View allAll Photos Tagged relatable
All these pictures relate to my blog for Gardeners World Magazine
while you are at it, try my other blog
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
El Relator de la CIDH, Rodrigo Escobar Gil, con la Ministra de Justicia y Derechos Humanos, Ana Pineda, en la residencia del Presidente de la República. 2 de agosto de 2013
The actions of these police officers have helped to enable an immoral and illegal occupation that is having a severely deleterious effect on the people and nation of Iraq, as well as on the USA.
The local police were armed with chemical weapons and the police used them against nonviolent and peaceably assembled protesters who were engaged in a petition for redress of grievances relating to the illegal occupation of Iraq and Afghanistan, as well as a petition to redress grievance relating to, and protest against, the foreign policy of global dominance (by means of aggression) as it is expressed in the general militarization of society.
Relating to Cardiff's public telescope situated atop Penylan Hill for much of the 20th century. More info on my blog here:
ilovesthediff.tumblr.com/post/12236378058/i-should-be-dis...
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
立法會改善基層住户居住環境事宜小組委員會探訪劏房家庭及參觀位於酒店和賓館的過渡性房屋項目
立法会改善基层住户居住环境事宜小组委员会探访劏房家庭及参观位于酒店和宾馆的过渡性房屋项目
LegCo Subcommittee on Issues Relating to the Improvement of Living Conditions of the Grass-roots Tenants visits families at sub-divided units and transitional housing projects in a hotel and a guesthouse (9.8.2022)
This relates to the time when people used to keep livestock in their backyards { My grandparents used to keep chickens many years ago.} I don't think many people would have kept Pigs in the yard. So it is possible that this road name relates to a butchers shop or a city farm.
One story relates how, while Nicholas was visiting a remote part of his diocese, several citizens from Myra arrived with the news that, in his absence, the ruler of the city, Eustathius, had condemned three innocent men to death. Nicholas set out immediately for home. Reaching the outskirts of the city, he asked those he met on the road if they knew what had happened to the prisoners. Informed that their execution was to be carried out that morning, he hurried to the executioner's field, where he found a large crowd of people and the three men kneeling with their arms bound behind them, awaiting the blow of the sword. Nicholas passed through the crowd, took the sword from the executioner's hands and threw it to the ground, ordering that the condemned men be freed from their bonds. Later the ruler sought the saint’s forgiveness. Only after a period of public repentance did Nicholas absolve him.
Ilya Repin's painting of the same scene: www.flickr.com/photos/jimforest/995851770/
Kinetic: Relating to, caused by, or producing motion.
These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.
Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!
None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.
Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.
To read more about Kinetic Photography click the Wikipedia link below:
en.wikipedia.org/wiki/Kinetic_photography
Albeit supremely risky this is one of my favorite ways to produce abstract photographs.
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If you'd like to see more please check out my set, "Vertigo:"
www.flickr.com/photos/motorpsiclist/sets/72157630591282642/
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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
立法會跟進香港國際機場三跑道系統相關事宜小組委員會視察三跑道系統項目填海工程
立法会跟进香港国际机场三跑道系统相关事宜小组委员会视察三跑道系统项目填海工程
LegCo Subcommittee to Follow Up Issues Relating to Three-runway System at HK International Airport observes three-runway system reclamation works (2017.05.05)
立法會改善環境衞生及市容事宜小組委員會視察元朗垃圾收集及鼠患監察設施
立法会改善环境卫生及市容事宜小组委员会视察元朗垃圾收集及鼠患监察设施
LegCo Subcommittee on Issues Relating to the Improvement of Environmental Hygiene and Cityscape visits refuse collection and rodent surveillance facilities in Yuen Long (2021.04.26)
Chapter relating an Irish eviction from Ireland under Coercion - (Diary of an American) by William Henry Hurlbert 1888.
Hurlbert's account of the 'oppression, excesses and exploitation of the Irish people' by the English.
Published by David Douglas, Edinburgh.Brown cloth boards, 346 pages 20cm x 13.5cm.
立法會鐵路事宜小組委員會前往港鐵何東樓車廠視察東鐵線新列車
立法会铁路事宜小组委员会前往港铁何东楼车厂视察东铁线新列车
LegCo Subcommittee on Matters Relating to Railways visits the new East Rail Line train at MTR Ho Tung Lau Depot (2016.05.23)
Richard McDonald and John Burke, Relate Software at their stand at the Chartered Accountants Ireland Annual Technology Forum, CA House 14th January 2015. Pic Iain White
Played my ukulele today, both tim minchin and lucy spraggan released music today so that was pretty exciting.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
立法會鐵路事宜小組委員會視察港鐵南港島線 (東段)
立法会铁路事宜小组委员会视察港铁南港岛线 (东段)
LegCo Subcommittee on Matters Relating to Railways visits MTR South Island Line (East) (2016.12.12)
立法會銀齡咭相關事宜小組委員會參觀樂齡科技教育及租賃服務中心
立法会银龄咭相关事宜小组委员会参观乐龄科技教育及租赁服务中心
LegCo Subcommittee on Issues Relating to the Silver Age Card visits Gerontech Education and Rental Service Centre (2021.07.20)
A ONU recolle as vulneracións dos dereitos lingüísticos en Galiza
A Mesa pola Normalización Lingüística presentoulle esta semana a Fernand de Varennes, relator especial para as minorías da Oficina do Alto Comisionado das Nacións Unidas para os Dereitos Humanos, evidencias das vulneracións dos dereitos lingüísticos da poboación galega que se están producindo na educación, na xustiza, na administración ou no consumo, promovidos ou consentidos polo Estado e pola Xunta. A Mesa, que xa intervira en xuño do 2015 no Consello de Dereitos Humanos da ONU en Xenebra, manterá o contacto co relator para informalo das situación en Galiza.
No seu informe preliminar, que ven de ser publicado na web das Nacións Unidas, De Varennes salienta que “as minorías lingüísticas teñen dereito a usar o seu idioma nas súas interaccións coas autoridades e institucións estatais, sempre e cando sexa razoábel e xustificado, segundo a proporción da poboación que o fale localmente, pero isto segue sen cumprirse nalgunhas rexións”. O Relator lembra, explicitamente, que -tal e como vén denunciando a Mesa en innúmeras ocasións- “disposicións como o Artigo 231 da Lei orgánica do poder xudicial son un obstáculo importante para o cumprimento por parte de España das súas obrigas internacionais en relación co uso cooficial das linguas minoritarias, xa que estipula que nos procedementos xudiciais, os xuíces, maxistrados, fiscais, secretarios e outros funcionarios utilizarán a lingua castelá e que as linguas minoritarias cooficiais só se permitirán se ningunha das partes se opón. Isto, na práctica, levou a que en moitos, se non na maioría dos casos, as autoridades xudiciais penais, civís e administrativas non permitan os procedementos en comunidades autónomas na lingua minoritaria cooficial, mesmo se o solicita unha parte”. “Este obstáculo xeral para o uso dun idioma cooficial minoritario”, afirma De Varennes no seu informe preliminar, “xera preocupacións en canto ao cumprimento das obrigas internacionais de dereitos humanos que se detallarán no informe final”.
É a primeira vez que un representante da ONU vén a Galiza para avaliar a situación dos dereitos lingüísticos da cidadanía o que, dende a Mesa, se considera un éxito da mobilización social a prol do galego. Neste sentido, Marcos Maceira, presidente da entidade salienta que “é máis fácil falar da situación do galego cun representante da ONU que co presidente da Xunta” e denuncia que iso “é un déficit democrático que debe ser corrixido”. “A visita do relator da ONU é un éxito da mobilización social”, asegura, “que debe intensificarse para que Estado e Xunta asuman que vulnerar os dereitos lingüísticos é un ataque aos dereitos humanos”. Representantes da Mesa recordáronlle a Varennes que o Estado español e a Xunta de Galiza deben garantir o principio de que os dereitos lingüísticos son dereitos humanos e entregáronlle un informe no que salientan a indefensión da poboación galega ante discriminacións lingüísticas. “No caso de Galiza”, asegura Maceira, “este papel corresponde en solitario á sociedade civil, sen que os organismos públicos actúen ao respecto da defensa dos dereitos lingüísticos da súa cidadanía”.
Reflexións preliminares do Relator Especial con respecto ás linguas
A Guía práctica de 2017 sobre os dereitos lingüísticos das minorías lingüísticas publicada baixo o mandato do Relator Especial da ONU sobre cuestións das minorías destaca o papel central e a importancia do idioma para as minorías lingüísticas e pon de manifesto as obrigas do Estado en virtude de diversos instrumentos do tratado da ONU. A competencia das comunidades autónomas nos campos da educación, dos servizos sociais e doutras áreas levou a unha variedade de modelos e prácticas que se adoptan en diferentes comunidades autónomas e reflicten contextos, poboacións e expectativas moi diversos.
Unha preocupación atopada polo Relator Especial en varias ocasións en reunións con organizacións da sociedade civil foi a sensación de que existía unha desconexión entre o estado reclamado dos idiomas cooficiais e o alcance do seu uso real e da implementación da lexislación. Por exemplo, sinalouse que os xuíces e os funcionarios encargados de facer cumprir a lei, como a policía nacional, non están suxeitos a ningún requisito de coñecemento dun idioma cooficial, até cando exercen nunha comunidade autónoma. Suxeriuse que isto conduce a un número significativo de queixas e frustracións nalgunhas comunidades autónomas e a desafortunados malentendidos e até á negación ou discriminación no acceso aos servizos públicos.
Segundo o recomendado por outras organizacións internacionais, incluído o Comité de Ministros do Consello de Europa, disposicións como o artigo 231 da Lei orgánica do poder xudicial son un obstáculo importante para o cumprimento por parte de España das súas obrigas internacionais en relación co uso cooficial das linguas minoritarias, xa que estipula que nos procedementos xudiciais, os xuíces, maxistrados, fiscais, secretarios e outros funcionarios utilizarán a lingua castelá e que as linguas minoritarias cooficiais só se permitirán se ningunha das partes se opón. Isto, na práctica, levou a que en moitos, se non na maioría dos casos, as autoridades xudiciais penais, civís e administrativas non permitan os procedementos en comunidades autónomas na lingua minoritaria cooficial, mesmo se o solicita unha parte. Este obstáculo xeral para o uso dun idioma cooficial minoritario xera preocupacións en canto ao cumprimento das obrigas internacionais de dereitos humanos que se detallarán no informe final.
A Mesa pola Normalización Lingüística
É unha entidade social independente, constituída en 1986 e da que forman parte arredor de 5000 socias e socios e que ten como obxectivo a normalidade plena da lingua galega. Neste sentido, a defensa do dereito ao emprego do galego en Galiza en todas as situacións e contextos é unha das súas principais liñas de actuación. Entendemos que o dereito ao uso da lingua propia non se pode desligar dos máis elementais dereitos humanos, civís e democráticos. A entidade dotouse do Observatorio de Dereitos Lingüísticos que conta cun comité asesor formado por xuristas e persoas expertas en diferentes ámbitos. O Observatorio elabora relatorios e informes que envía a diferentes institucións públicas galegas, estatais ou, recentemente, ao comité de expertos do Consello de Europa para a Carta europea das linguas rexionais e minorizadas. Anualmente presenta publicamente o seu informe A Liña do Galego baseado nos casos de vulneracións de dereitos lingüísticos, mais tamén nas consultas ou parabéns a quen si os garante. A Mesa pola Normalización Lingüísitica forma parte da Rede Europea para a Igualdade das Linguas – ELEN.
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
ETYMOLOGY AND OTHER NAMES
Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).
Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.
ICONOGRAPHY
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.
The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
COMMON ATTRIBUTES
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
VAHANAS
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
ASSOCIATIONS
OBSTACLES
Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.
BUDDHI (KNOWLEDGE)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
AUM
Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
FIRST CHAKRA
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
FAMILY AND CONSORTS
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
WOSHIP AND FESTIVALS
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
GANESH CHATURTI
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
TEMPLES
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.
RISE TO PROMINENCE
FIRST APEARANCE
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
POSSIBLE INFLUENCES
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.
First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).
VEDIC AND EPIC LITERATURE
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
PURANIC PERIOD
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
SCRIPTURES
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
BEYOND INDIA AND HINDUISM
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
WIKIPEDIA
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
Go to Page with image in the Internet Archive
Title: The principles of surgery, as they relate to wounds, ulcers and fistulas, etc. Also, a system of surgical operations ... And a series of cases, calculated to illustrate ... the doctrine of tumours, etc, Vol. 1
Creator: Bell, John, 1763-1820. n 85017657
Publisher: London : Longman
Sponsor: Wellcome Library
Contributor: Wellcome Library
Date: 1815
Vol: Vol. 1
Language: eng
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
Postcard FTP01314_38
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
The CSIS Sumitro Chair for Southeast Asia Studies is pleased to invite you to participate in the " Dynamic Philippine Economy: Growth, Reform, and Looking Ahead" conference on Wednesday, June 24, 2015.
CSIS will bring together key thought leaders, business executives, and policy makers from the Philippines and the United States for a discussion on how key economic trends relate to the future of U.S.-Philippine relations. The focus will be on trade, investment, innovation, development, and other important business trends in the Philippines.
Featuring:
Mr. Ernest Z. Bower
Senior Adviser and Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
H.E. Jose L. Cuisia, Jr.
Ambassador
Embassy of the Philippines
The Hon. Stefan Selig
Under Secretary for International Trade
U.S. Department of Commerce
The Hon. Gregory L. Domingo
Secretary
Philippines Department of Trade and Industry
Mr. Guillermo Luz
Co-Chairman
Philippines National Competitiveness Council
Mr. Andres Gluski
President and CEO
AES Corporation
Mr. Matt Bohn
Vice President and Former Philippines Country Director
Millennium Challenge Corporation
Mr. Matthew P. Goodman
William E. Simon Chair in Political Economy and Senior Adviser for Asian Economics
Center for Strategic and International Studies
The Hon. John Negroponte
Co-Chair
US-Philippines Society
The Hon. Cesar V. Purisima
Secretary
Philippines Department of Finance
The Hon. Rogelio Singson
Secretary
Philippine Department of Public Works and Highways
Ms. Cosette V. Canilao
Executive Director
Public-Private Partnership Center
Mr. Guillermo D. Luchangco
Chief Executive Officer and Chairman
Investment & Capital Corporation of the Philippines
Mr. Robert Prieto
Senior Vice President - Infrastructure
Fluor Corporation
Mr. Bernard Sheahan
Director, Infrastructure & Natural Resources
International Finance Corporation
Dr. Scott Kennedy
Deputy Director, Freeman Chair in China Studies, and Director, Project on Chinese Business and Political Economy
Center for Strategic and International Studies
The two letters which follow in the series are both dated “Tripoli, October 24, 1821,” and relate principally to what occurred on the passage from England to Africa.
“We are here at last, and a pretty place it is; so built, however, that three can scarcely walk a-breast in the streets: every few yards a house is in ruins, for there exists among the Moors a strange dislike to repair any thing, particularly houses. Whether that arises from indolence or superstitious notions, I cannot tell, but the fact is evident to the most superficial observer. Our passage to Malta was exceedingly agreeable—long certainly, but pleasant company prevented tedium. I visited the galleries at Gibraltar, and was highly pleased with the grandeur of the design. Your favourite fort, Malta, excited very little interest in my mind, not that the place is deficient in interest, but we were fretful from experiencing great harassment from individuals who ought to have forwarded our views, so that a disinclination to enjoy any thing was induced. On our arrival here, we found matters far beyond our expectation; far to the south of Bornou is[13] open to us, and almost entirely subject to the pasha of Tripoli. All our route is clear and free from danger. The pasha’s word is a law not to be disobeyed, and he has pledged himself to protect us fifty-seven days’ journey beyond Bornou. On our landing, that favourable intelligence made us leap for joy. The Mahometans here are a most liberal sort of men, and tolerate people of every religious persuasion—a circumstance almost unknown in any other Mahometan country. The police is admirable, so that a stranger may traverse every part of the city without the least apprehension. As to the moral condition of the people, I can say but little, as I have had very imperfect opportunities of observing them.
“I must now describe to you my introduction to the pasha. The court-yard was filled with people of very different complexions, mostly the servants, guards, and relations of the pasha. The group had a most motely appearance; many were superbly dressed, others were in rags and filthy in the extreme. The room in which his Highness was seated was decent, with nothing gaudy. He sat at the farther end of the room, and his two sons sat on chairs at the other end of it; while many of his guards and ministers stood in different positions round the chamber. He was grave, and his muscles were as motionless as those of a statue, so much so that I was several times inclined to laugh. The gravity, however, ceased after a little[14] conversation, and then a scene was displayed far from being disagreeable. He conversed with apparent pleasure on the success of his arms, and on the great distance to which he could convey the mission in perfect safety. That, you may be assured, was agreeable intelligence to us, and inspired us with hopes of almost certain success. I had to prescribe for him, for no sooner had I entered the room than my advice was requested. The two sons present were tolerably good-looking men; the elder of them was corpulent and very like his father; and the younger of them tall, slender, and, upon the whole, a good-looking young man. The pasha’s dress was clean, plain and neat. I hope we shall be able to set off early in December—a fine season for travelling—and expect to eat our new yearday’s dinner in Mourzuk. We travel in European dresses, and in this respect we shall be different from most of the former travellers in this part of Africa. The pasha approves of our resolution, and the consul is highly delighted with it. Indeed, on reflecting seriously on the matter, I think the plan is by far the most judicious. Hypocrisy almost always engenders suspicions; and the people well know that our pretensions to be of their religion are only feigned.”
The Painting
This painting is currently (2025) on display at the Tate Britain in Millbank, London. The Tate provides the following information relating to the work:
'John Everett Millais 1829 - 1896
Born Southampton, lived St. Helens
(Jersey), Dinan (France), London.
Ophelia 1851 - 2
Oil paint on canvas.
This painting depicts the death of
Ophelia from Shakespeare's Hamlet.
Traumatised by her family, her cancelled
betrothal and the murder of her father
by her fiancé, Ophelia drowns in a stream
after roaming the countryside looking for
flowers.
John Everett Millais painted the setting
leaf-by-leaf by the Hogsmill River in
Surrey.
The artist and model Elizabeth Siddal
posed as Ophelia by wearing a wedding
dress in a filled bathtub.
Siddal and the other working-class women
who joined the Pre-Raphaelite circle as
colleagues, friends and wives challenged
Victorian expectations of arranging marriages
for money and status.
Presented by Sir Henry Tate, 1894.'
John Everett Millais
Sir John Everett Millais, who was born on the 8th. June 1829, was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood.
He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street (now number 7).
Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1849–50) generating considerable controversy, and he produced a picture that could serve as the embodiment of the historical and naturalist focus of the group, Ophelia, in 1851–52.
By the mid-1850's, Millais was moving away from the Pre-Raphaelite style in order to develop a new form of realism in his art.
His later works were enormously successful, making Millais one of the wealthiest artists of his day, but some former admirers, including William Morris, saw this as a sell-out (Millais notoriously allowed one of his paintings to be used for a sentimental soap advertisement).
While these and early 20th.-century critics, reading art through the lens of Modernism, viewed much of his later production as wanting, this perspective has changed in recent decades, as his later works have come to be seen in the context of wider changes and advanced tendencies in the broader late nineteenth-century art world, and can now be seen as predictive of the art world of the present.
Millais' personal life has also played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, who had supported Millais's early work. The annulment of the Ruskin marriage and Effie's subsequent marriage to Millais have sometimes been linked to his change of style, but she became a powerful promoter of his work, and they worked in concert to secure commissions and expand their social and intellectual circles.
-- John Everett Millais - The Early Years
Millais was born in Southampton of a prominent Jersey-based family. His parents were John William Millais and Emily Mary Millais (née Evermy). Most of his early childhood was spent in Jersey, to which he retained a strong devotion throughout his life.
The author Thackeray once asked him "when England conquered Jersey". Millais replied "Never! Jersey conquered England." The family moved to Dinan in Brittany for a few years in his childhood.
John's mother's forceful personality was the most powerful influence on his early life. She had a keen interest in art and music, and encouraged her son's artistic bent, promoting the relocating of the family to London in order to help develop contacts at the Royal Academy of Art. He later said:
"I owe everything
to my mother."
In 1840, John's artistic talent won him a place at the Royal Academy Schools at the still unprecedented age of eleven. While there, he met William Holman Hunt and Dante Gabriel Rossetti with whom he formed the Pre-Raphaelite Brotherhood (known as the "PRB") in September 1847 in his family home on Gower Street, off Bedford Square.
-- Millais' Pre-Raphaelite Works
Millais's Christ in the House of His Parents (1849–50) was highly controversial because of its realistic portrayal of a working class Holy Family labouring in a messy carpentry workshop.
Later works were also controversial, though less so. Millais achieved popular success with A Huguenot (1851–52), which depicts a young couple about to be separated because of religious conflicts. He repeated this theme in many later works.
All these early works were painted with great attention to detail, often concentrating on the beauty and complexity of the natural world.
In paintings such as Ophelia (1851–52), Millais created dense and elaborate pictorial surfaces based on the integration of naturalistic elements. This approach has been described as a kind of "pictorial eco-system".
Mariana is a painting that Millais painted in 1850–51 based on the play Measure for Measure by William Shakespeare and the poem of the same name by Alfred, Lord Tennyson, from 1830. In the play, the young Mariana was to be married, but was rejected by her betrothed when her dowry was lost in a shipwreck.
-- Millais and Euphemia Gray
John's style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics. Millais's friendship with Ruskin introduced him to Ruskin's wife Effie (1828 - 1897).
Soon after they met, she modelled for his painting The Order of Release. As Millais painted Effie, they fell in love. Despite having been married to Ruskin for several years, Effie was still a virgin. Her parents realised something was wrong, and she filed for an annulment.
In 1855, after her marriage to Ruskin was annulled, Effie and John Millais married. He and Effie eventually had eight children. Their youngest son, John Guille Millais, became a naturalist, wildlife artist, and Millais's posthumous biographer.
Their daughter Alice (1862–1936), later Alice Stuart-Worsley, was a close friend and muse of the composer Edward Elgar, and is thought to have been an inspiration for themes in his Violin Concerto.
Effie's younger sister Sophie Gray sat for several pictures by Millais, prompting some speculation about the nature of their apparently fond relationship.
-- Millais' Later works
After his marriage, Millais began to paint in a broader style, which was condemned by Ruskin as "a catastrophe". It has been argued that this change of style resulted from Millais's need to increase his output in order to support his growing family.
Unsympathetic critics such as William Morris accused him of "selling out" to achieve popularity and wealth.
His admirers, in contrast, pointed to the artist's connections with Whistler and Albert Moore, and influence on John Singer Sargent. Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness. In his article "Thoughts on our Art of Today" (1888), he recommended Velázquez and Rembrandt as models for artists to follow.
Paintings such as The Eve of St. Agnes and The Somnambulist clearly show an ongoing dialogue between the artist and Whistler, whose work Millais strongly supported.
Other paintings by Millais from the late 1850's and 1860's can be interpreted as anticipating aspects of the Aesthetic Movement. Many deploy broad blocks of harmoniously arranged colour, and are symbolic rather than narratival.
From 1862, the Millais family lived at 7 Cromwell Place, Kensington, London.
Later works from the 1870's onwards demonstrate Millais's reverence for Old Masters such as Joshua Reynolds and Velázquez. Many of these paintings were on an historical theme. Notable among these are The Two Princes Edward and Richard in the Tower (1878), The Northwest Passage (1874) and the Boyhood of Raleigh (1871).
Such paintings indicate Millais's interest in subjects connected to Britain's history and expanding empire. Millais also achieved great popularity with his paintings of children, notably Bubbles (1886) – famous, or perhaps notorious, for being used in the advertising of Pears soap – and Cherry Ripe.
John's last project (1896) was to be a painting entitled "The Last Trek". Based on his illustration for his son's book, it depicted a hunter lying dead in the veldt, his body contemplated by two onlookers.
-- Millais' Later Career
John's many later landscape paintings usually depict difficult or dangerous terrain. The first of these, Chill October (1870), was painted in Perth, near his wife's family home. It was the first of the large-scale Scottish landscapes that Millais painted periodically throughout his later career.
Usually autumnal and often bleakly unpicturesque, they evoke a mood of melancholy and sense of transience that recalls his cycle-of-nature paintings of the later 1850's, especially Autumn Leaves and The Vale of Rest, though with little or no direct symbolism or human activity to point to their meaning.
In 1870 Millais returned to full landscape pictures, and over the next twenty years painted a number of scenes of Perthshire where he was annually found hunting and fishing from August until late into the autumn each year.
Most of these landscapes are autumnal or early winter in season and show bleak, dank, water-fringed bog or moor, loch, and riverside. Millais never returned to "blade by blade" landscape painting, nor to the vibrant greens of his own outdoor work in the early fifties, although the assured handling of his broader, freer later style is equally accomplished in its close observation of scenery.
Christmas Eve (1887), John's first full landscape snow scene, was a view looking towards Murthly Castle.
-- Millais' Illustrations
Millais was also very successful as a book illustrator, notably for the works of Anthony Trollope and for the poems of Tennyson. His complex illustrations of the parables of Jesus were published in 1864. His father-in-law commissioned stained-glass windows based on them for Kinnoull Parish Church, Kinnoull.
John also provided illustrations for magazines such as Good Words. As a young man, Millais frequently went on sketching expeditions to Keston and Hayes. While there he painted a sign for an inn where he used to stay, near to Hayes church.
-- Millais' Academic Career and Baronetage
Millais was elected as an associate member of the Royal Academy of Arts in 1853; a decade later in 1863, he was elected as a full member of the Academy, in which he was a prominent and active participant.
In July 1885, Queen Victoria created him a baronet, of Palace Gate, in the parish of St. Mary Abbot, Kensington, in the county of Middlesex, and of Saint Ouen, in the Island of Jersey. This make him the first artist to be honoured with a hereditary title.
After the death of Lord Leighton in 1896, Millais was elected President of the Royal Academy.
-- Millais' Death and Legacy
John died in Kensington at the age of 67 on the 13th. August 1896 from throat cancer, and was laid to rest in the crypt of St Paul's Cathedral.
Following his death, the Prince of Wales (later to become King Edward VII) chaired a memorial committee which commissioned a statue of the artist. The statue, by Thomas Brock, was installed at the front of the National Gallery of British Art (now Tate Britain) in the garden on the east side in 1905.
On the 23rd. November 1905, the Pall Mall Gazette called it:
"A breezy statue, representing the
man in the characteristic attitude in
which we all knew him".
In 1953, Tate director Norman Reid attempted to have John's statue replaced by Auguste Rodin's John the Baptist, and in 1962 again proposed its removal, calling its presence "positively harmful".
Reid's efforts were frustrated by the statue's owner, the Ministry of Works. Ownership was transferred from the Ministry to English Heritage in 1996, and by them in turn to the Tate. In 2000, under Stephen Deuchar's directorship, the statue was removed to the side of the building to welcome visitors to the refurbished Manton Road entrance.
In 2007, the artist was the subject of a major retrospective at Tate Britain, London visited by 151,000 people. The exhibition then traveled to the Van Gogh Museum, Amsterdam, followed by venues in Fukuoka and Tokyo, Japan, and seen by over 660,000 visitors in total.
Millais's relationship with Ruskin and Effie has been the subject of several dramas, beginning with the silent film The Love of John Ruskin from 1912. There have also been stage and radio plays and an opera.
The 2014 film Effie Gray, written by Emma Thompson, featured Tom Sturridge as Millais.
The Pre-Raphaelites have been the subjects of two BBC period dramas. The first, entitled The Love School, was shown in 1975, starring Peter Egan as Millais. The second was Desperate Romantics (2009), in which Millais is played by Samuel Barnett.
Laurie Kynaston portrayed Millais in the Paramount+ adaptation of Elizabeth Macneal's The Doll Factory (2023).
Final thought from Ian Dury and the Blockheads:
"There ain’t half been
some clever bastards ..."
How do we play today and how might we play tomorrow? This Friday Late, visitors discovered how makers and players are pushing boundaries, challenging ideas of what play can be and how it relates to society as a whole. Riddles were posed to as routes out of escape rooms and groups worked together to decode puzzles of dancers. Newly commissioned videogames were played and members of the public took their first steps in designing their very own, in an exploration of the future of games and gaming.
Photography: Karolina Wielocha @karolina.wielocha
via Instagram ift.tt/1Kjwo9d Found a couple of figures in a box that I could relate to. Big, goofy grinning hairy guys trying to not be a dork around pretty ladies. #TomKhayos #ToyGameScroogeMcDuck #toyfinds #toyhustle #ToyGameJohnRockefeller #toyhorder #toyhunting #toytrades #toysagram #RagingNerdgasm #actionfigures #artimitateslife #sasquatch #harryandthehendersons #scorpionking #JakksPacific #justoys #bendy #bigfoot ift.tt/1Kjwo9d
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
Herculaneum / Pompeii, Italy- The Problems relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii during the 20th / 21st century as reported in THE NEW YORK TIMES, THE TIMES (LONDON), and THE WASHINGTON POST (WASHINGTON DC, USA), ca. (1904-2002). [forthcoming].
Ercolano / Pompei, Italia-i problemi relativi alla gestione e scavi degli Scavi Archeologici di Ercolano / Pompei durante il 20 ° / 21 ° secolo come riportato dal New York Times, The Times (London), e il Washington Post (Washington DC, USA), ca. (1904-2002). [Prossima].
via
Tips about how to Prevent Sewer Blockages from Fats, Oils and Grease (FOG) in Horace, North Dakota
What exactly is FOG?
FOG relates particularly to fats, oils and grease getting into the sewer system when put down drain pipes in houses, apartments rentals, eating places, market and public venues.
As a end result of cooking, FOG is normally present in:
Baking goods
Butter, lard, shortening
Cooking oil
Fats and oil from cooked meats
Food scraps
Gravy
Mayonnaise
Salad dressings
Sauces
Sour cream
Why is FOG an issue?
Obstruction can cause sewer line overflows in your yard. More often than not, fats, oils and grease are discarded incorrectly in the course of preparing food and kitchen area clean-up. When put down the sink (drain or floors), FOG can accumulate and form up, obstructing clean sewer lines. This build up but not only cuts down on the capability with the wastewater collection system, additionally it changes its usefulness.
In serious instances, obstruction can result in:
Sewage back ups into businesses and homes and
Sewers that flood on to roads and real estate, ultimately pass into nearby rivers, leading to contaminants.
How will you assist?
The simplest way to resolve the grease issue and assist to stop overflows of raw sewage would be to keep this substance out from the sewer system. As a result of education and learning and also by implementing specific behavior, you can easily reduce FOG places in your own home.
In the kitchen area, fats, oils and grease (FOG) will come mainly from pre-rinsing pots and pans or cleaning cookware. When cooking food FOG is permitted to go down the sink, it cools down within the wastewater system and stays with plumbing, making FOG accumulation. The accumulation leads to blockages and backups in businesses and homes, wastewater overflows, and leaks on personal residences, roadways, and local surface areas. FOG accumulation also raises the expense of sustaining Horace wastewater treatment methods, therefore affecting prices and will also generate community health issues.
Suggestions to maintain your drainpipes fat-free:
Put cooled down fats, oils and grease in to a jar and place the jar inside the garbage. If you do not possess a pot, put aluminum foil in to a coffee mug or comparable, add FOG, let it cool and get rid of.
Prior to cleaning, make use of a paper napkin or paper hand towel to clean FOG from pots and pans and dump it inside the garbage.
Use kitchen sink strainers to capture food items waste materials.
Place food leftovers inside the garbage, not over the garbage disposer.
The easiest method to handle grease and fats will be to clean them off of or put them into storage containers and get rid of them in the garbage disposal. By no means place fats or grease down the kitchen sink drain pipes or in to the commode.
There’s a nationwide marketing campaign called “Can the Grease” all through the USA that promotes using correct removal of FOG.
Restaurants along with other business kitchen areas have to have grease traps or interceptors put in. These companies are controlled by inspection regularly by Local personnel. Make sure you call us to learn more.
Exactly what is a grease trap or grease interceptor and just how do you use it?
Grease traps and interceptors are units built to maintain Fats, Oils and Grease (FOG) from getting into public sewage lines. They may be found inside of or outside of the kitchen area, based on the application. Generally, they are created to keep FOG-laden discharge for enough time for grease within the water to cool down, firm up and separate from the rest of the waste materials. When the grease has split up, it may be discarded correctly.
Should i use a grease trap or interceptor inside my eatery or food service business?
Any business that deals with any kind of food really should use a grease trap or interceptor. Even smaller food providers like coffee houses who serve items with dairy products need to use a grease trap or interceptor to help keep FOG from heading down the sink. A business will have to use a grease trap or interceptor if the side sewer line contains a visually apparent build up of fat, oil or grease. Make reference to the most recent Standard Plumbing Code (offered at your public library) for dimensions requirements.
Just how much will a grease trap or interceptor cost and who should I contact to obtain one to get set up?
They range in price, based on dimension and application and will begin as little as a few hundred to thousands. Make sure you speak to a licensed pluming company in your community for costs.
Who decides if I require a grease trap or interceptor?
In the event your food company business deals with food items and washes pots and pans, you probably have to use a grease trap or interceptor. Your decision depends on the kind of use and decided upon from the professional and local staff.
Who is mainly responsible for setting up a grease interceptor?
Each and every business that deals with food items of any type – from your coffee house offering dairy along with milk products to your bistro preparing deep-fried meals – is likely releasing FOG. All food providers are accountable for putting in a unit to help keep FOG from getting into their side sewer line and also the general public sewer range.
What happens if I do not install a grease trap or interceptor?
If your business handles any food items which contains fat, oil and grease, you may ultimately experience a maintenance issue for instance a obstruction within the building sewer line. A obstruction can certainly create sewage back-up circumstance and consequently a possible health issue for your business. If the issue is within the building sewer line, then your business is directly accountable for having to pay for the clean-up fees and damage to property. A business can also be instructed to shut down the business until an examiner certifies all health problems are solved.
When the obstruction is incorporated in the public sewer main and Horace, North Dakota can validate how the methods of the particular business has resulted in the obstruction, then that business might have to pay for any public clean-up expenses, damage to property and public sewer servicing expenses to alleviate the obstruction. The business may also be instructed to put in a grease trap or interceptor or update a current system to intercept food and FOG.
Septic Tank Cleaning Horace ND
How frequently do i need to thoroughly clean my grease trap/grease interceptor?
A grease trap or interceptor needs to be on a regular basis taken care of in order to meet the 25% Rule – no more than 25%, by volume, from the trap or interceptor ought to accumulate of food and FOG. If in excess of 25% of food and FOG build up within the trap or interceptor, it is more probable not to work correctly and releasing food and FOG to your building sewer line as well as the public sewer system. Exclusions to the 25% Rule are suitable for devices that can keep greater than 25% FOG and will also be exclusively produced in the manufacturers specs.
Every business ought to figure out a particular cleaning routine that suits their organization. Some organizations will have to clean their trap or interceptor more frequently than others. It is very important to keep in mind that using kitchen very best management methods, like scraping your dishes, cooking pots, and pans, will decrease the volume of food and FOG that release right into a trap or interceptor, consequently reducing the regularity for cleaning.
Just how do i keep clean and maintain my grease trap/grease interceptor?
Grease trap maintenance is generally done by maintenance employees or any other workers from the business. Grease interceptor (GI) maintenance, that is generally done by authorized haulers or recyclers, includes taking out the total quantity (liquids and solids) from the GI and effectively getting rid of the FOG in compliance with all federal government, state, and/or local laws. When executed correctly and at the correct regularity, grease interceptor and trap maintenance can help reduce the release of FOG in to the wastewater collection system. The necessary routine maintenance frequency for grease interceptors and traps will depend on significantly on the volume of FOG a center yields together with any best management practices (BMPs) that the business utilizes to cut back the FOG released into its sanitary sewer system. In most cases, a business that utilizes BMPs will recognize financial advantage via a decrease in their needed grease interceptor and trap maintenance regularity.
from Portapro Septic Services portaprosepticservices.com/grease-trap-cleaning-horace-nd/ portaprosepticservices.tumblr.com/post/158654019470
Fairy Tail draws pictures relating to San Valentin anime.saqibsomal.com/2016/02/26/anime/fairy-tail-draws-pi...
Kenneth Adrian Wilson, Kenneth Adrian Wilson photographs relating to Wellington, Alexander Turnbull Library, Reference: 1/2-136016-F
Published in the Wellingtonian 21 October 2010
On a wet and windy winter day in 1901 the Duke and Duchess of Cornwall came to town. It was the first of last century’s grand royal tours. Nearly everyone poured onto the streets to welcome them.
One of the features of the visit were our grand welcoming arches. We excelled. On landing at Queen’s Wharf the royal couple were driven up Jervois Quay, under a tri-coloured "Citizens' Arch" and a Woollen Company arch made of wool bales. In Cuba Street there was a Māori arch and a Marlborough arch featuring sheaves of grain. Manners Street featured a Chinese arch. Along Lambton Quay there was the buttermen's arch "cunningly made of butter boxes and trade brands", and a Westport arch featuring huge lumps of coal.
Almost at the end, outside the Government buildings, was the impressively turreted Government arch shown here, and just out of the picture to the right, at the entrance to Parliament, was the main Māori arch – "the best Māori arch in all New Zealand" according to the official history of the visit.
No other town did so well, although they tried. Christchurch, for example, proudly featured a meat arch showing off carcasses of frozen mutton, and their agricultural arch had penned bullocks at its base, cages of sheep, and clucking poultry on top.
See other images of the 1901 royal visitors in Wellington
Permission of the National Library of New Zealand Te Puna Mātauranga O Aotearoa, must be obtained before any reuse of this image.
Wellingtonians: From the Turnbull Collections contains revised and expanded entries, and some new ones too. This high-quality publication is available for just $29.99. You can pick it up from from good bookshops or get it straight from the publisher, Steele Roberts.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
As most people collect, they end up meeting interesting people that they can relate to. I've certainly met my share of them, and have managed to obtain a few pieces with some assistance from them. As a result, hailing all the4 way from Singapore, we have the Hot Toys Exclusive (whatever that means) Avengers 2: Age of Ultron - Maria Hill figure.
I know they weren't super expensive back in the day (MSRP I mean), but by the time Sideshow got their hands on it, this figure cost $215 USD, which definitely cost more than your run of the mill figure back in the day, all the while being less equipped than they were. I managed to snag one that was opened and resealed in a box for $170 USD shippped.
You get the figure, 3 pairs of hands, walkie talkie, Bluetooth earpiece, and a pistol. Oh, and the usual base/stand.
Now, I learned about Pleather deterioration, but completely forgot about how tropical weather like in Singapore would affect a figure. It's not the worst I've seen, as some of my Widows have similar damage, but they've lived in Canada all their lives.
But it is unfortunate seeing how I didn't exactly score this figure for Garage Sale prices. I'm hoping my coats of leather paint prevents things from getting worse.
What I wasn't expecting was the effect of humidity on paint in contact with plastic. Hot Toys gave the sculpt some lovely blush to accentuate her cheeks. Well, that all turned from pink to yellow, so it looks kinda weird.
Unfortunate, but I treat it as a learning lesson on things to look out for when I finally make my way back to Asia to unleash holy hell on the secondary toy market.
So with the downers out of the way, the rest of the figure is pretty standard. I believe Maria uses a slightly taller version of the Widow body, which is a bit tall and narrow in the torso, but overall is a closer match to Colbie Smulders than Scarlett Johansson.
Maria was made when they still made softer fabric uniforms. I'd describe the feel of what she's wearing as being whatever Jeggings are made from. The upper body generally has full use of its faculties - unfortunately the body doesn't have Butterfly style shoulders, which is unfortunate as Maria could have really used them, especially for her pistol and arm crossed poses. Legs are restricted despite the softer fabric, though isn't as bad as with Winter Soldier Black Widow.
The head sculpt I'm actually quite impressed with. It's not perfect - they never are and if anyone says so, they're probably just not looking hard at the thing... or in some instances, not looking at all. The eyes are off, and the sculpted hair throws things off. But ultimately, it comes down to the jaw being too square, even for Colbie Smulders. On the whole, however, its probably 70 - 80% there, which is a lot more than I can say about any Black Widow up to that point, and Hot Toys accomplished that with one try as well.
Paint, I'm not really in a position to comment on. But, it appears if you can see past the discoloration, you'll see that the usual high quality is there. Build Quality is the usual high level, with nothing falling apart aside from the Pleather.
Overall, despite being a simpler figure I have to say I certainly like this better than I liked AoU Widow, which was just.. weird from a MCU perspective as well as from a Hot Toy perspective. I'll probably have to hunt down a WS Nick Fury to pair with her, but this time I'll be sure to make sure everything is is one piece.