View allAll Photos Tagged practicality
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
Concert and exhibition opening in the evangelical Lutheran church of Augusta Victoria on The Mount of Olives in Jerusalem, on Friday the 16th of December at 6 a clock pm. The exhibition is a complete Biblical cycle of both The Old- and The New Testament developed by the Norwegian, surrealist painter Håkon Gullvåg. The exhibition was in 2005 made as a temporary decoration for Nidaros Cathedral in Trondheim, which is the national sanctuary of Norway. The motifs will through this show “come home” to their historical context, and will be displayed in the church during both Christmas 2011 and Easter 2012.
Opening speeches will be held by H. E. the Norwegian Minister of Government Administration, Reform and Church affairs Rigmor Aasrud, and by the bishop of the Evangelical Lutheran Church in Jordan and the Holy Land the Rt. Rev. Dr. Munib A. Younan.
The concert that follows the exhibition opening will be held by the Norwegian chamber ensemble The Trondheim Soloists, the Norwegian musician and composer Henning Sommeroe, together with the Palestinian artist and composer Rim Banna.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
I've wanted to try some of these for a while, but have held back so far because they are significantly more expensive than Wentworth, particularly when you add in postage and import duty. When I worked out how much the adorable 350pc shaped bunny jigsaw would be it came down to a value choice between it and a 1000pc Wentworth. I put together this collage to help me make up my mind and perhaps bring me up to the mark.
Reviews of Nautilus on the Wooden Jigsaw Puzzles Club facebook group indicate it is not a top ranking brand with their American members, though still popular. Criticisms are based around piece thinness and slightly loose fit, lack of cut complexity and choice of images. Personally I find plenty of their images very nice, but I worry more about dark laser-lines spoiling pale images - which has influenced my selections above.
Post Script: 've not ordered from an ebay seller yet but have managed to get St Patrick second-hand from another facebook member in the UK. If it's OK I'll order Bunnies & Neptune's Horses.
Top Left: Nautilus 609pc Detroit Industry Mural Diego Rivera 28x11in, 'Level 3 Victorian cut' - $180 on their website. The jigsaw has a great industrial themed whimsy set. I have just done the 1000pc cardboard version by Pomegranate of part of this mural and longed for a panoramic version of the whole wall or even the whole panel. I still have hopes of commissioning a hand-cut of this image, and to be frank $180 would go a long way towards it, so it probably wouldn't be on my first Nautilus order.
PS Jul22 - A review and fantastic details of this jigsaw on this website:
www.reddit.com/r/Jigsawpuzzles/comments/vc9dcl/just_a_bre...
Top Centre: Nautilus 368pc St Patrick by Jim Fitzpatrick, 15.5x11in, 'Level3 Victorian cut', $100. This jigsaw has a great set of celtic & swirly whimsies. I have a cardboard 500p jigsaw by Purrfect by this artist 'Diarmuid & Grainne'. Tailten/Purrfect were an Irish jigsaw & games manufacturer. I think their business suffered as a result of the financial collapse in the decade 2010.
PS Jul22 - This was the first I bought & assembled, as it came up second hand.
Top Right: Nautilus 404pc Neptune's Horses by Walter Crane, 19.5x9in, 'Level 3 Victorian cut', $100. A favourite very prolific 19th Century illustrator of children's books, Walter Crane painted this large easel piece for an exhibition at London's New Gallery in 1893. This was one of my earliest choices from Nautilus's range and a strong contender for my first order. Other artists have used this idea since - I have a cardboard jigsaw of something similar by fantasy artist Jim Warren.
PS - This was on my first and only order to date.
Middle Left: Nautilus 506pc Wildflower Tapestry by Bambi Papais, 19x14in 'Level 3 Victorian cut', $150. A beautiful floral carpet with very recognisable flowers and busy enough to ensure that any dark laser-cutting lines don't overwhelm the finished jigsaw. Another early choice from Nautilus.
Middle Right: Nautilus 601pc Yellowstone National Park by Larry Eifert, 23x14in 'Level 3 Modern cut', $170. Originally painted as an educational mural in the visitor centre at Yellowstone. In the foreground of this wooden jigsaw puzzle, you can see the flora and fauna of Yellowstone, including the bears, birds and bobcats whilst in the background are some of Yellowstone's most famous attractions - a herd of bison and the Grand Prismatic Spring. I wonder what the 'modern whimsy cut' is like.
Lower Left: Nautilus 441pc Autumn In Japan by Hiroo Isono, 15x11in 'Level 3 Victorian cut', $120. I was attracted to this image by the beautiful colours and the delicate, graceful dots making up the foliage. I have seen Japan in cherry blossom time and would like to see it in autumn leaf-fall - Aki, Kouyou & Kito. Japanese maple trees are associated with the peace and serenity of the world's elements. They represent balance and practicality and are also called "Kito" in Japanese which means "calm," "rest" or "at peace."
Lower Centre: Nautilus 350pc Winter Buddies by Abraham Hunter, 15x11in 'Level 3 Modern cut', $90. It was seeing this lovely jigsaw on facebook & ebay which prompted me to look at Nautilus again. I love the edge detail, the naturalistic image and colouring and the fact that the dark lines of the cut don't appear to spoil the image.
PS - This was on my first and only order to date. I'm looking forward to seeing how dark the lines are against the pale background.
Lower Right: Nautilus 425pc The Drying Sails by Andre Derain, 11x14in, 'Level 3 Modern cut', $95. The Drying Sails was one of the paintings by Andre Derain exhibited at the Autumn Salon of 1905 in Paris and became the standard of a new art movement called Fauvism. It shows a seascape of the port town of Collioure on the Mediterranean. The image is beautiful and photos of assembled portions show that the cut lines are not too dark - always a worry in light images.
Side view of the second generation Touran, in production since 2015. Its design is closer to the Mk VII Golf while keeping the practicality introduced by the first Touran. I like the concept as it has the space that most families would need without being an excessively large vehicle.
Aston Martin has returned to one of their historic nameplates for their 4-door Grand Touring saloon.
Rapide is the name given to a previous incarnation of the 4-door concept.
Built from the Aston Martin VH (Vertical-Horizontal) aluminium architecture, the Rapide includes an additional 300mm within the wheelbase, allowing for another set of doors, and a more spacious 2nd row of seats. The body also adds a tailgate, opening to the roof, to improve luggage capacity and access.
The Rapide is powered by a 350 kW version of the Aston Martin 5.9 litre V12.
A stylish mode of saloon format luxury, the Rapide as a valuable addition to the Aston Martin marque for those looking for a bit more practicality from their Grand Touring.
This lego model has been created for Flickr LUGNuts 60th Build Challenge, our fifth birthday, to the 32nd Build Challenge, - 'God Save the Queen', celebrating automobiles and associated transport from the land of the United Kingdom.
This lego model include a lego vee-engine, rear-wheel-drive, and rear independent suspension. The body has four doors, rear liftback tailgate and bonnet (hood).
PhDo 8 at Waag Society
February 8, 2013
A case study of the use of robots in healthcare concerning practicalities and ethics.
More about PhDo
Hashtag: #phdo
The quilted dip dye jacket from British heritage designers Barbour combines practicality and fashion. Featuring a unique dip dye effect quilted outer, stud front fastening and classic corduroy collar and trims, this stylish Barbour jacket will keep you warm on a chilly spring/summer evening.
Sheridan&Co were given the task to translate this premium Italian brand and create an appropriate retail site that would sit comfortably within a supermarket environment. The challenge was to strike a balance between showcasing a premium, consultation-based cosmetics brand and combine the practicalities of a self-select unit in a 24 hour supermarket. These images show what we created for their site located in Tesco’s, Dudley.
Sadly my beloved nine-year-old Jeep Grand Cherokee didn't survive my recent accident. So I needed a new beast. Black, with black wheels and windows... yep, pimped it! Fortunately it also came with some more sensible wheels for the winter and off-road... which it will be doing.
There's a balance between economy and practicality to be made, as we are a big family living down a very steep ungritted hill.... I was going to buy a Golf TDI but this one's kinder to the environment it turns out!
www.about-bristol.co.uk/out-08.asp
There was some debate about the meaning of horse's legs in military statues. The theory was if the horse is depicted with one hoof off the ground, the soldier was wounded in battle, two raised hooves indicate that the soldier died in battle and all four hooves on the ground indicates the rider survived all battles unharmed. However, I just did some research and it seems this is not a rule, so the horse’s leg positions are simply the product of aesthetics and practicalities.
Meet the Riding Jacket in Oatmeal by Lucy Love. You've found the epitome of unique style and practicality in this super comfy coat. A ribbed yoke features a rounded collar and interesting button tab detail. Double-breasted faux tortoise shell buttons extend below the yoke and hiding the zipper. Large square pockets with button tabs sit just above the tall ribbed waistline. Just wait until you put it on! Inside is so soft, you'll want to sleep in it. 80% Cotton, 20% Polyester. Size small is 24" long from the base of the collar to the bottom of the waistline. Sleeves measure 26" long. Imported.
Get it while it's available at www.lulus.com/!
I finally succumbed to the temptation and bought a Canon 300mm f/2.8 IS lens. I have tossed between it a 500mm f/4 and a 400 f/2.8, but in the end size, weight and practicality dictated the 300mm was the way to go.
This weekend I had planned to give it a good working over, but inclement weather has not helped, however there was a short break this morning.
One of my first shots is this Red Wattlebird (Anthochaera carunculata) which I am reasonably happy with as a first stab.
Generously hosted by Greenwich Co-operative Development Agency, Paul Rhodes of the eponymous artisan bakery and his head baker Yann Legallais kindly gave up their day to pass bread making skills on to thirteen would-be bakers from public sector kitchens. Tracey Simmons from Pabulum Catering then spoke about the practicalities of Real Bread in a public sector catering situation.
www.myspace.com/thedahldifference
From Edmunds (http://www.edmunds.com/ford/flex/2009/review.html) -
It wasn't too long ago that minivans reigned supreme as the go-to choice of growing families across the country. In recent years, however, minivan sales have declined due to the arrival of seven-passenger crossover SUVs, which allow moms and dads to look and feel a little more stylish while transporting their broods. These crossovers don't offer as much utility, however. So what if an automaker attempted to marry the "cool factor" of a crossover SUV and the unbeatable practicality of a minivan's shoebox-like shape? The result would probably end up something like the 2009 Ford Flex.
With styling inspired by vintage vacuum cleaners and an overall shape that resembles a super-sized cross between a first-generation Scion xB and a Mini Cooper Clubman, it's safe to say there's nothing else quite like the Ford Flex on the road today. Though the Flex shares its underpinnings and powertrain with the capable but anonymously styled Taurus X, its daring design sets it apart from the legions of look-alike crossovers roaming our roads. Fortunately for Ford, the Flex's appeal is much more than skin-deep. For example, it offers one of the highest-quality interiors we've seen from Ford in a long time, replete with plentiful soft-touch surfaces and an expensive-looking design. Ford's innovative Sync MP3 player and phone interface system is also available, as is a Vista sunroof, which consists of four fixed glass panels that brighten up the cabin for second- and third-row occupants. Add a reasonably powerful 3.5-liter V6 to the mix, along with available all-wheel drive, and you've got all the ingredients of a crowd-pleasing people mover.
Featuring conventional rear doors instead of the maximally convenient sliding variety, the Flex nonetheless constitutes a compelling package for families who just can't stomach the idea of rolling in a blatantly utilitarian conveyance. Seven adults can fit comfortably inside its elongated cabin, and access to the third row is a cinch with the optional power-folding second-row seats, though a bit of a pain without them. The second-row seats also slide fore and aft, while an optional refrigerator inside the rear console keeps perishables cool while driving. With the rear seats flipped down and the second row flipped forward, the Flex offers a large cargo area, though minivans are still considerably more capacious.
It's hard to predict whether the new Ford Flex will be a success, but Ford deserves credit for boldly bringing such an unconventional yet well-thought-out offering into the marketplace. In theory, the Flex should appeal to any family looking for a winning combination of panache and practicality. We suggest that consumers looking at either a minivan or a large crossover SUV give it strong consideration.
Can technology help prevent and respond to gender-based violence (GBV), particularly in low- and middle-income countries? Increasingly, cell phones, cameras, crowd-sourcing, and mobile apps are being used in innovative ways to address GBV, but questions surrounding ethics, effectiveness, and practicality remain. The Interagency Gender Working Group, U. S. Agency for International Development, Woodrow Wilson Center, CARE, and Population Reference Bureau will host a panel discussion exploring the ethics around new technologies to combat GBV; how effective they are; and what some of the more practical and actionable ways forward might be.
Read more: www.wilsoncenter.org/event/gender-based-violence-and-inno...
Founded in August 2010 by Ross McCulloch of Third Sector Lab, Be Good Be Social brings together third sector professionals interested in social media for social good. The events are a chance to learn, debate and connect with others working for non-profits, charities and social enterprises. Unlike traditional conferences Be Good Be Social combines networking, inspirational talks, practical workshops and, importantly, the chance to collaborate in a relaxed, friendly environment. You’ll hear real-life case studies, ground breaking new ideas and hands-on solutions.
The events are for social media newbies as well as the digital die-hards. Coming along to Be Good Be Social will help you understand:
- The practicalities of where to start with social media.
- The benefits of Twitter, Facebook, YouTube, blogging and beyond for third sector organisations.
- The risks involved in your organisation’s social media presence.
- Strategies for effectively engaging with supporters, donors and partners.
- How you can measure your social media success.
Be Good Be Social wouldn’t have evolved as quickly as it has without the support of the third sector sounding board which includes Stuart Glen (One Kind), Marc Bowker (Quarriers), Hugh Wallace (Scottish Museums), Sara Thomas (MND Scotland), Clare McDowall (Oxfam Scotland), Rosie McIntosh (Oxfam Scotland), Julia Morrison (SCVO) and Marie Duguid (The Melting Pot).
My friend, Faith, and I will be taking a swing at a photo project. Every week we'll each take a photo based on a single topic, put them side-by-side, and then be able to compare, contrast our perspectives. We'll also be writing poems to accompany our shots. Our first week's topic is "Rest for the Weary." My photo is on the left, Faith's on the right. Our poems are included as notes.
Please press L to view it on black :)
This section comprises a “collection” of 4 photographs which I saw – very briefly - about 25 years ago, just long enough for me to photocopy; and also a montage I have made up of all four together, along with the reverse of each. (1 is front of Back “A”, 2 the front of Back “B”, etc).
I did not know who the subjects were or even who the photographs belonged to. I suspect my colleague (sadly long since passed away), who was extremely into “antiques” saw them and immediately realised they were of historical significance to me - and managed to borrow them in order for me to make photocopies.
Thankfully the photocopier at work back then was a fairly good one and the detail captured is superb. Despite two of the photos bearing Caithness photographer details, it is clear from the photographs that all four depict officers of the Sutherland County Constabulary.
Numbers 1 and 2: - are from the (late) 1860s, and were professionally stamped on the reverse: WILLIAM AIRD / PHOTOGRAPHER / LOCHINVER.
Numbers 3 and 4:- show the details of the photographer, P (for Peter) Swanson, on the back within a very ornate design. No. 3 (obviously earlier than No.4) says Mr Swanson had studios in Irvine Ayrshire, near Glasgow) and Thurso, whereas No. says Wick and Thurso. Research reveals that he did not open his Wick Studio until 1887 and that he died in 1890. Chances are then that No. 4 was taken in 1887, and No. 3 a few years before.
Of particular interest is that the Constable in No. 1 (and I suspect I now know who he was – more later) bears the collar number 10 (and so does no. 3, and I suspect No. 4 also) whereas the officer in No. 2 is clearly “18”.
Now the force actually only ever had 12 men of ALL ranks (as late as 1871) – albeit 3 extra men were employed on Railway Construction duties and another 3 had been taken on to police the Kildonan Gold Diggings. So, as there is also the possibility another extra man was taken on as “additional” around that time, that would just achieve the “18” – in that the 18 men would include Sergeant/s (officially 1 but in practice 2 – a long story, to do with salmon fisheries). Soon afterwards the “gold” men were paid off - and some other members of the force were too, as the Police Committee cut their budget to the bone. So No.1 and 2 (seemingly taken at same place/time) can really be no later than 1871.
Now it will be noted that No. 3 is the only photo where the officer has a hat on. It is a shako or pill-box, and I surmise that this came in around the time Chief constable McHardy left the force to go to Inverness-shire. Prior to that, the force wore helmets, but the new Chief Constable, Roderick MacLean who till then had been Superintendent in Ross-shire, may well have decided on the headgear change - either through cost or practicality. The badge is similar to – but smaller than - the helmet badge, which of course would have been too large and too heavy for the far lighter pillbox hat.
I reckon No. 4 is the same man as Constable 10 in No. 1 and 3, only a wee bit older and less severe-looking. This could be – if it is who I think is – because he about to move out of the fairly remote North West of the County to the relative modernity (railway et al, and thus proximity to the bigger towns) of Bonar Bridge in the south east of the County (bordering with Ross & Cromarty).
Constable 18 I am unsure of – largely because the Sutherland Constabulary Personnel Register has obviously been filled out retrospectively and from memory (and thus many detailed such as transfers are either missing or sketchy)
Constable 10 however I do bow have an inkling of – I reckon he is James CRAIGHEAD.
James Craighead was an Agricultural Labourer before he left his native Aberdeenshire and joined the Metropolitan Police in London, where he served for 3 years and 9 months.
Then on 18th December 1864, aged 33, he moved to Sutherland Constabulary. The Aberdeen connection was of course prevalent in the Sutherland force. The then Sutherland Chief Constable (Peter Ewen) and Deputy Chief (Sgt George Bridgeford) had both begun their police careers in the Aberdeen City and Aberdeenshire forces respectively. Doubtless PC Craighead had been recommended to one or both of them. It was by no means unusual for a man from the Highlands (or indeed also Grampian Region - North East Scotland) to find no vacancies in local forces, and it would therefore be suggested by the local Chief Officer they should apply to a “South Country” force, gain experience there and await a vacancy nearer to home. Many did just that, while others of course never did - as they perhaps did not fancy the onus of being on duty 24 hours a day in rural location, when used to working shifts (and then going home to be clear of duty until their next shift) and set (and undisturbed) days off!
Here I digress – Sutherland only rarely took men on, and it was very unusual to take on more than one at a time (only for special instances such as railway construction and gold diggings). So it is fascinating that TWO officers were appointed on 16th December 1864 – PC James Craighead and PC George Melvin. George, was – just like James – a native of Aberdeenshire, and also had previous police service, namely 5 years in Fifeshire Constabulary. It may just be a coincidence but the Deputy Chief of Fife at that time (and since 1862) was none other than Alexander McHardy (also from Aberdeenshire) who had been Sergeant and Deputy Chief of Sutherland (under Mr Ewan) from 1859 to 1861 until he went to Fife – and he would be coming back as Chief in 1866 to replace Mr Ewan.
For both men, both of Aberdeenshire stock, both in their early 30s with substantial police experience and obviously both having expressed an interest in extremely rural policing - to both be taken on at the same time is surely much more than coincidence!
One wonders if PC Melvin (whose early career moves are unfortunately not recorded in the Register) was doing duty in the Lochinver area along with PC Craighead and the opportunity was taken for both to be photographed?
PC Craighead moved to Lochinver from Melvich in 1866 and appears to have been there until 1870, which fits the bill time-wise for photos 1 and 2.
The rather vague transfer records show he was thereafter at Lairg between 1873 and 1875, then there is a gap.
The 1881 (Caithness) census shows PC Craighead in the Reay Parish (but that would be because he was then based at Melvich, just along the road, over the County boundary in Sutherland). He was then 51, and his birthplace is given as Longside, Aberdeenshire. His wife Hannah (aged 49, born at Bonhill, Dunbartonshire) and son James F, aged 14 (born at Assynt in Sutherland) completed the household. The Force records show (again likely done from memory) that he was at Melvich from 1882 to 1887 before moving to Bonar Bridge to complete his service.
Melvich is on the north coast of Sutherland and is only 17 miles along the coast from Thurso in Caithness -the largest town in the area. In those days if one wished to get from NW Sutherland to anywhere on the east coast of Sutherland the best route was via Thurso, especially since the railway arrived there in 1874.
Chief Constable Peter Ewen resigned and left the force on 15th June 1866, after some form of disagreement with the Police Committee. Thus Sergeant (possibly with personal unofficial “rank” of Inspector) George Bridgeford, as Deputy Chief Constable, was to run the force single-handed for two months until Mr Ewen’s successor was in place. That man was Alexander McHardy, already mentioned (while Sergeant in the Sutherland force he had previously held the Deputy Chief Constable post until “transferring” to Fife Constabulary). Mr McHardy remained at Dornoch until December 1882 when he was appointed Chief Constable of Inverness-shire. Mr Bridgeford (by then officially an Inspector) again took command, as it was not until the following June that a new Chief Constable was in place.
On 8th June 1883 Roderick MacLean, then Superintendent and Deputy Chief constable of Ross & Cromarty Constabulary, became the third Chief Constable of Sutherland. Sadly, his reign was brief as he died on 7th April 1887. As a result the man who stood in pending a new Chief being selected was – you’ve guessed it – George Bridgeford. It took three months before a new Chief Constable was appointed, this time a police Inspector from Inverness-shire, Malcolm Macdonald, an imposing figure who would remain in post until he too died in service in 1906.
PC Craighead retired from the force on pension (unfortunately I do not have any details) on 15th May 1891 on reaching 60.
PC Melvin is known to have served at Bonar from 1881 to 1888 and then from 1888 to 1891 at Lairg. On 26th May 1891 he moved to Rosehall, where he retired on 14th February 1892, presumably compulsorily as he would be then have also reached 60 years of age. In November his wage was increased from 25/- (£1.25p) to 26/2d (£1.31p), and when he retired he was awarded an annual pension of £36.17/4d. (£30.76) which was 14/- (14 shillings; £0.70p) per week.
Unfortunately research has failed to locate their graves – certainly not in Sutherland – so it is not known whether they enjoyed a long and relaxing retirement. It certainly seems as if both would have retired back home to Aberdeenshire.
I bet they had a few stories to tell of their time in Sutherland!
Founded in August 2010 by Ross McCulloch of Third Sector Lab, Be Good Be Social brings together third sector professionals interested in social media for social good. The events are a chance to learn, debate and connect with others working for non-profits, charities and social enterprises. Unlike traditional conferences Be Good Be Social combines networking, inspirational talks, practical workshops and, importantly, the chance to collaborate in a relaxed, friendly environment. You’ll hear real-life case studies, ground breaking new ideas and hands-on solutions.
The events are for social media newbies as well as the digital die-hards. Coming along to Be Good Be Social will help you understand:
- The practicalities of where to start with social media.
- The benefits of Twitter, Facebook, YouTube, blogging and beyond for third sector organisations.
- The risks involved in your organisation’s social media presence.
- Strategies for effectively engaging with supporters, donors and partners.
- How you can measure your social media success.
Be Good Be Social wouldn’t have evolved as quickly as it has without the support of the third sector sounding board which includes Stuart Glen (One Kind), Marc Bowker (Quarriers), Hugh Wallace (Scottish Museums), Sara Thomas (MND Scotland), Clare McDowall (Oxfam Scotland), Rosie McIntosh (Oxfam Scotland), Julia Morrison (SCVO) and Marie Duguid (The Melting Pot).
Double trough genuine granite vessel sink FOLEGE- 63" x 19" x 2" - genuine interior decoration trendy gray stone. The "Exceptional" cut in the block without any comparison with plastic and other chemical resin market often unaffordable. You will definitely not let anyone feel indifferent with this 100% natural stone unique in the US and exclusively available on Living'ROC.net desigend by our french designer Florent LEPVREAU.
The outstanding opportunity to make your world unique! Add great value to your home by installing LivingRoc's Creations and tell your stone story through the years of conception. Its Zen-style, pure and sleek lines will give a cool and chic look to your bathroom. Made from a block of Granite the FOLEGE is from the AQUADEOS range. Our FOLEGE is the creation of a combined group of talented masons dedicated to the idea of creating bathware made from natural material, which is environmentally friendly.
Adding stone elements will provide a modern, serene, and trendy atmosphere in your bathroom. Honed finishes and its very convenient slope will add practicality to beauty.
This natural stone double sink will complement perfectly with our trendy gray shower trays (same color and finish) as they are coming from the same quarry and most of the time from the same granite block : Spacium, Palaos, Quasar or Dalaos. This vessel sink is Highly resistant to chipping and scratching, Withstands hot temperatures, Tolerant to very high temperature changes.
Our creation is delivered without an overflow drain and faucet (not included) - every US drains and faucets models you can find on the market will fit perfectly on Living'ROC vessel sink. This model is ready to use over the countertop.
The photos you see online have been taken with extreme care by our Founder CEO - Florent LEPVREAU, because without them we would not be one of the natural stone business key player of the online European continent. Once you have encountered the product in your home you will always have pure happiness for the love of the materials. It will be beyond your expectations because what you see online at livingroc.net is what you will receive. This is why we always guarantee a degree of quality (Grade A) and impeccable finish as can attest with the reviews filed by our customers. We also draw your attention to the fact that veining, flames, small variations of colors and various stone particularities make all the charm of the stone and distinguish it from non-natural materials! Simply our living'ROC style.
"Klick Link For Read Online Or Download Louis Vuitton: 100 Legendary Trunks Book : bit.ly/2eHt79O
Feature
*
Trains and steamships transformed transportation in the mid-19th century and opened the world to a new breed of traveler. Louis Vuitton understood the need for more practical luggage, and strove to create products that were adaptable to all situations—and the travel trunk was born.  Authors Pierre Léonforte and Éric Pujalet-Plaà curate 100 of the finest trunks the Louis Vuitton company has produced on commission, including boxes made for movie stars from Douglas Fairbanks to Sharon Stone and couturiers from Jeanne Lanvin to Karl Lagerfeld, as well as cases designed for Ernest Hemingway, Leopold Stokowski, and Damien Hirst. Illustrated with 600 images taken from the Louis Vuitton archives and new photographs made especially for this book, this is the definitive history of personalized objects of both practicality and luxury.  "
Made from oak in a clear matt finish to showcase the natural beauty of the timber, artisan combines practicality and looks. With its fexible extending tables (including a flip-top table for those smaller spaces), capacious cabinets and sideboard, display cabinets and range of occasional pieces, it provides a full solution for your living and dining rooms. A modern ercol classice, artisan features the crisp detail of chamfered legs and table top edges, with the gentle curves of the drawers and door handles - a showcase of shaping solid wood. artisan is shown here with our slatted back chair, although it is also availabe with a fully upholstered back.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
This section comprises a “collection” of 4 photographs which I saw – very briefly - about 25 years ago, just long enough for me to photocopy; and also a montage I have made up of all four together, along with the reverse of each. (1 is front of Back “A”, 2 the front of Back “B”, etc).
I did not know who the subjects were or even who the photographs belonged to. I suspect my colleague (sadly long since passed away), who was extremely into “antiques” saw them and immediately realised they were of historical significance to me - and managed to borrow them in order for me to make photocopies.
Thankfully the photocopier at work back then was a fairly good one and the detail captured is superb. Despite two of the photos bearing Caithness photographer details, it is clear from the photographs that all four depict officers of the Sutherland County Constabulary.
Numbers 1 and 2: - are from the (late) 1860s, and were professionally stamped on the reverse: WILLIAM AIRD / PHOTOGRAPHER / LOCHINVER.
Numbers 3 and 4:- show the details of the photographer, P (for Peter) Swanson, on the back within a very ornate design. No. 3 (obviously earlier than No.4) says Mr Swanson had studios in Irvine Ayrshire, near Glasgow) and Thurso, whereas No. says Wick and Thurso. Research reveals that he did not open his Wick Studio until 1887 and that he died in 1890. Chances are then that No. 4 was taken in 1887, and No. 3 a few years before.
Of particular interest is that the Constable in No. 1 (and I suspect I now know who he was – more later) bears the collar number 10 (and so does no. 3, and I suspect No. 4 also) whereas the officer in No. 2 is clearly “18”.
Now the force actually only ever had 12 men of ALL ranks (as late as 1871) – albeit 3 extra men were employed on Railway Construction duties and another 3 had been taken on to police the Kildonan Gold Diggings. So, as there is also the possibility another extra man was taken on as “additional” around that time, that would just achieve the “18” – in that the 18 men would include Sergeant/s (officially 1 but in practice 2 – a long story, to do with salmon fisheries). Soon afterwards the “gold” men were paid off - and some other members of the force were too, as the Police Committee cut their budget to the bone. So No.1 and 2 (seemingly taken at same place/time) can really be no later than 1871.
Now it will be noted that No. 3 is the only photo where the officer has a hat on. It is a shako or pill-box, and I surmise that this came in around the time Chief constable McHardy left the force to go to Inverness-shire. Prior to that, the force wore helmets, but the new Chief Constable, Roderick MacLean who till then had been Superintendent in Ross-shire, may well have decided on the headgear change - either through cost or practicality. The badge is similar to – but smaller than - the helmet badge, which of course would have been too large and too heavy for the far lighter pillbox hat.
I reckon No. 4 is the same man as Constable 10 in No. 1 and 3, only a wee bit older and less severe-looking. This could be – if it is who I think is – because he about to move out of the fairly remote North West of the County to the relative modernity (railway et al, and thus proximity to the bigger towns) of Bonar Bridge in the south east of the County (bordering with Ross & Cromarty).
Constable 18 I am unsure of – largely because the Sutherland Constabulary Personnel Register has obviously been filled out retrospectively and from memory (and thus many detailed such as transfers are either missing or sketchy)
Constable 10 however I do bow have an inkling of – I reckon he is James CRAIGHEAD.
James Craighead was an Agricultural Labourer before he left his native Aberdeenshire and joined the Metropolitan Police in London, where he served for 3 years and 9 months.
Then on 18th December 1864, aged 33, he moved to Sutherland Constabulary. The Aberdeen connection was of course prevalent in the Sutherland force. The then Sutherland Chief Constable (Peter Ewen) and Deputy Chief (Sgt George Bridgeford) had both begun their police careers in the Aberdeen City and Aberdeenshire forces respectively. Doubtless PC Craighead had been recommended to one or both of them. It was by no means unusual for a man from the Highlands (or indeed also Grampian Region - North East Scotland) to find no vacancies in local forces, and it would therefore be suggested by the local Chief Officer they should apply to a “South Country” force, gain experience there and await a vacancy nearer to home. Many did just that, while others of course never did - as they perhaps did not fancy the onus of being on duty 24 hours a day in rural location, when used to working shifts (and then going home to be clear of duty until their next shift) and set (and undisturbed) days off!
Here I digress – Sutherland only rarely took men on, and it was very unusual to take on more than one at a time (only for special instances such as railway construction and gold diggings). So it is fascinating that TWO officers were appointed on 16th December 1864 – PC James Craighead and PC George Melvin. George, was – just like James – a native of Aberdeenshire, and also had previous police service, namely 5 years in Fifeshire Constabulary. It may just be a coincidence but the Deputy Chief of Fife at that time (and since 1862) was none other than Alexander McHardy (also from Aberdeenshire) who had been Sergeant and Deputy Chief of Sutherland (under Mr Ewan) from 1859 to 1861 until he went to Fife – and he would be coming back as Chief in 1866 to replace Mr Ewan.
For both men, both of Aberdeenshire stock, both in their early 30s with substantial police experience and obviously both having expressed an interest in extremely rural policing - to both be taken on at the same time is surely much more than coincidence!
One wonders if PC Melvin (whose early career moves are unfortunately not recorded in the Register) was doing duty in the Lochinver area along with PC Craighead and the opportunity was taken for both to be photographed?
PC Craighead moved to Lochinver from Melvich in 1866 and appears to have been there until 1870, which fits the bill time-wise for photos 1 and 2.
The rather vague transfer records show he was thereafter at Lairg between 1873 and 1875, then there is a gap.
The 1881 (Caithness) census shows PC Craighead in the Reay Parish (but that would be because he was then based at Melvich, just along the road, over the County boundary in Sutherland). He was then 51, and his birthplace is given as Longside, Aberdeenshire. His wife Hannah (aged 49, born at Bonhill, Dunbartonshire) and son James F, aged 14 (born at Assynt in Sutherland) completed the household. The Force records show (again likely done from memory) that he was at Melvich from 1882 to 1887 before moving to Bonar Bridge to complete his service.
Melvich is on the north coast of Sutherland and is only 17 miles along the coast from Thurso in Caithness -the largest town in the area. In those days if one wished to get from NW Sutherland to anywhere on the east coast of Sutherland the best route was via Thurso, especially since the railway arrived there in 1874.
Chief Constable Peter Ewen resigned and left the force on 15th June 1866, after some form of disagreement with the Police Committee. Thus Sergeant (possibly with personal unofficial “rank” of Inspector) George Bridgeford, as Deputy Chief Constable, was to run the force single-handed for two months until Mr Ewen’s successor was in place. That man was Alexander McHardy, already mentioned (while Sergeant in the Sutherland force he had previously held the Deputy Chief Constable post until “transferring” to Fife Constabulary). Mr McHardy remained at Dornoch until December 1882 when he was appointed Chief Constable of Inverness-shire. Mr Bridgeford (by then officially an Inspector) again took command, as it was not until the following June that a new Chief Constable was in place.
On 8th June 1883 Roderick MacLean, then Superintendent and Deputy Chief constable of Ross & Cromarty Constabulary, became the third Chief Constable of Sutherland. Sadly, his reign was brief as he died on 7th April 1887. As a result the man who stood in pending a new Chief being selected was – you’ve guessed it – George Bridgeford. It took three months before a new Chief Constable was appointed, this time a police Inspector from Inverness-shire, Malcolm Macdonald, an imposing figure who would remain in post until he too died in service in 1906.
PC Craighead retired from the force on pension (unfortunately I do not have any details) on 15th May 1891 on reaching 60.
PC Melvin is known to have served at Bonar from 1881 to 1888 and then from 1888 to 1891 at Lairg. On 26th May 1891 he moved to Rosehall, where he retired on 14th February 1892, presumably compulsorily as he would be then have also reached 60 years of age. In November his wage was increased from 25/- (£1.25p) to 26/2d (£1.31p), and when he retired he was awarded an annual pension of £36.17/4d. (£30.76) which was 14/- (14 shillings; £0.70p) per week.
Unfortunately research has failed to locate their graves – certainly not in Sutherland – so it is not known whether they enjoyed a long and relaxing retirement. It certainly seems as if both would have retired back home to Aberdeenshire.
I bet they had a few stories to tell of their time in Sutherland!
This antique Japanese bedding sheet is made up of five panels of indigo kasuri (ikat) cotton.
Available to buy here:
www.etsy.com/transaction/96723737
Likely to have been made at home during the Meiji / Taisho era. It has been well looked after with a number of hand stitched boro* patches.
As can be seen, four of the five panels appear more grey than the fifth panel which is a light blue.
Large: 168cm x 158cm
Antique Japanese folk textile typical of the utilitarian indigo fabrics of the era.
*Boro means scrap/rag of cloth and is also used to describe this category of collectible textile.
The principles of "yuyo no bi" (beauty of practicality) and "mottai nai" (no waste) are fundamental to these folk textiles.
Founded in August 2010 by Ross McCulloch of Third Sector Lab, Be Good Be Social brings together third sector professionals interested in social media for social good. The events are a chance to learn, debate and connect with others working for non-profits, charities and social enterprises. Unlike traditional conferences Be Good Be Social combines networking, inspirational talks, practical workshops and, importantly, the chance to collaborate in a relaxed, friendly environment. You’ll hear real-life case studies, ground breaking new ideas and hands-on solutions.
The events are for social media newbies as well as the digital die-hards. Coming along to Be Good Be Social will help you understand:
- The practicalities of where to start with social media.
- The benefits of Twitter, Facebook, YouTube, blogging and beyond for third sector organisations.
- The risks involved in your organisation’s social media presence.
- Strategies for effectively engaging with supporters, donors and partners.
- How you can measure your social media success.
Be Good Be Social wouldn’t have evolved as quickly as it has without the support of the third sector sounding board which includes Stuart Glen (One Kind), Marc Bowker (Quarriers), Hugh Wallace (Scottish Museums), Sara Thomas (MND Scotland), Clare McDowall (Oxfam Scotland), Rosie McIntosh (Oxfam Scotland), Julia Morrison (SCVO) and Marie Duguid (The Melting Pot).
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
As declared by the Ferrari showroom's little information panel, this 275GTB has quite possibly the lowest mileage of any of it's class, with only 16,000 miles on the clock.
But this is the kind of Ferrari that's desired, the great Grand Tourers of the 1960's and 70's, cars that both looked and sounded the part, but continued to maintain a certain amount of practicality, unlike the much less effort toys of today's new money.
Modern Seamless Surfaces That Will Transform Your Space.
Our decorative concrete coatings dramatically enhance the appearance and value to your home or business. Whether you own a home, hotel, condo, or business, count on Alternative Surfaces for long lasting beauty and reliability.
From blueprint to reality, we deliver a full-service approach that blends texture, color and a durable finishes, creating the look and atmosphere you desire. Where passion meets practicality, Alternative Surfaces offers the tools, creative vision and technological expertise to propel your design imagination to new heights. Create ambiance through innovative surface styles. Leave a bold, lasting impression. Unleash your inner artist with limitless creative freedom.
A 1937 Buick, built by Buick Motor Campany converted to a Ma & Pa Inspection Car, No. 101. Shortly after their debut in the early 20th century, cars were adapted for used on railroads. Rebuilt with flanged wheels, rail-mobiles carried management officials on maintenance of way inspection trips. The Maryland & Pennsylvania Railroad (Ma & Pa) No. 101 was originally owned by the Harkins Funeral Home in Delta, Pa. The Ma & Pa rebuilt the car in 1942 with a Tack sander for slippery rails, a pin-swivel truck, and a handbrake which was controlled by the stearing wheel. A two-way radio was installed on the No. 101 to test the practicality of radio communication between locomotives and station.
In 1969, British Leyland intended to upgrade the Mini to try and keep the style with the times, calling in once again Sir Alec Issigonis to design a compact and practical little car of the same lines. The idea was to give the car a front engine with front wheel drive and devote as much of the car's platform to passenger and luggage capacity. The car was also intended to be a hatchback for more practicality and would enter sales 5% cheaper than the current Mini of 1959.
The car was launched with a more angular design to fit the times, and powered by a new 9X 850cc engine and transmission. Hydrolastic suspension was considered, but changed instead to a more conventional front suspension with vertical struts and independent rear suspension with torsion bars.
The car, although providing more space internally than the original Mini, was unfortunately not forwarded by the British Leyland management, and thus only resulted in a single prototype. Unbeknownst to British Leyland, the car could have been a real winner, but instead the lucrative family hatchback market was swept out from underneath them by the likes of FIAT and Volkswagen.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
From "A Portfolio of Mid-Twentieth Century Architectural Interiors - With Comments by Vitruvis. A 16 page collection of view of important new buildings."
"Bennington College Library, Bennington Vermont. Architects: Pietro Bellushi and Carl Koch & ASsociates, Cambridge, MA. The floors: Armstrong Custom Vinyl Cork Tile...chosen for the remarkable way it combines the natural beauty of cork with the practicality of vinyl; Armstrong Tessera (sheet vinyl) Corlon...chosen for its expressively simple design and gentle colorings."
PhDo 8 at Waag Society
February 8, 2013
A case study of the use of robots in healthcare concerning practicalities and ethics.
More about PhDo
Hashtag: #phdo
The Jaguar I-PACE is the electric vehicle drivers have been waiting for Clean, smart and safe, the
I-PACE delivers sustainable sports car performance, next-generation artificial intelligence (AI) technology and five-seat SUV practicality to place Jaguar at the forefront of the EV revolution.
Sun lounger in the middle of a stream, up the mountain near the lake Sapanca, Turkey.
Out of place? Perhaps not. It would be a heaven on a hot day.
It felt like the dream-like setting and the chair were telling a story of the person who had put it there, who had been there. I sensed a spirit of fun as well as practicality. Wouldn't this be heavenly on a hot day?
3 belt fed machine guns welded together in one chassis, 2 7.62x39mm guns, one 5.56x45mm gun in the middle. Why? Becuase fuck practicality.
Seth Shostak rocks the mic at a panel on interstellar space travel.
I performed a bit of origami on this topic. Seth and a physicist talked about the practicalities of traveling beyond our solar system. I chose to speak of the need for patience. At this point in the human timeline, we've barely figured out how to rise out of the chair and stand. We've no idea how to keep a crew safe on an extended mission and our technologies to help them make the most of their time on another planet are pretty limited. So right now, we can do either a half-assed crewed mission to Mars, or we can launch a kick-ass series of rovers and probes that'll bring back way more information.
We shouldn't let our romance for Buck Rogers-style visuals interfere with the need to get great results for each dollar spent. Instead, we should lay the groundwork so that in 50 or 100 years, when a mission to Mars or a colony on the Moon is practical, our great-grandkids don't have to start off from Step One.
(The larger tragedy of the end of the Shuttle is the same as the larger tragedy of the end of Apollo: as soon as the last vehicle returned to earth, thousands of people lost their jobs and a decade of experience in launching and running missions was lost.)
I love this conference because it's such a challenge, each and every year. Sometimes the challenge is to restrain myself and acknowledge that I don't need to grab the mic and say everything that pops into my head.
I really didn't have much to contribute to the Q&A (the questions seemed to be directed at the astronomer and the physicist). So I simply tried to look Thoughtful. And I stayed hydrated.
The Postcard
A postally unused carte postale published by Robert Laillet of Chartres. Note the man on the upper walkway.
Robert Laillet was a photographer who operated as a postcard publisher in Chartres from 1907 to 1944.
He had two shops, one in Delacroix Street and the other on the south gate of Chartres Cathedral.
There is a large collection of his work in the Eure-et-Loir Departmental Archives, donated in 2008 by three of his grandsons.
The Flying Buttress
Flying buttresses are a wonderful marriage of art and practicality.
The sloping supports absorb the sideways thrust from the main part of the building, and transfer it to the vertical columns which transmit it harmlessly down to the ground.
Chartres
Chartres is a city and capital of the Eure-et-Loir department in France. At the 2019 census, there were 38,534 individuals living in the city.
Chartres is famous worldwide for its Gothic cathedral which is in an exceptional state of preservation. The majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th. century.
Part the old town, including most of the library associated with the School of Chartres, was destroyed by Allied bombs in 1944.
The Cathédrale Notre-Dame de Chartres, is one of the finest and best preserved Gothic cathedrals in France and in Europe. Its historical and cultural importance has been recognized by its inclusion on the UNESCO list of World Heritage Sites.
Chartres is built on a hill on the left bank of the river Eure. The medieval cathedral is at the top of the hill, and its two spires are visible from miles away across the flat surrounding lands. To the southeast stretches the fertile plain of Beauce, the "Granary of France", of which the town is the commercial centre.
Chartres cathedral was built on the site of the former Chartres cathedral of Romanesque architecture, which was destroyed by fire (that former cathedral had been built on the ruins of an ancient Celtic temple, later replaced by a Roman temple).
Begun in 1205, the construction of Notre-Dame de Chartres was completed 66 years later.
The stained glass windows of the cathedral were financed by guilds of merchants and craftsmen, and by wealthy noblemen, whose names appear at the bottom. It is not known how the famous and unique blue, bleu de Chartres, of the glass was created, and it has been impossible to replicate it.
Chartres in WWII
In World War II, the city suffered heavy damage, both by bombing and during the battle of Chartres in August 1944, but the cathedral was spared by an American Army officer who challenged the order to destroy it.
On the 16th. August 1944, Colonel Welborn Barton Griffith Jr. questioned the necessity of destroying the cathedral, and volunteered to go behind enemy lines to find out whether the Germans were using it as an observation post.
With his driver, Griffith proceeded to the cathedral and, after searching it all the way up its bell tower, confirmed to Headquarters that it was empty of Germans. The order to destroy the cathedral was withdrawn.
Colonel Griffith was killed in action later on that day in the town of Lèves, 3.5 kilometres (2.2 miles) north of Chartres. For his heroic action both at Chartres and Lèves, Colonel Griffith received, posthumously, decorations awarded by the President of the United States and the U.S. Military, and also from the French government.
Following deep reconnaissance missions and after heavy fighting in and around the city, Chartres was liberated on the 18th. August 1944, by the U.S. 5th. Infantry and 7th. Armored Divisions commanded by General George S. Patton.
Churches of Chartres
The Église Saint-Pierre de Chartres was the church of the Benedictine Abbaye Saint-Père-en-Vallée, founded in the 7th. century by Queen Balthild. At the time of its construction, the abbey was outside the walls of the city. It contains fine stained glass and, formerly, twelve representations of the apostles in enamel, created circa 1547 by Léonard Limosin, which now can be seen in the fine arts museum.
Other noteworthy churches of Chartres are Saint-Aignan (13th., 16th. and 17th. centuries), and Saint-Martin-au-Val (12th. century), inside the Saint-Brice hospital.
Museums of Chartres
Chartres' Museums include:
-- Le Musée des Beaux-Arts, a fine arts museum, housed in the former episcopal palace adjacent to the cathedral.
-- Le Centre International du Vitrail, a workshop-museum and cultural center devoted to stained glass art, located 50 metres (160 feet) from the cathedral.
-- Le Conservatoire du Machinisme et des Pratiques Agricoles, an agricultural museum.
-- Le Musée le Grenier de l'Histoire, a history museum specializing in military uniforms and accoutrements, in Lèves, a suburb of Chartres.
-- Le Musée des Sciences Naturelles et de la Préhistoire, a Natural science and Prehistory Museum (closed since 2015).
Other Features of Chartres
The river Eure, which at this point divides into three branches, is crossed by several bridges, some of them ancient, and is fringed in places by remains of the old fortifications, of which the Porte Guillaume (14th. century), a gateway flanked by towers, was the most complete specimen, until destroyed by the retreating German army on the night of the 15th./16th. August 1944.
The steep, narrow streets of the old town contrast with the wide, shady boulevards which encircle it and separate it from the suburbs. The Parc André-Gagnon lies to the north-west, and squares and open spaces are numerous.
Part of the Hôtel de Ville dates from the 17th. century, and is called l'Hôtel de Montescot. There is also La Maison Canoniale dating back to the 13th. century, and several medieval and Renaissance houses.
La Maison Picassiette, a house decorated inside and out with mosaics of shards of broken china and pottery, is also worth a visit.
There is also a statue of General Marceau (1769–1796), a native of Chartres and a general during the French Revolution.
The Economy of Chartres
Historically, game pies and other delicacies of Chartres are well known, and the city's industries have also included flour-milling, brewing, distilling, iron-founding, leather manufacture, perfumes, dyeing, stained glass, billiard requisites and hosiery.
More recently, businesses include the manufacture of electronic equipment and car accessories. Since 1976 the fashion and perfumes company Puig has had a production plant in the commune.
Pilgrimages
Chartres has been a site of Catholic pilgrimages since the Middle Ages. The poet Charles Péguy, who was born in 1873, revived the pilgrimage route between Paris and Chartres before the Great War.
At the outbreak of the war, Péguy became a lieutenant in the French 276th. Infantry Regiment. He died at the age of 41 in battle, shot in the forehead, near Villeroy, Seine-et-Marne on the 5th. September 1914, the day before the beginning of the Battle of the Marne. There is a memorial to Charles near the field where he was killed.
After the war, a number of students carried on the pilgrimage in his memory. Since 1982, the association Notre-Dame de Chrétienté, with offices in Versailles, organizes the annual 100 km (62 mi) pilgrimage on foot from Notre-Dame de Paris to Notre-Dame de Chartres. About 15,000 pilgrims, from France and countries outside France, participate every year.
The Bataclan Theatre Massacre
Chartres was the home of Omar Ismael Mostefaï aged 29, one of the three gunmen who attacked the audience at the Bataclan concert venue on the 13th. November 2015, starting at 21.40.
It was part of a carefully co-ordinated attack on Paris; over a 20 minute period, Islamist militants also killed and injured people at the Stade de France, and at six restaurants and cafes along the 10th. and 11th. arrondissements.
One of the restaurants was a popular Cambodian eatery in the trendy Canal Saint-Martin area, where at least 12 people died. Another 19 people were killed at a busy restaurant on nearby Rue de Charonne.
Shootings and bomb blasts on that night left a total of 130 people dead and hundreds wounded, with more than 100 in a critical condition.
The Start of the Bataclan Massacre
On the evening of the 13th. November 2015, the American rock band Eagles of Death Metal was playing to an audience of about 1,500 people at the Bataclan on the Boulevard Voltaire in the 11th. arrondissement of Paris.
Three dark-clad gunmen had been waiting in a black rental car near the venue for more than an hour, and were armed with Zastava M70 assault rifles. The M70 is a derivative of the Soviet AK-47, and can fire at a rate of 620 rounds per minute. Over 4 million of the ghastly things have unfortunately been manufactured.
The terrorists were three French natives of Algerian descent. As the band was playing their song "Kiss the Devil", the three men got out of the car and opened fire on people outside the venue, killing three.
They then burst into the concert hall and sprayed the crowd with automatic gunfire. Witnesses heard shouts of "Allahu Akbar" as the terrorists opened fire. Initially, the audience mistook the gunfire for pyrotechnics. The band ran offstage and escaped with many of the crew, although their tour manager was killed.
Rows of people were mown down by gunfire or were forced to drop to the ground to avoid being shot. Survivors described hundreds of people lying beside and on top of each other in pools of blood, screaming in terror and pain.
The gunmen also fired up into the balconies, and dead bodies fell down onto the stalls below. For a few minutes, the hall was plunged into darkness, with only the flashes from the assault rifles as the gunmen kept shooting.
The terrorists shouted that they were there because of French airstrikes against Islamic State. A witness who was inside the Bataclan heard a gunman say:
"This is because of all the harm
done by Hollande to Muslims all
over the world."
A radio reporter attending the concert reported that:
"The terrorists were calm and determined, and they
reloaded three or four times. Two gunmen attacked
the concert hall; one gunman covered fire while
another reloaded to ensure maximum efficiency."
Whenever a gunman stopped to reload, members of the crowd, some with bullets in them, ran for the emergency exits, scrambling over each other to escape. Some were shot from behind as they fled, and the terrorists laughed as they shot them. Those who reached an emergency exit were shot by the third gunman, who had positioned himself there.
Other groups of people barricaded themselves in backstage rooms. Some smashed open the ceiling in an upstairs toilet, and hid among the rafters under the roof. Those who could not run lay still on the floor or under bodies pretending to be dead. One women was seen hanging from a third floor window.
According to survivors, the terrorists walked among those who were lying down, kicked them, and shot them in the head if there were any sign of life.
An eyewitness reported hearing the gunmen ask amongst themselves where the members of the Eagles of Death Metal were once the gunfire stopped. Mostefaï and another of the gunmen then went upstairs to the balconies, while the third attacker stayed downstairs and fired at people who tried to flee.
Initial Armed Response to the Terrorists
The Brigade of Research and Intervention (BRI) arrived on the scene at 22:15, soon followed by the elite tactical unit, RAID. At 22:15, the first two responding officers entered the building armed with handguns and encountered one of the terrorists who was standing on the stage.
The Jihadist died after being shot by the officers and detonating his explosive vest. Mostefaï and the other remaining gunman (Mohamed-Aggad) then fired upon the officers, forcing them to withdraw and wait for backup.
The Stand-Off
From this point, Mostefaï and the other attacker took about twenty hostages and herded them into a room at the end of a corridor located further within the building. They also seized the hostages' mobile phones and attempted to use them to access the Internet, but they were unable to find a signal.
Some of the hostages were forced to look down into the hall and out the windows and report what they saw. During this time, the two terrorists fired on police and first responders as they arrived at the scene.
At 23:30, an elite police squad entered the building. One unit evacuated survivors from downstairs, while another unit went upstairs. They found Mohamed-Aggad and Mostefaï, who had begun using hostages as human shields. They shouted out to police the number of a hostage's phone.
Over the next 50 minutes, they had four phone exchanges with a police negotiator, during which time they threatened to execute hostages unless they received a signed paper promising France's departure from Muslim lands.
The Police Assault
The police assault began at 00:20 and lasted three minutes. Police launched the assault because of reports that Mohamed-Aggad and Mostefaï had started killing hostages. Police using shields burst open the door to the room and exchanged fire with Mohamed-Aggad and Mostefaï while managing to pull the hostages one-by-one behind their shields. One terrorist detonated his explosive vest, and the other tried to do the same but was shot.
Ninety people were killed at the Bataclan on that night, and hundreds of others were wounded. Almost all of the deceased victims were killed within the first 20 minutes of the attack. All of the hostages were rescued without injury.
Police dog teams from the Brigade Cynophile assisted with body removal because of concerns that there could still be live explosives in the theatre. Identification and removal of the bodies took 10 hours, a process made difficult because some audience members had left their identity papers in the theatre's cloakroom.
Omar Ismael Mostefaï
The homegrown suicide bomber Omar Ismael Mostefaï was identified after his finger was found among the Bataclan concert hall carnage.
Mostefaï was born in the Paris suburb of Courcouronnes and had eight past convictions for petty crimes. He is said to have been radicalised by a Belgian hate preacher at a mosque in France.
The Jihadist was buried in the Cimetière Parisien de Thiais
located in Val-de-Marne.
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The BLS Alumni Mentor Program, now in its 23nd year, pairs upper class students with alumni, creating a valuable link between the law school experience and the practicalities of a legal career through one-on-one relationships This reception, hosted by Duane Morris, provided an opportunity for students and mentors to be formally introduced.
On the North Yorkshire Moors it is best to balance style with practicality. The important thing is that the Bride and Groom actually arrive at the church, which given the landscape and the weather conditions can sometimes present a problem. My cousin was married at St Hilda's Church, Danby, North Yorkshire, on Friday (24/9/10) and the transport of the Bridal Pary was courtesy of Landrover.
Photocopy.
Amber Jean made a tracing of this for me. I need to size it up a lot, but I love the shoulder yoke and practical sleeves.
This might be a good one for the lilac floral I got at Goodwill, since I don't have a lot of it and it does have a slightly old-fashioned feel, but the practicality of the blouse pattern could kind of tone down the sugary-ness.