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Leonardo trying to choose his new Facebook dummy icon...
Original shot taken with a Polaroid Procam camera loaded with Polaroid Image Softtone instant film expired in 10/2009, light post processing.
Is it possible to fall in love with a virtual mate? In Second Life, couples prove that theory on a regular basis. They do fall in love. Sometimes, it lasts and sometimes it doesn't.
Those that last are a remarkable group of couples. They are remarkable both in SL and RL where the divorce rate matches the break-ups in SL!
My partner, Xavier and I enjoy SL very much. We dance, we explore, we network, we chill, we love and we have a blast doing silly things.
So many places offer romantic areas such as ballrooms, chill zones and explorations. Here are some of our favorites...
Avilion Ballroom is a special favorite of mine. It's where I first danced with my first crush... and now I dance here with my partner. Recently, renovated, the Avilion offers a beautiful place to romance each other.
Phatland is another. More jazz music than Avilion, Phat's is a sophisticated club for couples. Beautifully built, we seem to frequent this place a lot.
Another great ballroom venue is Frank's Place. A lot of avies hang out here, so do prepare for a bit of lag. I suggest that you arrive early so that you can grab a spot on the dance floor.
A smaller club that we frequent regularly is the MMAC Jazz Link. Every week, DJ VJ Shojo spins an eclectic set of jazz and indie tunes. Very chill and very romantic little jazz club. Dash Renoir is the perfect host there.
Then there's the beautiful Ballroom">Palace, where grand is an understatement. We usually arrive to a nearly empty place dancing alone in our own world. Very romantic.
But, the most grand of all is a recent discovery. Tempura Island and Ballroom is the epitome of a lover's paradise. Grand and magnificent, the ballroom is done in gold gilt, with a beautiful ceiling and wall textures. The stairs leading to the ballroom and castle are simple but ever so opulent. This is an LM that I have sent to all my friends! LOL!
And we still frequent the clubs that offer a place for us. A place where we can be a couple without the drama that other places bring...
We hit Dorian Gray for DJ Barbs set and Xavier set off his JMD particle hud for a romantic interlude on the dance floor. So fun!
A big thanks to DJ Dint Talon for an awesome night over at IPR365 Milky Way Entertainment complex's K-Lounge. OMG, we had a blast! DJ Dint was spinning an incredible set of jungle, tribal, trance... you name it, he was spinning it! We stayed until the end!
We also went to Bogart's Cafe which is kinda a ballroom and kinda a lounge setting. You can dress in ballroom or cocktail dress there. We often go in between clubbing for a quick ballroom dance to lovely jazz music.
We usually stop off at Spanish DJ Sonar Halsey's Future Club. It is always psy heaven there! And BassLine Island for some hardcore tunes to get the blood pumping. Both are fun clubs for couples to hang at and dance.
And when we explore, we always seem to find the cutest places such as Midnight City for NBC's romantic dinner club, Rainbow Room Dining and the Italian pizza place that reminds me of North Beach in San Francisco!
The other night, Xavi took me to NOAA, the National Oceanic and Atmospheric Administration's build featuring an interactive floor of of the entire world's atmosphere! Wow! This from the US Department of Commerce!
And, when we chill at home we can be silly and set off our particles and dance or pull all our emotes and gestures for hours of silliness.
Couples in Second Life are just like couples in real life. They play, they love, they emote real emotions towards each other... and as best friends, they share the best of Second Life together.
The Mobility Roadshow –
why visit?
Presenting the finest in mobility innovation for 30 years, the national Mobility Roadshow is the original hands-on mobility event, showcasing the best possible products and services for an independent lifestyle. Whether you want to test drive, have a go at sport, driving experiences, rock climbing or just find out what’s new in the mobility market – it’s all here!
Inspirational - be amazed at life-changing productsand new ideas for YOUR independent lifestyle
Informative - gain a wealth of expert help, information and advice
Interactive - test drive vehicles, wheelchairs, powerchairs, scooters, cycles; join in sport, watch demonstrations, activities for all the family
What is it?
The UK’s most comprehensive event of its kind, it is THE annual mobility and lifestyle consumer event, showcasing a huge variety of products and services to aid an independent lifestyle. The Mobility Roadshow aims to give anyone with a mobility problem - drivers, passengers, adults or children - the chance to assess what is available to help solve that problem and most importantly to try out and evaluate the options in a ‘no pressure’ environment
Whether you have a disability that affects your mobility, or you’re an older person who is finding mobility that little bit more restricted than it used to be, the Mobility Roadshow is your one-stop shop for independence and freedom. It offers, quite simply, the best possible showcase of mobility products and services anywhere in the UK.
When and where is the next show?
Telford International Centre, 27th-29th June 2013
Who organises it?
The Mobility Roadshow is organised by registered charity Mobility Choice.
How much does it cost to get in?
Admission, parking and showguide are free, as are all activities on site.
Is it just for people with disabilities?
Not at all - there are all kinds of devices that could help people of any age who may be experiencing mobility problems through something like arthritis or stiffening joints – swivel seats make getting in and out of a car much easier, while lightweight portable scooters that fit easily in the boot of a car can be a real help for shopping or leisure activities for the less mobile.
Who exhibits at the Roadshow?
Around 160 companies and organisations, including several of the major car companies, plus vehicle adaptation and conversion specialists, mobility aids manufacturers, scooter and wheelchair manufacturers, information and advice services, charities, mobility insurance specialists; sport, leisure and holiday companies; plus a range of equipment and services for an independent lifestyle.
What sort of products will I see?
Latest cars and converted vehicles fitted with adaptations; the widest range of wheelchair-accessible vehicles (WAVS); lightweight, sports, power and manual wheelchairs; hand controls; hoists; car seats; commercial vehicles; battery chargers; trikes and scooters; walkers; rotating car seats; specialist wheels and tyres; suspension systems; ramps; seat clamps; wheelchair restraints; independent living aids and numerous gizmos and gadgets to make life easier for anyone with a mobility problem.
Can I have a go on things?
Yes, this is the original ‘hands-on’ mobility event for consumers. There are opportunities to test drive adapted vehicles and specialist wheelchair-accessible conversions, scooters and wheelchairs and to try out products before you even think about buying, so you can compare all the available options. As well as test driving vehicles, you can try out wheelchairs and scooters on a dedicated Mobility Test Track, plus interactive Sports Arena, and our ever-popular accessible rock-climbing wall with experienced helpers to get you to the top!
You mean I actually get to test drive vehicles?
Yes – many of the major motor manufacturers and conversion specialists will have a range of adapted vehicles available to try out – make sure you bring your driving licence with you. For the first time in the Roadshow's 30-year history, test drives will take place on the public roads around the International Centre, accompanied by a professional driver at all times and dual controls fitted to each vehicle (full licence holders only). You can register to test drive in advance, either through the website or by post.
Is it just for Motability customers?
No. The Roadshow is for anyone who has a mobility problem, whether you have a vehicle through the Motability scheme or you own one privately.
Can I bring the kids?
Yes, it`s a fun day out for all the family. There’s a variety of entertainment such as jugglers, clowns, magicians, face painters or balloon sculptors – plenty to see and do for everyone.
What about sport?
The Roadshow’s interactive Sports Arena offers you a chance to really get involved in a range of sports such as basketball, rugby, sledge hockey, and find out about what’s available in your area.
Can I hire a wheelchair or scooter?
Yes. Wheelchairs and scooters can be pre-booked (subject to availability), and some will be available on the day.
Will I really get impartial advice?
Yes. The Roadshow is all about choice and opportunity. A large number of charitable organisations and information services will be offering impartial advice on a range of mobility issues.
Did you know?
* There are over 10 million disabled people in the UK, that’s over 15% of the population.
* There are 2.3 million blue badge holders in the UK, indicating that they have a significant mobility problem.
* Mobility vehicles represent around 20% of the UK car market.
* Over 5.5 million disabled people are of working age, which represents 16% of the working population. However only 50% of disabled people of working age are in employment compared to 87% of non-disabled people of working age.
*Around 40% of the UK population is over 45 - the age at which the incidence of disability begins to increase significantly.
* The estimated annual purchasing power of people with disabilities is £40-£50 billion
* Over half the population over 75 has some kind of disability – 70% have difficulty walking or climbing stairs.
* 85% of disabled people in the UK were not born disabled, but became so in later life through accident or illness.
* 66% of disabled people are older people. In the next 50 years the number of over 60s will double and the number of over 80s will treble.
Is it possible to fall in love with a virtual mate? In Second Life, couples prove that theory on a regular basis. They do fall in love. Sometimes, it lasts and sometimes it doesn't.
Those that last are a remarkable group of couples. They are remarkable both in SL and RL where the divorce rate matches the break-ups in SL!
My partner, Xavier and I enjoy SL very much. We dance, we explore, we network, we chill, we love and we have a blast doing silly things.
So many places offer romantic areas such as ballrooms, chill zones and explorations. Here are some of our favorites...
Avilion Ballroom is a special favorite of mine. It's where I first danced with my first crush... and now I dance here with my partner. Recently, renovated, the Avilion offers a beautiful place to romance each other.
Phatland is another. More jazz music than Avilion, Phat's is a sophisticated club for couples. Beautifully built, we seem to frequent this place a lot.
Another great ballroom venue is Frank's Place. A lot of avies hang out here, so do prepare for a bit of lag. I suggest that you arrive early so that you can grab a spot on the dance floor.
A smaller club that we frequent regularly is the MMAC Jazz Link. Every week, DJ VJ Shojo spins an eclectic set of jazz and indie tunes. Very chill and very romantic little jazz club. Dash Renoir is the perfect host there.
Then there's the beautiful Ballroom">Palace, where grand is an understatement. We usually arrive to a nearly empty place dancing alone in our own world. Very romantic.
But, the most grand of all is a recent discovery. Tempura Island and Ballroom is the epitome of a lover's paradise. Grand and magnificent, the ballroom is done in gold gilt, with a beautiful ceiling and wall textures. The stairs leading to the ballroom and castle are simple but ever so opulent. This is an LM that I have sent to all my friends! LOL!
And we still frequent the clubs that offer a place for us. A place where we can be a couple without the drama that other places bring...
We hit Dorian Gray for DJ Barbs set and Xavier set off his JMD particle hud for a romantic interlude on the dance floor. So fun!
A big thanks to DJ Dint Talon for an awesome night over at IPR365 Milky Way Entertainment complex's K-Lounge. OMG, we had a blast! DJ Dint was spinning an incredible set of jungle, tribal, trance... you name it, he was spinning it! We stayed until the end!
We also went to Bogart's Cafe which is kinda a ballroom and kinda a lounge setting. You can dress in ballroom or cocktail dress there. We often go in between clubbing for a quick ballroom dance to lovely jazz music.
We usually stop off at Spanish DJ Sonar Halsey's Future Club. It is always psy heaven there! And BassLine Island for some hardcore tunes to get the blood pumping. Both are fun clubs for couples to hang at and dance.
And when we explore, we always seem to find the cutest places such as Midnight City for NBC's romantic dinner club, Rainbow Room Dining and the Italian pizza place that reminds me of North Beach in San Francisco!
The other night, Xavi took me to NOAA, the National Oceanic and Atmospheric Administration's build featuring an interactive floor of of the entire world's atmosphere! Wow! This from the US Department of Commerce!
And, when we chill at home we can be silly and set off our particles and dance or pull all our emotes and gestures for hours of silliness.
Couples in Second Life are just like couples in real life. They play, they love, they emote real emotions towards each other... and as best friends, they share the best of Second Life together.
Scovil, S. S. Mossy Valley and Shell Rivers Map Showing Drainage Area and Possible Power Concentrations [map]. 1:1,203,840. In: Dept. of the Interior. Report of the Superintendent of Water Powers, Sessional Paper #25, vol. 8. Ottawa: Dept. of the Interior Water Power Branch, 1914, Plate No. 14.
This is a photograph from the annual BHAA Government Services/Social Protection Group's 5 Mile Road Race took place on Tuesday 27th May 2013 at 20:00 in Dunboyne, Co. Meath, Ireland. The course is a fast flat course which begins on the Dunboyne-Maynooth Road between the two entrances to Dunboyne Castle Estate. The race then proceeds in an anti-clockwise direction back to the Dunboyne Athletic Club on the Rooske Road in Dunboyne. The race reaches higher standards with every passing year. Paul Gorey and his team of volunteers must be given great credit for putting on such a wonderful race event. Thanks are also extended to Dunboyne Athletic Club, the BHAA, and the local community who all make this possible.
This photograph is part of a large set of photographs taken at the finish line area of the race. There are also some races of the buildup and the start of the race. The full set is available at www.flickr.com/photos/peterm7/sets/72157644466844507/
Overall Race Summary
Participants: There were approximately 500 participants .
Weather: A bright sunny evening with little breeze
Course: This course is fully left handed with very little in the way of inclines. Good road surface. These are nice narrow country roads with shelter provided by mature hedgerows. This year the race finished with 3/4 of a lap of the Dunboyne AC track.
Refreshments: Lots and lots as is the tradition with BHAA Events - served outside the scouts hall at the track.
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some Useful Links
Results of the 2014 race will appear here: bhaa.ie/results/
Our photographs from the BHAA Dunboyne Race 2011: www.flickr.com/photos/peterm7/sets/72157626730168603/
Our photographs from the BHAA Dunboyne Race 2012: www.flickr.com/photos/peterm7/sets/72157629959245726/
Our photographs from the BHAA Dunboyne Race 2013: www.flickr.com/photos/peterm7/sets/72157633772077781/
Tom Healy BHAA usually photographs these BHAA events - his Flickr set is at www.flickr.com/photos/tomhealy/sets/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Jones Family Project Bar Great Eastern Street Shoreditch London The Roast Beef Sandwich was not up to the Normal standard. The Meat had a piece of Grizzle running throughout. Consequently it was inedible as it was not possible to chew. The Fries were Cold. Very Disappointing.
This area is rich in 19th century mining history. Travel graveled roads to Atlantic City, South Pass City State Historic Site, the ghost town of Miner's Delight, or ride along two-track roads through stands of pine and aspen.
The many possible rides in the area include the 11-mile Ft. Stambaugh Loop Road (BLM 2324), including Miner's Delight, and all day rides taking in Atlantic City and South Pass City State Historic Site. You can view various wildlife along the way, including pronghorn, deer, elk, moose and raptors.
HISTORY
During the 1800s, Wyoming became the focus for American expansion into the trans-Mississippi west. Robert Stuart’s discovery of South Pass in October 1812 gave hope that a practical overland route to the Pacific (the route Lewis and Clark searched for but failed to find) did exist.
By 1824, South Pass was in annual use by mountain men and trappers engaged in the Rocky Mountain Fur Trade. Soon trappers discovered connections that linked South Pass with the Snake and Columbia rivers and with the Hudson’s Bay Company holdings of the Pacific Northwest.
Some 150,000 pioneers went west between the years of 1849 and 1852. By the mid-1850s, stage coaches and freight wagons were regular users of the California, Mormon Pioneer and Oregon trails, rolling both east and west through South Pass. For 19 months in 1860-61, the riders of the Pony Express transcontinental mail service thundered through the pass on an incredible schedule covering 2,000 miles from St. Joseph, Missouri, to San Francisco, California, in 10 days or less.
Historians estimate that some 500,000 pioneers “went westering” along the South Pass trail system before the great overland wagon train migrations slowed down with the completion of the transcontinental railroad in 1869. About 80,000 were headed for the Willamette Valley in Oregon. Some 70,000 Mormons had the Great Salt Lake region as their destination. Most of the remaining 350,000 were bound for California with just a few headed for intermediate destinations. Of those that started the journey, one in 10 would not complete it. Thousands would die along the way, mostly from accidents, cholera and other diseases. Some would simply get to their destination and turn back.
Photo by Bob Wick.
DIRECTIONS
From Lander, go south about 28 miles on State Highway 28 to the Atlantic City turnoff. Travel the gravel road for about 1/2 mile from the pavement. You can park here and start following the signs to Atlantic City/South Pass City or Miner's Delight along the Ft. Stambaugh Loop Road. Several routes are available along county and BLM roads. Please be aware of vehicle traffic when riding in this area as well as private property. Atlantic City and Big Atlantic Gulch BLM campgrounds (water available) make good base camps.
LATITUDE / LONGITUDE
42.5206, -108.7202
PHONE 307-382-8400
EMAIL lander_wymail@blm.gov
Kim Possible by Kyrramarie
Anime Expo 2018 Cosplay
AX 2018
Manny Llanura Photography
Los Angeles Convention Center
Architecture near the 2016 Canalway Cavalcade in Little Venice
PERMISSION TO USE: Please check the licence for this photo on Flickr. If the photo is marked with the Creative Commons licence, you are welcome to use this photo free of charge for any purpose including commercial. I am not concerned with how attribution is provided - a link to my flickr page or my name is fine. If used in a context where attribution is impractical, that's fine too. I enjoy seeing where my photos have been used so please send me links, screenshots or photos where possible. If the photo is not marked with the Creative Commons licence, only my friends and family are permitted to use it.
The kit and its assembly:
This fictional Bronco update/conversion was simply spawned by the idea: could it be possible to replace the original cockpit section with one from an AH-1 Cobra, for a kind of gunship version?
The basis is the Academy OV-10D kit, mated with the cockpit section from a Fujimi AH-1S TOW Cobra (Revell re-boxing, though), chosen because of its “boxy” cockpit section with flat glass panels – I think that it conveys the idea of an armored cockpit section best. Combining these parts was not easy, though, even though the plan sound simple. Initially, the Bronco’s twin booms, wings and stabilizer were built separately, because this made PSR on these sections easier than trying the same on a completed airframe. One of the initial challenges: the different engines. I wanted something uprated, and a different look, and I had a pair of (excellent!) 1:144 resin engines from the Russian company Kompakt Zip for a Tu-95 bomber at hand, which come together with movable(!) eight-blade contraprops that were an almost perfect size match for the original three-blade props. Biggest problem: the Tu-95 nacelles have a perfectly circular diameter, while the OV-10’s booms are square and rectangular. Combining these parts and shapes was already a messy PST affair, but it worked out quite well – even though the result rather reminds of some Chinese upgrade measure (anyone know the Tu-4 copies with turboprops? This here looks similar!). But while not pretty, I think that the beafier look works well and adds to the idea of a “revived” aircraft. And you can hardly beat the menacing look of contraprops on anything...
The exotic, so-called “tip sails” on the wings, mounted on short booms, are a detail borrowed from the Shijiazhuang Y-5B-100, an updated Chinese variant/copy of the Antonov An-2 biplane transporter. The booms are simple pieces of sprue from the Bronco kit, the winglets were cut from 0.5mm styrene sheet.
For the cockpit donor, the AH-1’s front section was roughly built, including the engine section (which is a separate module, so that the basic kit can be sold with different engine sections), and then the helicopter hull was cut and trimmed down to match the original Bronco pod and to fit under the wing. This became more complicated than expected, because a) the AH-1 cockpit and the nose are considerably shorter than the OV-10s, b) the AH-1 fuselage is markedly taller than the Bronco’s and c) the engine section, which would end up in the area of the wing, features major recesses, making the surface very uneven – calling for massive PSR to even this out. PSR was also necessary to hide the openings for the Fujimi AH-1’s stub wings. Other issues: the front landing gear (and its well) had to be added, as well as the OV-10 wing stubs. Furthermore, the new cockpit pod’s rear section needed an aerodynamical end/fairing, but I found a leftover Academy OV-10 section from a build/kitbashing many moons ago. Perfect match!
All these challenges could be tackled, even though the AH-1 cockpit looks surprisingly stout and massive on the Bronco’s airframe - the result looks stockier than expected, but it wodks well for the "Gunship" theme. Lots of PSR went into the new central fuselage section, though, even before it was mated with the OV-10 wing and the rest of the model
Once cockpit and wing were finally mated, the seams had to disappear under even more PSR and a spinal extension of the canopy had to be sculpted across the upper wing surface, which would meld with the pod’s tail in a more or less harmonious shape. Not an easy task, and the fairing was eventually sculpted with 2C putty, plus even more PSR… Looks quite homogenous, though.
After this massive body work, other hardware challenges appeared like small distractions. The landing gear was another major issue, because the deeper AH-1 section lowered the ground clearance, also because of the chin turret. To counter this I tried to raise the OV-10 landing gear by ~2mm – not much, but it was enough to create a credible stance, together with the front landing gear transplant under the cockpit. The front wheel retracts backwards now, but this looks quite plausible, thanks to the additional space under the cockpit tub, which also made an ammuntion belt supply for the gun believable.
To enhance the menacing look I gave the model a fixed refuleing boom, made from 1mm steel wire and a receptor adapter sculpted with white glue. The latter stuff was also used add some antenna fairings around the hull. Some antennae, chaff dipenesers and an IR decoy were taken from the Academy kit.
The ordnance came from various sources. The Sidewinders under the wing tips were taken from a Hasegawa USAF weapon set, representing the state-of-the-art of aerial defence. The quadruple Hellfire launchers on the underwing hardpoints were left over from an Italeri AH-1W, and they are a perfect load for this aircraft and its role. The LAU-4 and -19 missile pods on the stub wings were taken from the OV-10 kit.
The nice folks over at the Jackalope store on San Mateo let me collect these articles from all around their store, set up on their table, erect my lights, and shoot this still life. Aren't they great? The skull once belonged to a coyote.
Strobist: three SB-600s at 1/4th power (manual) behind large umbrella at 4:00 triggered by V2s. Ambient: large halogens way overhead.
So I honestly think Gale is one of the best male dolls Mattel has produced in the last 5 years since his sculpt is pretty nice and the screening is great too so I’m pretty chuffed @elizabethplaid gifted him to me. But for some reason his head just looks really big on the pivotal Ken body. So I’m trying to see if he looks good on other bodies or not.
He’s currently on my Declan Wake’s body since I find Declan’s head to be too small for the neck, but I’m not sure if I’m really feeling Gale on this body. It’s definitely more expressive and proportional for Gale but…. yeah.
Members of No. 2 Airfield Defence Squadron (2AFDS) performing a patrol to search for possible enemy threats to RAAF Base Tindal
Defence Science and Technology Organisation (DSTO) are currently assessing Physical Employment Standards (PES) for Ground Defence Officers (GRDEFO) and Airfield Defence Guards (ADG). These standards will provide an objective quantification of the physical requirements necessary for GRDEFO and ADG to perform their roles. By establishing standards and assessments that are directly linked to job requirements, the PES project will ensure soldiers are physically proficient and conditioned to the demands of their employment and as a result reduce workplace injury part of this assessment was held during Exercise Nomad.
Exercise Nomad conducted at RAAF Base Tindal is the 2AFDS baseline activity that is conducted each year. The exercise is normally conducted in two phases, a training phase where RFLT's refresh their individual and collective AFDS skills. This includes a 48hour period where sections complete 3 x Battle Exercise's to demonstrate their ability to apply AFDS battle skills and drills in support of airbase operations. Phase two of the exercise is focused on 2AFDS conducting an Early Entry Operation to secure, clear and screen an airbase IOT support the generation of airpower. On completion of EX NOMAD, 2AFDS will have achieved an Operational Level of Capability at the individual level and Directed Level of Capability at Sqn level.
Another important aspect of EX NOMAD is the integration of CSG specialist elements into AFDS operations. This year we were able to further develop specific operating procedures with 87 SQN elements, MWDT's, Explosive Detection Dogs Teams, and EODT's. Until employed within that tactical environment AFDS CDR's never fully appreciate the capability these specialist offer, nor understand their limitations.
Plot - Alex Katz, Georg Baselitz, Iris (Detail), 2009, Albertina - Sammlung Batliner
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Some churches provide no challenge to see inside, whilst others have an almost mystique about what delights might be inside, so hard are they to gain entrance.
St Peter is one of the nearest churches to home, and yet despite trying so many times to see inside, and even on the Heritage weekend or Ride and Stride, but it remains closed.
But with the internet, it is possible to arrange a meeting, and so it was that this morning I had arranged to meet the warden who would facilitate my visit.
It was the weekly church tidy up, I suppose, so I park outside, grab my camera bag, and see even from the car park, I could see the door ajar.
The first thing I see when I walk in is the altar right in front of me, in what should be the middle of the nave.
It was reorganised in the 1970s, so now the congreation sits in a semi circle around the alter which is in the middle of the north wall.
In the south wall, there were the remains of three ancient pillars, which had been allowed to be seen among the rendered walls.
Many thankls to the warden for allowing me to see inside this wonderful, modernised but ancient church, on the edge of the modern town of Whitfield.
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A picturesque church in the fields – not yet joined up to its village. In the west wall can be seen a double-splayed Saxon window which takes this church back to the 8th or 9th century. From the outside all looks pretty ordinary for a country church but on opening the door we find that in the 1970s the church was reordered so that the altar is in the north aisle! It may be unusual but it works well. The chancel is now a vestry. The original chancel arch was, unfortunately, taken down by Ewan Christian when he restored the church –it would have been a rare survivor indeed. His replacement arch, however, maintains the proportions of Saxon work.
www.kentchurches.info/church.asp?p=Whitfield
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WHITFIELD, alias BEWSFIELD,
IS the next parish south-eastward from Coldred. It has been variously called by both these names, both which plainly imply its high and open situation; but the latter, written in Domesday, Bevesfel, is its proper name, that of Whitfield being much more modern, by which it is now however in general called. The manor of Norborne claims paramount over great part of this parish.
THIS PARISH is very small and narrow, it is a very unfrequented place, situated on very high ground, in a poor country of open uninclosed land, the soil of which is in general chalk and very light, though there are some few strypes of deep ground more fertile than the rest. The village, called Whitfield-street, having the church in it, is situated at the south-east bounds of it, at a small distance from which is a hamlet of houses, called Lower Whitfield, where is a farm, formerly belonging to the Denews, and then to Brett, of Spring Grove, whence it was sold to the present possessor of it, Peter Fector, esq. of Dover, and at the western bounds, in a dell, Hazling wood. At the northern bounds is the hamlet of Pinham, consisting of three small farms.—There is no fair.
OFFA, king of Mercia, in the first year of his reign, anno 757, gave to the abbot of St. Augustine's monastery, land called Bewesfeld, with the privilege of feeding hogs and cattle in the royal wood, and other liberties mentioned in his charter for that purpose, one of which was that of taking one goat in Snowlyn's wood, where the king's goats went; after which this land continued in the possession of the monastery till the time of taking the survey of Domesday, in which record it is thus entered under the general title of the land of the church of St. Augustine:
Oidelard holds of this manor, viz. Norborne, one suling, and it is called Bevesfel, and there he has two carucates, with ten borderers. It is worth six pounds.
After which, that part of the above land, which comprehended THIS MANOR OF BEWSFIELD, was held of the abbot by knight's service, by the eminent family of Badlesmere. Guncelin de Badlesmere held this manor in Hen. VIII.'s reign, and another Guncelin de Badlesmere held it in like manner in king John's reign, and was a justice itinerant. He left one son, Bartholomew, and two daughters; Joane, married to John de Northwood, and another to John de Coningsby. Before his death he gave this manor in frank marriage, with this eldest daughter Joane, to Sir John de Northwood, of Northwood, who was a man of great account in the reigns of king Edward I. and II. whose descendants continued in the possession of this manor for some length of time, and till it was at length alienated to Chelesford, alias Chelford, from which name it again passed by sale about Henry VII.'s reign, to Wm. Boys, of Fredville, whose descendant Sir E. Boys the elder, afterwards possessed it, at which time the name of this manor seems to have dropped, and to have been blended in that of the adjoining one of LINACRECOURT, by which name it has ever since been called. He gave it to his second son Roger Boys, esq. (fn. 1) whose only son and heir Edward Boys, about the year 1644, conveyed it by sale to Herbert Nowell, esq. and he alienated it to John Day, who sold it to Roger Laming, of Wye, and he parted with it to Hercules Baker, esq. of Deal, whose daughter Sarah carried it in marriage to Thomas Barrett, esq. of Lee, whose third wife she was. She died s. p. as did Mr. Barrett in 1757, possessed of this manor, leaving it in jointure to his fourth wife Katherine, daughter, and at length sole heir of Humphry Pudner, esq. who died in 1785, on which it descended to their only son Thomas Barrett, esq. now of Lee, in Ickham, who is the present possessor of it.
LINACRE MANOR, or LINACRE-COURT, as it is usually called, in which the manor of Bewsfield is now merged, lies in the south-west part of this parish, adjoining to Coldred and River, and was the other part of that land given to St. Augustine's monastery, and described in Domesday as before-mentioned, being held by knight's service of the abbot, by the family of Criol, one of whom, William de Criol, as appears by the book of knights fees in the exchequer, held it as such in the reign of king Edward I. but it did not long afterwards remain with them, for John de Malmains, of Hoo, held it in the next reign of king Edward II. his son John left an only daughter and heir, who carried it in marriage to John Monyn, and he in her right held it in the 20th year of king Edward III. After this it continued but a small time in the name of Monyn, for in the 49th year of that reign, John Solley is entered in the register of the abbey, as holding this manor of the abbot by knight's service. How long it remained in his descendants I have not found, only that it was at length alianated to Chelsesford, alias Chelford, from which name it passed, with the manor of Bewsfield as before related, by sale, about Henry VII.'s reign, to William Boys, esq. of Fredville, who died possessed of both these manors in 1508; after which it descended down to Mr. Edward Boys, who about the year 1644 conveyed this manor by sale to Herbert Nowell, esq. since which it has passed in the like chain of ownership as the manor of Bewsfield described before, down to Thomas Barrett, esq. of Lee, in lckham, who is the present owner of this manor of Linacre, in which that of Bewsfield is included. A court baron is held for this manor.
THE MANOR OF WHITFIELD, with THE MANOR OF LITTLE PISING, and THE LANDS OF PIMHAM, was in the reign of king Henry III. in the hands of the crown, in the 13th year of which that eminent man, Hubert de Burgh, earl of Kent and chief justice of England, had a grant of it, among others, with licence to give of assign it to whomever he would, either to a religious house or otherwise; not long after which, he appears to have settled this manor, with the estate in this parish, called Little Pising, on the hospital of St. Mary, in Dover, afterwards called the Maison Dieu, then lately founded by him; after which Edward I. granted a charter of free-warren to the master and bretheren of this hospital, for their demesne lands in Whytefeld and Coldred adjoining. After which this manor and estate continued part of the revenues of this hospital till king Henry VIII.'s reign, when on the suppression of it they came into the king's hands, where they staid till king Edward VI. in his 2d year granted the manors of Whitfield and Little Pysing, to Sir Thomas Heneage and William lord Willoughbye, to hold in capiteby knight's service. (fn. 2) They seem to have sold their joint interest in them to James Hales, whose heirs possessed them at the latter end of the reign of queen Elizabeth, after which I find no more of the manor of Whitfield, but that the manor of Little Pysing passed by sale into the family of Monins, of Waldershare, in which it continued down to Sir Edward Monins, bart. who died in 1663, after which his heirs and trustees joined in the sale of it, together with other lands at Pinham, to Sir Henry Furnese, bart. of Waldershare, who died possessed of it in 1712, after which his granddaughter Catherine, countess of Rockingham, became possessed of this manor of Little Pising in her own right, and of the lands at Pinham, jointly with her two sisters, as coheirs of their father, in equal shares in coparcenary in tail general, since which her interst in these estates have passed in like manner as Coldred before-mentioned, and her other estates in this county, to her eldest grand son, the present right hon. Geo-Augustus, earl of Guildford, the present possessor of them.
Charities.
THERE was given by a person unknown, for the use of the poor not having relief, land, now vested in Redman Jones, of the annual produce of 10s.
The poor constantly maintained are about ten, casually eight.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Dover.
The church, which is dedicated to St. Peter, consists of a small nave and two chancels, having one bell in it, but there is no steeple, it is a wretched mean building. The roof is supported by a most uncouth pillar in the middle, so strangely as to prevent, I think, all description of it. There are no monuments in it, nor any thing surther worthy notice.
This church was originally appendant to the manor, and as such was given to St. Augustine's abbey in 757, by king Offa; after which the abbot and convent, in the year 1221, anno 6 Henry III. granted their right in this church to the abbot and convent of Combwell, to hold in perpetual alms, but it was at the same time agreed, that the latter should not exact the tithes of sheaves, arising from twenty-five acres of Napushurst, which the abbot and convent of St. Augustine had sometime granted to Thomas de Newesole, but that the church of Bewefield should enjoy the small tithes of the above lands for the ecclesiastical service, which it should persorm to the tenants of St. Augustine, who inhabited there, and this, by the liberal concession of the abbot and convent of St. Augustine, at the time of making the grant; (fn. 3) upon which, though this church became appropriated to the abbot and convent of Combwell, yet there does not seem to have been a vicarage endowed in it till the year 1441, anno 20 king Henry VI. when a composition was made by archbishop Chicheley, between the abbot and convent, appropriators of this church, and Wm. Geddyng, vicar of it, on account of his portion, and the pensions belonging to this church. In which state this appropriation and vicarage continued till the final dissolution of the priory of Combwell, for so it was then esteemed, in the 27th year of king Henry VIII. when it was suppressed by the act then passed, as being under the clear yearly value of two hundred pounds, and came into the hands of the crown; after which the king, in his 29th year, granted the scite of the priory, with all its lands and possessions, in which this appropriation and advowson of the vicarage of Beausfield,alias Whitfield, was included, to Thomas Culpeper, esq. to hold in capite, who before the 34th of that reign passed them back again to the crown, whence they were immediately afterwards granted to Sir John Gage, comptroller of the king's household, to hold in like manner; and he next year exchanged them both, among other premises, with the archbishop of Canterbury, for the confirmation of which an act passed anno 35 Henry VIII. since which they have continued parcel of the possessions of the see of Canterbury, his grace the archbishop being at this time entitled to them. Thomas Barrett, esq. of Lee, is the present lessee of this parsonage.
This church has been for many years esteemed only as a curacy, to which the archbishop nominates; for Henry Hannington, vicar of it, at the instance of archbishop Abbot, by deed in 1613, renounced all the right and title, that he had by virtue of the endowment or composition made in the time of archbishop Chichele, between the then vicar of this church and the prior and convent of Combwell.
¶This church was valued, anno 8 king Richard II. at twelve pounds, and the vicarage at four pounds, which on account of its smallness was not taxed to the tenth; the latter is valued in the king's books at 5l. 18s. 8d. It formerly paid twelve shillings tenths to the crown receiver, but being certified to be only of the value of twenty-six pounds, it is now discharged of first fruits and tenths. In 1588 here were eighty-two communicants, and it was valued at fifteen pounds only. In 1640 it was valued at forty-five pounds. It was augmented by archbishop Juxon in 1661, with twenty pounds per annum, to be paid by the lessee of the parsonage; and farther confirmed by indenture anno 28 Charles II. It is now a discharged living of the yearly certified value of twenty-six pounds. There was a payment to the parson of Bewsfield, payable yearly out of the lands of the abbot and convent of St. Radigund, which was granted to the archbishop anno 29 Henry VIII.
One practice I've always tried to follow is - take the photo, then make it better. Recently, my editor wanted a photo of the Chinatown neighborhood, so I wandered over there. I photographed Hing Hay Park, then went over to the arch. Since this is for a book and I figured they would want the "standard" photo, I crossed the street and took a fairly ordinary version of it. Feeling comfortable that I had what she needed, I then asked myself what I could do to make the shot more interesting.
I spotted the dragon on the pole just to the left, and that seemed an obvious choice. Using a tilt-shift, I shifted as much up as possible in order to maximize the size of the dragon and reduce the "wide angle effect" as much as possible, and then I lucked out. The sun, which had barely made itself known in the clouds, was shining straight through the arch!
Now I could write another story where I planned this event meticulously, but the truth is I just got lucky. Knowing that the sun could disappear at any moments, I rapidly positioned my camera (the benefits of having a good tripod head) and fired away. Then, once I had the shot and noticed the sun was still there, I changed the view just slightly and took this version. The instant I finished, the sun went back into hiding and the opportunity was gone. Photo Project #2699.
Yeah, no idea who the guy is. Kim looks about a decade older than the character but I think I like that better than a teenager. However the costume in real life really doesn't work.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Copyright - All Rights Reserved - Black Diamond Images
Sandbag revetment has become essential to the preservation of property at Belongil Beach at Byron Bay on the North Coast of NSW, Australia.
Unfortunately this is but a temporary strategy owing to the relatively short time frame before the large sandbags break down (or are vandalised) as can be seen in these images.
More and more sandbag revetment has become necessary at Belongil with expensive ugly hard rock revetment ultimately required in some beachfront sections as property has increasingly become seriously threatened by storm surges.
Some of these images show evidence of vandalism where the bags have been cut. This has caused many of the sandbags to collapse. Attempts to repair the bags has been largely ineffective and ultimately an untidy mess is the end result.
Retreat scenario decisions may ultimately be required here at Belongil as insurance companies, coastal Councils, State and Federal Governments increasingly walk away from responsibility for property protection arising from climate change induced coastal erosion.
More Beach Erosion images
Thursday, November 17, 2016
Solomon R. Guggenheim Museum
5th Ave at 89th Street
New York City
Guggenheim Museum celebrated the 2016 Guggenheim International Gala honoring artists AgnesMartin (in memoriam), and collection artists Tauba Auerbach, Tacita Dean, Leslie Hewitt, Sarah Morris, Laurie Simmons, and Taryn Simon, made possible by Dior.
Photos: BFA Photography and Scott Rudd
Community Integrated Care - Best Lives Possible Roadshow, held at the Point, Old Trafford, Manchester
Photography - Jason Lawton (via Nick Harrison)
From Joe Bosso:
www.facebook.com/noemedia/posts/183549604991276#!/photo.p...
Dec. 10, 2010 I had a great time in Boston yesterday doing a cool piece on Joe Satriani, who is fab in every possible way. Heartfelt thanks to Joe, Mick Brigden, Melissa Dragich-Cordero, Galen Henson, Mike Manning and Russell Giroux for a totally smooth day.
Joe does a smokin' version of "Foxey Lady" here:
www.facebook.com/home.php?#!/video/video.php?v=4629900958...
It looks like paint or some other chemical was dumped behind this industrial building in Carol Stream, IL on St. Charles Road near Schmale.
You can also see this ground depression/ discoloration in aerial view of the location
Moth on my thumb. Could be Nemophora sp., perhaps N. metallica? Shackledell Grassland, Fairlands Valley Park, Stevenage, Hertfordshire, 9 July 2015.
To see my collections, go here.
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