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The post card perfect beach of Cala Liberotto with its light coloured sand, blue water, rocks and green vegetation is an attractive spot for sunbathers and divers.
90028 is in charge of the 6S02 Warrington Royal Mail(Dbs) - Shieldmuir Mail Terminal Extra Post services that are running over the Christmas Peirod. This seen at Carlisle running 71 minutes early.
Royal Mail van and a post box in Eynsford, Kent. Ford House is listed as a Post Office, doesn't look like it is used as such now.
Posted by Lauren Cohan (Maggie) - back to it. t.co/bv8I1jiTVI #LaurenCohen #TWD #TheWalkingDead
Source: walkingdead.affiliatebrowser.com/back-to-it-httpst-cobv8i...
Post office, Atchison, Kansas. View reverse (unused) or view other cards from this manufacturer.
Landmarks:
List of landmarks viewable at the Atchison history project.
Scottish Amateur Cup Final 2019-20 between Tollcross Thistle and Drumchapel Amateurs held in 2022 due to Covid delays
Essex's oldest windmill standing in the picturesque village of Finchingfield. Open third Sunday of the month in summer - see Finchingfield Post Mill on Essex Country Parks.
Photograph by Elli Constantatou, Visit Essex
Chester County. Photo by J Emerson, May 2019.
Part of the Post Mark Collectors Club (PMCC) and auvet collections.
I don't know how many times I have been into Norwich in my lifetime. It is certainly hundreds if only for the football at Carrow Road.
On top of that there were the shopping trips of the 70s and 80s which included visits to Brentford Nylons, C&A and then chips on the market, in the shadow of St Peter.
And in all those times, along with the visits to the beer festival, vinyl hunts at the Record and Tape Exchange, I have never set foot into St Peter. Until last month.
And so thanks to my good friend mira66 for showing me around the city and into several of the city's fine churches and the 'other' cathedral.
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The great urban churches of northern Europe sit on their market places, especially in Cathedral cities. It is as if they were intended as late Medieval statements of civic pride. They are a reminder of the way that the cities rose to prominence in the decades after the Black Death, as if the old order had been broken and a new one was beginning. They were a great affirmation of Catholic orthodoxy and social communion, in the years before the merchants that paid for them embraced Protestantism and capitalism. They are European culture caught on the cusp of the Renaissance, the beacons that lead us into early modern Europe.
These things are more easily sensed in the great late medieval cities of Flanders and the Netherlands, for example at Bruges. The bridges, the medieval triumph, the tourist tat shops and the foreign voices can create an illusion of being in Cambridge or Oxford, but the great Market Church and Belfry on the main square recall Norwich, where St Peter Mancroft and the medieval Guildhall have a similar juxtaposition. The Industrial Revolution would bring a new wave of cities to prominence, but in the provincial cities that were prominent in the 15th century, Norwich, and Bristol, and York, you still sense the power of those times.
Looking at St Peter, the sophistication of its Perpendicular architecture feels a geological age away from the coarse, brutal Norman castle on the far side of the Main Croft ('Mancroft'), which is understandable. Four hundred years had passed since the Norman invasion, and St Peter Mancroft is as close in time to the Industrial Revolution as it is to the Normans. That is true of all late medieval churches, of course, but seeing the architecture in a city you get a sense that it looked to the future more than to the past. St Peter Mancroft feels entirely at home with the clean, Scandinavian lines of the adjacent 1930s City Hall, and perhaps even more so with the retro-Modernism of the new Forum, whch reflects it back to the city. The Forum was built to replace the Norwich City library, tragically destroyed by fire in 1994, but in style it echoes the confidence of a great 19th century railway station, the roof a triumph of engineering. You are reminded of Cologne, where to leave the railway station and step into the shadow of the west front of the great Cathedral is to merely move from one statement of civic pride to another.
The influence of Flanders and the Netherlands is familiar in East Anglia, of course, but it is only at Norwich you sense this sense of civic bullishness. Utilitarian, practical Ipswich demolished St Mildred on the Cornhill in the 19th century - the French Baroque town hall now stands on the site. In Cambridge, the market place has been skewed so that today St Mary the Great sits with its east window facing the stalls, as if keeping them at a distance. Worse, it now styles itself the 'University Church'. The great north side of St Peter Mancroft, its massive tower and clerestory like eternal truths rising above the deckchair jollity of the stall canopies, is a constant presence. You can never ignore it.
We know that the present church was begun by 1430, and was consecrated on St Peter's Day, 1455. That is, it is all of a piece. In the nave and chancel there are echoes of near-contemporary Holy Trinity, Long Melford, in Suffolk. The tower is something else again; idiosyncratic, a symbol of power and wealth. There's nothing else quite like it. Pevsner thought it more rich than aesthetically successful, and this is not helped by Street's spirelet of 1881, a flighty thing. There was a massive Victorian restoration here. Before the Streets, pere et fils, came along, diocesan architect Richard Phipson had given it a going over, and there is a sense of the grand 19th century civic dignity of his St Mary le Tower in Ipswich. Of course, hardly anything of these restorations is visible from the outside, apart from a mid-20th century meeting room down in the south-east corner, a jaunty Festival of Britain affair, now a parish tea room.
A processional way runs beneath the tower, and there is another beneath the chancel, the land sloping steeply away towards the east. You enter from either the north or south sides, through surprisingly small porches which lead into the aisles. Again, a sense of civic confidence pervades as the interior unfolds before you.
There is no chancel arch. The arcades run the full length of the church, the great east window is echoed by that to the west, and if you stand in the middle of the church and look to either end, only the west end organ tells you easily which direction you are facing. The furnishings are pretty much all Phipson's, uneasily heavy under the delicate fluting of the columns. How good modern wooden chairs would look in here! There are civic memorials the lengths of the aisle walls, but because the windows are full of clear glass they are not oppressive here as they are, say, at St Stephen.
At the west end of the north aisle sits the font on its pedestal. You can see at a glance that it was one of the seven sacraments series, and that all of its reliefs have been completely erased, as in the great churches of Southwold and Blythburgh in Suffolk. At Wenhaston, we know that this happened in the 19th century - could the same thing be true here? Above the font is the famous font canopy. Now, font canopies are so rare - there are only four of them, and they are all so different - that it is not particularly useful to compare them. Certainly, that here reflects the rather grander example at Trunch, some twenty miles away. Since the other two are either post-Reformation (Durham) or made of stone (Luton), it might make sense to think of the Norfolk two as a unique pair. Here at St Peter Mancroft, much of the upper part is a 19th century restoration, and there seems to have been some attempt to copy Trunch. The lower part is more interesting, with its niches and canopies. It must have been spectacular when the font was intact.
Pevsner tells us that the gilded reredos in the sanctuary is by JP Seddon, but that Ninian Comper restored and enlarged it in the early 1930s. It is not exciting, but that is probably as well, for above it is one of the greatest medieval treasures of East Anglia. This is the medieval glass that survives from the first few decades of the existence of the church. Some of it was probably in place that first Petertide. It has been moved around a bit since then; the whole east side was blown out by an explosion in 1648, and the glass has been removed on several occasions since, most recently during the Second World War. After East Harling, it is the finest expanse of Norwich School glass of the 15th century.
Books have been written about the glass at St Peter Mancroft, and there is neither time nor space to go into too much detail here. Suffice to say that this is the work of several Norwich workshops, probably working in the Conesford area of the city along what is today King Street. It is obvious that some other glass in East Anglia is from the same workshops using the same or similar cartoons, notably North Tuddenham in Norfolk and Combs in Suffolk, and of course most obviously, East Harling. Indeed, by comparison with East Harling in the 1920s, the historian Christopher Woodforde was able to deduce some of what was missing here, and what there.
There are several sequences, most notably the Story of Christ from the Annunciation to the day of Pentecost. This extends into a Marian sequence depicting the story of the Assumption. There are also scenes from the stories of St Peter and St John, and other individual Saints panels, including St Faith, a significant cult in late medieval Norwich. The panel of St Francis suggests that it was also once part of a sequence. The lower range depicts the donors, some of whom are identified. The central spine is largely modern glass by Clayton and Bell for the Streets in the 1880s. Some of the missing glass is now at Felbrigg Hall.
In any other church, the 1921 glass by Herbert Hendrie in the south chapel aisle chapel would be considered outstanding. It is in the style of Eric Gill, but feels rather heavy handed next to the extraordinary delicacy of its medieval neighbours.
While I was here, I stopped taking photographs for the one o'clock prayers. One of the custodians stood at the lectern and read very eloquently from the Acts of the Apostles, and said prayers for the city and its people. Apart from me, there were only two other listeners in the vast space. It was tenderly and thoughtfully done, but I couldn't help thinking that it is the exterior of this wonderful structure which is the Church's true act of witness in central Norwich now.
Simon Knott, May 2007
www.norfolkchurches.co.uk/norwichstpetermancroft/norwichs...
I'm taking an Arts and Technologies class this semester; it's called "Storyboarding and Preproduction." It's outside my major, but I thought I'd try it, regardless.
It's enjoyable, but I now know that I couldn't be an ATEC major.
Anyway, throughout the whole semester, we are to produce a mini-story with accompanying storyboard and characters and everything.
I decided to go with Pine and Deciduous. This is their character sheet. I have such a terrible feeling that everyone else in that class will hate me for having such simplistic characters...
Pine and Deciduous are two characters I've had for a while; they're two trees who are friends. They become outwardly sentient after the apocalypse destroys any and all fauna, leaving only the flora to entertain themselves. It would make a really silly webcomic, methinks.
An abandoned fence post in the vast scrub land in Iceland. Taken at the entrance to the lighthouse on the coast near to the town in which we were staying, Selfoss.
Depending on which you think is the front and the back! :-)
Contains a concertinaed strip of double sided (picture on both sides) postcards. Age is unknown (to me, likely not to wintorbos) but some have cars on, so I think it the late 1910's or early 1920's. Cards appear to be Valentines (the manufactuer not the day)!
Winnipeg, Manitoba, Canada.
Nelson County. Photo by J Gallagher, Jul. 2014.
Part of the Post Mark Collectors Club (PMCC) collection.
1970s
USA
Developed by Bill Shook, the innovative designer responsible for the earlier single-bolt clamp seat post by Weyless as well as for the popular American Classic seat post.
Wood/Carolina Duck on Quarry Lake, Phoenix Park, Dublin
[order] Anseriformes | [family] Anatidae | [latin] Aix sponsa | [UK] Wood Duck | [FR] Canard branchu | [DE] Brautente | [ES] Pato de la Florida | [IT] Anatra sposa | [NL] Carolinaeend
Measurements
spanwidth min.: 70 cm
spanwidth max.: 73 cm
size min.: 47 cm
size max.: 54 cm
Breeding
incubation min.: 31 days
incubation max.: 35 days
fledging min.: 56 days
fledging max.: 70 days
broods 1
eggs min.: 9
eggs max.: 14
Physical characteristics
Wood Ducks are intermediate in size, between the Mallard and Blue-winged Teal; on average, males weigh 680 g and females weigh 460 g. From a distance, the male Wood Duck on the water appears as a dark-bodied, dark-breasted, light-flanked duck with a striped crested head and a light-coloured throat. At close range, its iridescent plumage, red eyes, and black, red, and white bill are conspicuous. A white eye-ring, light-coloured throat, and fine crest distinguish the female from both the male Wood Duck and females of other species. Both sexes usually show a downward pointing crest at the back of the head, and their long broad square tails are distinctive features in flight.
The wings of Wood Ducks are highly characteristic. The primary wing feathers, which are the 10 outermost flight feathers attached to the wing beyond the wrist, are dark in colour. The outer vanes of these feathers look as if they have been sprayed with aluminum paint. The Wood Duck is the only North American duck so marked.
In most cases it is possible to distinguish immature from mature ducks and to tell males from females by their wings alone. In the Wood Duck, as in other ducks, the feathers of that year's young are finer, more pointed and worn, and less colourful than those of adults. Females show a few small feathers on the upper surface of the wing that are purplish and have the same lustre as oil on water. These feathers are absent in males. The white tips on the feathers along the trailing edge of the wing are usually teardrop-shaped in the female, but either straight or V-shaped in the male. By studying the wings of ducks taken by hunters, biologists can determine the ratio of young to adult ducks in the population and thereby measure waterfowl production.
The Wood Duck is a distinctively North American species. Its only close relative is the Mandarin Duck of eastern Asia. Evidently the Wood Duck originated in North America, as fossil remains have been found only in widely scattered locations in the eastern part of the continent.
Habitat
Like other perching ducks, Wood Ducks nest in trees. Preferred nesting sites are holes in hollow trunks or large branches that result from broken limbs, fire scars, lightning and logging damage. They also use cavities created by large woodpeckers such as the Pileated Woodpecker. Nests are situated from 1 to 15 m above ground, in trees more than 40 cm in diameter. They are usually found close to water, although females sometimes select trees some distance from water.
Other details
In Canada, the Wood Duck nests in scattered locations in the southern parts of all provinces; however, there is only one breeding record for Newfoundland and Labrador. The most extensive breeding ranges are in Ontario, Quebec, New Brunswick, and British Columbia. This duck occurs over a much wider area in late summer and early autumn, as a result of post-breeding dispersal. Although most Wood Ducks migrate to the United States, a few may spend the winter in extreme southern Ontario and southeastern British Columbia.
The Wood Duck is much more widely distributed in the United States, where it nests in areas east of the Mississippi River, along the lower Missouri River into South Dakota, in eastern Texas, along the Pacific coast, and in a few other places. It winters mainly along the Atlantic coast from New York south, along the Gulf coast into central Texas, to the lower Mississippi River valley and western California. A few winter in Mexico south to Distrito Federal. In Europe all sightings are of escaped birds.
Feeding
The Wood Duck is mainly a herbivore, or vegetarian, with plant foods making up about 90 percent of its diet. Foods vary according to their local availability, but duckweeds, cypress seeds, sedges, grasses, pondweeds, and acorns are among the more important foods throughout North America. In recent years corn has assumed a greater importance as small groups of Wood Ducks engage in field feeding behaviour similar to that of dabbling ducks, such as Mallards.
Ducklings require a high protein diet for rapid growth. Invertebrates such as dragonflies, bugs, beetles, and spiders are important foods during the first few weeks of life, so high populations of these small creatures are essential in habitats where the young will hatch and develop.
Conservation
This species has a large range, with an estimated global Extent of Occurrence of 6,200,000 km². It has a large global population estimated to be 3,500,000 individuals (Wetlands International 2002). Global population trends have not been quantified, but the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]
Breeding
The female Wood Duck breeds when one year old. She lines the nest with down, or fine feathers, taken from her breast, and lays eight to 15 dull-white to cream-coloured eggs. She incubates, or keeps the eggs warm, for 28 to 30 days until they hatch. During unusually cold weather, or if the female is away from the nest for an abnormally long time, incubation may require a few extra days.
Upon hatching, usually in June in eastern Canada, the young use their sharp claws to climb up the inside of the nesting cavity to its entrance, then jump and flutter to the ground, generally landing unharmed. The female guides them to the nearest water, where they will spend the next eight to nine weeks hunting for food together.
Shortly after the female begins incubation the male loses interest in family affairs and spends more time away from the nest. He joins other males, which eventually form large groups. As mid-summer approaches, the males begin the move to remote, undisturbed, sheltered places to moult, or shed old feathers. To reach these areas, they may travel great distances; many thousands migrate to southeastern Canada from breeding grounds in the northern states. On arrival the moult begins, and by August the brilliant spring feathers of the male have been replaced by a plumage similar to that of the female. Then, all at once, the flight feathers are moulted, leaving the male flightless for approximately four weeks while new feathers grow in.
Soon after the ducklings have fledged, or taken their first flight, usually by mid-August in eastern Canada, the females leave their broods, move a short distance, and undergo their moult. Like the males, they too seek out remote, undisturbed swamps and marshes and become flightless for a short period.
In late summer and early autumn, the young with their newly acquired powers of flight and the adults with their recently replaced flight feathers move in a leisurely way about the northern parts of their range. Their principal concern is to store up energy, in the form of fat, in preparation for the soon-to-come fall migration.
Migration
Wood Ducks migrate north to their Canadian breeding grounds, arriving there by April. Pair formation may occur on the wintering grounds before or during spring migration, or on the breeding grounds if one of the pair is lost. Mated pairs seek out secluded swamps or beaver ponds that provide water, nesting sites, brooding habitat, and feeding areas. Females often return to the same general area in which they were hatched.
By the first severe frost, usually in late September or early October in eastern Canada, Wood Ducks begin to head for the southeastern United States. Southern populations of Wood Ducks, particularly females, are less migratory. Populations in the interior of British Columbia migrate to the west coast, whereas Wood Ducks that live on the coast do not migrate at all. Has occurred Bermuda (regular), Azores and Alaska. Many sightings from Europe, presumed escapes.