on most other banks of the era. The bank was commissioned by the president of the bank, J. Russell Wheeler, whose wife, Anna May Wheeler, pushed him to commission Sullivan to design a new home for the bank. In addition to Louis Sullivan, the building’s stained glass windows, were designed by architectural decorator Louis J. Millet, and the terra cotta by clay modeler Kristian Schneider, whom developed moulds for the building’s terra cotta, metal, and plaster details. The two artisans worked alongside Sullivan on several other bank projects. The building was heavily documented in Sullivan’s 1924 “A System of Architectural Ornament”, published shortly before he died.
The building is clad in red tapestry brick, which features blue and green mixed with the red clay mixture in some bricks, creating variation in color and texture across the facade. The brick creates a backdrop to some of the best terra cotta on any of Sullivan’s projects. The terra cotta features many of the floral and geometric motifs found on Sullivan’s other works, and is arranged similarly to other Sullivan banks that utilized brick cladding. The building features two principal facades, with a narrower facade along James Street, and a broader facade facing Dickason Boulevard. The James Street facade features two openings close to ground level, with the eastern bay housing a large plate glass window, and the western bay housing a doorway flanked by skylights, both of which are recessed under a large terra cotta architrave and flanked by square pilasters with decorative Sullivanesque ornament panels at the capitals. The architrave above the doorway and window is divided into three segments by vertical terra cotta elements that feature floral motifs and, like many Sullivan buildings, appear like plants with roots, branches, and crowns. The outer panels of the architrave feature circular cartouches with hexagonal trim, leaves, and geometric elements, with circular central medallions featuring the years 1861, when the bank was founded, and 1919, when the bank was completed. The central panel is clad in marble with the words “Farmers & Merchants Union Bank” and “Louis Sullivan, Architect” engraved into the stone with yellow pigmentation, contrasting against the white and green marble background. Atop the two vertical elements on either side of the central panel are griffin sculptures holding shields, a common element on many of Sullivan’s “Jewel Box Banks,” while the base of the outer vertical elements features the initials of the bank at the base. Above the architrave is an arched bay that houses a stained glass window, trimmed with decorative terra cotta at the inner and outer rings of the arch, with the bay becoming more recessed after each concentric arch, much like the entrances to medieval Romanesque churches. Besides a band of belt coursing that runs on either side of the architrave and wraps the corner to a tapered buttress on the Dickason Boulevard facade, the only other adornment is an eagle sculpture on a vertical trim element at the center of the parapet, which terminates many brick courses above the arched opening below, and another band of terra cotta trim along the top of the parapet, which forms a cap on the parapet around the perimeter of the building’s low-slope roof. On the Dickason Boulevard facade, the building features five recessed clerestory arched bays housing stained glass windows, flanked by tapered buttresses. Surrounding the arched tops of the windows are decorative trim panels with floral motifs, which begin just below the base of the arches, and extend up above the top of the arches, terminating in a band of belt coursing. Atop the buttresses at either end are trim elements featuring large spheres atop rectilinear legs with floral motifs below, undulating in and out with the brick below. Additionally, a band of belt coursing, which wraps the corner of Dickson Boulevard and James Street, runs beneath the windows, only interrupted by the buttresses. Toward the back, on the building’s original rear wing, there are three windows at eye level in the original building, with bands of belt coursing below and at the top of the parapet. The rear window is a recessed bay window flanked by two pilasters with sullivanesque terra cotta panels, while the smaller windows are flanked by sullivanesque relief panels. The rear wing features a roof at multiple heights, and was extended in 1961 with a matching addition by Law, Potter and Nystrom, since removed. The rear of the taller portion of the building features a simple recessed bay with an arched window, and a similar eagle sculpture and vertical trim piece as on the front facade.
Inside, the front wing of the building features a tall banking hall with brick cladding on the walls up to the level of the windows, where it terminates at a wooden sill. The space is split down the middle by a row of brick piers and low walls framing the teller cages, which terminate at the sill line of the windows, dividing the space while still allowing it to read as a single continuous lofty space. The brick forms piers at the teller’s cages, pilasters separating desks on the exterior wall, and low brick walls with marble caps. The upper portion of the walls and the coffered ceiling in this space is finished with white plaster, which gives the space a very vertical and airy feeling, as do the cream-colored terrazzo floors, which feature black edges at the base of the walls, tying the space together. The space features a terra cotta water fountain, or bubbler, also designed by sullivan, which features intricate ornament by Schneider. The space also features two mezzanine balconies with metal railings that run below the arched windows at the front and rear of the space, allowing managers to observe the activities in the lobby and teller area below from the rear balcony, while the front balcony exists solely to balance the space and keep it symmetrical. An office for private conferences with customers was originally located near the front of the space, along with a manager’s office, allowing convenience for customers seeking a meeting with the bank management. The teller’s side of the space also housed the bank’s two vaults and several other private offices. The bank originally featured a large meeting room in the one-story rear wing, behind the vaults, with a women’s waiting room sitting along the Dickason Boulevard side of the rear wing, featuring a bay window and a restroom. The building’s interior has changed in function somewhat due to the growth of the bank, changes in bank operations, and expansion of the building with new additions to house offices and a drive-through in the rear.
The building was listed on the National Register of Historic Places in 1972, was designated a National Historic Landmark in 1976, and is a contributing structure in the Columbus Downtown Historic District, listed on the National Register of Historic Places in 1992. The building saw an addition in 2006, clad in buff brick, which replicated a historic building that formerly stood to the east, and wraps the building to the rear, with a two-story section behind a one-story annex that connects the one-story rear wing of the bank to the new building. This wing replaced older additions made in 1961, which matched the one-story rear wing of the historic building, and 1980, which was modern in appearance and slightly recessed along James Street to give precedence to the historic building. The building still functions as the main office branch of the Farmers and Merchants Union Bank, which has grown substantially. The building has been long considered to be among the best of Sullivan’s “Jewel Box Banks,” and has been kept in excellent condition by the bank’s careful and caring generational stewardship.
My best guess is a male Cassin's Finch with abnormal yellow pigmentation.
It's recently taken in San Gabriel Mountains where Cassin's, Purple, and House are all expected.
Scientific Name: Ursus maritimus
Description : Polar bears are considered the largest land carnivores in the world, matched only by very large individual Kodiak brown bears. Both sexes differ in size throughout their range; males being much larger than females and continuing to grow for a longer period of time. These bears have long, massive skulls, necks and bodies with long legs and large paws. Ears and tail are short. The nose is more prominent or “Roman†with a black rhinarium (nose pad). The tongue is black and the eyes brown. The surface of the skin is also black. Fur colour varies slightly with the season: new coats grown just prior to the winter season are very white appearing as slightly creamy white against the stark white of their icy winter environment. This pelage is thick, coarse and long with dense underfur. Guard hairs, found throughout the pelage, are shiny, almost glossy, oily and waterproof and have hollow shafts. Polar bears moult annually between the end of May and August. The coat becomes thinner and has a yellow wash or is almost a golden colour.
Male polar bears weigh between 400 – 600 kg, and have been recorded up to a maximum of 800 kg. Females are smaller than the males weighing up to 300 kg, and when pregnant up to 460 kg. Polar bears are 2.5 – 3.5 m long.
Distribution : The polar bear is circumpolar in distribution, inhabiting all Arctic seas and coastlines. It is found on the pack-ice off the Alaskan coast north of Bering Strait, off the coasts of Greenland and along the Eurasian Arctic coast from Spitsbergen to Wrangell Island. Rare stragglers reach Iceland. Individual bears have been seen on the frozen Arctic Ocean as far as latitude 88 degrees North, only 2 degrees from the North Pole. In Canada, they are found along the Arctic coasts from Alaska to Labrador and from the tip of James Bay to northern Ellesmere Island. Polar bears do roam as far as 150 kilometres inland into the coniferous forests, where they live very differently from the polar bears which belong to the high Arctic.
Habitat : They prefer areas of annual ice, which they use as a hunting platform and protective cover. This includes snow-drifted pressure ridges, refrozen cracks and areas of open water surrounded by ice. In areas where the pack ice melts by mid to late summer they come inland and live in coniferous forest areas. Here they remain until the ice re-freezes. Areas of solidly frozen sea ice and the open seas are avoided. Generally they are most common along coastal areas. Some do enter the permanent pack ice.
Food : The ringed seal is by far the most common prey. They also eat bearded seal, harp seal and hooded seal. Young walrus are sometimes taken. During the summer months they feed upon the shoreline carrion, fish, mussels, crabs, starfish, lemmings and the eggs and nestling young of waterfowl and cliff-dwelling birds. They will also graze on kelp, grasses and eat mushrooms and crowberries.
Reproduction and Development : Normally they are solitary animals outside the breeding season, the exception being a mother with cubs. Polar bears mate in mid-summer. Females first start to breed at 3 to 5 years of age. In April and May adult females are in oestrus and ready to accept a mate. They are polyandrous, meaning one female will mate with more than one male in one breeding season. Males fight among themselves for the female’s attention and a couple will pair off for a period of a few days to two weeks. With females, delayed implantation occurs, the fertilized egg does not implant in the uterus until mid-September to mid-October. Embryonic development begins at this time. Gestation periods, therefore, vary a great deal when including this period of delay. Females choose suitable locations to build their maternity dens in mid-October and retreat to them for the winter season. They give birth to one to four cubs somewhere between late November and early January. Twins are most common. The newborns are small; 25 to 30 cm long and weigh less than 1 kg. They are covered with very fine hair, appearing almost naked and their eyes are closed. Their eyes open at 6 weeks. Growth is very quick; at two months their fur has thickened; they weigh about 5 kg and move about the den. By mid-March to early April, when the den is opened, the cubs weigh about 10 kg and are surprisingly strong. The cubs suckle for nine months, occasionally one year. They are very dependent on their mother and stay with her for two years. At that time they weigh 90 - 180 kg and are half grown.
Adaptations : Polar bears are wonderfully adapted to their Arctic surroundings.
Locomotion. On land a shuffling walk may be increased to a rolling gallop of 40 km/h and can outrun caribou over a short distance. Bears are often seen standing high on their hind legs, necks stretched to scan the landscape. On thin ice, legs are spread to distribute body mass. Thickly padded and furred soles allow the bear to move quietly as well as providing good traction. Small bumps and cavities on the soles act like suction cups keeping bears from slipping on the ice. The claws are used to dig into icy slopes and to grip prey. They are strong swimmers, paddling with their forefeet only and trailing their hind feet which act as a rudder. They can stay submerged for over one minute, keeping their eyes open. They swim at a speed of approximately 6.4 km/h, often covering long distances.
Insulation. Polar bears have a thick layer of sub-cutaneous fat and very dense underfur with several layers of glossy guard hair on the outside. Their pelt is much thicker in winter and provides excellent insulation. The fat layer also adds to buoyancy in the water. Water is shed easily from the oily waterproof fur. Small, furry ears have a heavy network of blood vessels, keeping them warm and conserving heat. The tail is short and rounded also conserving heat. Fur is very dense around the soles of the feet.
Pelage. The creamy white appearance of the coat allows the bear to be inconspicuous when hunting seal. Each hair is similar to an optical fibre; colourless and hollow. Being translucent, it reflects the heat from the sun down to the base of the hair, where it is absorbed by the black skin. Whiteness comes from reflection of light rather than pigmentation.
Hunting. Bears use their keen sense of smell to detect seal breathing holes. These can be up to a kilometer away and covered by a layer of snow and ice. They will stand or lie by the seal’s blowhole in the ice for hours; they may swim towards seals resting on the ice flows with only their nose showing above the water. They will dive quietly, then swim up to the ice edge and jump out on the seal, and will also crawl towards a sunbathing seal using every piece of raised ice to conceal the approach.
Denning. Both sexes occupy dens for shelter. Topographic factors influence the den sites. In Canadian core areas, dens frequently occur on south-facing slopes where northerly prevailing winds create the best drifts, where the wind-chill is least and insulation from received solar radiation is greatest. One of the three largest denning areas worldwide is in Canada. There are three main types of winter refuges: maternity dens, temporary dens and winter shelters. During the winter any bear may dig a temporary den and use it for a few days during a storm, or take shelter in a natural cavity. Winter shelters are used for longer periods of time as resting places. This type of shelter is usually roomier with additional features such as alcoves, porches and ventilation holes. Bears do not hibernate in the strict sense of the word; they have the ability to slow down their metabolism to conserve energy at any time of year. The state of self-induced lethargy while in the shelter allows them to preserve their vital fat reserves. During this time, the body temperature of the polar bear decreases by a few degrees from normal and the respiration rates are markedly reduced. Maternity dens are built and occupied by pregnant females and can vary in size. The denning chamber is at the upper end of an entrance tunnel 1 to 2 m long. It averages 1.5 m in diameter with a height of 90 to 100cm in the middle. Drifting snow seals the entrance. The chamber is higher than the tunnel, trapping bear body heat inside. Dens not only provide a safe place to give birth to her cubs, but are also a place of protection for the cubs during their first few months. During this time she does not leave the den, remaining with her cubs and living on her reserves of fat. In the spring, with her fat severely depleted she must leave to find food to sustain herself and her cubs. After they leave the maternity den she will build temporary refuges in which to nurse, rest and shelter her young cubs and warms them as they all sleep together. She heads with her cubs towards the nearest supply of food, usually towards pack ice.
Sight and sounds. Polar bears have good eyesight. Their eyes have inner eyelids that keep the glare of the sun on snow and ice from blinding them. When defending a food source from other bears they use a deep growl. They hiss and snort to show aggression. Angry bears use loud roars and growls. Mothers scold cubs with a low growl.
Threats to Survival : Polar bears are one of the animals most threatened by global warming. They depend entirely on sea ice as a platform from which to hunt seals. Reduction of the total ice cover in the Arctic is a serious concern globally. When the ice does not form or forms too late in the season many polar bears starve. In Hudson Bay, scientists have found the main cause of death for cubs to be either lack of food or lack of fat on nursing mothers. Exploitation of minerals and fossil fuels in the Arctic pose a continuous threat. Of the oil and natural gas deposits globally, 20% are located in the Arctic. As the ice cap recedes these become more accessible. Countries are competing which each other in claiming ownership of Arctic and its resources. This can only result in further and more drastic impact on polar bear habitat.
Status : IUCN: Vulnerable; CITES: Appendix II; COSEWIC: Special Concern
Zoo Diet : Toronto Zoo carnivore diet, dog chow, jumbo smelt and herring, carrots, bean sprouts, Vitamin E and Thiamine supplements.
Toronto Zoo Website
Pleosporales Luttr. ex M.E. Barr (order)
EN: ? DE: ?
Slo.: ?
Dat.: April 5. 2017
Lat.: 46.35942 Long.: 13.69699
Code: Bot_1046/2017_DSC7333
Habitat: : mountain scree slope, southeast aspect; open, sunny, dry place; calcareous ground; exposed to direct rain; elevation 680 m; average temperature 6-8 deg C, average precipitations ~3.000 mm/year; alpine phytogeographical region.
Substratum: dead, rotten trunk of Fagus sylvatica lying on ground.
Place: Lower Trenta valley; between villages Soča and Trenta, right bank of river Soča near lower hunter's trail from Na Melu place to Lemovlje, below Na skalah settlement, East Julian Alps, Posočje, Slovenia EC.
Comments: This ascomycete remains a secret for me. It appears to have perithecioid ascomata with occasionally papillate apex, cellular pseudoparaphyses, bitunicate (hope so) and clavate/cylindrical 8-spore asci, ascospores with pigmentation and several septa and peridium composed of a few layers of cells. Thus it possibly belongs to fungi order Pleosporales Luttr. ex M.E. Barr. This order comprises tens of families and thousands of species. I searched for species, which stain decaying wood reddish/purplish. I browsed through short descriptions of about 160 species studied in the paper of Zhang et al. (2009) (Table:1). Several species, which stain substratum reddish, are cited, but none fits to this observation. It is also possible that my assumption about Pleosporales is completely wrong and this find is something totally different. Hard to manage is also the fact that the traditional taxonomy based exclusively on morphology has been overturned drastically by recent molecular studies. Hense proper naming of species (even genera and families) is confusing for an amateur. Unfortunately, there was no response from AscoFrance forum either. Any help would be much appreciated.
Spores smooth, septated; from 3 to 7 septa, AVG = 4.5, SD = 0.9, N = 80. Dimensions: 19,4 [24,5 ; 26,5] 31,6 x 5,2 [6 ; 6,3] 7,1 microns; Q = 3,1 [4 ; 4,4] 5,2; N = 40; C = 95%; Me = 25,5 x 6,1 microns; Qe = 4,2. Olympus CH20, NEA 100x/1.25, magnification 1.000 x, oil (asci tip, perithecia wall); NEA 40x/0.65, magnification 400x (spores, asci), in water; fresh material. Novex, Zoom Stereo RZ_Range, Holland (perithecia). AmScope MA500 digital camera.
Herbarium: Mycotheca and lichen herbarium (LJU-Li) of Slovenian Forestry Institute, Večna pot 2, Ljubljana, Index Herbariorum LJF
Ref.:
(1) Zhang, Y. et al. “Multi-Locus Phylogeny of Pleosporales: A Taxonomic, Ecological and Evolutionary Re-Evaluation.” Studies in Mycology 64 (2009): 85–102–S5. PMC. Web. (accessed: Dec. 30. 2017).
(2) fungi.myspecies.info/all-fungi/massariosphaeria (accessed Dec. 24. 2017)
(3) www.asturnatura.com/especie/massariosphaeria-typhicola.html (accessed Dec. 24. 2017)
(4) www.sites.google.com/site/funghiparadise/home (accessed Dec. 24. 2017)
(5) MO Observation 84963
Medium-sized lesion with pigmentation
© Stephen Gichuhi
Published in: Community Eye Health Journal Vol. 29 No. 95 2016 www.cehjournal.org
so check this out! This is a composite photo of a single plant of Erythranthe naiandina (Mimulus naiandinus). The image on the left is with flowers most similar to the wild type from the Andes of S.A. and is the way the flowers looked on 24 April 2013, shortly after I received the plant which bore them from Annie's Annuals. It is a known cultivar. The photo on the right is the very same plant as it is blooming right now, 8 August 2013. Both photos were taken by me with the same camera and lens and similar timing and natural lighting. Very interesting how the floral pigmentation has shifted within the exact same plant in one season. The early flowers look very similar to the Andean plants, or at least more similar than do those produced after arrival in Seattle. It should also be noted that this plant has produced more subtly colored flowers ever since it set its first buds after arrival in Seattle, and that the early flower seen here passed through shipping from socal to my home, and it was a little ragged from the travel, with damaged leaf and very slightly mangled flower. So what controls this pigmentation gene?? Maybe temperature? Seriously, I have no clue what factor or combination of factors causes the differential pheontypic expression of the same genotype in a single individual in a single season! I love it! Please inform me!
Vitiligo home remedies :- Skincare is the main thing for our outside appearance and looks. Numerous individuals experience the ill effects of skin pigmentation issues, for example, vitiligo where the skin loses its melanocytes (shade cells). Shade creating skin cells called melanocytes (for the most part alluded to as melanin) either pass on or quit working. This causes dry patches on the skin. Individuals feel timid or humiliated to open themselves to these white patches. Despite the fact that it can't be totally restored, home cures will work on the presence of the skin.
You may attempt this load of tips recommended at exceptionally negligible cost and improve results. We should have a brief glance at home cures that Vedas Cure recommend:
1-Turmeric – Turmeric is the best home solution for vitiligo. A touch of turmeric powder blended alongside Coconut oil gives the best outcomes. This aides in invigorating the non-working melanocytes which give a superior appearance.
2-Good eating routine – Losing the pigmentation of the skin might be because of sensitivities you create inside your body. So if it's not too much trouble, offer need to home food as opposed to eating outside or having shoddy nourishment.
3-Papaya – Intake of Papaya and furthermore outer use of Papaya skin to the influenced region, both assistance in the better appearance of skin.
4-Having Vitamin C-rich Food – Have a lot of Vitamin C constituent food sources, for example, Orange, Goose Berrys, and Lemon which builds melanin content in your body and gives a shine to your skin.
5-Turmeric and Honey – Apply a spot of turmeric, salt with nectar to the influenced region. Wash the influenced region with Luke warm water following 20-30 minutes. Kindly consistently follow this training double a day.
vitiligotreatment.in/vitiligo-home-remedies/
Visit this site for more information.
Humpback Whales: Black & White
Please don't copy this image without my written permission.
© 2015 All rights reserved: john c. bruckman @ innereye photography
COOL FACTS:
•Males sing complex songs on wintering grounds in Hawaii that can last up to 20 minutes and be heard 20 miles (30 km) away!
•In the Pacific, humpbacks migrate seasonally from Alaska to Hawaii--they can complete the 3,000-mile (4,830 km) trip in as few as 36 days!
•Humpback whales are well known for their long pectoral fins, which can be up to 15 feet (4.6 m) in length. Their scientific name, Megaptera novaeangliae, means "big-winged New Englander" as the New England population was the one best known to Europeans. These long fins give them increased maneuverability; they can be used to slow down or even go backwards.
•Several hunting methods involve using air bubbles to herd, corral, or disorient fish. One highly complex variant, called "bubble netting" is unique to humpbacks. This technique is often performed in groups with defined roles for distracting, scaring, and herding before whales lunge at prey corralled near the surface.
•Their body coloration is primarily dark grey, but individuals have a variable amount of white on their pectoral fins and belly. This variation is so distinctive that the pigmentation pattern on the undersides of their "flukes" is used to identify individual whales, similar to a human fingerprint.
•Humpback whales are the favorite of whale watchers, as they frequently perform aerial displays, such as breaching (jumping out of the water), or slapping the surface with their pectoral fins, tails, or heads.
•Humpback whales travel great distances during their seasonal migration, the farthest migration of any mammal. The longest recorded migration was 5,160 miles (8,300 km); seven animals, including a calf, completed this trek from Costa Rica to Antarctica.
•Also on wintering grounds, males sing complex songs that can last up to 20 minutes and be heard 20 miles (30 km) away. A male may sing for hours, repeating the song several times. All males in a population sing the same song, but that song continually evolves over time. Humpback whale singing has been studied for decades, but scientists still understand very little about its function.
Source: www.nmfs.noaa.gov/pr/species/mammals/whales/humpback-whal...
a vintage shot,its colour pigmentation has faded.it was my favourite photo.i wanted that my friends should also enjoy it.my Picnic mode was not functioning otherwise i would have corrected it a bit.pl don't mind.
My LO for this weeks Colour Combo at colorcombosgalore.blogspot.com/.
An LO about me and my bigsiss:)
Journaling reads;
You are my mirror image and I am yours.
People always say that we are so much alike until they really get to know us. Then they see that we are totally the opposite of each other. Long/short fuse. vego/ meat eater, tidy/ messy the list goes on and on. Even the birthmarks on our backs are the total opposite, where you have a dark patch mine is lacking of pigmentation. I think that it’s the contrasts in the core of our personalities that make us the unique combo that we are.
*And yeah we are trying to look cute and innocent in the picture:)*
Built in 1919-1920, this Chicago School and Sullivanesque-style building was designed by Louis Sullivan for the Farmers and Merchants Union Bank in Columbus, Wisconsin as one of his late-career “jewel box” bank buildings that are largely located in smaller communities throughout the midwest. The building was the last “jewel box bank” designed by Sullivan, and the second-to-last commission of his career, and was intended to communicate the bank as a modern and progressive institution, rather than employing the stodgier and more traditional Classical design found on most other banks of the era. The bank was commissioned by the president of the bank, J. Russell Wheeler, whose wife, Anna May Wheeler, pushed him to commission Sullivan to design a new home for the bank. In addition to Louis Sullivan, the building’s stained glass windows, were designed by architectural decorator Louis J. Millet, and the terra cotta by clay modeler Kristian Schneider, whom developed moulds for the building’s terra cotta, metal, and plaster details. The two artisans worked alongside Sullivan on several other bank projects. The building was heavily documented in Sullivan’s 1924 “A System of Architectural Ornament”, published shortly before he died.
The building is clad in red tapestry brick, which features blue and green mixed with the red clay mixture in some bricks, creating variation in color and texture across the facade. The brick creates a backdrop to some of the best terra cotta on any of Sullivan’s projects. The terra cotta features many of the floral and geometric motifs found on Sullivan’s other works, and is arranged similarly to other Sullivan banks that utilized brick cladding. The building features two principal facades, with a narrower facade along James Street, and a broader facade facing Dickason Boulevard. The James Street facade features two openings close to ground level, with the eastern bay housing a large plate glass window, and the western bay housing a doorway flanked by skylights, both of which are recessed under a large terra cotta architrave and flanked by square pilasters with decorative Sullivanesque ornament panels at the capitals. The architrave above the doorway and window is divided into three segments by vertical terra cotta elements that feature floral motifs and, like many Sullivan buildings, appear like plants with roots, branches, and crowns. The outer panels of the architrave feature circular cartouches with hexagonal trim, leaves, and geometric elements, with circular central medallions featuring the years 1861, when the bank was founded, and 1919, when the bank was completed. The central panel is clad in marble with the words “Farmers & Merchants Union Bank” and “Louis Sullivan, Architect” engraved into the stone with yellow pigmentation, contrasting against the white and green marble background. Atop the two vertical elements on either side of the central panel are griffin sculptures holding shields, a common element on many of Sullivan’s “Jewel Box Banks,” while the base of the outer vertical elements features the initials of the bank at the base. Above the architrave is an arched bay that houses a stained glass window, trimmed with decorative terra cotta at the inner and outer rings of the arch, with the bay becoming more recessed after each concentric arch, much like the entrances to medieval Romanesque churches. Besides a band of belt coursing that runs on either side of the architrave and wraps the corner to a tapered buttress on the Dickason Boulevard facade, the only other adornment is an eagle sculpture on a vertical trim element at the center of the parapet, which terminates many brick courses above the arched opening below, and another band of terra cotta trim along the top of the parapet, which forms a cap on the parapet around the perimeter of the building’s low-slope roof. On the Dickason Boulevard facade, the building features five recessed clerestory arched bays housing stained glass windows, flanked by tapered buttresses. Surrounding the arched tops of the windows are decorative trim panels with floral motifs, which begin just below the base of the arches, and extend up above the top of the arches, terminating in a band of belt coursing. Atop the buttresses at either end are trim elements featuring large spheres atop rectilinear legs with floral motifs below, undulating in and out with the brick below. Additionally, a band of belt coursing, which wraps the corner of Dickson Boulevard and James Street, runs beneath the windows, only interrupted by the buttresses. Toward the back, on the building’s original rear wing, there are three windows at eye level in the original building, with bands of belt coursing below and at the top of the parapet. The rear window is a recessed bay window flanked by two pilasters with sullivanesque terra cotta panels, while the smaller windows are flanked by sullivanesque relief panels. The rear wing features a roof at multiple heights, and was extended in 1961 with a matching addition by Law, Potter and Nystrom, since removed. The rear of the taller portion of the building features a simple recessed bay with an arched window, and a similar eagle sculpture and vertical trim piece as on the front facade.
Inside, the front wing of the building features a tall banking hall with brick cladding on the walls up to the level of the windows, where it terminates at a wooden sill. The space is split down the middle by a row of brick piers and low walls framing the teller cages, which terminate at the sill line of the windows, dividing the space while still allowing it to read as a single continuous lofty space. The brick forms piers at the teller’s cages, pilasters separating desks on the exterior wall, and low brick walls with marble caps. The upper portion of the walls and the coffered ceiling in this space is finished with white plaster, which gives the space a very vertical and airy feeling, as do the cream-colored terrazzo floors, which feature black edges at the base of the walls, tying the space together. The space features a terra cotta water fountain, or bubbler, also designed by sullivan, which features intricate ornament by Schneider. The space also features two mezzanine balconies with metal railings that run below the arched windows at the front and rear of the space, allowing managers to observe the activities in the lobby and teller area below from the rear balcony, while the front balcony exists solely to balance the space and keep it symmetrical. An office for private conferences with customers was originally located near the front of the space, along with a manager’s office, allowing convenience for customers seeking a meeting with the bank management. The teller’s side of the space also housed the bank’s two vaults and several other private offices. The bank originally featured a large meeting room in the one-story rear wing, behind the vaults, with a women’s waiting room sitting along the Dickason Boulevard side of the rear wing, featuring a bay window and a restroom. The building’s interior has changed in function somewhat due to the growth of the bank, changes in bank operations, and expansion of the building with new additions to house offices and a drive-through in the rear.
The building was listed on the National Register of Historic Places in 1972, was designated a National Historic Landmark in 1976, and is a contributing structure in the Columbus Downtown Historic District, listed on the National Register of Historic Places in 1992. The building saw an addition in 2006, clad in buff brick, which replicated a historic building that formerly stood to the east, and wraps the building to the rear, with a two-story section behind a one-story annex that connects the one-story rear wing of the bank to the new building. This wing replaced older additions made in 1961, which matched the one-story rear wing of the historic building, and 1980, which was modern in appearance and slightly recessed along James Street to give precedence to the historic building. The building still functions as the main office branch of the Farmers and Merchants Union Bank, which has grown substantially. The building has been long considered to be among the best of Sullivan’s “Jewel Box Banks,” and has been kept in excellent condition by the bank’s careful and caring generational stewardship.
Built in 1919-1920, this Chicago School and Sullivanesque-style building was designed by Louis Sullivan for the Farmers and Merchants Union Bank in Columbus, Wisconsin as one of his late-career “jewel box” bank buildings that are largely located in smaller communities throughout the midwest. The building was the last “jewel box bank” designed by Sullivan, and the second-to-last commission of his career, and was intended to communicate the bank as a modern and progressive institution, rather than employing the stodgier and more traditional Classical design found on most other banks of the era. The bank was commissioned by the president of the bank, J. Russell Wheeler, whose wife, Anna May Wheeler, pushed him to commission Sullivan to design a new home for the bank. In addition to Louis Sullivan, the building’s stained glass windows, were designed by architectural decorator Louis J. Millet, and the terra cotta by clay modeler Kristian Schneider, whom developed moulds for the building’s terra cotta, metal, and plaster details. The two artisans worked alongside Sullivan on several other bank projects. The building was heavily documented in Sullivan’s 1924 “A System of Architectural Ornament”, published shortly before he died.
The building is clad in red tapestry brick, which features blue and green mixed with the red clay mixture in some bricks, creating variation in color and texture across the facade. The brick creates a backdrop to some of the best terra cotta on any of Sullivan’s projects. The terra cotta features many of the floral and geometric motifs found on Sullivan’s other works, and is arranged similarly to other Sullivan banks that utilized brick cladding. The building features two principal facades, with a narrower facade along James Street, and a broader facade facing Dickason Boulevard. The James Street facade features two openings close to ground level, with the eastern bay housing a large plate glass window, and the western bay housing a doorway flanked by skylights, both of which are recessed under a large terra cotta architrave and flanked by square pilasters with decorative Sullivanesque ornament panels at the capitals. The architrave above the doorway and window is divided into three segments by vertical terra cotta elements that feature floral motifs and, like many Sullivan buildings, appear like plants with roots, branches, and crowns. The outer panels of the architrave feature circular cartouches with hexagonal trim, leaves, and geometric elements, with circular central medallions featuring the years 1861, when the bank was founded, and 1919, when the bank was completed. The central panel is clad in marble with the words “Farmers & Merchants Union Bank” and “Louis Sullivan, Architect” engraved into the stone with yellow pigmentation, contrasting against the white and green marble background. Atop the two vertical elements on either side of the central panel are griffin sculptures holding shields, a common element on many of Sullivan’s “Jewel Box Banks,” while the base of the outer vertical elements features the initials of the bank at the base. Above the architrave is an arched bay that houses a stained glass window, trimmed with decorative terra cotta at the inner and outer rings of the arch, with the bay becoming more recessed after each concentric arch, much like the entrances to medieval Romanesque churches. Besides a band of belt coursing that runs on either side of the architrave and wraps the corner to a tapered buttress on the Dickason Boulevard facade, the only other adornment is an eagle sculpture on a vertical trim element at the center of the parapet, which terminates many brick courses above the arched opening below, and another band of terra cotta trim along the top of the parapet, which forms a cap on the parapet around the perimeter of the building’s low-slope roof. On the Dickason Boulevard facade, the building features five recessed clerestory arched bays housing stained glass windows, flanked by tapered buttresses. Surrounding the arched tops of the windows are decorative trim panels with floral motifs, which begin just below the base of the arches, and extend up above the top of the arches, terminating in a band of belt coursing. Atop the buttresses at either end are trim elements featuring large spheres atop rectilinear legs with floral motifs below, undulating in and out with the brick below. Additionally, a band of belt coursing, which wraps the corner of Dickson Boulevard and James Street, runs beneath the windows, only interrupted by the buttresses. Toward the back, on the building’s original rear wing, there are three windows at eye level in the original building, with bands of belt coursing below and at the top of the parapet. The rear window is a recessed bay window flanked by two pilasters with sullivanesque terra cotta panels, while the smaller windows are flanked by sullivanesque relief panels. The rear wing features a roof at multiple heights, and was extended in 1961 with a matching addition by Law, Potter and Nystrom, since removed. The rear of the taller portion of the building features a simple recessed bay with an arched window, and a similar eagle sculpture and vertical trim piece as on the front facade.
Inside, the front wing of the building features a tall banking hall with brick cladding on the walls up to the level of the windows, where it terminates at a wooden sill. The space is split down the middle by a row of brick piers and low walls framing the teller cages, which terminate at the sill line of the windows, dividing the space while still allowing it to read as a single continuous lofty space. The brick forms piers at the teller’s cages, pilasters separating desks on the exterior wall, and low brick walls with marble caps. The upper portion of the walls and the coffered ceiling in this space is finished with white plaster, which gives the space a very vertical and airy feeling, as do the cream-colored terrazzo floors, which feature black edges at the base of the walls, tying the space together. The space features a terra cotta water fountain, or bubbler, also designed by sullivan, which features intricate ornament by Schneider. The space also features two mezzanine balconies with metal railings that run below the arched windows at the front and rear of the space, allowing managers to observe the activities in the lobby and teller area below from the rear balcony, while the front balcony exists solely to balance the space and keep it symmetrical. An office for private conferences with customers was originally located near the front of the space, along with a manager’s office, allowing convenience for customers seeking a meeting with the bank management. The teller’s side of the space also housed the bank’s two vaults and several other private offices. The bank originally featured a large meeting room in the one-story rear wing, behind the vaults, with a women’s waiting room sitting along the Dickason Boulevard side of the rear wing, featuring a bay window and a restroom. The building’s interior has changed in function somewhat due to the growth of the bank, changes in bank operations, and expansion of the building with new additions to house offices and a drive-through in the rear.
The building was listed on the National Register of Historic Places in 1972, was designated a National Historic Landmark in 1976, and is a contributing structure in the Columbus Downtown Historic District, listed on the National Register of Historic Places in 1992. The building saw an addition in 2006, clad in buff brick, which replicated a historic building that formerly stood to the east, and wraps the building to the rear, with a two-story section behind a one-story annex that connects the one-story rear wing of the bank to the new building. This wing replaced older additions made in 1961, which matched the one-story rear wing of the historic building, and 1980, which was modern in appearance and slightly recessed along James Street to give precedence to the historic building. The building still functions as the main office branch of the Farmers and Merchants Union Bank, which has grown substantially. The building has been long considered to be among the best of Sullivan’s “Jewel Box Banks,” and has been kept in excellent condition by the bank’s careful and caring generational stewardship.
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White Tiger (Panthera tigris tigris) - Rajiv Gandhi Zoological Park and Wildlife Research Centre - Katraj (near Pune), State of Maharashtra, India - 15 June 2014
The White Tiger is a rare pigmentation variant of the Bengal Tiger. White Tigers are distinct for the normal coloration in that they lack the pheomelanin pigment that in normal tigers produces the orange color. They still produce the pigment eumelanin and hence are not considered albino. Compared to normal tigers without the white gene, White Tigers tend to be somewhat bigger, both at birth and as fully grown adults.
Currently, several hundred White Tigers are in captivity worldwide, with about one hundred being found in India. The last White Tiger ever seen in the wild was shot in 1958.
Pleosporales Luttr. ex M.E. Barr (order)
EN: ? DE: ?
Slo.: ?
Dat.: April 5. 2017
Lat.: 46.35942 Long.: 13.69699
Code: Bot_1046/2017_DSC7333
Habitat: : mountain scree slope, southeast aspect; open, sunny, dry place; calcareous ground; exposed to direct rain; elevation 680 m; average temperature 6-8 deg C, average precipitations ~3.000 mm/year; alpine phytogeographical region.
Substratum: dead, rotten trunk of Fagus sylvatica lying on ground.
Place: Lower Trenta valley; between villages Soča and Trenta, right bank of river Soča near lower hunter's trail from Na Melu place to Lemovlje, below Na skalah settlement, East Julian Alps, Posočje, Slovenia EC.
Comments: This ascomycete remains a secret for me. It appears to have perithecioid ascomata with occasionally papillate apex, cellular pseudoparaphyses, bitunicate (hope so) and clavate/cylindrical 8-spore asci, ascospores with pigmentation and several septa and peridium composed of a few layers of cells. Thus it possibly belongs to fungi order Pleosporales Luttr. ex M.E. Barr. This order comprises tens of families and thousands of species. I searched for species, which stain decaying wood reddish/purplish. I browsed through short descriptions of about 160 species studied in the paper of Zhang et al. (2009) (Table:1). Several species, which stain substratum reddish, are cited, but none fits to this observation. It is also possible that my assumption about Pleosporales is completely wrong and this find is something totally different. Hard to manage is also the fact that the traditional taxonomy based exclusively on morphology has been overturned drastically by recent molecular studies. Hense proper naming of species (even genera and families) is confusing for an amateur. Unfortunately, there was no response from AscoFrance forum either. Any help would be much appreciated.
Spores smooth, septated; from 3 to 7 septa, AVG = 4.5, SD = 0.9, N = 80. Dimensions: 19,4 [24,5 ; 26,5] 31,6 x 5,2 [6 ; 6,3] 7,1 microns; Q = 3,1 [4 ; 4,4] 5,2; N = 40; C = 95%; Me = 25,5 x 6,1 microns; Qe = 4,2. Olympus CH20, NEA 100x/1.25, magnification 1.000 x, oil (asci tip, perithecia wall); NEA 40x/0.65, magnification 400x (spores, asci), in water; fresh material. Novex, Zoom Stereo RZ_Range, Holland (perithecia). AmScope MA500 digital camera.
Herbarium: Mycotheca and lichen herbarium (LJU-Li) of Slovenian Forestry Institute, Večna pot 2, Ljubljana, Index Herbariorum LJF
Ref.:
(1) Zhang, Y. et al. “Multi-Locus Phylogeny of Pleosporales: A Taxonomic, Ecological and Evolutionary Re-Evaluation.” Studies in Mycology 64 (2009): 85–102–S5. PMC. Web. (accessed: Dec. 30. 2017).
(2) fungi.myspecies.info/all-fungi/massariosphaeria (accessed Dec. 24. 2017)
(3) www.asturnatura.com/especie/massariosphaeria-typhicola.html (accessed Dec. 24. 2017)
(4) www.sites.google.com/site/funghiparadise/home (accessed Dec. 24. 2017)
(5) MO Observation 84963
Leucism is a condition in which an animal does not have full pigmentation. For birds, the lack of pigementation is seen in the feathers. Unlike albinism, leucism does not affect eye pigmentation. This leucistic White-throated Sparrow was seen at Monticello Park in Alexandria, Virginia, on April 24, 2019.
There are numerous skincare products that target specific skin concerns. Did you know… Skin problems may be aggravated or caused by unassuming factors that lurk in your every day, thus sabotaging your efforts for glowing skin?
Hands up if you have a plethora of skincare products on your vanity to beat issues like dark spots, acne, dryness, dullness, redness, and wrinkles! There’s no shame in being obsessed with achieving clear skin — we’re all for it.
Unfortunately, no matter how much you’re doing for your skin, there are external aggressors(some almost unavoidable!)that get in the way of your road to a glowing complexion. Here’s how you can combat them:
1. Daily Exposure to Air Conditioning
Prolonged exposure to air conditioning on a daily basis can be tough on your skin and may cause dryness. When your skin is ‘thirsty’, it can get dull and flaky — the drier the skin, the more susceptible you are to fine lines and the faster your skin ages. To keep your skin hydrated and supple apply moisturizers, balms and non-greasy lotions.
2. Unclean Smartphones
If you’re reading this on your mobile, beware of the germs on your screen! The heat from your phone, food spills, facial oils, and makeup smudges make the perfect breeding ground for bacteria. Hence, when you pick up a call or reply to a text, you may be adding more bacteria to your skin which can cause itchiness and breakouts. In order to avoid these from occurring, reduce the contact you have with your devices, or simply clean your phone with alcohol wipes to avoid skin irritation.
3. Air Pollution
You may have sunblock to protect your skin from ultraviolet rays, but have you thought about protecting yourself from air pollution? When you’re a city dweller, the overhanging haze situation or fumes from daily traffic congestion are almost unavoidable. With nothing to shield your skin, the penetration of unclean air can cause accelerated skin aging, pigmentation, and clogged pores, which can even lead to inflammation. Your moisturizing and sunblock regime may be acting as a defense layer, but you can take it one step further with a deep cleanser to remove all the impurities.
4. Dirty Pillowcases
If you think about it, making the bed isn’t quite as clean as changing the sheets. As you toss about in bed the residue from your skincare, hair serums and dead skin cells will eventually be smeared onto your sheets, bolster, and pillowcases. The germs and bacteria that build up day after day can lead to unexpected breakouts. Prevent pimples and acne by washing your sheets regularly or have a few pillows and bolsters on rotation.
That being said, this isn’t an appeal to grow or extend your skincare routine. It’s a reminder that there are other factors, unlike diet and stress that get in the way of your glow. Hence, it’s important to maintain a healthy lifestyle and supplement your skin health from within. A beauty boost, such as BRAND’S® InnerShine® RubyCollagen Essence which is made with Ruby Signature™ formula containing micro-collagen and Astaxanthin(one of Mother Nature’s most powerful antioxidants) could give you that extra ‘boing’ to your skin and help you guard your glow. Click here to find out more.