View allAll Photos Tagged properly
This glory of Christ is properly, and in the highest sense, divine. He shines in all the brightness of glory that is inherent in the Deity. Such is the exceeding brightness of this Sun of righteousness, that, in comparison of it, the light of the natural sun is as darkness; and hence, when he shall appear in his glory, the brightness of the sun shall disappear, as the brightness of the little stars do when the sun rises. So says the prophet Isaiah, ‘Then the moon shall be confounded, and the sun shall be ashamed, when the Lord of hosts shall reign in Mount Zion, and before his ancients gloriously.’ Isa. xxiv. 23.. But, although his light is thus bright, and his beams go forth with infinite strength; yet, as they proceed from the Lamb of God, and shine through his meek and lowly human nature, they are supremely soft and mild, and, instead of dazzling and overpowering our feeble sight, like a smooth ointment or a gentle eye-salve, are vivifying and healing. Thus on them, who fear God’s name, ‘the Sun of righteousness arises, with healing in his beams,’ Mal. iv. 2.. It is like the light of the morning, a morning without clouds, as the dew on the grass, under whose influence the souls of his people are as the tender grass springing out of the earth, by clear shining after rain. Thus are the beams of his beauty and brightness fitted for the support and reviving of the afflicted. He heals the broken in spirit, and bindeth up their wounds. When the spirits of his people are cut down by the scythe, he comes down upon them, in a sweet and heavenly influence, like rain on the mown grass, and like showers that water the earth. (Psal. lxxii. 6)
Jonathan Edwards
In the beginning was the Word, and the Word was with God, and the Word was God. He was in the beginning with God. All things were made through him, and without him was not any thing made that was made. In him was life, and the life was the light of men. John 1:1-4
Again Jesus spoke to them, saying, “I am the light of the world. Whoever follows me will not walk in darkness, but will have the light of life.” John 8:12
Heh... we greased-up our hands properly on that day...
Vishnja (common Serbian female name meaning Cherry) is a nice, deep-cherry-red Vespa PX200, belonging to a dear friend of mine, Sean Jordan. Shot above presents one of many restoration/pimping/upgrading/tuning projects which took place in Belgrade on a glorious summer of 2013.
On another note, I'll mention it as a pure courtesy, Sean is one of a few man, next to great and late Giorgio Bettinelli who have driven his Vespa around the globe, dedicating one and a half year of his life to that epic journey, starting it in Belgrade on a summer of 2010 and ending it in the same place on a winter 2011/2012. The "mule" ridden during that project, his beloved and now famous "Hamburglar" is nowdays exposed in Piaggio's museum in Genova.
Shot taken with Hasselblad 500c/m & fantastic Carl Zeiss 120mm/f4 CFi Macro-Planar, on a crappy Ilford PanF, later developed in Rodinal in a process I can't really remember any longer, probably semi-stand with 1+100.
Electing to Tackle Unemployment
Unemployment is now a very serious long term employment here in Ireland and the unemployed need all the help and support that they can get. If you are unemployed are if you are about to become redundant I strongly advise that you contact the INOU
Today, the Irish National Organisation of the Unemployed launched its Election Manifesto. The manifesto, which has been sent to all prospective TDs and outlines the INOU’s priorities for the next government in three key areas – Jobs, Services for Unemployed People and Social Welfare. The manifesto also poses four key questions for candidates standing in the next election:
1. What will you do to tackle unemployment?
2. Will you reverse the cuts made to Jobseekers Allowance and Benefit?
3. How will you improve services to unemployed people?
4. What will you do to create decent jobs?
Speaking at the launch, INOU Chairperson, Ann Fergus said that ‘it is imperative that tackling unemployment is an absolute priority for the next government. Investment in jobs, in education and training and other supports and programmes for unemployed people is critical if unemployment is to properly addressed. Unemployed people need to be given hope of a chance of a job and a future here in Ireland for themselves and their families.”
“It is also imperative that the incomes of people who rely on social welfare are protected as tens of thousands of people are struggling on a daily basis to make ends meet” Ann concluded.
To download a copy of the INOU Election Manifesto visit www.inou.ie
You will also find a grid highlighting what the different parties have to say about jobs and social protection.
Today the INOU has also published a review of where unemployment policy is at in light of Budget 2011, the EU/IMF Financial Assistance documentation and the National Recovery Plan which can be downloaded from their website.
For further information please contact:
Bríd O’Brien,
Head of Policy and Media
086-608-9641
01 856 0088
Otherworld Island Simwide Set:
CONTENTS:
A) REZ ANCHORS>
To properly rez the anchhors poston them at for a ground level rez. Otherwise rez at 135.0, 125.0, Desired Height. It is recommended you keep the edit menu open and the rez anchor selected before clicking the "Rez" button so you can easily find and then delete the rez anchor once you have finalized t rezing.
[CC] OtherWorld Plateau Only: Has only the Basaltic Plateau, no Water Features, Crystals or Basaltic Columns.
Total Land Impact 464
[CC] OtherWorld P&B: Rezzes the Plateau and Columnar Basalt formations, no Crystals or Water Features:
Land Impact:
464 Plateau
637 Columnar Basalt Formations
Total: 1101 Land Impact
[CC] OtherWorld P&B&C: Rezzes the Plateau and Columnar Basalt formations and Crystals. No Water Features:
Land Impact:
464 Plateau
637 Columnar Basalt Formations
144 Crystals
Total: 1245 Land Impact
[CC] OtherWorld Full Geology: Rezzes the Plateau and Columnar Basalt formations and Crystals and Water Features:
Land Impact:
464 Plateau
637 Columnar Basalt Formations
144 Crystals
142 Water Features
Total: 1387
[CC] OtherWorld Architecture: Rezzes ONLY the architecture designed for the Otherworld region. Does not include positioned furniture.
Does not include Fantasy Faire specific structures like the access paths or the FaireChyde dock.
Does not include any of the geological elements like the cliffs or basaltic columns. The paths and architecture
were created for a sim wide prim budget and are high in detail and thus have a larger LI. All detail and parts
are independent though, so you can cut out in detail as needed and LI budget allows.
Land Impact:
101 Arches
155 Emerald Lounge
67 Hanging Lounge
323 Paths
86 Pier
204 Plateau Pavilion
129 Tree Lounge
Total> 1065
B) INCLUDED SETS>
The following sets were used on the landscaping and thus are included as part of this bundle. Please refer to each set for its specific list of contents and instructions. If you arleady own any of these sets you can request a rebate by writing the ones you already own down on a notecard, along with your name. I will research your purchase history and send issue you the rebate.
[CC] Cerridwen's Island Paths and Structure Set 1.1
[CC] Nayad v2 Water Set
[CC] Basaltic Columns Set
C) OTHERWORLD ISLAND TEXTURES
The island set contains a box with 14 full perm textures (including diffuse/color, normal/bumpiness and specular/shininess) used on the rock faces, moss, pebbles and
terrain, for you to use on your island customization. These textures are for your personal use only and they are not to be sold, gifted or redistributed in any way.
D) TERRAIN RAW FILE
You can request me personally for the Otherworld Island .raw terrain file after purchase at hlokenende12@gmail.com and I will mail you a copy of the current .raw file, for you to use on your own sim.
Note: Does not include the Fae Tree nor the flora used in the landscaping. All landscaping (besides the Nayad Water Set, Columnar Basalt Set and Cerridwen's Island P&S Set) and plant sets are sold separately.
I never really got a chance to properly photograph one of these classic German beauties close up; I have a couple of zoom lens shots of one or two of them that I took at the 2007 Woodward Dream Cruise in suburban Detroit, but they're grainy and don't do the car justice.
So, I was quite astonished to find this 356 parked in our parking lot on a bright, sunny Wednesday afternoon in mid-April. From about 50 metres away, I thought it looked like a Porsche 356, but was almost convinced that it was something a little less exotic like a Volkswagen Karmann-Ghia, but not this time. It really is one, at least as far as I can tell. I'm no expert, but I didn't notice any tell-tale signs that would make me believe that this is only a replica.
I've seen so many nice cars over the past two years that I've worked at the supermarket that it's hard for me to pick a favourite, but this one almost certainly tops my list for my favourite "classic" that I've spotted there.
From Wikipedia:
The Porsche 356 was the company's first production automobile. It was a lightweight and nimble handling rear-engine rear-wheel-drive 2 door sports car available in hardtop and convertible configurations. Design innovations continued during the years of manufacture, contributing to its motorsports success and popularity. Production started in 1948 at Gmünd, Austria where approximately 50 cars were built. In 1950 the factory relocated to Zuffenhausen, Germany and general production of the 356 continued until April 1965, well after the replacement model 911 made its autumn 1963 debut. It is estimated approximately half of the total production of 76,000 356s still survive.
Before the German invasion of Poland, Porsche designed and built three Type 64 cars for a 1939 Berlin to Rome race that was canceled. In 1948 the mid-engine tubular chassis 356 prototype called "No. 1" was completed. This has led to some debate as to the "first" Porsche automobile, but the 356 is considered by Porsche to be its first production model.[1][2]
The 356 was created by Ferdinand "Ferry" Porsche (son of Dr. Ing. Ferdinand Porsche, founder of the company). Like its ancestor, the Volkswagen Beetle (which Ferdinand Porsche senior had designed), the 356 was a four-cylinder, air-cooled, rear-engine, rear-wheel-drive car utilizing unitized pan and body construction. While the 356's body was an original design by Porsche employee Erwin Komenda, its mechanicals (including engine, suspension and chassis) were derived from the Volkswagen. The first 356, was roadcertified in Austria on June 8, 1948, and used many Volkswagen parts for manufacturing economy. Porsche quickly re-engineered and refined the car with a focus on performance. By the late 50's many fewer parts were shared in common between Volkswagen and Porsche. The early 356 automobile bodies produced at Gmünd, Austria were handcrafted in aluminum, but when production moved to Zuffenhausen, Germany in 1950, models produced there were steel-bodied.
Little noticed at its inception, the first 356s sold primarily in Austria and Germany. From the first prototype in 1948, it took Porsche about two years to manufacture the first 50 automobiles. By the early 1950s the 356 had gained some renown among enthusiasts on both sides of the Atlantic for its aerodynamics, handling, and excellent build quality. It was common for owners to race the car as well as drive it on the street. Increasing success with its racing and road cars brought Porsche orders for over 10,000 units in 1964, and when 356 production ended in 1965 approximately 76,000 had been produced.
The Archibald Fountain, properly called the J. F. Archibald Memorial Fountain, widely regarded as the finest public fountain in Australia, is located in Hyde Park, in central Sydney, New South Wales.
It is named after J. F. Archibald, owner and editor of The Bulletin magazine, who bequeathed funds to have it built. Archibald specified that it must be designed by a French artist, both because of his great love of French culture and to commemorate the association of Australia and France in World War I. He wished Sydney to aspire to Parisian civic design and ornamentation. The artist chosen was François-Léon Sicard.
Sicard was one of the foremost sculptors of his day, a classically educated artist, whose inspiration was derived, at least in part, from his study of classical Greek and Roman art and literature. In submitting his proposal for the design of the sculptural groups, Sicard wrote: "Apollo represents the Arts (Beauty and Light). Apollo holds out his right arm as a sign of protection, and spreads his benefits over all Nature, whilst he holds the Lyre in his left hand. Apollo is the warmth which vivifies, giving life to all Nature. At the touch of his rays, men awake, trees and fields become green, the animals go out into the fields, and men go to work at dawn.
"The ancient Pliny adored the sun, symbol of Life. It is on this account that I wished this figure to be the chief one in the memorial.
"At Apollo's feet the star of day is indicated by a semicircle, of which the rays spread out in jets of light (the rising sun). The horses' heads represent the horses of Apollo's chariot. Out of their nostrils the water will fall into the first basin, to fall from there into the second, and run away into the large basin.
"The large basin is divided into three groups. One represents Diana, goddess of purity, of peaceful nights, symbol of charity; the ideal which watches over mortals - all that stands for poetry and harmony. The second group symbolises the good things of the earth - it is the young god of the fields and pastures, of the pleasure of the countryside. The third group represents sacrifice for the public good. Theseus, vanquisher of the Minotaur. The spirit triumphs over bestiality. Theseus delivers his country from the ransom which it had to pay to this monster. It is the sacrifice of himself for the good of humanity. Between these groups tortoises throw jets of water. The fountain is electrically illuminated and floodlighted at night.
"It depicts Apollo, representing beauty and the arts, on a central column holding out his right arm as a sign of protection over all nature. On the three plinths radiating from the central column there are figures representing Diana, the goddess of purity; a group representing the good things of the earth; Theseus slaying a Minotaur, representing the sacrifice for the good of humanity."
The fountain was unveiled on 14 March 1932
Hyde Park, the oldest public parkland in Australia, is a 16.2-hectare (40 acres) park in the central business district of Sydney, New South Wales.
Hyde Park is on the eastern side of the Sydney city centre. It is the southernmost of a chain of parkland that extends north to the shore of Sydney Harbour via The Domain and Sydney's Royal Botanic Gardens. Hyde Park is approximately rectangular in shape, being squared at the southern end and rounded at the northern end.
The centrepiece of Hyde Park is the Archibald Fountain. The fountain was designed by François-Léon Sicard and donated by J.F. Archibald in 1932 in honour of Australia's contribution to World War I in France. Also at the northern end are the Nagoya Gardens featuring a giant outdoor chess set and the entrance to the underground St James railway station.
Wikipedia
First shot edited! This is the first building we properly the visited, the amazing University of Music in Graz. Absolutely amazing, the concrete work was surreal! All cast in-situ, pumped into wooden formers. The large central spiral was formed first and then the building was built off and around that.
Today i'm finishing my 'Travel Journal' documenting all the buildings we visited, lots to do, spicing it up with plenty of pics though and then tomorrow is site analysis for the coming project. Woo!
Treated myself to a Wacom Bamboo tablet for drawing straight onto the computer and I think it may come in handy for photo work too. Does anybody use one?!
All the best!
Hit 'L'
WILD THING ! at the FOLSOM STREET FAIR 2012-SAN FRANCISCO !
THANK YOU to all the fun people who let ADDA take their photos! (Everyone was properly asked & everyone consented.)
( All the Fairgoers are of legal age! )
(These photos carry copyright protection. Do NOT post them elsewhere! )
============================
THE 'NUDES' ARE PROPERLY MARKED EITHER RESTRICTED OR MODERATE ON ADDA'S SITE! (EVERYONE PHOTOGRAPHED IS OVER 18-YEARS-ONLY!) There is NO PORN on my site!
============================
NOTE: MY photos are NOT to be used or reproduced, COPIED, BLOGGED, USED in any way shape or form. Understand clearly these are my photographs and use of them by anyone is an infringement of my copyrights and personal artistic property!
© All rights reserved. Use without permission is illegal
*************************************** ***********
NOTE:
Viewers should be aware that these photos are viewed by a wide variety of folks and inappropriate X & R rated & RUDE comments shall be removed forthwith
-----------
Don't forget to check out ADDA DADA's other FOLSOM STREET FAIR sets !
WILD THING! at the FOLSOM STREET FAIR 2012-SAN FRANCISCO !
THANK YOU to all the fun people who let ADDA take their photos! (Everyone was properly asked & everyone consented.)
( All the Fairgoers are of legal age! )
(These photos carry copyright protection. Do NOT post them elsewhere! )
============================
THE 'NUDES' ARE PROPERLY MARKED EITHER RESTRICTED OR MODERATE ON ADDA'S SITE! (EVERYONE PHOTOGRAPHED IS OVER 18-YEARS-ONLY!) There is NO PORN on my site!
============================
NOTE: MY photos are NOT to be used or reproduced, COPIED, BLOGGED, USED in any way shape or form. Understand clearly these are my photographs and use of them by anyone is an infringement of my copyrights and personal artistic property!
© All rights reserved. Use without permission is illegal
*************************************** ***********
NOTE:
Viewers should be aware that these photos are viewed by a wide variety of folks and inappropriate X & R rated & RUDE comments shall be removed forthwith
-----------
Don't forget to check out ADDA DADA's other FOLSOM STREET FAIR sets !
Leamington Spa, properly Royal Leamington Spa, commonly Leamington or "Leam" to locals, is a spa town in central Warwickshire, England.
Until the beginning of the 1800s, Leamington was a village named Leamington Priors.
In 1814 the Royal Pump Rooms and Baths were opened close to the River Leam. This grand structure attracted many visitors, hoping to soothe various aches, pains and ailments by bathing in pools filled with the salty spa water. It also included the world's first gravity fed piped hot water system in modern times, which was designed and installed by the engineer William Murdoch. Leamington soon became a popular spa resort which attracted the wealthy and famous, and construction began of numerous Georgian townhouses to accommodate visitors.
Leamington's reputation soon spread. The town gained its "Royal" prefix in 1838, granted by Queen Victoria, who visited the town as a Princess in 1830 and as Queen in 1858, and whose statue still stands in the town.
Floor.
"Peterborough Cathedral, properly the Cathedral Church of St Peter, St Paul and St Andrew – also known as Saint Peter's Cathedral in the United Kingdom – is the seat of the Anglican Bishop of Peterborough, dedicated to Saint Peter, Saint Paul and Saint Andrew, whose statues look down from the three high gables of the famous West Front. Although it was founded in the Anglo-Saxon period, its architecture is mainly Norman, following a rebuilding in the 12th century. With Durham and Ely cathedrals, it is one of the most important 12th-century buildings in England to have remained largely intact, despite extensions and restoration.
Peterborough Cathedral is known for its imposing Early English Gothic West Front (façade) which, with its three enormous arches, is without architectural precedent and with no direct successor. The appearance is slightly asymmetrical, as one of the two towers that rise from behind the façade was never completed (the tower on the right as one faces the building), but this is only visible from a distance.
Peterborough is a cathedral city in Cambridgeshire, England, with a population of 202,110 in 2017. Historically part of Northamptonshire, it is 76 miles (122 km) north of London, on the River Nene which flows into the North Sea 30 miles (48 km) to the north-east. The railway station is an important stop on the East Coast Main Line between London and Edinburgh. The city is also 70 miles (110 km) east of Birmingham, 38 miles (61 km) east of Leicester, 81 miles (130 km) south of Kingston upon Hull and 65 miles (105 km) west of Norwich.
The local topography is flat, and in some places the land lies below sea level, for example in parts of the Fens to the east of Peterborough. Human settlement in the area began before the Bronze Age, as can be seen at the Flag Fen archaeological site to the east of the current city centre, also with evidence of Roman occupation. The Anglo-Saxon period saw the establishment of a monastery, Medeshamstede, which later became Peterborough Cathedral.
The population grew rapidly after the railways arrived in the 19th century, and Peterborough became an industrial centre, particularly known for its brick manufacture. After the Second World War, growth was limited until designation as a New Town in the 1960s. Housing and population are expanding and a £1 billion regeneration of the city centre and immediately surrounding area is under way. Industrial employment has fallen since then, a significant proportion of new jobs being in financial services and distribution." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
3rd Regiment, Advanced Camp, Cadets undergo chemical, biological, radiological, and nuclear training while at Cadet Summer Training, Fort Knox, Ky., June 24, 2023. Cadets were instructed on how to properly put on and use their gear before entering a chamber filled with CS gas. | Lanie Guinn, Ball State University, CST Public Affairs Office
... until I can properly work on some proper green properly. That up there? Filler green.
More fiddling. Stop that, guttermind.
There is much green which needs proper work, btw.
Rapid strata formation in soft sand (field evidence).
Photo of strata formation in soft sand on a beach, created by tidal action of the sea.
Formed in a single, high tidal event. Stunning evidence which displays multiple strata/layers.
Why this is so important ....
It has long been assumed, ever since the 17th century, that layers/strata observed in sedimentary rocks were built up gradually, layer upon layer, over many years. It certainly seemed logical at the time, from just looking at rocks, that lower layers would always be older than the layers above them, i.e. that lower layers were always laid down first followed, in time, by successive layers on top.
This was assumed to be true and became known as the superposition principle.
It was also assumed that a layer comprising a different material from a previous layer, represented a change in environmental conditions/factors.
These changes in composition of layers or strata were considered to represent different, geological eras on a global scale, spanning millions of years. This formed the basis for the Geologic Column, which is used to date rocks and also fossils. The evolutionary, 'fossil record' was based on the vast ages and assumed geological eras of the Geologic Column.
There was also circular reasoning applied with the assumed age of 'index' fossils (based on evolutionary preconceptions) used to date strata in the Geologic Column.
We now know that, although these assumptions seemed logical, they are not supported by the evidence.
At the time, the mechanics of stratification were not properly known or studied.
An additional factor was that this assumed superposition and uniformitarian model became essential, with the wide acceptance of Darwinism, for the long ages required for progressive microbes-to-human evolution. There was no incentive to question or challenge the superposition, uniformitarian model, because the presumed, fossil 'record' had become dependant on it, and any change in the accepted model would present devastating implications for Darwinism.
This had the unfortunate effect of linking the study of geology so closely to Darwinism, that any study independent of Darwinian considerations was effectively stymied.
Some of the wealth of field evidence can be observed here: www.flickr.com/photos/101536517@N06/sets/72157635944904973/
and also in the links to stunning, experimental evidence, carried out by sedimentologists, given later.
Several catastrophic events, flash floods, volcanic eruptions etc. have forced Darwinian influenced geologists to admit to rapid stratification in some instances. However they claim it is a rare phenomenon, which they known about for many years, and which does nothing to invalidate the Geologic Column, the fossil record, evotuionary timescale, or any of the old assumptions regarding strata formation, sedimentation and the superposition principle. They fail to face up to the fact that rapid stratification is not an extraordinary phenonemon, but rather the prevailing and normal mechanism of sedimantary deposition whenever and wherever there is moving, sediment-laden water. The experimental evidence demonstrates the mechanism and a mass of field evidence in normal (non-catastrophic) conditions shows it is a normal everyday occurrence.
It is clear from the experimental evidence that the usual process of stratification is - that strata are not formed by horizontal layers being laid on top of each other in succession, as was assumed. But by sediment being sorted in the flowing water and laid down diagonally in the direction of flow.
_______________________________________________
GEOLOGIC PRINCIPLES (established by Nicholas Steno in the 17th Century):
What Nicolas Steno believed about strata formation is the basis of the principle of Superposition and the principle of Original Horizontality.
dictionary.sensagent.com/Law_of_superposition/en-en/
“Assuming that all rocks and minerals had once been fluid, Nicolas Steno reasoned that rock strata were formed when particles in a fluid such as water fell to the bottom. This process would leave horizontal layers. Thus Steno's principle of original horizontality states that rock layers form in the horizontal position, and any deviations from this horizontal position are due to the rocks being disturbed later.”)
BEDDING PLANES.
'Bedding plane' describes the surface in between each stratum which are formed during sediment deposition.
science.jrank.org/pages/6533/Strata.html
“Strata form during sediment deposition, that is, the laying down of sediment. Meanwhile, if a change in current speed or sediment grain size occurs or perhaps the sediment supply is cut off, a bedding plane forms. Bedding planes are surfaces that separate one stratum from another. Bedding planes can also form when the upper part of a sediment layer is eroded away before the next episode of deposition. Strata separated by a bedding plane may have different grain sizes, grain compositions, or colours. Sometimes these other traits are better indicators of stratification as bedding planes may be very subtle.”
______________________________________________
Several catastrophic events, flash floods, volcanic eruptions etc. have forced Darwinian, influenced geologists to admit to rapid stratification in some instances. However they claim it is a rare phenomenon, which they have known about for many years, and which does nothing to invalidate the Geologic Column, the fossil record, evotuionary timescale, or any of the old assumptions regarding strata formation, sedimentation and the superposition principle. They fail to face up to the fact that rapid stratification is not an extraordinary phenonemon, but rather the prevailing and normal mechanism of sedimentary deposition whenever and wherever there is moving, sediment-laden water. The experimental evidence demonstrates the mechanism and a mass of field evidence in normal (non-catastrophic) conditions shows it is a normal everyday occurrence.
It is clear from the experimental evidence that the usual process of stratification is - that strata are not formed by horizontal layers being laid on top of each other in succession, as was assumed. But by sediment being sorted in the flowing water and laid down diagonally in the direction of flow. See diagram:
www.flickr.com/photos/truth-in-science/39821536092/in/dat...
The field evidence (in the image) presented here - of rapid, simultaneous stratification refutes the Superposition Principle, and the Principle of Lateral Continuity.
We now know, the Superposition Principle only applies on a rare occasion of sedimentary deposits in perfectly, still water. Superposition is required for the long evolutionary timescale, but the evidence shows it is not the general rule, as was once believed. Most sediment is laid down in moving water, where particle segregation is the general rule, resulting in the simultaneous deposition of strata/layers as shown in the photo.
See many other examples of rapid stratification with geological features: www.flickr.com/photos/101536517@N06/sets/72157635944904973/
Rapid, simultaneous formation of layers/strata, through particle segregation in moving water, is so easily created it has even been described by sedimentologists (working on flume experiments) as a law ...
"Upon filling the tank with water and pouring in sediments, we immediately saw what was to become the rule: The sediments sorted themselves out in very clear layers. This became so common that by the end of two weeks, we jokingly referred to Andrew's law as "It's difficult not to make layers," and Clark's law as "It's easy to make layers." Later on, I proposed the "law" that liquefaction destroys layers, as much to my surprise as that was." Ian Juby, www.ianjuby.org/sedimentation/
The example in the photo is the result of normal, everyday tidal action in a single incident. Where the water current or movement is more turbulent, violent, or catastrophic, great depths (many metres) of stratified sediment can be laid down in a short time. Certainly not the many millions of years assumed by evolutionists.
The composition of strata formed in any deposition event. is related to whatever materials are in the sediment mix, not to any particular timescale. Whatever is in the mix will be automatically sorted into strata/layers. It could be sand, or other material added from mud slides, erosion of chalk deposits, coastal erosion, volcanic ash etc. Any organic material (potential fossils), alive or dead, engulfed by, or swept into, a turbulent sediment mix, will also be sorted and buried within the rapidly, forming layers.
See many other examples of rapid stratification with geological features: www.flickr.com/photos/101536517@N06/sets/72157635944904973/
Stratified, soft sand deposit. demonstrates the rapid, stratification principle.
Important, field evidence which supports the work of the eminent, sedimentologist Dr Guy Berthault MIAS - Member of the International Association of Sedimentologists.
(Dr Berthault's experiments (www.sedimentology.fr/)
And also the experimental work of Dr M.E. Clark (Professor Emeritus, U of Illinois @ Urbana), Andrew Rodenbeck and Dr. Henry Voss, (www.ianjuby.org/sedimentation/)
Location: Sandown beach, Isle of Wight. Formed 17/01/2018, This field evidence demonstrates that multiple strata in sedimentary deposits do not need millions of years to form and can be formed rapidly. This natural example confirms the principle demonstrated by the sedimentation experiments carried out by Dr Guy Berthault and other sedimentologists. It calls into question the standard, multi-million year dating of sedimentary rocks, and the dating of fossils by depth of burial or position in the strata.
Mulltiple strata/layers are evident in this example.
Dr Berthault's experiments (www.sedimentology.fr/) and other experiments (www.ianjuby.org/sedimentation/) and field studies of floods and volcanic action show that, rather than being formed by gradual, slow deposition of sucessive layers superimposed upon previous layers, with the strata or layers representing a particular timescale, particle segregation in moving water or airborne particles can form strata or layers very quickly, frequently, in a single event.
And, most importantly, lower strata are not older than upper strata, they are the same age, having been created in the same sedimentary episode.
Such field studies confirm experiments which have shown that there is no longer any reason to conclude that strata/layers in sedimentary rocks relate to different geological eras and/or a multi-million year timescale. www.youtube.com/watch?v=5PVnBaqqQw8&feature=share&.... they also show that the relative position of fossils in rocks is not indicative of an order of evolutionary succession. Obviously, the uniformitarian principle, on which the geologic column is based, can no longer be considered valid. And the multi-million, year dating of sedimentary rocks and fossils needs to be reassessed. Rapid deposition of stratified sediments also explains the enigma of polystrate fossils, i.e. large fossils that intersect several strata. In some cases, tree trunk fossils are found which intersect the strata of sedimentary rock up to forty feet in depth. upload.wikimedia.org/wikipedia/commons/thumb/0/08/Lycopsi... They must have been buried in stratified sediment in a short time (certainly not millions, thousands, or even hundreds of years), or they would have rotted away. youtu.be/vnzHU9VsliQ
In fact, the vast majority of fossils are found in good, intact condition, which is testament to their rapid burial. You don't get good fossils from gradual burial, because they would be damaged or destroyed by decay, predation or erosion. The existence of so many fossils in sedimentary rock on a global scale is stunning evidence for the rapid depostion of sedimentary rock as the general rule. It is obvious that all rock containing good intact fossils was formed from sediment laid down in a very short time, not millions, or even thousands of years.
See set of photos of other examples of rapid stratification: www.flickr.com/photos/101536517@N06/sets/72157635944904973/
Carbon dating of coal should not be possible if it is millions of years old, yet significant amounts of Carbon 14 have been detected in coal and other fossil material, which indicates that it is less than 50,000 years old. www.ldolphin.org/sewell/c14dating.html
www.grisda.org/origins/51006.htm
Evolutionists confidently cite multi-million year ages for rocks and fossils, but what most people don't realise is that no one actually knows the age of sedimentary rocks or the fossils found within them. So how are evolutionists so sure of the ages they so confidently quote? The astonishing thing is they aren't. Sedimentary rocks cannot be dated by radiometric methods*, and fossils can only be dated to less than 50,000 years with Carbon 14 dating. The method evolutionists use is based entirely on assumptions. Unbelievably, fossils are dated by the assumed age of rocks, and rocks are dated by the assumed age of fossils, that's right ... it is known as circular reasoning.
* Regarding the radiometric dating of igneous rocks, which is claimed to be relevant to the dating of sedimentary rocks, in an occasional instance there is an igneous intrusion associated with a sedimentary deposit -
Prof. Aubouin says in his Précis de Géologie: "Each radioactive element disintegrates in a characteristic and constant manner, which depends neither on the physical state (no variation with pressure or temperature or any other external constraint) nor on the chemical state (identical for an oxide or a phosphate)."
"Rocks form when magma crystallizes. Crystallisation depends on pressure and temperature, from which radioactivity is independent. So, there is no relationship between radioactivity and crystallisation.
Consequently, radioactivity doesn't date the formation of rocks. Moreover, daughter elements contained in rocks result mainly from radioactivity in magma where gravity separates the heavier parent element, from the lighter daughter element. Thus radiometric dating has no chronological signification." Dr. Guy Berthault www.sciencevsevolution.org/Berthault.htm
Visit the fossil museum:
www.flickr.com/photos/101536517@N06/sets/72157641367196613/
Just how good are peer reviews of scientific papers?
www.sciencemag.org/content/342/6154/60.full
www.examiner.com/article/want-to-publish-science-paper-ju...
The neo-Darwinian idea that the human genome consists entirely of an accumulation of billions of mutations is, quite obviously, completely bonkers. Nevertheless, it is compulsorily taught in schools and universities as 'science'.
Whilst in Flam, what seems like a very long time back now, we did the Flam railway, an enjoyably jaunt from sea level to about 800 or so metres up a rather inclined railway.
Although this type of thing always means missing out on the chance to actually compose a shot properly, that said, the old spray and pray approach with a decent shutter speed helped.
The Black Spy Optic from various designers. can be purchased at a local fashion store, online store and in various other stores on the luxurious streets. The Black Spy Optic are popular accessory and should wearing proudly ,but still do not forget to protect ing your eyes as well optimally.
Here are some tips for choosing the right black optic spy for you:
Protecting Your Eyes
The Black Spy Optic sunglasses has practical functions makes you comfortable from the very brightly sunlight . It is also an important safety feature, because it improve vision greatly while driving (From the glare of vision when on the road) and at sporting events.
The spy black polarized lenses work by using a vertical-block filter to block horizontally polarized glare, ... while allowing useful vertical light through the eye. Spy optic non-polarized black only reduce the amount of light entering the eye, so it can look more darkness . One of five spy optic lenses sold worldwide is a polarized lens, with sales estimated at 60 million polarized lenses sale .
Sunglasses also offer protection against ultraviolet radiation can cause cataracts and other eye damage, including degeneration of growth, the white tissue in the macula of the eye (pterygium) and skin cancer around the eyes if they are having overexposure.
UV radiation has been classified into three types, UVA, UVB and UVC, but protection against UVC is not necessary because it includes types of ultraviolet that is actually absorbed by oxygen and ozone in the atmosphere. This is important when buying a black spy optic to ensure they are designed to be able to block 99-100% of the radiation Ultaviolet.
Different Lenses
Sunglass lenses have different colors for a variety of functions. Gray or light smoke ... to reduce the contrast likes looks all the same, while the yellow and light brown to contrast enhancement. Yellow is good for low visibility and dark for cloudy conditions.
It is possible to have lenses that can still provide full UV protection. The lenses transitions begin to color about 30%, and becomes 80% darker in the sunlight effect. Which is now available in plastic or polycarbonate or glass lenses.
99-100% protection against UV radiation must be obtained from all brands such as Animal, Bloc, Bolle, Dior, Electric Visual, Givenchy, Nueu, Oakley, Quick Silver, Ray Ban, Roxy, Spy Optic, and Vestal.
Spy Optic black for sport come with full UV protection and is suitable for energetic activities. Like as shown from the unisex brand.
Frame coverage
Another feature to consider when choosing a black spy optic lens frame is coverage, so that the direct sunlight can not enter without going through the lens of the eye, also be able to clearly see out, can withstand vibration or resistant to scratches, hypo-allergenic metal construction, and still comfortable and lightly when it wearing.
Style
The styles choices, for men, Aviator brand image can still maintain the men style popularity of their products, while the wraparound frame is an option that needs to active and casual lifestyles.
If you feel confident and rather strange retro look, .. several offers from top designers, such Nueu and Ray Ban, or you can choose the classic tortoiseshell…
Dior is a popular women's styles and Roxy are offering stylish on sporty style.
SkateSurfSki provides a wide selection of various latest Spy Optic design on sports characteristic style and quietly lifestyle
SEE MORE AMAZING PHOTOS IN THIS SETS / ALBUM .. HERE : www.flickr.com/photos/48455792@N04/sets/72157630869598480/
.
When properly aligned and in perfect harmony with my surroundings, life is so sweet. No cares, no worries, no concerns. Even if for just that single minute when all is blissful. A reprieve from what lies beyond this space. A space that offers me a chance to recharge before having to head out and tackle the big bad world.
McCurtain Co. Rural Water District's Ken Clagg, opens a valve to vent a pipeline, ensuring they are full and properly supplying Kiamichi Rural Water Department customers, such as the Smithville Schools and children, in Smithville, OK on Wednesday, April 8, 2015.
Today, McCurtain Co. Rural Water District #6 residential and business customers, and governmental partners have come to Smithville, OK, on April 8, 2015; to celebrate the completion of a $25 million water project that for the first time ever provides clean abundant public water to more than 800 families in Oklahoma’s Ouachita Mountains.
The McCurtain RWD #6 project consisted of installing 253 miles of new water transmission and distribution lines and constructing five pump stations and three water storage tanks.
The American Recovery & Reinvestment Act of 2009 (ARRA) Grant provided $ 17,953,950 million through the U.S. Department of Agriculture (USDA) Rural Development (RD) Rural Utilities Service (RUS) Water and Environmental Programs (WEP), and a $5,659,000 WEP Loan. The balance was funded by collaborating with several other funding sources such as the Choctaw Nation of Oklahoma, Oklahoma Department of Commerce (Community Development Block Grant), Oklahoma Water Resources Board (Rural Economic Action Plan Grant) and the McCurtain RWD #6 itself.
Attending this event are U.S. Department of Agriculture (USDA) Rural Development (RD) Oklahoma State Director Ryan McMullen and Choctaw Nation Chief Gary Batton who talked about the USDA and Choctaw partnerships with USDA StrikeForce initiatives in the Promise Zones.
In an effort to lay a new foundation for economic growth, the American Recovery and Reinvestment Act of 2009 (Recovery Act) was signed into law by President Obama on February 17, 2009.
The Recovery Act included measures to modernize our Nation's infrastructure, enhance energy independence, expand educational opportunities, preserve and improve affordable health care, provide tax relief, and protect those in greatest need. Of the $40.7 billion in program-level Recovery Act funding obligated by the U.S. Department of Agriculture, Rural Development obligated more than $21.2 billion in program-level funding to administer through seven USDA programs.
For more information about this project, please see www.rd.usda.gov/newsroom/news-release/rural-development-p...
For more information about USDA RD’s role in the ARRA, please see: www.rd.usda.gov/recovery/
For more information about USDA StrikeForce, please see: www.usda.gov/wps/portal/usda/usdahome?navid=STRIKE_FORCE
For more information about USDA RD’s role in the Promise Zones, please see: www.rd.usda.gov/about-rd/initiatives/promise-zones
USDA Photo by Lance Cheung.
Bibi Sakina was the youngest daughter of Imaam Hussain. She was a vivacious child, full of love and happiness. Everyone loved Sakina. She was also a very religious girl. She enjoyed reading the Holy Quraan and never missed her prayers. From the age of two she took great care to make sure that her head and face were properly covered when in public.
Sakina was Imaam Hussain's most beloved child. Our Imaam was often heard to say, "A house without Sakina would not be worth living in!" She always had a sweet and cheerful smile and a very friendly nature. Other children sought her company as much as the grown ups did. She was very generous and always shared whatever she had with others.
There was a special bond between Hazrat Abbas and Sakina. He loved her more than he did his own children. If Sakina requested for anything, Abbas would not rest until he satisfied her request. There was nothing that Abbas would not do to make Sakina happy.
During the journey from Madina to Mecca and then Mecca to Kerbala, Abbas was often seen riding up to the mehmil in which Sakina sat to make sure that she had everything she wanted. Sakina loved her uncle just as much. While in Madina she would, several times a day, visit the house in which Hazrat Abbas lived with his family and his mother, Ummul Baneen.
Like any other four-five year old when Sakina went to bed at night she wanted to spend some time with her father. Imaam Hussain would tell her stories of the prophets and of the battles fought by her grand-father Ali. She would rest her head on her father's chest and Hussain would not move from her until she fell asleep. When from the second of Muharram the armies of Yezid began to gather at Kerbala, Hussain said to his sister Zainab, "The time has come for you to get Sakina used to going to sleep without my being there !". Sakina would follow her father at night and Hussain had to gently take her to Zainab or Rubaab.
?At Kerbala when from the seventh Muharram water became scarce Sakina shared whatever little water she had with other children. When soon there was no water at all, the thirsty children would look at Sakina hopefully, and because she could not help them she would have tears in her eyes. Sakina's lips were parched with thirst.
On the Ashura day, she gave her Mashk to Hazrat Abbas. He went to get water for her. The children gathered round Sakina with their little cups, knowing that as soon as Hazrat Abbas brought any water, Sakina would first make sure that they had some before taking any herself. When Sakina saw Imaam Hussain bringing the blood drenched 'alam she knew that her uncle Abbas had been killed. From that day on Sakina never complained of thirst.
Then came the time when the earth shook and Sakina became an orphan! But even then she always thought of the others first. She would console her mother on the death of Ali Asghar and when she saw any other lady or child weeping Sakina would put her little arms around her.
Yes Sakina never again asked anyone for water. Bibi Zainab would persuade her to take a few sips, but she herself would never ask for water or complain of thirst!!!!
From the time when Imaam Hussain fell in the battle field, Sakina forgot to smile! Kufa saw her as a sombre little girl lost in thought. Quite often she would sit up at night. When asked if she wanted anything, she would say, "I just heard a baby cry? Is it Asghar? He must be calling out for me!"
Knowing that her weeping upset her mother, Sakina would cry silently and quickly wipe away her tears! In the prison in Shaam she would stare at the flock of birds flying to their nests at sunset and innocently ask Bibi Zainab, "Will Sakina be going home like those birds flying to their homes?"
Then one dreadful night Sakina went to bed on the cold floor of the prison. For a long time she stared into the darkness! The time for the morning prayers came. Sakina was still lying with her eyes wide open. Her mother called out: "Wake up, Sakina! Wake up, it is time for prayers, my child!" There was only the painful silence! Our fourth Imaam walked up to where Sakina lay. He put his hand on her forehead. It was cold! He put his hand near the mouth and the nose. Sakina had stopped breathing. In between sobs Imaam Zain ul 'Abideen said:
"INNA LILLAHI WA INNA ILAYHI RAAJI'OON!"
How was Sakina buried? Zainab held the still child as Imaam Zain ul 'Abideen dug a grave in the cell. As the grave was being filled up after the burial the mother let out a scream! How could anyone console Bibi Rubaab? What could they say? They huddled around her, and the prison walls began to shake with the cry: "YA SAKINA, YA MAZLOOMAH!!" Bibi Rubaab put her cheek on Sakina's grave and cried out:
"Speak to me, Sakina! Only a word, my child! Speak to me!!"
All those who are familiar with the Imam's life do certainly realize that his role in serving Islam had started very early in his life. He has contributed to the rising Islamic movement when he was a boy, and played a significant role, when his father was the Commander of the faithful, taking part in all three wars that his father fought along with the rest of the faithful companions and followers.
When his brother Hassan (A.S.) became Imam, he obeyed and followed him in all what he said or did. Then his role entered a new stage with the passing away of his brother. And since the role of any Imam of Ahl ul-Bait is defined in accordance with the nature of the social and political conditions of his age, the Imam drew a new course in determining the direction of the Islamic movement.
Winds of Revolution:
When Muawiah died in the middle of Rajab of year 60(Hijra), and his son Yazied took power, and ordered his walis to ask for the people's pledge of loyalty and especially that of Imam Hussain (A.S.), a wave of rejection and opposition to the policy of betrayal and tyranny mounted, and the Imam decided to rise to his religious responsibilities as the lawful Imam and the leader of the Islamic nation entrusted with the task of preserving its divine message.
He (A.S.) went to his grandfather's (S.A.W) grave, and recited the following prayer:
"O God, This is the grave of your Prophet, Muhammad (S.A.W) and I am his daughter's son, and I have come to know what you undoubtedly know. O God, I like to enjoin the good and reject the evil. I ask you O All-Mighty God by this grave and by who is in it to choose for me what would please You and Your Prophet".
Thus Imam Hussain (A.S.) pledged that he would defend the message whatever the cost, as long as it would lead to Allah's satisfaction.
The Imam went on to meet with his relatives and followers and inform them of his intention to leave to Mekkah. He was met by a lot of opposition of those who tried to dissuade him, either because they were afraid that he would get killed, or because they were not courageous enough to follow him. But his resolve to uphold the right was not shaken by such objections or threats.
He declared his first revolutionary communiqu頷hich took the form of a will he wrote to his brother, Muhammad bin Al-Hanifiah:
"...I did not revolt for the cause of evil tyranny or corruption, but to reform my grandfather's (Prophet Muhammad (S.A.W)) nation. I want to enjoin the good and denounce the evil, and take the course of my father and grandfather".
This eternal communiqu頷as the official declaration of his revolution.
The Imam (A.S.) traveled to Mekkah and there he chose to stay at the house of Al-Abass bin Abdul Mutalib, where the faithful believers of Mekkah, as well as those outside it, started to visit him and pledge loyalty to him. News about the political uprising in Kaufa reached Mekkah, and the leaders of the city wrote a letter in which they declared their opposition to the Ummayad rule, and they would not accept anybody else but Imam Hussain (A.S.) to rule them. This letter was followed by many other letters asking the Imam to come to their city to assume his rule as an Imam of the faithful.
On the way to the Greater Martyrdom:
Yazied became so worried that he decided to send an army led by Amr bin Saad bin Al-Ass, to kill the Imam wherever they found him and whatever the costs. When the Imam heard that Yazied's army was heading towards Mekkah, he was afraid that they would violate the sanctuary of the City, so he decided to leave to Kaufa although he knew before hand the ultimate destiny he was to face.
Imam Hussain (A.S.) and his companions headed towards Iraq; although he was certain that he was going to be killed. But he believed that the true victory of Allah's message would be realized through his martyrdom, since there was no one else to stand up for the oppression. He knew that the nation would not wake up except by such a great shock. Therefore, let this shock be his martyrdom, along with Ahl ul-Bait who went all the way with him.
The Reasons of the Revolution:
Imam Hussain (A.S.) did not possess the necessary force that would enable him to win; he did not even rely on those who wrote to him from Kaufa. For he declared his revolution before he received their letters and delegates. Al-Hijaz too did not give him enough support to be able to stand against the Ummayads. Therefore he decided to leave to Iraq for the sole reason of preventing any blood shedding in the Holy City of Mekkah. Moreover, he knew that he was destined to die; yet he went on.
Why then did he insist; and why did he declare his revolution?
To answer this question, one should be aware of the following facts:
First: Yazied represented a real danger to the Islamic nation, for he was not a true Muslim. He was not properly educated with the teachings of Islam. And he used to drink alcohol, gamble, and commit all other sins according to historic sources. He said: Banu Hashim staged a play to obtain the Kingdom. Actually, there was neither any news (from Allah) nor any revelation. Such a man could not be entrusted with the affairs of the nation. Nevertheless, the faithful forces, with Imam Hussain (A.S.) as their leader, had benefited a lot from these points of weakness in the personality of such an evil ruler.
In these circumstances it might not be strange to see many Muslim dignitaries trying to convince Imam Hussain (A.S.) to avoid the confrontation with Yazid, although they bore witness to the corruption of the Ummayads, and they also realized that it was the Imam's duty and right to face it. He was thus approached by Abdallah bin Umar bin Khattab and Abdallah bin Al-Zubair, as well as some of his family members. These are some of the manifestations of the absence of the militant spirit among most Muslim leaders.
As for the common people, this negative spirit spread among them to a terrifying extent. The people of kaufa, for example, broke all their pledges promises and oaths, once they were subjected to the wave of terror led by Ibn Ziyad, as well as seducing them with promises of wealth and power. These factors were among the main reasons that led to the announcement of the revolution. The Imam wanted to shake the dead consciences because he knew that there was no reason what speeches and talks to galvanize and mobilize the people and solidify their morals.
Second:
The general level of the nation as a whole was below the required to stand up to the current of sweeping deviation. A tendency to treasure the pleasures of this world began to be visible in all sections of the nation, as a substitute to the spirit of sacrifice for the cause of Allah. And this enabled the opportunistic current to win and hold the positions of ruling and guidance.
Third:
It was necessary that the nation should learn about the true Islamic conception of the Imamate; it's true role and its dimensions. The dangerous effects of undermining the Islamic conceptions which was played by the Ummayad rule was never emerging from the grass root level, but rather from the high levels of leadership that monopolized all means of guidance. Therefore, in accordance with the demands of the Islamic message, and the qualities that have to be available in a Muslim ruler, Imam Hussain (A.S.) had to explain these issues to the Muslim masses in every speech he made or any other opportunity he had: "O people you have to be pious believers, and know the right. That is better for you. We the members of the family of Muhammad (Ahl ul-Bait) are more entitled to be the rulers than those who claim what is not rightfully theirs; those oppressors and tyrants".
With such roaring words the Imam Hussain (A.S.) revealed that the Ummayads who have deviated from the right Islamic path are not fit to be rulers, and explained to the nation the foundations of the course an Islamic traits that are embodied in the Imam himself that qualify him to be Imam of the nation. Thus, underlining the Islamic conception of the Imamate and revealing the falsehood of the Ummayad claims were among the fundamental reasons that made the Imam declare his revolution.
Fourth:
The Islamic message offers no justification for the Muslim to relief him from performing his duties as a man who has obligations towards the message he believes in. Man in the Islamic society is not an independent individual but rather a person who is integrated in his society and who should perform his duties towards the Islamic message. But to fulfill his commitments towards Allah's Shariah in enjoining the good and forbidding the evil meant that he had to follow the path of the revolution, because it was the only way that provided any hope for reform in his grandfather's (S.A.W) nation.
These are the main reasons that gave Imam Hussain (A.S.) and his companions the right to declare the victorious revolution, which immortalized Islam and inspired the coming generations to defend it and to hold fast in the Holy Wars of Jihad.
article courtesy Professor Ansarian
New toy. Came with the case, the flash, the book, two random pictures of a baby and an old lady, and empty film cartridge, and 94739687 film covers with coupons on them that expired back in 1986/1987. Ten dollars. Sooc, minus the crop.
Exeter cathedral, Devon, UK
Exeter Cathedral, properly known as the Cathedral Church of Saint Peter in Exeter, is an Anglican cathedral, and the seat of the Bishop of Exeter, in the city of Exeter, Devon, in South West England. The present building was complete by about 1400, and has several notable features, including an early set of misericords, an astronomical clock and the longest uninterrupted vaulted ceiling in England. The founding of the cathedral at Exeter, dedicated to Saint Peter, dates from 1050, when the seat of the bishop of Devon and Cornwall was transferred from Crediton because of a fear of sea-raids. A Saxon minster already existing within the town (and dedicated to Saint Mary and Saint Peter) was used by Leofric as his seat, but services were often held out of doors, close to the site of the present cathedral building. Notable features of the interior include the misericords, the minstrels' gallery, the astronomical clock and the organ. Notable architectural features of the interior include the multiribbed ceiling and the compound piers in the nave arcade. The 18-metre-high bishop's throne in the choir was made from Devon oak between 1312 and 1316; the nearby choir stalls were made by George Gilbert Scott in the 1870s. The Great East Window contains much 14th-century glass, and there are over 400 ceiling bosses, one of which depicts the murder of Thomas Becket. The bosses can be seen at the peak of the vaulted ceiling, joining the ribs together. Because there is no centre tower, Exeter Cathedral has the longest uninterrupted medieval vaulted ceiling in the world, at about 96 m
FUJI, Japan (Oct. 23, 2019) - U.S. Marine Sgt. Hunter Meadows demonstrates how to properly arm and throw an M69 training grenade during exercise Fuji Viper 20-1 in Camp Fuji, Japan, Oct. 23, 2019. Fuji Viper is a regularly scheduled training evolution for infantry units assigned to 3rd Marine Division as part of the unit deployment program. The training allows units to maintain their lethality and proficiency in infantry and combined arms tactics. Meadows is assigned to 4th Marine Regiment, 3rd Marine Division, and a native of Raleigh, N.C. (U.S. Marine Corps photo by Cpl. Timothy Hernandez) 191023-M-TV413-915
** Interested in following U.S. Indo-Pacific Command? Engage and connect with us at www.facebook.com/indopacom | twitter.com/INDOPACOM |
www.instagram.com/indopacom | www.flickr.com/photos/us-pacific-command; | www.youtube.com/user/USPacificCommand | www.pacom.mil/ **
We Understand its difficult times.
We understand you are sitting at home.. bored.
If the world is about to end.. at least you can be dressed properly!
Cheer yourself up with some lovely new attire
Have a look at our store.. and do a spot of shopping.
To help you I have created a 20% discount.
Just use the code
"Ghosttown"
at the check out..
#fogeyunlimited
#vintagemenswear
#tweedsuit
#detachablecollar
#edwardian
Leamington Spa, properly Royal Leamington Spa, commonly Leamington or "Leam" to locals, is a spa town in central Warwickshire, England.
Until the beginning of the 1800s, Leamington was a village named Leamington Priors.
In 1814 the Royal Pump Rooms and Baths were opened close to the River Leam. This grand structure attracted many visitors, hoping to soothe various aches, pains and ailments by bathing in pools filled with the salty spa water. It also included the world's first gravity fed piped hot water system in modern times, which was designed and installed by the engineer William Murdoch. Leamington soon became a popular spa resort which attracted the wealthy and famous, and construction began of numerous Georgian townhouses to accommodate visitors.
Leamington's reputation soon spread. The town gained its "Royal" prefix in 1838, granted by Queen Victoria, who visited the town as a Princess in 1830 and as Queen in 1858, and whose statue still stands in the town.
From Wikipedia, the free encyclopedia
The Archibald Fountain, properly called the J.F. Archibald Memorial Fountain, widely regarded as the finest public fountain in Australia, is located in Hyde Park, in central Sydney, New South Wales. It is named after J.F. Archibald, owner and editor of The Bulletin magazine, who bequeathed funds to have it built. Archibald specified that it must be designed by a French artist, both because of his great love of French culture and to commemorate the association of Australia and France in World War I. He imagined its civic design and ornamentation developing to rival his dream city Paris. The artist chosen was François-Léon Sicard.
The fountain was unveiled on 14 March 1932 by the Lord Mayor of Sydney, Samuel Walder.
Classical tradition
Sicard was one of the foremost sculptors of his day, a classically educated artist, whose inspiration was derived, at least in part, from his study of classical Greek and Roman art and literature. In submitting his proposal for the design of the sculptural groups, Sicard wrote: "Apollo represents the Arts (Beauty and Light). Apollo holds out his right arm as a sign of protection, and spreads his benefits over all Nature, whilst he holds the Lyre in his left hand. Apollo is the warmth which vivifies, giving life to all Nature. At the touch of his rays, men awake, trees and fields become green, the animals go out into the fields, and men go to work at dawn.
"The ancient Pliny adored the sun, symbol of Life. It is on this account that I wished this figure to be the chief one in the memorial.
"At Apollo's feet the star of day is indicated by a semicircle, of which the rays spread out in jets of light (the rising sun). The horses' heads represent the horses of Apollo's chariot. Out of their nostrils the water will fall into the first basin, to fall from there into the second, and run away into the large basin.
"The large basin is divided into three groups. One represents Diana, goddess of purity, of peaceful nights, symbol of charity; the ideal which watches over mortals - all that stands for poetry and harmony. The second group symbolises the good things of the earth - it is the young god of the fields and pastures, of the pleasure of the countryside. The third group represents sacrifice for the public good. Theseus, vanquisher of the Minotaur. The spirit triumphs over bestiality. Theseus delivers his country from the ransom which it had to pay to this monster. It is the sacrifice of himself for the good of humanity. Between these groups tortoises throw jets of water. The fountain is electrically illuminated and floodlighted at night.
"It depicts Apollo, representing beauty and the arts, on a central column holding out his right arm as a sign of protection over all nature. On the three plinths radiating from the central column there are figures representing Diana, the goddess of purity; a group representing the good things of the earth; Theseus slaying a Minotaur, representing the sacrifice for the good of humanity."
Interestingly, Sicard quotes Pliny as one of the ancient Roman sources for the modern understanding of the qualities supposedly represented by the gods. Rather than merely using the visual examples of works such as those by Pheidias, the iconic sculptor of classical Athens, whose free standing and frieze statuary represent the acme of the classical depiction of the human form in larger-than life bronze or marble, Sicard used literary sources to explain the symbology behind the form. The figure with the ram and goat is possibly Aristaeus.
His choice of classical figures was in keeping with the European tradition of the sculpture and architecture of the precinct of Hyde Park. There is no indication in the writings of Sicard, or indeed, in the appraisal of his work, that there was any intention to link the figures in the sculptural groups with any religious or sexual themes.
The Archibald Fountain, properly called the J. F. Archibald Memorial Fountain, widely regarded as the finest public fountain in Australia, is located in Hyde Park, in central Sydney, New South Wales.
It is named after J. F. Archibald, owner and editor of The Bulletin magazine, who bequeathed funds to have it built. Archibald specified that it must be designed by a French artist, both because of his great love of French culture and to commemorate the association of Australia and France in World War I. He wished Sydney to aspire to Parisian civic design and ornamentation. The artist chosen was François-Léon Sicard.
Sicard was one of the foremost sculptors of his day, a classically educated artist, whose inspiration was derived, at least in part, from his study of classical Greek and Roman art and literature. In submitting his proposal for the design of the sculptural groups, Sicard wrote: "Apollo represents the Arts (Beauty and Light). Apollo holds out his right arm as a sign of protection, and spreads his benefits over all Nature, whilst he holds the Lyre in his left hand. Apollo is the warmth which vivifies, giving life to all Nature. At the touch of his rays, men awake, trees and fields become green, the animals go out into the fields, and men go to work at dawn.
"The ancient Pliny adored the sun, symbol of Life. It is on this account that I wished this figure to be the chief one in the memorial.
"At Apollo's feet the star of day is indicated by a semicircle, of which the rays spread out in jets of light (the rising sun). The horses' heads represent the horses of Apollo's chariot. Out of their nostrils the water will fall into the first basin, to fall from there into the second, and run away into the large basin.
"The large basin is divided into three groups. One represents Diana, goddess of purity, of peaceful nights, symbol of charity; the ideal which watches over mortals - all that stands for poetry and harmony. The second group symbolises the good things of the earth - it is the young god of the fields and pastures, of the pleasure of the countryside. The third group represents sacrifice for the public good. Theseus, vanquisher of the Minotaur. The spirit triumphs over bestiality. Theseus delivers his country from the ransom which it had to pay to this monster. It is the sacrifice of himself for the good of humanity. Between these groups tortoises throw jets of water. The fountain is electrically illuminated and floodlighted at night.
"It depicts Apollo, representing beauty and the arts, on a central column holding out his right arm as a sign of protection over all nature. On the three plinths radiating from the central column there are figures representing Diana, the goddess of purity; a group representing the good things of the earth; Theseus slaying a Minotaur, representing the sacrifice for the good of humanity."
The fountain was unveiled on 14 March 1932
Hyde Park, the oldest public parkland in Australia, is a 16.2-hectare (40 acres) park in the central business district of Sydney, New South Wales.
Hyde Park is on the eastern side of the Sydney city centre. It is the southernmost of a chain of parkland that extends north to the shore of Sydney Harbour via The Domain and Sydney's Royal Botanic Gardens. Hyde Park is approximately rectangular in shape, being squared at the southern end and rounded at the northern end.
The centrepiece of Hyde Park is the Archibald Fountain. The fountain was designed by François-Léon Sicard and donated by J.F. Archibald in 1932 in honour of Australia's contribution to World War I in France. Also at the northern end are the Nagoya Gardens featuring a giant outdoor chess set and the entrance to the underground St James railway station.
Wikipedia
"Peterborough Cathedral, properly the Cathedral Church of St Peter, St Paul and St Andrew – also known as Saint Peter's Cathedral in the United Kingdom – is the seat of the Anglican Bishop of Peterborough, dedicated to Saint Peter, Saint Paul and Saint Andrew, whose statues look down from the three high gables of the famous West Front. Although it was founded in the Anglo-Saxon period, its architecture is mainly Norman, following a rebuilding in the 12th century. With Durham and Ely cathedrals, it is one of the most important 12th-century buildings in England to have remained largely intact, despite extensions and restoration.
Peterborough Cathedral is known for its imposing Early English Gothic West Front (façade) which, with its three enormous arches, is without architectural precedent and with no direct successor. The appearance is slightly asymmetrical, as one of the two towers that rise from behind the façade was never completed (the tower on the right as one faces the building), but this is only visible from a distance.
Peterborough is a cathedral city in Cambridgeshire, England, with a population of 202,110 in 2017. Historically part of Northamptonshire, it is 76 miles (122 km) north of London, on the River Nene which flows into the North Sea 30 miles (48 km) to the north-east. The railway station is an important stop on the East Coast Main Line between London and Edinburgh. The city is also 70 miles (110 km) east of Birmingham, 38 miles (61 km) east of Leicester, 81 miles (130 km) south of Kingston upon Hull and 65 miles (105 km) west of Norwich.
The local topography is flat, and in some places the land lies below sea level, for example in parts of the Fens to the east of Peterborough. Human settlement in the area began before the Bronze Age, as can be seen at the Flag Fen archaeological site to the east of the current city centre, also with evidence of Roman occupation. The Anglo-Saxon period saw the establishment of a monastery, Medeshamstede, which later became Peterborough Cathedral.
The population grew rapidly after the railways arrived in the 19th century, and Peterborough became an industrial centre, particularly known for its brick manufacture. After the Second World War, growth was limited until designation as a New Town in the 1960s. Housing and population are expanding and a £1 billion regeneration of the city centre and immediately surrounding area is under way. Industrial employment has fallen since then, a significant proportion of new jobs being in financial services and distribution." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
The Archibald Fountain, properly called the J. F. Archibald Memorial Fountain, widely regarded as the finest public fountain in Australia, is located in Hyde Park, in central Sydney, New South Wales.
It is named after J. F. Archibald, owner and editor of The Bulletin magazine, who bequeathed funds to have it built. Archibald specified that it must be designed by a French artist, both because of his great love of French culture and to commemorate the association of Australia and France in World War I. He wished Sydney to aspire to Parisian civic design and ornamentation. The artist chosen was François-Léon Sicard.
Sicard was one of the foremost sculptors of his day, a classically educated artist, whose inspiration was derived, at least in part, from his study of classical Greek and Roman art and literature. In submitting his proposal for the design of the sculptural groups, Sicard wrote: "Apollo represents the Arts (Beauty and Light). Apollo holds out his right arm as a sign of protection, and spreads his benefits over all Nature, whilst he holds the Lyre in his left hand. Apollo is the warmth which vivifies, giving life to all Nature. At the touch of his rays, men awake, trees and fields become green, the animals go out into the fields, and men go to work at dawn.
"The ancient Pliny adored the sun, symbol of Life. It is on this account that I wished this figure to be the chief one in the memorial.
"At Apollo's feet the star of day is indicated by a semicircle, of which the rays spread out in jets of light (the rising sun). The horses' heads represent the horses of Apollo's chariot. Out of their nostrils the water will fall into the first basin, to fall from there into the second, and run away into the large basin.
"The large basin is divided into three groups. One represents Diana, goddess of purity, of peaceful nights, symbol of charity; the ideal which watches over mortals - all that stands for poetry and harmony. The second group symbolises the good things of the earth - it is the young god of the fields and pastures, of the pleasure of the countryside. The third group represents sacrifice for the public good. Theseus, vanquisher of the Minotaur. The spirit triumphs over bestiality. Theseus delivers his country from the ransom which it had to pay to this monster. It is the sacrifice of himself for the good of humanity. Between these groups tortoises throw jets of water. The fountain is electrically illuminated and floodlighted at night.
"It depicts Apollo, representing beauty and the arts, on a central column holding out his right arm as a sign of protection over all nature. On the three plinths radiating from the central column there are figures representing Diana, the goddess of purity; a group representing the good things of the earth; Theseus slaying a Minotaur, representing the sacrifice for the good of humanity."
The fountain was unveiled on 14 March 1932.
Hyde Park, the oldest public parkland in Australia, is a 16.2-hectare (40 acres) park in the central business district of Sydney, New South Wales.
Hyde Park is on the eastern side of the Sydney city centre. It is the southernmost of a chain of parkland that extends north to the shore of Sydney Harbour via The Domain and Sydney's Royal Botanic Gardens. Hyde Park is approximately rectangular in shape, being squared at the southern end and rounded at the northern end.
The centrepiece of Hyde Park is the Archibald Fountain. The fountain was designed by François-Léon Sicard and donated by J.F. Archibald in 1932 in honour of Australia's contribution to World War I in France. Also at the northern end are the Nagoya Gardens featuring a giant outdoor chess set and the entrance to the underground St James railway station.
The Metropolitan Cathedral of St Mary, or St Mary's Cathedral is the cathedral church of the Roman Catholic Archdiocese of Sydney and the seat of the Archbishop of Sydney, currently Cardinal George Pell. The cathedral is dedicated to "Mary, Help of Christians", Patron of Australia. St Mary’s holds the title and dignity of a minor basilica, bestowed upon it by Pope Pius XI on 4 August 1932.
St Mary's Cathedral is generally approached on foot from the city through Hyde Park, where the transept front and central tower rise up behind the Archibald Fountain.
The entrance façade is a design loosely based on the most famous of all Gothic west fronts, that of Notre Dame de Paris with its balance of vertical and horizontal features, its three huge portals and its central rose window. There are two more large rose windows, one in each of the transepts.
The French façade was, however, intended to have twin stone spires like those of Lichfield Cathedral, but they were not to be put in place until 132 years after the building was commenced.
Wikipedia
Recent Forest Stand Improvement project had trees spaced properly to improve plant structure and composition and reduce wildfire hazard. However, a tornado that sheared off the remaining trees has now increased the wildfire hazard concern by leaving dead and downed trees. These dead trees will dry down and provide fuel for a potential wildfire.
Resource Concern - Wildfire Hazard
This resource concern is created by plant biomass (residue) that pose risks to human safety, structures, plants, animals, and air resources.
Fire can be an important and often beneficial part of the natural ecosystem; however, uncontrolled or “wild” fire can pose threats to life, health, and property. Excessive fuel loads can result in a fire too intense, causing damage to the desired plant community and site conditions. In addition, the secondary effects of some wildfires, including erosion, landslides, introduction of invasive species, and changes in water quality, are often more disastrous than the fire itself.
The amount of flammable biomass can be reduced to decrease the incidence of wildfires. The distribution of biomass can be manipulated to influence the direction and rate at which wildfires spread. Managing ladder fuels can reduce the opportunity for crown fires. Management of wildland urban interface (WUI) areas can protect life and property to lessen the impacts of wildfires.
Woody Residue Treatment would be an example of one practice to implement based on these conditions. This practice refers to the treatment of residual woody material that is created due to management activities or natural disturbances.
Woody Residue Treatment is used to accomplish one or more of the following:
• Reduce hazardous fuels
• Reduce the risk of harmful insects and disease
• Protect/maintain air quality by reducing the risk of wildfire
• To improve access for management purposes
• Improve access to forage for livestock and wildlife
• Develop renewable energy systems
• Enhance aesthetics
• Reduce the risk of harm to humans and livestock
• Improve the soil organic matter
• Improve the site for natural or artificial regeneration
For more information on South Dakota's resource concerns, visit www.sdresrouceconcerns.org or www.farmers.gov/conserve/tool. You can also reach out to your local NRCS office or Conservation District. Find your local USDA NRCS office and employee directory at: bit.ly/ContactNRCSSD
The Archibald Fountain, properly called the J. F. Archibald Memorial Fountain, widely regarded as the finest public fountain in Australia, is located in Hyde Park, in central Sydney, New South Wales.
It is named after J. F. Archibald, owner and editor of The Bulletin magazine, who bequeathed funds to have it built. Archibald specified that it must be designed by a French artist, both because of his great love of French culture and to commemorate the association of Australia and France in World War I. He wished Sydney to aspire to Parisian civic design and ornamentation. The artist chosen was François-Léon Sicard.
Sicard was one of the foremost sculptors of his day, a classically educated artist, whose inspiration was derived, at least in part, from his study of classical Greek and Roman art and literature. In submitting his proposal for the design of the sculptural groups, Sicard wrote: "Apollo represents the Arts (Beauty and Light). Apollo holds out his right arm as a sign of protection, and spreads his benefits over all Nature, whilst he holds the Lyre in his left hand. Apollo is the warmth which vivifies, giving life to all Nature. At the touch of his rays, men awake, trees and fields become green, the animals go out into the fields, and men go to work at dawn.
"The ancient Pliny adored the sun, symbol of Life. It is on this account that I wished this figure to be the chief one in the memorial.
"At Apollo's feet the star of day is indicated by a semicircle, of which the rays spread out in jets of light (the rising sun). The horses' heads represent the horses of Apollo's chariot. Out of their nostrils the water will fall into the first basin, to fall from there into the second, and run away into the large basin.
"The large basin is divided into three groups. One represents Diana, goddess of purity, of peaceful nights, symbol of charity; the ideal which watches over mortals - all that stands for poetry and harmony. The second group symbolises the good things of the earth - it is the young god of the fields and pastures, of the pleasure of the countryside. The third group represents sacrifice for the public good. Theseus, vanquisher of the Minotaur. The spirit triumphs over bestiality. Theseus delivers his country from the ransom which it had to pay to this monster. It is the sacrifice of himself for the good of humanity. Between these groups tortoises throw jets of water. The fountain is electrically illuminated and floodlighted at night.
"It depicts Apollo, representing beauty and the arts, on a central column holding out his right arm as a sign of protection over all nature. On the three plinths radiating from the central column there are figures representing Diana, the goddess of purity; a group representing the good things of the earth; Theseus slaying a Minotaur, representing the sacrifice for the good of humanity."
The fountain was unveiled on 14 March 1932.
Hyde Park, the oldest public parkland in Australia, is a 16.2-hectare (40 acres) park in the central business district of Sydney, New South Wales.
Hyde Park is on the eastern side of the Sydney city centre. It is the southernmost of a chain of parkland that extends north to the shore of Sydney Harbour via The Domain and Sydney's Royal Botanic Gardens. Hyde Park is approximately rectangular in shape, being squared at the southern end and rounded at the northern end.
The centrepiece of Hyde Park is the Archibald Fountain. The fountain was designed by François-Léon Sicard and donated by J.F. Archibald in 1932 in honour of Australia's contribution to World War I in France. Also at the northern end are the Nagoya Gardens featuring a giant outdoor chess set and the entrance to the underground St James railway station.
The Metropolitan Cathedral of St Mary, or St Mary's Cathedral is the cathedral church of the Roman Catholic Archdiocese of Sydney and the seat of the Archbishop of Sydney, currently Cardinal George Pell. The cathedral is dedicated to "Mary, Help of Christians", Patron of Australia. St Mary’s holds the title and dignity of a minor basilica, bestowed upon it by Pope Pius XI on 4 August 1932.
St Mary's Cathedral is generally approached on foot from the city through Hyde Park, where the transept front and central tower rise up behind the Archibald Fountain.
The entrance façade is a design loosely based on the most famous of all Gothic west fronts, that of Notre Dame de Paris with its balance of vertical and horizontal features, its three huge portals and its central rose window. There are two more large rose windows, one in each of the transepts.
The French façade was, however, intended to have twin stone spires like those of Lichfield Cathedral, but they were not to be put in place until 132 years after the building was commenced.
Wikipedia
via
A fresh-smelling well-groomed dog is every pet owner’s pride. Nothing can ruin shiny hair, clean teeth and nicely trimmed nails than a stinky collar! Regular cleaning of dog collars and leashes is essential for our best friend’s own protection.
A dog collar tends to get really dirty with the buildup of dust, debris, and skin oils, while a dog leash is prone to getting get accidentally stepped or peed on. You can only imagine the germs and bacteria contained in these daily wear, which altogether create a sanctuary for parasites such as fleas. Dogs will not be comfortable with a disgusting or worn out collar on their neck!
Proper maintenance goes a long way. Just as how their human masters’ clothing is kept fresh and clean, a clean dog dollar adds to the look good-feel good factor that keeps your pet happy. It gives you peace of mind that the collar or leash will not easily break while you are enjoying the outdoors. In case your dog gets lost, a well-cared for pet ID collar will stay intact for identification.
Whether you got your dog the cloth type nylon or leather collar, knowing how to appropriately care for the material is key to a long-lasting accessory.
How to Clean a Nylon Dog Collar and Leash
Nylon collars arrive in tons of attractive colors to suit your pup’s personality. The best way to clean this type of dog collar is by hand. Select only pet-friendly soaps, preferably all-natural products, since those made for humans have entirely different pH levels. Any residue left by harsh chemical-laden soaps can cause irritation and incessant scratching.
Cleaning with water and mild soap for sensitive skin will keep the dog collar vibrant and increase its resistance to wear and tear. To deal with stubborn dirt, remove the collar’s ID tag. Soak for 30 minutes in a 1:1 water and vinegar solution with 1 tsp salt. Rinse with cold water and lay the collar and leash flat to air dry.
You can opt to machine wash cloth collars and nylon leashes. Similarly, use milder cleaning agents. Put inside a mesh laundry bag first then do it on a gentle-cycle. Do not put in the dryer, since high heat can break down nylon collar fibers quickly. Once dry, you may want to apply flea and tick powder for prevention.
How to Clean a Leather Dog Collar and Leash
Leather collars are crafted with more expensive material that requires unique care and attention. Like any other leather material, it is best kept away from water and moisture to inhibit mold and mildew growth. Even without getting wet, accumulation of oil from your pet’s fur and skin can degrade a leather collar over time.
Cleaning a leather dog collar and leash is not complicated. You just need to keep a few things in mind. Chemicals not made for leather material and drying under the sun can do more harm than good! Use only specially-formulated, pH balanced, non-toxic leather cleaners to clear away mud and dirt. Simply spray onto your pet’s collar and leash then work your way with a sponge.
Leave the leather collar to dry some place cool and with ample ventilation. Once thoroughly dry, apply leather cream to condition and waterproof your pet’s collar and leather leash for worry-free everyday use.
The post How to Properly Clean a Dog Collar and Leash appeared first on Yippr Pet Supplies.
The maker's mark on corrugated iron produced by the American Rolling Mill Company of Middletown, Ohio.
CLICK ON "ALL SIZES" TO VIEW THIS PHOTOGRAPH PROPERLY LARGE
(Scanned from an original in possession of the Washtenaw County Historical Society)
WASHTENAW COUNTY'S FIRST LOCAL HISTORY MUSEUM
In a mounted copy of this photo that I saw many years ago, the man in the rocking chair was labeled as "Uncle John" Nowland. His gravestone in Forest Hill Cemetery identifies Nowland, the son of pioneer settlers, as the first white person born in Ann Arbor (on June 13, 1826, two years after the founding of the Village). The claim was tarnished; Elisha Walker Rumsey Smith, the second child of carpenter Asa L. Smith, was born in Ann Arbor in 1824, but died in 1827. (The man whose name he bore, E. W. Rumsey, co-founder of Ann Arbor, also died that year.) Unfortunately, the Smith baby's brief existence appears to have been forgotten by locals until his mother (then a resident of Kalamazoo) was interviewed on the subject when she was 79 years old. John Nowland lived long enough to get his claim inscribed in stone:
www.flickr.com/photos/42955247@N08/3967106517/in/photolis...
Not only was he a genuine pioneer resident, Nowland also was a founding member and longtime officer of the Washtenaw County Agricultural Society, which observed its 50th anniversary in 1898 -- a celebration marked by the Pioneer Society's erection of a replica log cabin at the Fairgrounds on the southeast corner of town -- the area now known as Burns Park. This photo of "Uncle John" inside that cabin -- posing as just another historical relic in an exhibition of pioneer artifacts at the county fair -- was taken at the grand opening in September, 1898; Nowland pulled the ceremonial latch string that opened the cabin on its first day. He died in 1900 -- on May 28, before the fair was held that year. (Nowland was two weeks shy of 74 when he died.)
Prof. O. W. Stephenson, in his book "Ann Arbor, the First Hundred Years" (1927), tells us that the cabin was erected in August, 1898, under auspices of the Washtenaw County Pioneer Society, and dedicated on the 27th of the following month, during the annual fair. Above the entrance appeared the words, "Erected in Honor of the Pioneers of Washtenaw, 1898." (The Pioneer Society was the forerunner of the current Washtenaw County Historical Society.) The cabin first stood where the north playground of Burns Park School is now; the chimney was at the north end, facing Wells Street. The c.1825 leather saddle bags of Judge Samuel William Dexter, founder of Dexter Village, and an early circuit-riding postmaster / letter carrier, were among the most precious historical relics displayed in the cabin.
The Agricultural Society fizzled out during World War I; the Pioneer Society's relics got moved to storage in the old courthouse downtown, the fairgrounds became a city park, and before 1925, when Tappan (now Burns Park) school was erected, the cabin was moved from its location on the school site to the place where a brick shelter building now stands, near the corner of Baldwin and Wells streets, its entrance facing Wells. It became at first an ignominious storage shed for wagons, rakes, mowers, and other grounds-maintenance implements. In the years 1948, 1949, 1950 (and perhaps others) it was rented by Ann Arbor Civic Theatre for meeting and rehearsal space, and scenery and props were designed and painted there.
Later in the 1950s, it was used to store athletic equipment for summer recreation programs in the park. Basketballs, for example, could be borrowed there, and then dribbled over to the hoops that stood outside. The cabin was demolished in the mid-fifties, after its logs had become riddled with carpenter ants, and because it had become an attractive nuisance for mischievous boys, who easily climbed the smaller logs of the crumbling rustic chimney to play atop the roof. The chimney was then at the cabin's west end. Of course, this photograph shows but one end of the single interior room; the entrance would have been off to the right.
The names carved in the massive rafter logs are those of pioneers of Washtenaw, with the year dates of their arrival and the names of the townships in which they resided. These can't be all of them; I wonder if the names visible here might be those only of men and women whose families had donated to the building project. The rafter above the fireplace is emblazoned with the word "DIRECTORS" -- obscured in the photo by hanging herbs. When the cabin was torn down, the name logs were still in good shape, so they were stored for several decades in a building at the Ann Arbor Airport, until a use could be found for them. In 2009, I was informed that at least some of the rafter logs have survived and are now in storage in a building at Gallup Park.
Among names visible here are those of Philip Bach and Christian Mack, two German immigrants for whom schools were named (in recognition of their long service on the Ann Arbor School Board) and Joseph Dorr Baldwin, pomologist, who grew apples and other fruit on extensive acreage that included the parcel that became Burns Park.
I wonder if the ten photographic portraits in oval frames, visible at right in this photo, have survived in anyone's collections?
If anyone knows of other photographs of the Burns Park cabin, inside or out, I would love to see them.
I never really got a chance to properly photograph one of these classic German beauties close up; I have a couple of zoom lens shots of one or two of them that I took at the 2007 Woodward Dream Cruise in suburban Detroit, but they're grainy and don't do the car justice.
So, I was quite astonished to find this 356 parked in our parking lot on a bright, sunny Wednesday afternoon in mid-April. From about 50 metres away, I thought it looked like a Porsche 356, but was almost convinced that it was something a little less exotic like a Volkswagen Karmann-Ghia, but not this time. It really is one, at least as far as I can tell. I'm no expert, but I didn't notice any tell-tale signs that would make me believe that this is only a replica.
I've seen so many nice cars over the past two years that I've worked at the supermarket that it's hard for me to pick a favourite, but this one almost certainly tops my list for my favourite "classic" that I've spotted there.
From Wikipedia:
The Porsche 356 was the company's first production automobile. It was a lightweight and nimble handling rear-engine rear-wheel-drive 2 door sports car available in hardtop and convertible configurations. Design innovations continued during the years of manufacture, contributing to its motorsports success and popularity. Production started in 1948 at Gmünd, Austria where approximately 50 cars were built. In 1950 the factory relocated to Zuffenhausen, Germany and general production of the 356 continued until April 1965, well after the replacement model 911 made its autumn 1963 debut. It is estimated approximately half of the total production of 76,000 356s still survive.
Before the German invasion of Poland, Porsche designed and built three Type 64 cars for a 1939 Berlin to Rome race that was canceled. In 1948 the mid-engine tubular chassis 356 prototype called "No. 1" was completed. This has led to some debate as to the "first" Porsche automobile, but the 356 is considered by Porsche to be its first production model.[1][2]
The 356 was created by Ferdinand "Ferry" Porsche (son of Dr. Ing. Ferdinand Porsche, founder of the company). Like its ancestor, the Volkswagen Beetle (which Ferdinand Porsche senior had designed), the 356 was a four-cylinder, air-cooled, rear-engine, rear-wheel-drive car utilizing unitized pan and body construction. While the 356's body was an original design by Porsche employee Erwin Komenda, its mechanicals (including engine, suspension and chassis) were derived from the Volkswagen. The first 356, was roadcertified in Austria on June 8, 1948, and used many Volkswagen parts for manufacturing economy. Porsche quickly re-engineered and refined the car with a focus on performance. By the late 50's many fewer parts were shared in common between Volkswagen and Porsche. The early 356 automobile bodies produced at Gmünd, Austria were handcrafted in aluminum, but when production moved to Zuffenhausen, Germany in 1950, models produced there were steel-bodied.
Little noticed at its inception, the first 356s sold primarily in Austria and Germany. From the first prototype in 1948, it took Porsche about two years to manufacture the first 50 automobiles. By the early 1950s the 356 had gained some renown among enthusiasts on both sides of the Atlantic for its aerodynamics, handling, and excellent build quality. It was common for owners to race the car as well as drive it on the street. Increasing success with its racing and road cars brought Porsche orders for over 10,000 units in 1964, and when 356 production ended in 1965 approximately 76,000 had been produced.
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
After being annoyed that the eyes don't fit Keir properly (brb, pissed off at a wonky size of glass eyes k thnx bi) I decided that yeah, the eyes can belong to Tokki since they'd fit him and both need red.
I stole Sulli's wig, since he's just been chilling in a box for a while and while I'm not...thrilled with his look, he at least has the white hair / red eyes of his character.
I love his stupid face though ;u;
While Knight is away, Tokki has come out to play! (Doesn't help that all the clothing fitting JIDs has been claimed by Knight. Not a horrible problem though; it's the wrong style for him even if he looks cute xD)
HAS IT REALLY BEEN OVER A YEAR SINCE I GOT PHOTOS OF HIM??? Yes, yes it has. Oops.
6th Regiment, Advanced Camp practiced providing medical aid during Tactical Combat Casualty Care for Cadet Summer Training at Fort Knox, Ky. Cadets were assessed on how to properly provide medical aid using a tourniquet and field dressing to a mannequin. | Photo by 2nd Lt. Courtney Huhta, CST Public Affairs Office
this was the last time i slept - a solid 27 hours ago. i can't write properly about my conversion to the motherboard of awesomeness that is the USA, California, TED, Palm Springs and Trans Continental train travel now - but i'll try and fill in the gaps tomorrow
So, Right.
This wanton photo was taken by three naked, glowing red letters. I spent much of the week trying to find a reason to hate them, but by the time this picture was taken I had completely and utterly submitted to their sexual red glow.
Why? Here's how I got it wrong.
1. It wouldn't be exciting.
There were about 50 twenty minute talks and about 75 three minute talks - it's like a sort of massive cabaret of ideas. 10 talks were crap - 20 were ok but the rest were brilliant. All the speakers are kept to time - otherwise they get told to finish. There isn't really any q and a or debate - I know this seems a bit fascist, but I think most people would much rather hear speakers than rambles and self-promotions from the audience. Everything happens in one auditorium where the stage is lit like a film set and dressed like a theatrical production. This means it works just as well on TV - meaning the vibe at the Palm Springs simulcast in the desert was just as intense as that in the main conference in Long Beach.
2. It would be too prosaic
Sure there are plenty of 'inspirational' personal stories that maybe don't quite qualify as ideas, but alot of the talks were actually quite dark - there was one on the robotisation of war, another on the contamination of fish with plastic and al gore's featured a flaming fountain of methane bursting out of the polar ice cap. Also, the whole thing leaves you with conflicting ideas - as in wow! look how cool my robots are - oh no, look, there's a robot killing a child. Look at this machine i have made replicating the movements of a gecko! agh! look at all the animals that keep being killed for meat.
3. It would be too up itself
I thought this was going to stand, but at the end of the conference some comedians put together a review ripping it out of most of the speakers and themes. This climaxed with a brilliant gag about a Blue Whale drowning one of the other speakers in ejaculant. As you can guess i enjoyed this so much, i almost wanted to cry when Jamie Callum came on to play Imagine at the end (which is like eating a sh*t and it tasting of ice cream).
4. It's just a holiday camp for rich people
Well, there were alot of rich and famous people. But TED is a not for profit, the speakers and performers (incredibly) aren't actually paid and by all accounts the director doesn't take a salary. The website is pretty amazing - and the improvements they announced at the conference (sub titles for lots of the talks and an open source platform for translation) should make it much better. I doubt i'll ever be able to go to the conference again, but if there was a cheaper simulcast type thing, i'd definitely go. TED is also run by women - I don't know why but I think it makes it just better than an organisation run by men. And I really love the fact that the current TED is a sort of love child of Chris Anderson and Jaqueline Novogratz (runs the acumen fund supporting entrepreneurial approaches to fixing global poverty etc) i guess which sort of makes them a bit like Mike and Jane Eavis. As a rule, cool organisations seem to come from couples.
oh sod it, i could go on with this, but i'm not sure this is really that interesting, and i'm not sure this retrospective flickr commenting is working. i should have just taken a proper computer with me so i could have done it there.
Maybe I've just drunk the coolade and joined a cult, and I know I'm vulnerable to that, but most of the things i have enjoyed in the past have been like a cult (watford fc, the st andrews alternative music society (aka bulletproof), glastonbury, demos, maldonia) so i'm not that fussed. At the end of the day, whatever you think of it, TED is using all the tools available to it to mass-market and commodify what are otherwise, quite obscure ideas - and mobilise people behind sorting out big social problems - and what-everr you think about the means, that has to be a good thing.
Cadets from 1st Regiment, Advanced Camp, complete Tactical Combat Casualty Care training at Fort Knox, Ky., June 14, 2023. Cadets learned how to properly treat a wounded Soldier during combat and how to use an advanced system improvement program radio to call up a 9-line medical evacuation helicopter. | Photo by Thaliya Martinez, Olivet Nazarene University, CST Public Affairs Office
The Archibald Fountain, properly called the J. F. Archibald Memorial Fountain, widely regarded as the finest public fountain in Australia, is located in Hyde Park, in central Sydney, New South Wales.
It is named after J. F. Archibald, owner and editor of The Bulletin magazine, who bequeathed funds to have it built. Archibald specified that it must be designed by a French artist, both because of his great love of French culture and to commemorate the association of Australia and France in World War I. He wished Sydney to aspire to Parisian civic design and ornamentation. The artist chosen was François-Léon Sicard.
Sicard was one of the foremost sculptors of his day, a classically educated artist, whose inspiration was derived, at least in part, from his study of classical Greek and Roman art and literature. In submitting his proposal for the design of the sculptural groups, Sicard wrote: "Apollo represents the Arts (Beauty and Light). Apollo holds out his right arm as a sign of protection, and spreads his benefits over all Nature, whilst he holds the Lyre in his left hand. Apollo is the warmth which vivifies, giving life to all Nature. At the touch of his rays, men awake, trees and fields become green, the animals go out into the fields, and men go to work at dawn.
"The ancient Pliny adored the sun, symbol of Life. It is on this account that I wished this figure to be the chief one in the memorial.
"At Apollo's feet the star of day is indicated by a semicircle, of which the rays spread out in jets of light (the rising sun). The horses' heads represent the horses of Apollo's chariot. Out of their nostrils the water will fall into the first basin, to fall from there into the second, and run away into the large basin.
"The large basin is divided into three groups. One represents Diana, goddess of purity, of peaceful nights, symbol of charity; the ideal which watches over mortals - all that stands for poetry and harmony. The second group symbolises the good things of the earth - it is the young god of the fields and pastures, of the pleasure of the countryside. The third group represents sacrifice for the public good. Theseus, vanquisher of the Minotaur. The spirit triumphs over bestiality. Theseus delivers his country from the ransom which it had to pay to this monster. It is the sacrifice of himself for the good of humanity. Between these groups tortoises throw jets of water. The fountain is electrically illuminated and floodlighted at night.
"It depicts Apollo, representing beauty and the arts, on a central column holding out his right arm as a sign of protection over all nature. On the three plinths radiating from the central column there are figures representing Diana, the goddess of purity; a group representing the good things of the earth; Theseus slaying a Minotaur, representing the sacrifice for the good of humanity."
The fountain was unveiled on 14 March 1932
Hyde Park, the oldest public parkland in Australia, is a 16.2-hectare (40 acres) park in the central business district of Sydney, New South Wales.
Hyde Park is on the eastern side of the Sydney city centre. It is the southernmost of a chain of parkland that extends north to the shore of Sydney Harbour via The Domain and Sydney's Royal Botanic Gardens. Hyde Park is approximately rectangular in shape, being squared at the southern end and rounded at the northern end.
The centrepiece of Hyde Park is the Archibald Fountain. The fountain was designed by François-Léon Sicard and donated by J.F. Archibald in 1932 in honour of Australia's contribution to World War I in France. Also at the northern end are the Nagoya Gardens featuring a giant outdoor chess set and the entrance to the underground St James railway station.
Wikipedia
Exeter Cathedral, properly known as the Cathedral Church of Saint Peter in Exeter, is an Anglican cathedral, and the seat of the Bishop of Exeter. The present building was complete by about 1400 and has several notable features, including an early set of misericords, an astronomical clock and the longest uninterrupted medieval stone vaulted ceiling in the world.
The site where Exeter Cathedral was constructed was home to Roman buildings. A legionary fortress was constructed between 50 & 75 AD and a Roman bathhouse was discovered in 1971. The founding of the cathedral at Exeter, dedicated to Saint Peter, dates from 1050.
A misericord (sometimes named mercy seat) is a small wooden structure or sculpture formed on the underside of a folding seat in a church which, when the seat is folded up, is intended to act as a shelf to support a person in a partially standing position during long periods of prayer. Despite being located in churches, it was not considered appropriate for these sculptures to portray religious motifs, as people rested their buttocks against them. As such, misericords portrayed a wide range of subjects from secular life and folklore unrelated to the Bible.
"Peterborough Cathedral, properly the Cathedral Church of St Peter, St Paul and St Andrew – also known as Saint Peter's Cathedral in the United Kingdom – is the seat of the Anglican Bishop of Peterborough, dedicated to Saint Peter, Saint Paul and Saint Andrew, whose statues look down from the three high gables of the famous West Front. Although it was founded in the Anglo-Saxon period, its architecture is mainly Norman, following a rebuilding in the 12th century. With Durham and Ely cathedrals, it is one of the most important 12th-century buildings in England to have remained largely intact, despite extensions and restoration.
Peterborough Cathedral is known for its imposing Early English Gothic West Front (façade) which, with its three enormous arches, is without architectural precedent and with no direct successor. The appearance is slightly asymmetrical, as one of the two towers that rise from behind the façade was never completed (the tower on the right as one faces the building), but this is only visible from a distance.
Peterborough is a cathedral city in Cambridgeshire, England, with a population of 202,110 in 2017. Historically part of Northamptonshire, it is 76 miles (122 km) north of London, on the River Nene which flows into the North Sea 30 miles (48 km) to the north-east. The railway station is an important stop on the East Coast Main Line between London and Edinburgh. The city is also 70 miles (110 km) east of Birmingham, 38 miles (61 km) east of Leicester, 81 miles (130 km) south of Kingston upon Hull and 65 miles (105 km) west of Norwich.
The local topography is flat, and in some places the land lies below sea level, for example in parts of the Fens to the east of Peterborough. Human settlement in the area began before the Bronze Age, as can be seen at the Flag Fen archaeological site to the east of the current city centre, also with evidence of Roman occupation. The Anglo-Saxon period saw the establishment of a monastery, Medeshamstede, which later became Peterborough Cathedral.
The population grew rapidly after the railways arrived in the 19th century, and Peterborough became an industrial centre, particularly known for its brick manufacture. After the Second World War, growth was limited until designation as a New Town in the 1960s. Housing and population are expanding and a £1 billion regeneration of the city centre and immediately surrounding area is under way. Industrial employment has fallen since then, a significant proportion of new jobs being in financial services and distribution." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.