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climb to the top to see as far as possible
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Well my trip to the National Aviary in Pittsburg was wonderful and I am already dying to go back. I was able to get a lot of different species and I am still nowhere close to the amount of species they have there. So I will certainly be looking for a return visit.
I tried to get all my shots looking as natural as possible. I thought I would start with a White-creasted Laughing Thrush. These guys are very active and bound all over the rainforest exhibit. I was happy to find this guy taking a break just above me in a tree.
I hope everyone enjoys this image! :^)
The scientific name for this species is: Garrulax leucolophus.
The fin whale (Balaenoptera physalus), also known as finback whale or common rorqual and formerly known as herring whale or razorback whale, is a marine mammal belonging to the parvorder of baleen whales. It is the second-largest mammalian species on Earth after the blue whale The largest reportedly grow to 27.3 m (89.6 ft) long with a maximum confirmed length of 25.9 m (85 ft), a maximum recorded weight of nearly 74 tonnes (73 long tons; 82 short tons), and a maximum estimated weight of around 114 tonnes (112 long tons; 126 short tons). American naturalist Roy Chapman Andrews called the fin whale "the greyhound of the sea ... for its beautiful, slender body is built like a racing yacht and the animal can surpass the speed of the fastest ocean steamship.
See here for the complete story behind this...
"The members of the Kaze clan are wise and skilled warriors, that always try to avoid a conflict if it is possible, but don’t step back if if it is inevitable.
Their Draconid is really fast and agile, with decent shields and good firepower. It is called Whitefang."
Possible cover art for a project of cover songs from 1968 and 1969. Photograph by Drew Hamlet, the type is Futura.
At the rear of the coal loads was this surprise, a really clean SD70ACe. Such a rarity these days. Yes I was a little miffed this one turned up as a DPU but it was actually better positioned, relative to the light, than the head end was. It was nice enough that I gave serious consideration to chasing for another set or two. I did press on but this was one of the cleanest ACes I'd see all trip.
Benteen, MT, September 8, 2023.
St Mary, Gosbeck, Suffolk
We are close enough to Ipswich to sense its orbit, but remote enough for Gosbeck not to be a place that many of the county town's residents will have heard of. The lanes out here meander nowhere in particular, and it is possible to cycle a long way without seeing a car. The villages are generally away from their churches; both Gosbeck and nearby Crowfield are almost a mile from theirs. St Mary sits in its graveyard surrounded by fields, one big house beside it, the air full of birdsong and the rustle of leaves.The solid 14th century tower is one of those south ones you frequently find in the Ipswich area.
Externally, the church cannot have changed a great deal in appearance since the 14th Century, but a crisp 19th Century restoration has left a building with an endearingly rustic feel, and a flavour of the dominant enthusiasms of the Church of England in the last years of that century, and the early decades of the one which followed.
You step inside to a curiosity: the body of the nave is screened off from the back part, forming a kind of baptistry. The screen is probably contemporary with the font, as the 19th Century becomes the 20th, but the most interesting feature at this end is the iron-bound door to the tower, which may very well also date from as early as the 14th Century. You step through the gap into the body of a well-kept, trim Victorian church.
The best feature of the church is the early 20th Century reredos, at once grand and sentimental. Either side of the Resurrection are the raising of Lazarus and the raising of Jairus's daughter - the designers anticipated a less-enlightened age, when people would not know what on earth was going on, by labelling them. The same two outer scenes can also be found flanking the Resurrection in the east window at neighbouring Crowfield.
The other pleasing feature is the glass, again turn of the century. The best is probably the Madonna and child in the chancel, but there is a very fine Art Nouveau piece in the Norman lancet high in the north wall - easily missed, but revisiting the medieval convention that even those parts of the church seen only by God should be beautiful. Some panels from the former rood screen are attached to the north wall. Two modern banners depicting the life of the parish in symbolic form, and probably from the Millennium, flank the sanctuary.
St Mary is a perfect example of all that is best about an ordinary rural parish church: not historically or artistically significant, perhaps, but well-cared for, obviously loved, opened to pilgrims and strangers, and a vital heart of its community.
Back outside, the graveyard is an interesting place to wander. There are some unusual brick anthropomorphic tombs to the west of the church, and a skull and bones mark the place where resteth the body of Amy Green, the wife of Abraham Green, who departed this life in 1735, at the age of 25. Such a short life, and so long ago, but still remembered. I made a mental note to ensure that my family also put a headstone up for me, possibly even with the same anatomical details at the top, and then headed on towards Crowfield.
I've been struggling to figure out how to cover my mess of an engine block, so today I fiddled around with a new engine idea. I was talking about it with my dad and he suggested having the ship flare out on the back end, so I may try that route.
I'm also considering converting it to minifigure scale...
And yes I've gotten a lot more done than just fiddle with the engines. I've made a new measuring stick, stands, and the whole ship has a slight frame now.
----
September 2013
These sculptures formed part of a group of The Last Supper that was executed in terracotta for the wealthy and prominent Monastery of Santa Cruz in Coimbra around the year 1530 by a shadowy French sculptor who was perhaps known as "Odarte" by the Portuguese, but whose real name may have been Hodart Vyryo. At some point, the sculptures were broken up, and were only rediscovered around 1878.
The museum has reassembled them to the degree possible. Not all of the figures can be identified with certainty. Still, it was a striking ensemble, and well-displayed by this excellent museum, which is well worth your time if you enjoy medieval and Renaissance art and sculpture and are visiting Coimbra. I spent a couple of hours there and thoroughly enjoyed it.
Glenrowan. Ned Kelly (1855-80) a criminal bushranger but glorified for inexplicable reasons into an Australian folk hero but possible because of his Irish background. His father was transported as a convict and Ned married into the Quinn family suspected of cattle rustling and theft. His father died when he was 11 and at 14 Ned was arrested for assaulting a Chinese man but the charge was dismissed. Took up bushranging later that year. Imprisoned for 6 months in 1870 (aged 15). Late in 1870 imprisoned for 3 years. On release took up horse thieving with his stepfather. Both Ned’s brothers imprisoned for horse theft. Kelly’s felt themselves victims of police persecution despite their criminal activities. In 1878 went into hiding on a charge of shooting another man. Later that year he killed Constable Lonigan who was searching for Ned. Government put out a reward for Ned alive or dead for murder and bushranging. Ned’s gang took 22 people hostage on a farm near Euroa where Ned robbed a bank. In 1879 Ned and his gang robbed more, imprisoned several police and he detained 60 people at Glenrowan in a hotel. When a police train from Melbourne came Ned was prepared with his metal cylindrical headpiece and suits of armour from metal ploughs etc. The police attack took Ned down with shots to his unprotected legs. Three were killed in the Glenrowan shoot out. In 1880 Ned was tried in Melbourne for the murder of Constable Lonigan and convicted. He was hanged a couple of weeks later aged 25 yrs. Ned the cheeky underdog murderer was gone but his story and memory lives on, especially in Glenrowan the site of his last stand where several businesses try to make money from the folk hero with little museums, tacky souvenir shops and gun shooting shows!
Kim Possible sandals on Pure Neemo. Sort of fit but not really her style + ankle straps really tight. . I hope they don't stain.
The fin whale (Balaenoptera physalus), also known as finback whale or common rorqual and formerly known as herring whale or razorback whale, is a marine mammal belonging to the parvorder of baleen whales. It is the second-largest mammalian species on Earth after the blue whale The largest reportedly grow to 27.3 m (89.6 ft) long with a maximum confirmed length of 25.9 m (85 ft), a maximum recorded weight of nearly 74 tonnes (73 long tons; 82 short tons), and a maximum estimated weight of around 114 tonnes (112 long tons; 126 short tons). American naturalist Roy Chapman Andrews called the fin whale "the greyhound of the sea ... for its beautiful, slender body is built like a racing yacht and the animal can surpass the speed of the fastest ocean steamship.
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
one last look at the winter in coal harbour. now that it is well into spring in van, the archives need to be emptied.
Kim Possible is an American animated action comedy-adventure television series created by Bob Schooley and Mark McCorkle that originally aired on Disney Channel from June 7, 2002 to September 7, 2007.
I have this wonderful heroine with me from back when I was one of several admins running a major network. One of my users dubbed me "Kim Possible!" and gave me the doll! It was just great to know that the people whose network I helped manage thought I could solve or fix anything! :) :)
Taken for the Jules' Photo Challenge Group:
Last month our challenge involved vowels so naturally this month is the consonants!
Another of my evening shots from 1977, this time of an unidentified Class 40 which is probably heading for the Grand Junction line. Another Zenit EM shot. At this time I was not taking numbers so identification is not possible.
Identified as possibly the 6F39 18.50 MO Rowley Regis to Stanlow due at Bescot at 7.19pm.
Fun picture- guys could climb onto the thing and girls could stand around looking at them or something like that!! - 2
If possible this Fuller's pub is even more gloriously bedecked with flowers and foliage than last time I took a photo of it. It's a pub with a split personality (Irish pub, English name, American paraphernalia, Thai food, and, er, chamber pots hanging from the ceiling). Still, it serves good beer. (Older photo of it.)
Address: 119 Kensington Church Street (formerly at Peel Place, Kensington Gravel Pits and Silver Street).
Owner: Fuller Smith Turner (website).
Links:
Commentary.
The North and South Downs Chalk ecosystem,
either side of The Weald, is a sublime and beautiful environment.
The Weald is a series of Sandstone Ridges and Clay Vales.
Over millions of years river, Spring and Periglacial meltwater
has worn away the top layer of a Chalk Dome,
reaching, perhaps, an altitude of 4,000 feet.
Under that, Upper and Lower Greensand has been eroded,
revealing in places, layers of Gault and Atherfield Clays,
particularly in the base of valleys.
The name “Weald” comes from the Saxon word, “Walden,”
meaning “forest” or “woodland.”
When the Romans invaded 2,000 years ago
and right through the Anglo-Saxon “Dark Ages,”
the area between the Downs was densely wooded.
Today, as much as 30% of “The Weald”
is still forest and woodland copse.
It is very different to the Chalk Downs,
having Acidic rather than Alkaline soil.
The Chalk acts like an Aquifer, permeating some water,
but retaining enough, to allow lush grass turf to thrive.
However, the easily eroded Sandstone retains little.
Water leaches through the sandy
soil, taking most nutrients with it.
Therefore, on the Sandstone ridges only hardy
Pines, Heather, Ferns and Bramble can survive the poor soil.
Where erosion has worn through the Sandstone
underlying clay retains water and much more nutrients,
making grass, fodder and arable crops
possible, in strips, along the valleys.
The Pine-forest pictured here,
is radiated by a setting sun.
This colourful, peaceful habitat is one that I have
grown up with and loved for many years.
Today's topic for Macro Mondays is "Bag," and this leather pouch is my possibles bag, though, more realistically I guess I should simply call it a ball bag because all I ever carried in it was lead balls for my .50 caliber muzzle loading black powder pistol (see first comment below). Since the only place I ever shot the old hand cannon was on a pistol range, I never had any need for a real mountain-man type of possibles bag, but this was the sort of bag they used to keep handy to carry stuff they might possibly need real quick.
♦♦ Since the Yahoos who designed the new Flickr have elected to show only a limited number of comments, you may have to click on "View (#) more comments" to see the the other image I've posted in the first comment below. ♦♦
Little update, all my monster high customs will be going up for sale in the next couple months, AiL Chloe is sold and possibly one of my other BJDs will have to be sold as well as and lots of clothes and accessories. Everything is going to be up on feee-bay, will post on here when the auctions are ready.
I'm sad about it but moving to london with all this doll stuff would be a real pain in the butt. The problem will be chosing who goes. I love them all so much.
Eyes out for Dorians SA plate. He's getting face-up and the MH girls (2 frankies, 1 ghoulia skull-face) will be up for auction first.
male ..about 5mm long at the most...turrented abdomen with the turrent only a little larger than the abdomen. large frontal eyes for size...found on leaf and not on a dry twig.
It is still possible to find an old Studebaker which is in reasonable condition. This one was found somewhere in the States. It had been parked in an old barn, forgotten and untouched for over 20 years.
I took these images from a Vice Grip Garage video movie, found on YouTube. This movie was about the challenge if the engine would start after so many years of inactivity.
At the end of the YouTube movie the owner asked the viewers to put in the comments what to do with the car now it's finally running. Leave it like it was found, with the original patine? Or clean the car and prepare it for sale?
The majority choose for the last option.
This image is taken just after an entire cleaning treatment.
2780 cc L6 petrol engine.
Production Studebaker Champion Series: Autumn 1938-1942/1946-1958.
Production Champion 3rd Generation Series: Autumn 1946-1952.
Production Champion this version: Autumn 1946-1947.
Halfweg, June 1, 2024.
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