This building was replaced by the four-story Stroehmann's Vienna Bakery factory expansion in 1911.

 

Ohio Valley Roofing Co., touted as the "largest roofers in the City" in 1906, specialized in tile, slate, tin, cornices, skylights, gravel, vulcanite, asphalt roofing, roof repairing and painting, and roofers' supplies.

 

- image from "Souvenir History of Wheeling", Philadelphia: Pictorial Publishing, 1906, Ohio County Public Library Archives

 

➤ Visit the Library's Wheeling History website

 

The photos on the Ohio County Public Library's Flickr site may be freely used by non-commercial entities for educational and/or research purposes as long as credit is given to the "Ohio County Public Library Archives, Wheeling, WV." These photos may not be reproduced in any format for profit or other presentation without the permission of the Ohio County Public Library.

➤ Contact the Ohio County Public Library to request permission for use or publication of materials.

SHANLING ヘッドホンアンプ UA2.

amzn.to/3BQdojB

元々ついていたハイレゾロゴのシールを剥がしたら、その下にレーザー加工で刻印されていました。

・・・シール必要なかったな。

 

ハイレゾのロゴステッカーが剥がれてきたので、AliExpressで購入。

さすがパチモンだけあって微妙にフォントが違う。

ja.aliexpress.com/item/1005004314428281.html

The Queen Victoria Building, now affectionately known as the QVB, was designed by George McRae and completed in 1898, replacing the original Sydney markets on the site. Built as a monument to the long reigning monarch, construction took place in dire times, as Sydney was in a severe recession. The elaborate Romanesque architecture was specially planned for the grand building so the Government could employ many out-of-work craftsmen - stonemasons, plasterers, and stained window artists - in a worthwhile project. Originally, a concert hall, coffee shops, offices, showrooms, warehouses and a wide variety of tradespeople, such as tailors, mercers, hairdressers and florists, were accommodated.

 

Over many decades, change saw the concert hall become the city library, offices proliferate and more tenants move in, including piano tuners, palmists and clairvoyants. Drastic 'remodelling' occurred during the austere 1930s and the main occupant was the Sydney City Council. As recently as 1959 the Queen Victoria Building was threatened with demolition. As it stands now, in all its glory. It is testimony to the original vision for the building and the superb craftsmanship of the artisans who put it all back together again.

 

The QVB fills an entire city block bound by George, Market, York and Druitt Streets. The dominant feature is the mighty centre dome, consisting of an inner glass dome and an exterior copper- sheathed dome. Glorious stained glass windows and splendid architecture endure throughout the building and an original 19th century staircase sits alongside the dome. Every detail has been faithfully restored, including arches, pillars, balustrades and the intricate tiled floors thus maintaining the integrity of the building.

 

The visual message of Sydney's coat of arms, on the cartwheel stained glass window, is that the beehive depicts business, the sailing ship - trade, and the dolphins - the harbour. Panel 1, on the left hand side, represents the Council of the City of Sydney, and symbols of architecture, while the letters I.G.B. on panel 3, on the right, represent Ipoh Gardens Berhad, the Malaysian company who restored the QVB.

 

The symbols are of property developers - the builders. The bottom central panel represents the heraldic symbol of a finished building and the joining of two hands denotes the fusing of two cultures. There are many interesting and charming exhibitions and attractions throughout the building, along with portraits of the Queen. There is also a letter from Queen Elizabeth II to the Citizens of Sydney to be opened and read by the Lord Mayor of Sydney in the year 2085. Outside the QVB, on Town Hall Place, facing The Town Hall are the Royal Wishing Well and Queen Victoria's statue.

 

From: www.qvb.com.au/About-QVB

 

During the middle of the Vietnam War, the USAF faced a number of procurement problems. Losses to the F-105 Thunderchief community were mounting to the point that it was thought the aircraft might become “extinct,” while the F-111 Aardvark, which was to replace the F-105, was having numerous teething troubles. Another problem was that the Sandy escort units for rescue helicopters were forced to use Korean War-era ex-US Navy A-1 Skyraiders, which, while good aircraft, were not getting any younger. The USAF needed an aircraft that could replace the A-1 and supplement the F-105 until the F-111 finally reached maturity—and it needed the aircraft immediately, and at low cost. After reviewing a number of options, the USAF settled on the US Navy’s A-7A Corsair II. The Navy’s F-4B had been adapted to USAF standards, and it was felt that the A-7 could be as well. An A-7A was bailed back to LTV for conversion to the USAF-specific A-7D variant.

 

Though externally little different to the Navy A-7A, the A-7D was actually a significant upgrade. Since the reliability of the TF30 engine was a concern, the D model would use a license-built version of the Rolls-Royce Spey turbofan; as the USAF did not use the 20mm cannon that the Navy preferred, these were deleted in favor of the more common M61 Vulcan 20mm gatling cannon. The refuelling probe was deleted in favor of the USAF-plug style refuelling receptacle. The first A-7D flew in September 1968. So successful was the A-7D in testing that the Navy would adopt a modified version as the A-7E.

 

Though at first reluctant to fly yet another Navy retread, especially one that was considered remarkably ugly—pilots quickly nicknamed the A-7 the SLUF (Short Little Ugly Fellow)—it soon gained a reputation for easy flying and, like its Navy “brother,” pinpoint bombing accuracy. In wing strength by 1970, it was soon deployed to Vietnam for combat operations, mainly to replace not just the A-1 but also the aging F-100 Super Sabre. USAF pilots found that the A-7 was not well suited to tropical operations: hot-and-high conditions meant that the A-7D took ten miles to generate enough power to climb above 500 feet, while a poor brake system caused it to be a real danger in landing on slick runways.

 

During Operation Linebacker, the A-7s went to North Vietnam, but only sparingly and usually in as Sandy escorts, which the Corsair II excelled at. They were far more effective in South Vietnam. Alongside Navy A-7Es, USAF A-7Ds brought the curtain down on the Vietnam War by participating in the Mayaguez rescue operation in May 1975, and were among the very last USAF aircraft to leave Southeast Asia. They had complied the best loss ratio of any combat aircraft during the war, with only six A-7Ds lost in over 12,000 missions.

 

With the post-Vietnam retirement of the A-1, F-100, and F-105, the A-7D was left as one of the few USAF attack aircraft, but the USAF planned to end procurement by 1975; postwar budget cuts led to additional Corsair II production to take up the slack. The F-111 had become a long-range strike aircraft, but for anticipated operations in Central Europe, the USAF preferred the development of the A-10 Thunderbolt II over A-7s. As a result, the USAF divested itself of most of its A-7s to the Air National Guard—somewhat to the chagrin of active-duty units, as ANG units began winning the coveted Gunsmoke bombing trophy with their A-7s. A minor upgrade mounting the Pave Penny laser designator to A-7Ds began in 1979.

 

The A-7D was well-liked by its ANG pilots, whose command became the sole domain of the Corsair II by 1983; when the South Carolina ANG gave up its A-7s for F-16s in 1985, it proved a difficult transition from the workmanlike A-7 to the nimble, fast F-16. One exception to this rule was the 4451st Test Squadron, based at Nellis AFB but operating from the small airbase at Tonopah, Nevada. No one quite knew what the 4451st was doing there, though rumors abounded; it was not until 1989 that it was revealed that the 4451’s A-7s were strictly for cover: its real equipment was the stealth F-117 Nighthawk.

 

With the A-10 in large numbers in theater, the USAF chose not to deploy ANG A-7s to the First Gulf War, though small numbers had seen action in Grenada and the 1989 invasion of Panama. At the end of Operation Desert Storm, with the Navy retiring their last two squadrons of A-7Es, the USAF decided to do the same, and the A-7D rapidly disappeared from active units in favor of the F-16, with the last leaving USAF service in 1993. A number were passed on to Greece, where it lasted until 2014 Of 1569 A-7s produced, just under half were USAF A-7Ds or two-seat A-7Ks, and today about 18 survive as museum aircraft.

 

This picture continues the one at www.flickr.com/photos/31469080@N07/16074139431/in/album-7... . It shows the rest of the formation as they make a hard break over the crowd at the 1981 Buckley ANGB airshow. These aircraft carry the then-new wraparound and subdued Southeast Asia camouflage used by A-7s in the early 1980s.

Both front wings were replaced.

Replacing an earlier scanned photo with a better version 27-Aug-18.

 

Named: "Innsbruck".

 

This aircraft was delivered to Austrian Airlines as OE-LMM in Mar-90. It was sold to a lessor in Jul-01 and immediately leased to Vanguard Airlines (USA) as N136NJ. Vanguard ceased operations at the end of Jul-02. It was returned to the lessor and initially stored at Kansas City, MO, USA before being moved to Tucson, AZ, USA in Oct-02 for further storage. The aircraft was leased to AeroMexico XA-TXH in May-03 and returned to the lessor in Feb-09. It was sold to Allegiant Air for spares as N399NV the following week and ferried to Mojave, CA, USA where it was permanently retired. The aircraft was last noted at Mojave in Apr-10 with both sides of the fuselage cut out.

 

Note: The registration OE-LMM was used again by Austrian charter airline MAP Jet between Dec-06/Sep-08. That aircraft, an MD-83, had previously been operated by Austrian Airlines as OE-LME.

Replacing an earlier scanned print with a better version 17-Mar-16.

 

First flown with the french temporary registration F-WWEV in May-96, the aircraft was stored at Toulouse before being delivered to Cityflyer Express as G-BXTN in Oct-97. Cityflyer were (and still are) a British Airways franchise partner and the aircraft was operated on behalf of British Airways Express. It was returned to ATR as F-WQNR in Aug-03 and stored at Dinard, France. In Feb-04 the aircraft became G-BXTN again when it was leased to Aurigny Air Services (Guernsey). It was returned to the lessor in Apr-09 as F-WKVC. In Jun-09 it was leased ro RAM Royal Air Maroc Express as CN-COD. It was returned to ATR in Dec-11 and sold to Aircraft Solutions Lux V-B Sarl with the Manx registration M-ABEG, then leased to fly540africa.com (Angola) as D2-FLC. Fly540 Angola ceased operations in May-14 and the aircraft was stored. It was returned to the lessor in Jan-16 as M-ABEG and continues in storage.

We're taking a new approach to how we perform critical inspection and maintenance of subway components that are necessary to providing reliable service -- FASTRACK. The third implementation of FASTRACK is taking place on the Sixth Avenue B/D/F/M Line from 57 Street to W 4 Street from Feb. 27 to March 2, 2012. Because a section of the subway is closed to trains for seven consecutive hours, FASTRACK is a safer and more efficient way to maintain and clean New York City's sprawling subway — a system that never closes.

 

With no trains running along Sixth Avenue, 800 MTA employees are able to inspect signals, replace rails and cross ties, scrape track floors, clean stations and paint areas that are not reachable during normal train operation. Workers also took the opportunity to clean lighting fixtures, change bulbs and repair platform edges while performing high-intensity station cleaning.

 

Photo by Metropolitan Transportation Authority / Leonard Wiggins.

1993 Honda XR650L in Monument Basin.

 

Photo replaced on 7 June 2018.

Replacing a photo taken at PAE 27-Jul-15 with a better version without obstructions 29-Jul-15.

 

Prototype KC-46A Tanker with boom and underwing 'probe & drogue' pods.

Replacing decking on the overhead loading structure.

iss071e549501 (Aug. 26, 2024) --- NASA astronaut and Expedition 71 Flight Engineer Tracy C. Dyson replaces experiment hardware in the Combustion Integrated Rack located aboard the International Space Station's Destiny laboratory module. The hardware replacement work was for the SoFIE-MIST investigation that is exploring ways to design safer materials for future space facilities and determine the best methods for extinguishing fires in space.

One of the earliest of the mighty Aston Martin DB's, the DB2 truly brought the company into the 1950's, replacing the 2-Litre Sports DB1, advancing the design and the powerplant to create one notable machine!

 

The story begins back in 1947 when David Brown (from which the initials DB are derived), merged the companies Aston Martin and Lagonda to create Aston Martin Lagonda Ltd. Lagonda, being notable for its 2.6L, dual overhead cam, straight-six engine, was far more powerful than the 1.9L Aston Martin equivalent used in the DB1. The desire to possess such a powerful engine was the main motive behind Brown's acquisition of the Lagonda Company. For the DB2, the original 105hp Lagonda Straight-6 was utilized in a shortened version of the tube-frame chassis designed by Claude Hill for the Aston Martin 2-Litre Sports, with a fastback coupé body designed by Frank Feeley.

 

Three pre-production cars were entered for the 1949 24 Hours of Le Mans, one, which would become the development car for the production DB2, had the Lagonda straight-6, while the four-cylinder Aston Martin 2-litre unit powered the other two. After six laps the Lagonda-powered car, driven by Leslie Johnson, retired with overheating caused by failure of the water pump. One of the 2-litre cars was in 4th place and running without brakes when it crashed two hours short of the finish, fatally injuring driver Pierre Maréchal. The other finished 7th, crewed by Arthur Jones and Nick Haines. A month later, the larger-engined car, driven by Leslie Johnson and Charles Brackenbury, finished 3rd in the Spa 24-hour race, where one of the 2-litre cars was driven to 5th by Nick Haines and Lance Macklin.

 

For 1950 all three factory team cars were equipped with the Lagonda engine. At the 1950 Le Mans race the one driven by George Abecassis and Lance Macklin finished 5th, with Brackenbury and Reg Parnell bringing another home 6th, which won Aston Martin 1st and 2nd in the 3-litre class. Across the Atlantic, Briggs Cunningham drove his DB2 to 2nd in its class at the inaugural Sebring race meeting in December 1950. The factory team cars continued racing in Europe throughout 1951, including at Le Mans, where Macklin and Eric Thompson took 3rd overall, with Abecassis and Brian Shawe-Taylor 5th.

 

David Brown soon embarked on a series of Aston Martin cars designed specifically for competition use, starting with the DB3.

 

The DB2 made its début at the New York Auto Show in April 1950, with the first 49 had a chrome-framed front grille in three separate parts, and large rectangular cooling vents in the front wings, these early versions being known as 'Wasbhoards'. Subsequent cars had a one-piece grille with horizontal chrome slats, and no side vents.

 

With the Lagonda engine, the cars were able to perform a 0-60 in 11.2 seconds, with an overall top speed of 116.4 mph, consuming a gallon of fuel every 20 miles. The original asking price for these cars was £1,914 including tax. The lineup was later complimented by a Drophead Coupé variant, also released in 1950, with 102 cars eventually produced.

 

In all, 411 of these cars were built in their 3 year production life, being discontinued in April 1953 to be replaced by the Aston Martin DB2/4, which incorporated a number of cosmetic changes including wraparound windscreen and larger bumpers, as well as the option of a 2.9L Lagonda Straight-6.

11-shot HDR Panorama taken from the 5th floor deck of the Marriott Waterfront. View the original size to check out the detail. You can even read the banner that the plane is pulling. I highlighted a few of the details you can see at Max size.

 

In the foreground is the Pier 6 Concert Pavilion. 12 hours earlier, Several Species, a Pink Floyd cover band, was just finishing up their encore inside the tent. It's a great place to see a concert.

 

It took me several days to process the 11 shots through Photomatix. I did all the HDR conversions before stitching them together in Photoshop CS4. The finished product was too big for Flickr, so I had to reduce it a bit.

You can take a picture of something you see

In the future where will I be?

You can climb a ladder up to the sun

Or write a song nobody has sung

Or do something that's never been done

 

- from Talk, by Coldplay

 

-Added to the Cream of the Crop pool as most interesting...

 

But then replaced by the Cheerleader pic when it became the most interesting.

  

Website :

www.dunkerque-tourisme.fr

  

english

 

Is a commune in the Nord department in northern France. It lies 10 kilometres (6 miles) from the Belgian border. The population of the city (commune) at the 1999 census was 70,850 inhabitants (71,300 inhabitants as per February 2004 estimates). The population of the metropolitan area was 265,974 inhabitants as per the 1999 census.

The name of Dunkirk derives from West Flemish "dun(e)" (dune) and "kerke" (church – related to the Scots English "kirk"). Until the middle of the 20th century the city was situated in the French Flemish area; today the local Flemish dialect, a variety of the Dutch language, can still be found but has been largely replaced by French.

Middle Ages

Dunkirk was first mentioned in 1067 as Dunkirk (Dutch: “Church of the Dune” or "Dune Church").

The area was much disputed between Spain, the Netherlands, England and France.

At the beginning of the Eighty Years' War, Dunkirk was briefly in the hands of the Dutch rebels, from 1577. Spanish forces under the Duke of Parma re-established Spanish rule in 1583 and it became a base for the notorious Dunkirkers.

The Dunkirkers briefly lost their home port when the city was conquered by the French in 1646 but Spanish forces recaptured the city in 1652.

In 1658, as a result of the long war between France and Spain, it was captured by Franco-English forces. It was awarded to England in the peace the following year as agreed in the Franco-English alliance against Spain.

It came under French rule when Charles II of England sold it to France for £320,000 on 17 October 1662.

During the reign of Louis XIV, a large number of commerce raiders once again made their base at Dunkirk. Jean Bart was the most famous. The Man in the Iron Mask was arrested at Dunkirk.

The 18th century Swedish privateers and pirates Lars Gathenhielm and his wife and partner Ingela Hammar, are known to have sold their ill-gotten gains in Dunkirk.

The 1763 "Treaty of Paris" between France and Great Britain included a clause restricting French rights to fortify Dunkirk, to allay British fears of it being used as an invasion base.

 

French

 

est une commune française de 68 292 habitants (2008), sous-préfecture du département du Nord et de la région Nord-Pas-de-Calais. La ville est baignée par la mer du Nord et plusieurs canaux. Ses habitants sont appelés les Dunkerquois et les Dunkerquoises.

La ville et ses alentours ont appartenu au comté de Flandre et ils relèvent de la zone linguistique flamande. L'histoire de la « cité de Jean Bart» est liée à la mer : à l'origine, Dunkerque était un village de pêcheurs construit à l'extrémité ouest d'une île longue et étroite « à la frisonne » comprenant l'abbaye des Dunes de Coxyde (d'où le nom : en ouest-flamand duun-kerke = église des dunes) et allant jusqu'à Oostduinkerke qui était à l'époque au bord d'une anse de l'Yser. Des siècles plus tard, la ville abrita des corsaires dont le célèbre Jean Bart, héros de la bataille du Texel. De par sa position sur la mer du Nord, Dunkerque a souvent suscité les convoitises, elle fut le théâtre de nombreuses opérations militaires. Demeurée aux mains des alliés durant la Première Guerre mondiale, elle fut sévèrement bombardée par les Allemands conscient du rôle primordial du port. Au cours de la Seconde Guerre mondiale elle fut le théâtre de l'opération Dynamo. Sortie anéantie de cette guerre, la ville doit son salut à l'installation dans son port de l'usine sidérurgique Usinor qui accéléra sa reconstruction et son développement.

De nos jours, Dunkerque est le cœur d'une agglomération de 200 000 habitants. C'est la première plate-forme énergétique du Nord-Pas-de-Calais et l'un des pôles économiques de la région notamment grâce à son port, le troisième de France : trafic minéralier et pétrolier, porte-conteneurs, production d'acier.

Elle est aussi connue pour son carnaval, festivités s'étalant sur une période comprise entre janvier et mars, où les habitants se réunissent dans les rues aux rythmes de la fanfare guidée par le « tambour-major ».

  

Português

 

Dunquerque (em francês Dunkerque; em neerlandês, Duinkerke; em flamengo ocidental Duynkercke)) é uma cidade portuária no norte de França, no departamento do Nord, região de Nord-Pas-de-Calais, situada a 10 km da fronteira com a Bélgica. Tem cerca de 70.000 habitantes. Está ligada por ferry-boat a Ramsgate e Dover, em Inglaterra.

Dunquerque é o terceiro maior porto francês, depois de Le Havre e Marselha. É também uma cidade industrial, dependente do aço, indústria alimentar, refinação de petróleo, estaleiros navais e indústria química.

Historicamente, a cidade e seus arredores pertenceram ao Condado de Flandres e fazem parte da zona linguística flamenga.

Em Dunquerque fala-se um dialeto muito particular - dunkerquois - com palavras tomadas de empréstimo à linguagem dos marinheiros e ao flamengo ocidental .

O nome de Dunquerque provém do neerlandês Duinkerk, que significa « igreja nas dunas».

Segundo a tradição, a cidade foi fortificada pelo filho de Pepino de Landen, o terrível Allowyn, um franco convertido por Santo Elói. Assim, Dunquerque foi a única cidade da costa, até Saint-Omer, a ser preservada contra os ataques e pilhagens dos normandos. Hoje em dia, Allowyn "reaparece" todos os anos como Reuze (reuze em flamengo significa "gigante"), para presidir a saída do tradicional bando dos pescadores, durante o carnaval de Dunkerque.

Em 960, Balduíno III, dito Balduíno o Jovem, quarto conde de Flandres, faz construir as primeiras muralhas da cidade.

Em 1383 a Dunkerque flamenga é pilhada pelos ingleses e depois, pelos franceses.

A partir do século XVI, Dunquerque passou a ser posessão - juntamente com o território dos Países Baixos espanhóis - dos Habsburgos espanhóis. Em 1520, Carlos V, 31° conde de Flandres, é recebido triunfalmente na cidade.

Dunquerque foi disputada em diferentes ocasiões pelas coroas de Inglaterra, Países Baixos e França. Durante a Guerra de Flandres (1568-1648) e no reinado de Luís XIV, serviu como base de operações de corsários, sendo Jan Bart o mais famoso deles - conhecido por atacar os barcos holandeses.

A cidade foi tomada pelos ingleses sob Filipe II da Espanha, conde de Flandres, e retomada pelos franceses em 1558. Pelo Tratado de Cateau-Cambraisis os franceses a cedem à Espanha em 1559.

Sitiada por Turenne, em 25 de maio de 1658, após a batalha das Dunas, a cidade se rende aos franceses, em 25 de junho. Na mesma noite, Luís XIV a entrega a Oliver Cromwell, segundo o acordado por Inglaterra e França pelo Tratado de Paris do ano anterior.

Dunquerque será definitivamente incorporada ao reino da França em 1662, depois que Carlos II da Inglaterra vende a cidade à França, por 5.000.000 libras - embora o pagamento nunca tenha sido completado.

A construção dos sistemas defensivos da cidade ficou a cargo do engenheiro militar Vauban, que também desenvolve o seu porto. Mais tarde, em 1713, pelo Tratado de Utrecht, a França será obrigada a inundar o porto e a arrasar as fortificações, o que entretanto não foi executado senão em parte, e Luís XV voltou a fortificá-la.

Em 1793, o duque de York tenta inutilmente tomar a cidade. Após a batalha de Hondschoote, a cidade é renomeada Duna Livre.

Durante a Primeira Guerra Mundial, Dunquerque é duramente bombardeada por diversas vezes. A Igreja de Santo Elói (construída em meados do século XV) é parcialmente destruída.

Mas a cidade sofreria especialmente durante a Segunda Guerra Mundial, tendo sido palco da célebre Batalha de Dunquerque, em 1940. Uma pausa na intensidade dos combates permitiu inesperadamente a evacuação de um grande número de soldados franceses e britânicos para Inglaterra. Mais de 300.000 homens foram evacuados apesar do bombardeamento constante ("o milagre de Dunquerque", nas palavras de Winston Churchill). A evacuação britânica de Dunquerque recebeu o nome de código Operação Dínamo

 

PA315665.

from The Lock Guy Pty Ltd ift.tt/1TVnWzh

via Facebook

  

www.thelockguy.com.au/blogs/locksmith/replaced-old-cylind...

This is the sign that stood along the road to the Navajo Mine for many years. Sometime between May 2017 and October 2017, it was replaced.

This is a photograph from the 3rd Annual Meath Spring Half Marathon and 10KM Road Races hosted by Bohermeen AC on the 2nd March 2014 at 12:00 at Bohermeen, Ardbraccan, Navan, Co. Meath, Ireland. This year's event included a 10KM race which replaced the 5KM event held on the previous years. This event has grown quickly in popularity over the past few years with this year's entry of 700 beating the previous race numbers of 680. This half marathon event is perfectly placed in the Irish running calendar as it provides runners of all levels and abilities an opportunity to test the half marathon distance in preparation for a Spring Marathon or as the first serious running goal of the New Year. Bohermeen AC is steeped in Irish athletics history since 1927 and it is this experience and exceptional community spirit and volunteering which has made this event today so successful. The very heavy rain that fell on the 10KM race and the begining of the Half Marathon did nothing to dampen the spirits of the participants. In fact, despite a head wind at certain parts of the course, this was a perfect day for road racing.

 

Our full set of photographs from today's event are available on Flickr at the following link http://www.flickr.com/photos/peterm7/sets/72157641717197563/. This set of photographs is mostly of the Half Marathon race but there are some from the 10KM event.

 

Don't forget to scroll down to see more information about the race and these photographs!

 

Event Management was provided by Irish Company PRECISION TIMING who provided electronic timing for both events. The results from today's events can be found on Precision Timing's website at this URL [www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...]

 

The Satellite Navigation Coordinates to Bohermeen are [53.650882,-6.77989] and is accessible using the M3, N2 and N52

 

The routing for the 2014 event has changed slightly from previous year. In 2014 the race starts about 100m away from the Bohermeen Club Race HQ [See Google StreetView in the direction of the imagery goo.gl/maps/rtj1X] and the race proceeds down the road towards Navan. Just before the 1st mile the race takes a right turn [see Google Streetview goo.gl/maps/iGrR0] which brings runners on the route of the famous Patrick Bell 5KM Road Race route held at Bohermeen every summer. Then the route turns slightly eastwards and this brings the race along a beautiful stretch of rural countryside road. This connects runners with the main loop [see Google StreetView goo.gl/maps/gLI1l] where the race follows the N51 towards Navan. The race must now complete this loop (which passes through the start area and past the finish) and then a full loop again before finishing in the Athletics track. The only hills to speak of in this course are on the the stretch where the race route crosses the M3 motorway (see Google Streetview - as of March 2014 their imagery is a little out of date for the M3 goo.gl/maps/tcdJX). The only major climb on the course must be tackled twice as the road rises up over the M3 Motorway. This comes at about the 5M and 11.5 Mile mark in the race.

 

Some useful links to other web-resources related to this race

 

Bohermeen AC Facebook Page: www.facebook.com/bohermeen.ac?fref=ts

 

2014 Spring Half Marathon Route: www.runningmap.com/?id=641747

2014 Spring Half Marathon 10KM Race Option Route: www.runningmap.com/?id=641752

Google Streetview of the Race Start: goo.gl/maps/rtj1X

Google Streetview of the Race Finish and Race Headquarters: goo.gl/maps/qVttR

Internet Homepage for the Spring Half Marathon [www.meathspringhalfmarathon.com/]

 

Results from 2013 from Precision Timing: www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...

Results from 2012 from Precision Timing: www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...

 

The Boards.ie Athletics Forum Thread For 2013 Race [www.boards.ie/vbulletin/showthread.php?t=2056785036&p...]

The Boards.ie Athletics Forum Thread For 2014 Race [www.boards.ie/vbulletin/showthread.php?t=2057078579]

 

Photographs from previous events

 

Our Flickr Photograph set from the 2nd Spring Marathon 2013: www.flickr.com/photos/peterm7/sets/72157632906920970/

Our Flickr set from the 1st Spring Marathon (2012) www.flickr.com/photos/peterm7/sets/72157629146137284/with...

Photographs from the 2013 event from our friend Paul Reilly [pjrphotography.zenfolio.com/p670974697]

  

We use Creative Commons Licensing for these photographs

We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?

The explaination is very simple.

Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.

ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.

 

Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/

 

Can I use these photographs directly from Flickr on my social media account(s)?

 

Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.

 

We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.

 

This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

How can I get full resolution, print-quality, copies of these photographs?

 

If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.

 

I would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets

I did a fairly extensive photo shoot with my Fodens the other day. Having dug the Fodens out for the first time in ages I gave them a wash to get rid of eight months’ worth of dust. I wanted something to photograph with the new gear to start and get a feel for it, there are some photographs with the EOS M but most are with the 5D. They will appear repetitive but for my own reasons I have decided to upload most of the shoot.

M462LYL was one of the 400 or so 4000 series gritters that were supplied to the Highways Agency over a period of years to replace the S80 series Fodens, that we had five of. This wagon would have been scrapped along with most of the others but for the intervention of Stuart Kaye. Although it is in exceptional condition so were most of them, regardless, they had to be scrapped and not sold back onto the UK market. A scandalous waste of money, many had been extensively (and expensively) refurbished to a very high standard – total rebuilds – they were still scrapped. A Cummins 325 and six speed auto box makes this wagon very nice to drive empty! I very much doubt that the auto box and gearing would get up our local hills fully loaded and certainly not if pushing a plough. The wagon has covered 85,000 km and other than corrosion caused by salty hands the cab interior is very good.

 

I bought a second 4000 series, but just the chassis cab. The scrapping contract allowed for chassis or gritter bodies to be sold separately. Once separated the body takes a lot of refitting. There are hundreds of wires in plastic trunking and they just hacked through them, you couldn’t overstate the scale of the job of refitting, cost effectively, a body back onto one of the original chassis. I had sourced a dump truck body from an MOD Foden Alpha that would fit nicely on the 4000 chassis. We use this around the yard alongside our 1960’s Foden dumper.

 

It was whilst looking at the chassis cabs with Stuart in Geesons at Ripley that we saw OYE779Y, parked up with a plough fitted, it was minus 11 during this period and almost every motor in the yard had flat batteries, which the frost had then killed completely. We didn’t get to see a motor running but I ended up buying two including OYE. As soon as I saw this motor I knew that there was something strange about it. A Paccar (Kenworth) chassis, Cummins L10 250, Eaton Twinsplitter and Rockwell axles, with a 4000 series cab. As a regular buyer and driver of Fodens in the 80’s and 90’s I knew that these components weren’t available in 1982, when it was allegedly built. I had a new Foden the same month as this motor was supposed to have been built, December 1982. BYG167Y had Foden chassis and S10 cab, the Twinsplitter hadn’t been invented at this point. The serial number stamped on the chassis relates to an S80 series gritter, one of the previous generation, with Foden Gearbox, chassis, axles and Rolls Royce 265L engine. This is what the Foden Microfiche build sheet still shows for this serial number.

 

OYE779Y seems to have been built to replace the original, which was written off in a serious accident. The strange thing is the allocation of the same serial and registration numbers to a totally different vehicle. We have seen a black and white photograph of the wagon, when new with a conventional Atkinson gritter body. This was replaced with the French body now fitted. This has water tanks and can spread the salt with water, made of plastic and stainless steel, it appears unused. The wagon itself was unloved and un driven, we think, because of the Twin splitter gearbox, which wasn’t suitable for the drivers employed on the motorway gritting teams. With 30,000 km on the clock, mostly service miles, the wagon is like new. Other than sag in the roof lining material the cab interior is like new. I’m guessing that it saw very little actual work, subsequently it doesn’t have the fantastic paint job of the newer 4000 series, the result of being sandblasted and two pack painted. OYE has been touched up, a bit of a splodge here and there. There is a total lack of corrosion, it just needs a good respray and it would be like new. A new set of tyres fitted in 2003 still have the stickers on them. The long and the short of it is that this is a much newer wagon. The 4000 series cab was available in 1987, I bought one on an E plate, the last generation of S10 was still available in 1986 on a D plate so I reckon it would be built around this time.

 

There are only a few 4000 series gritters survived in the UK but some went to Ireland and others to Eastern Europe. Presumably Roger Geeson was allowed to export to countries where it wouldn't affect the sales of the suppliers of the new gritting fleet - this appeared to be why there was a restriction on sales in the UK.

 

If anyone has more to add regarding this story please let me Know.

 

I couldn’t resist adding my other two Fodens to the line-up, customers were coming and going at the same time hence some other motors in there. I decided to add some cab interior shots a day or two later, just for the record as it were.

 

To see more about J B Schofield and Sons and the history of the business and its 33 years as a gritting contractor, look here www.jbschofieldandsons.co.uk/

 

One of 5 new 2022 Thomas C2's recently purchased by the district. This bus is one of two within the 5 buses to have underbody storage. The bus replaced a 1999 AmTran Conventional

Old Castle Toward is in the grounds of the great house that replaced it, also called Castle Toward, which itself is long passed its glory days. The new "castle" was built in 1820 by Kirkman Finlay, former Lord Provost of Glasgow. As late as the 1920s it was still being extended and the gardens and woodlands improved. If those heady days had not come to a close as a result of the ever increasing cost of maintaining a great house in the 20th century, they certainly came to end when the 2WW broke out. Toward was requisitioned by the Navy, renamed HMS Brontosaurus, and used as a combined operations centre for training men in the techniques of loading personnel and armoured vehicles including tanks, onto all types of landing craft and in the management of beach landing operations and logistics on a beach-head.

 

After the war, the castles and 226 acres of ground were bought by the Corporation of Glasgow and used initially as a residential school for children recovering from illness or living in deprived home conditions. It later became available for residential education of children from Primary Schools all over Glasgow, and operated for 50 years as an outdoor education centre, during which time 400,000 children passed through its gates.

 

With the reorganisation of local government in Scotland in 1996, ownership passed to Argyll and Bute Council and such centres as this were threatened with closure. A rescue operation was mounted and a company, Actual Reality was formed, which kept the castle in use as an outdoor activity centre. There have been several attempts by the council to sell the estate, but all have met with fierce opposition. On 13 November 2009 Argyll and Bute Council closed the castle on the grounds that it was unfit for purpose. This followed directly Actual Reality's request to upgrade the fire protection system following an audit of the castle in co-operation with Strathclyde Fire Brigade.

 

There is something tragically symbolic of the age we live in about all this. For 50 years the place was all about the children that came here, now its all about 'Jobsworfs', the number of fire extinguishers available and whether there is enough money left to repair the roof after the Councilors have travelled overseas on "fact finding trips"!

 

Anyway, it wasn't the new castle I came to see, it is the old castle, which has quite enough tragedy associated with its history already.

Replaced VU Meter Lamps by two Blue 5mm LED's (3,5V / 20mA) in series with one resistor of 240 Ohm.

Watch the polarity: on this device the + was on the left (black wire)

On the right VU meter you can see the factory installed green tube lamp.

Friends! In the childrens paddling pool.

 

Taken in the summer of 1981 these scenes from the now defunct Tottenham Lido, which was situated in Lordship Lane, Tottenham, London N17.

The site is now occupied by a council housing estate (what else!!!) - Lido Square N17

 

Opened 5 June 1937 by Mayor J H Morrell and officially called "The Tottenham Lido" from the start, cost £30,000. Replaced "Old Marshes Bath" after a long process begun in 1930 and delayed by the 1931 financial crisis and difficulty in getting Ministry of Health approval.

 

The earlier `lido` pool at Tottenham marshes had been opened in 1905 but was finally demolished in July 1939 just two years after the Tottenham Lido had opened. The new Tottenham Lido was a very popular amenity that gave many residents of Tottenham some very happy times. From the diving boards it allowed some excellent views across the whole of Lordship Rec. Construction on the pool was apparently started in the early 1930’s but due to financial problems was halted (things do not change!).

The focal point was a large clock tower that could easily be seen from Lordship rec. It being an open-air pool it would be closed for the winter months.

 

Size: 165 x 75 ft, double shallow end 3 to 6 ft deep, with a diving recess in middle of 10 by 60 ft recess up to 10 ft deep (thus eight-sided), 490,000 gallons. There were also extensive buildings to house the changing areas (424 lockers & 96 cubicles for each sex) and a two-storey main block with a clock tower. There was also a paddling pool, shaped like half of a polo mint. Designed & supervised by H F Wilkinson, Borough Engineer & Supervisor.

 

This pool was also heated from the outset to maintain 70F and was the 6th pre-war lido in London to be originally heated. (The others are Croydon Purley Way, Danson Park, Finchley, Martens Grove & Southbury Rd, Enfield).

 

Around 1980 the local council - Haringey - removed the diving boards from the centre of the pool. (Early health and safety?).

 

Unfortunately, during the winter closure in 1984, some Travellers broke in to the facility and used it as a Travellers site and promptly pulled it to pieces. Many Tottenham residents were up in arms at this being allowed to happen. Following this level of wilful damage and destruction, the Lido never recovered and was eventually demolished for the new housing development that occupies the site today. It is sad that such a wonderful facility should be lost in this way. Although it had been closed for the duration of WWII between 1939-45, it had served the residents of Tottenham very well in the 42 years it had been open to the public.

 

The pool closed in 1985 and all buildings demolished. The site has now been redeveloped for housing, together with a significant part of the original Recreation Ground, as the appropriately named "Lido Square" estate. There is no trace of any of the original architecture, but the new estate respects its heritage by having its layout around a rectangular square.

 

www.guardian.co.uk/money/2009/jan/24/swimming-lifeguard-lido

www.flickr.com/photos/vvoody/2455102622/

www.flickr.com/photos/vvoody/2455102406/in/photostream/

 

A random snapshot of the old circuit cut-out switches that were on one of the old utility poles that were recently replaced on Main Street in the Pearlhaven Community in Brookhaven, Mississippi.

 

These cutouts are quite large up close when they are on the ground compared to them being up on top of the pole when it was in service.

 

This old pole had a lever switch that when it was turned, it would open up these electrical circuits, cutting power down the lines... when the circuits are closed, the electrical power flows through.

 

For those that do not know, the power lines or cables are called ''conductors'' whilst the porcelain ceramic bits that stop the flow of electricity as well as holding the wires on the poles are called ''insulators.''

For more, check out my VW Jetta Tail Light Bulbs Replacement Guide.

Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.

 

The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.

 

On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.

 

The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.

 

Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.

 

To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.

 

The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.

 

To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.

 

The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.

 

In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.

 

Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.

Pisa - Baptisterium und Dom

 

seen from Leaning Tower

 

gesehen vom Schiefen Turm

 

The Pisa Baptistery of St. John (Italian: Battistero di San Giovanni) is a Roman Catholic ecclesiastical building in Pisa, Italy. Construction started in 1152 to replace an older baptistery, and when it was completed in 1363, it became the second building, in chronological order, in the Piazza dei Miracoli, near the Duomo di Pisa and the cathedral's free-standing campanile, the famous Leaning Tower of Pisa. The baptistery was designed by Diotisalvi, whose signature can be read on two pillars inside the building, with the date 1153.

 

Description

 

The largest baptistery in Italy, it is 54.86 m high, with a diameter of 34.13 m. The Pisa Baptistery is an example of the transition from the Romanesque style to the Gothic style: the lower section is in the Romanesque style, with rounded arches, while the upper sections are in the Gothic style, with pointed wimpergs and a rich figurative program. Like the cathedral and the campanile the Baptistery is built of bichromatic Carrara marble, white with recurring horizontal lines in blueish-grey stone, also used for abstract floral and graphic decoration, a unique trait of some of the most important religious buildings in Tuscany (In the neighboring Florence and Pistoia the dark marmo verde from Prato was used).

 

The east portal from probably around 1200 is facing the facade of the cathedral. The door is flanked by two columns with foliage decoration, a direct copy of a classical model. Engaged with the portal frame are two smaller three-quarter columns with a simpler, less deep floral ornamentation. The inner jambs between each pair of columns are decorated each with eleven figurative reliefs executed in Byzantine style. On the left there are depictions of the months (with September and October combined in one panel), beginning with January at the bottom. On the right it begins at the top with the Ascension of Christ, then angels, Mary with lifted hands, then the Apostels depicted in pairs looking up, and second to the bottom the Harrowing of Hell; the lowermost relief shows King David. The tripartite form is conveyed in the arch with three retreating archivolts with the Twenty-Four Elders in medaillons and the Lamb as the keystone.

 

The architrave is divided in two tiers. The upper one is slightly tilted and shows Christ between the Mary and St. John the Baptist, flanked by angels and the evangelists. The lower tier depicts several episodes in the life of St. John the Baptist, the natural patron of the baptistery: his sermon, the baptism of Christ, his imprisonment on behalf of Herod, Salome dances before Herod, his subsequent beheading and his burial. The architraves are probably by the same artists who also did the foiled columns and the reliefs on the jambs.

 

Only the north portal has also figurative decoration on its architrave, picturing the Annunciation to Zechariah and St. Elizabeth, the parents of St. John, flanked by two prophets and two angels in light armour with swords.

 

The interior

 

The interior is overwhelming and lacks decoration. The octagonal font at the centre dates from 1246 and was made by Guido Bigarelli da Como. The bronze sculpture of St. John the Baptist at the centre of the font is a work by Italo Griselli.

 

The famous pulpit was sculpted between 1255-1260 by Nicola Pisano, father of Giovanni, the artist who produced the pulpit in the Duomo. The scenes on the pulpit, and especially the classical form of the nude Hercules, show Nicola Pisano's qualities as the most important precursor of Italian Renaissance sculpture by reinstating antique representations: surveys of the Italian Renaissance often begin with the year 1260, the year that Nicola Pisano dated this pulpit.

 

Constructed on the same unstable sand as the tower and cathedral, the Baptistery leans 0.6 degrees toward the cathedral. Originally the shape of the Baptistery, according to the project by Diotisalvi, was different. It was perhaps similar to the church of Holy Sepulchre in Pisa, with its pyramidal roof. After the death of the architect, Nicola Pisano continued the work, changing the style to the more modern Gothic one. Also, an external roof was added giving the shape of a cupola. As a side effect of the two roofs, the pyramidal inner one and the domed external one, the interior is acoustically perfect, making of that space a resonating chamber.

 

The exterior of the dome is clad with lead sheets on its east side (facing the cathedral) and red tiles on its west side (facing the sea), giving a half grey and half red appearance from the south.

 

An inscription, currently undeciphered, is located to the left of the door jamb of the Baptistery.

 

(Wikipedia)

 

Pisa Cathedral (Italian: Cattedrale Metropolitana Primaziale di Santa Maria Assunta; Duomo di Pisa) is a medieval Roman Catholic cathedral dedicated to the Assumption of the Virgin Mary, in the Piazza dei Miracoli in Pisa, Italy, the oldest of the three structures in the plaza followed by the Pisa Baptistry and the Campanile known as the Leaning Tower of Pisa. The cathedral is a notable example of Romanesque architecture, in particular the style known as Pisan Romanesque. Consecrated in 1118, it is the seat of the Archbishop of Pisa. Construction began in 1063 and was completed in 1092. Additional enlargements and a new facade were built in the 12th century and the roof was replaced after damage from a fire in 1595.

 

History

 

Construction on the cathedral began in 1063 (1064 according to the Pisan calendar of the time) by the architect Buscheto, and expenses were paid using the spoils received fighting against the Muslims in Sicily in 1063. It includes various stylistic elements: classical, Lombard-Emilian, Byzantine, and Islamic, drawing upon the international presence of Pisan merchants at that time. In the same year, St. Mark's Basilica began its reconstruction in Venice, evidence of a strong rivalry between the two maritime republics to see which could create the most beautiful and luxurious place of worship.

 

The church was erected outside Pisa's early medieval walls, to show that Pisa had no fear of being attacked.[citation needed] The chosen area had already been used in the Lombard era as a necropolis and at the beginning of the 11th century a church had been erected here, but never finished, that was to be named Santa Maria.[citation needed] Buscheto's grand new church was initially called Santa Maria Maggiore until it was officially named Santa Maria Assunta.

 

In 1092 the cathedral was declared primatial church, archbishop Dagobert having been given the title of Primate by Pope Urban II. The cathedral was consecrated in 1118 by Pope Gelasius II, who belonged to the Caetani family which was powerful both in Pisa and in Rome.

 

In the early 12th century the cathedral was enlarged under the direction of architect Rainaldo, who increased the length of the nave by adding three bays consistent with the original style of Buscheto, enlarged the transept, and planned a new facade which was completed by workers under the direction of the sculptors Guglielmo and Biduino. The exact date of the work is unclear: according to some, the work was done right after the death of Buscheto about the year 1100, though others say it was done closer to 1140. In any case, work was finished in 1180, as documented by the date written on the bronze knockers made by Bonanno Pisano found on the main door.

 

The structure's present appearance is the result of numerous restoration campaigns that were carried out in different eras. The first radical interventions occurred after the fire of 1595, following which the roof was replaced and sculptors from the workshop of Giambologna, among whom were Gasparo Mola and Pietro Tacca, created the three bronze doors of the facade. In the early 18th century began the redecoration of the inside walls of the cathedral with large paintings, the "quadroni", depicting stories of the blesseds and saints of Pisa. These works were made by the principal artists of the era, and a group of citizens arranged for the special financing of the project. Successive interventions occurred in the 19th century and included both internal and external modifications; among the latter was the removal of the original facade statues (presently in the cathedral museum) and their replacement with copies.

 

Other notable interventions include: the dismantling of Giovanni Pisano's pulpit between 1599 and 1601 that only in 1926 was reassembled and returned to the cathedral (with some original pieces missing, including the staircase); and the dismantling of the monument to Henry VII made by Lupo di Francesco that was found in front of the door of San Ranieri and later substituted by a simpler, symbolic version.

 

Description

 

The original building plan was a Greek cross with a grand cupola at the crossing, but today the plan is a Latin cross with a central nave flanked by two side aisles on each side, with the apse and transepts having three naves. The inside offers a spatial effect similar to that of the great mosques thanks to the use of raised lancet arches, the alternating layers of black and white marble, and the elliptical dome, inspired by the Moors. The presence of two raised matronea in the nave, with their solid, monolithic columns of granite, is a clear sign of Byzantine influence. Buscheto welcomed Islamic and Armenian influence.

 

Exterior

 

The rich exterior decoration contains multicolored marble, mosaic, and numerous bronze objects from the spoils of war, among which is the griffin. The arrival of the griffin in Pisa has been attributed to numerous Pisan military victories of the 11th and 12th centuries, including the 1087 Mahdia Campaign and the 1113-1115 Balearic Expedition. The griffin was placed on a platform atop a column rising from the gable above the apse at the east end of the roof, probably as continuation of the original construction that started in 1064. In the early 19th century the original sculpture, which can now be seen in the cathedral museum, was removed from the roof and replaced with a copy. The high arches show Islamic and southern Italian influence.Ref? The blind arches with lozenge shapes recall similar structures in Armenia. The facade of grey and white marble, decorated with colored marble inserts, was built by Master Rainaldo. Above the three doorways are four levels of loggia divided by cornices with marble intarsia, behind which open single, double, and triple windows.

 

The cathedral was heavily damaged by a fire in 1595. The heavy bronze doors of the façade were newly designed, executed and completed in 1602 by sculptors around Giambologna on the expense of Ferdinando I de' Medici, the Grand Duke of Tuscany. At the top there is a Madonna and Child and, in the angles, the four evangelists. The tomb of Buscheto is found to the left of the north door of the facade.

 

Contrary to what might be thought, from the beginning the faithful entered the cathedral through the Gate of Saint Rainerius, found in the south transept of the same name, which faces the bell tower. For townsfolk approaching by via Santa Maria it was the shortest way to enter the cathedral. The door wings were cast about 1180 by Bonanno Pisano, and it is the only door not destroyed in 1595. The 24 bronze reliefs show stories of the New Testament. This bronze portal is one of the first produced in Italy during the Middle Ages, and is a forerunner of the bronze doors created by Andrea Pisano for the Baptistery in Florence (1329–1336).

 

Of further interest

 

At the end of the 10th century Pisa established March 25 as the beginning of its new year. This date was considered very important because it is both the Feast of the Annunciation (occurring nine months before Christ's birth on December 25) and it falls very close to the spring equinox. To mark the beginning of the Pisan new year a system was devised in the cathedral whereby a beam of light shines through a round window on the south side of the nave and, precisely at noon on March 25, lands on the same spot every year: on top of a shelf affixed to a pylon on the opposite side of the church. This shelf rests on a marble egg, a symbol of birth and new life. In 1750 the first day of the new year was officially changed to January 1, but this event is still celebrated every year accompanied by solemn religious and civic celebrations.

The lamp at the center of the nave is called Galileo's lamp, because a legend says that the great scientist formulated his theory of isochronism of the pendulum while watching its oscillations from the roof of the nave. The original, however, smaller and very different than this one, is found today in the Camposanto.

On the north side, to the left side of the facade in front of the Camposanto at about eye level, is an original piece of Roman marble (as testified to by its decoration that can still in part be seen), on which are a series of small black marks. Legend says that these marks were left by the devil when he climbed up to the dome attempting to stop its construction, and so they are referred to as the scratches of the devil. (The legend also says that out of spite the number of scratches always changes when counted.)

Legend has it that the amphora placed on a small column on the right side of the apse was used by Christ at the wedding feast of Cana when he turned water into wine.

Pope Gregory VIII is buried in the cathedral.

 

(Wikipedia)

 

Der frei auf der Piazza dei Miracoli stehende Bau wurde 1152 von Diotisalvi als Ergänzung zum Dom im romanischen Stil auf kreisförmigem Grundriss nach dem Vorbild der Anastasis Rotunde des Heiligen Grabes in Jerusalem begonnen. Es ist die mit insgesamt 54 Meter Höhe und einem Umfang von 107 Meter größte Taufkirche in der christlichen Geschichte.

 

Architektur

 

Nach einem finanziell bedingten Baustopp am Ende des 12. Jahrhunderts wurde die Außenverkleidung erst 1270 von Niccolò Pisano und nach dessen Tod 1278 von seinem Sohn Giovanni Pisano fortgeführt. Während die Fassade der ersten Etage noch mit rundbogigen Blendarkaden im Stil des Doms ausgeführt wurde, gestaltete man die zweite Etage zwar auch mit einer Galerie, wie sie vielstöckig die Domfassade prägt, setzte dieser jedoch gotische Fialen und Ziergiebel, sogenannte Wimperge, aus Maßwerk auf und stattete diese mit einem bis dahin auf Außenwänden seltenen und erstmals so reichen Figurenprogramm aus. Je drei Bögen entsprechen dem Abstand zwischen zwei Säulen der Blendarkade. Wie am Dom liegt dem Kapitellkelch jeweils ein aus der Wand ragender Gebälkblock auf, auf dem wiederum ein kleiner Kämpfer den Brustteil für die kleinen Frauen- und Männerköpfe bildet, die zwischen den Bogenanfängern liegen, 60 an der Zahl und 45–50 cm groß. Die 60 Schlusssteine der Bögen sind mit etwas kleineren Männer- und Tiermasken verziert. Über jeweils zwei Säulen der Galerie stehen die Wimperge, die mit Krabbenkämmen dekoriert und von insgesamt 30 eineinhalb Meter hohen Skulpturen bekrönt werden, 27 ganzfigurigen Heiligen und über dem Hauptportal drei Halbfiguren von Christus, Maria und Johannes dem Täufer. Die Giebel fassen Dreipassbögen auf stilisierten ionischen Säulchen ein, die als Rahmen für die immensen, 160–180 cm großen, Halbfiguren dienen. Die Skulpturen stellen Heilige mit ihren Attributen dar und stehen, wie auch die viergliedrigen Fialen, auf dekorativen Konsolen. Der Stil der Halbfiguren ist heterogen. Zum Teil weisen sie starke klassische Züge auf, andere wirken französisch (speziell Reims). Man ist sich weitestgehend einig, dass die meisten Köpfe von Nicolà Pisano stammen, wenn auch nur teilweise von ihm ausgeführt, so doch zumindest im Entwurf. Auch John Pope-Hennessy sieht Nicolà als Autor mindestens der zentralen großen Halbfiguren der Jungfrau mit Kind, des Johannes und der sich ihm anschließenden vier Evangelisten. Allgemein jedoch werden die Halbfiguren in den Giebeln seinem Sohn Giovanni und dessen Werkstatt zugeschrieben und auf die Zeit datiert, nachdem dieser mit der Arbeit an der Fontana Maggiore in Perugia fertig war, also nach 1278.

 

Der Bau hat innen einen zweigeschossigen Stützenkranz aus 12 Pfeilern und Säulen, der einen kreuzgratgewölbten Umgang vom Mittelbereich unter der Innenkuppel trennt. Diese Innenkuppel besteht aus einem Kegelstumpf, der zunächst oben offen blieb. Die äußere Segmentkuppel, die die Innenkuppel teils überdeckt, wurde erst 1358 von Cellino di Nese und von Zibellinus, einem Baumeister aus Bologna, errichtet. Dabei fügte man dem Bau ein drittes Außengeschoss hinzu. 1394 schloss man die offene Mitte der alten Kegelkuppel mit einem kleinen Gewölbe, was den Bau auf seine heutige Gesamthöhe brachte.

 

Auf der Spitze der Kirche steht eine drei Meter hohe Bronzestatue von Johannes dem Täufer, die am Anfang des 15. Jahrhunderts dort befestigt wurde. Das Hauptportal ist von zwei mit Reliefs verzierten Säulen eingerahmt. Zwei Architrave liegen über dem Portal, das obere, leicht geneigte zeigt Jesus flankiert von Maria und Evangelisten alternierend mit Engeln. Der untere gibt Szenen aus der Lebensgeschichte von Johannes dem Täufer wieder. Im Giebelfeld steht eine Kopie der Maria mit Kind von Giovanni Pisano (um 1295).

 

Ausstattung im Innenraum

 

In der Mitte des Kirchenraums steht ein achteckiges Taufbecken, das von Guidobono Bigarelli da Como 1246 vollendet wurde. 1929 wurde eine Statue von Johannes dem Täufer durch Italo Griselli hinzugefügt.

 

Die Marmorkanzel Niccolò Pisanos

 

Die freistehende Marmorkanzel im Baptisterium stammt von Niccolò Pisano und ist von ihm mit dem Jahr 1260 signiert. Toskanischer Stil vereinigt sich hier erstmalig mit französischer Gotik und antiken Einflüssen aus Süditalien, wo Niccolò vermutlich herkam und am Hof Friedrichs II. mit französischer wie antiker Skulptur vertraut wurde. Die Kanzel gilt mit ihrer Verwendung dieser antiker Vorbilder in der Kunstgeschichte als früher Markstein auf dem Weg zur Renaissance (siehe auch Protorenaissance).

 

Sieben Säulen tragen das sechseckige Kanzelbecken, auf dem das Lesepult von einem Adler getragen wird. Die Kapitelle sind mit gotischem Blattwerk verziert, drei der Säulen sind verkürzt und werden von naturalistisch gehauenen Löwen getragen, während die Basis der Mittelsäule von grotesken Figuren und Tieren gesäumt wird. An der Brüstung der Kanzel befinden sich fünf Reliefs mit den neutestamentarischen Szenen Maria Verkündung/Geburt Jesu/Verkündung an die Schäfer, Anbetung der heiligen drei Könige, Darstellung im Tempel, Kreuzigung und Jüngstes Gericht. In den Zwickeln sind gepaart Propheten zu sehen, unter der Kreuzigung und dem Jüngsten Gericht sind es Evangelisten. Über den Kapitellen sind die fünf Tugenden und unter dem Pult Johannes der Täufer dargestellt. Die Stärke findet ihr Vorbild in einem nackten Herkules.

 

Über Treppen kann man sowohl auf den Emporen-Umgang als auch unter das Kuppeldach gelangen. Auf dem Umgang sind Skizzen der größtenteils zerstörten Fresken aus dem Camposanto ausgestellt.

 

Das Baptisterium hat durch seine zylindrische Bauweise ein besonderes Echoverhalten. Gelegentlich stimmt einer der Wächter mehrere verschiedene Gesangstöne an, die in Kombination miteinander durch das Echo im Gebäude zu einem Klangerlebnis werden.

 

Wie in vielen mittelalterlichen Sakralgebäuden wird auch im Pisaner Baptisterium der Zahlensymbolik bezüglich der Zahl von Architekturelementen (zum Beispiel Säulen, Stützen usw.) eine besondere Bedeutung beigemessen und ihre Anzahl mit Zahlen, die in der Bibel vorkommen, in Zusammenhang gebracht. Im Baptisterium sind besonders die Vier, die Acht und die Zwölf vertreten.

 

(Wikipedia)

 

Der Dom Santa Maria Assunta (italienisch Cattedrale Metropolitana Primaziale di Santa Maria Assunta) ist eine Kirche in Pisa, zu der der weltweit berühmte Schiefe Turm von Pisa gehört. Sie ist die Kathedrale des Erzbistums Pisa.

 

Der Dom steht auf dem weitläufigen Rasenplatz der Piazza del Duomo, auf dem sich auch die drei dazugehörenden Bauwerke Baptisterium, Camposanto Monumentale und der Campanile („Der Schiefe Turm von Pisa“) befinden. Dieser Platz wurde vom Dichter D’Annunzio als Piazza dei Miracoli (Platz der Wunder) bezeichnet und wird noch heute so genannt. Trotz einer Bauzeit von über 200 Jahren wurde durch den gleichbleibenden Baustoff Carrara-Marmor und die einheitliche Fassadengestaltung ein zusammenhängendes Bild geschaffen. Der Dom wurde zum Vorbild für spätere Dombauten wie z. B. in Florenz und Siena und galt jahrhundertelang als monumentalster Bau der christlichen Geschichte.

 

Papst Gelasius II. weihte 1118 den damals noch unvollendeten Dom ein. Er trägt das Patrozinium der Himmelfahrt Mariens.

 

Baugeschichte

 

Buscheto di Giovanni Giudice begann mit dem Bau des Doms im Jahre 1063 auf dem Schwemmboden vor der alten Stadtmauer. Finanziert wurde das Bauwerk mit den im gleichen Jahr von den Sarazenen vor Palermo eroberten Schätzen. Durch den weichen Untergrund sank auch der Dom im Osten leicht ein. Die kreuzförmige Grundfläche des Doms war zu diesem Zeitpunkt in Italien neu. Über der Vierung der fünfschiffigen Basilika mit dem dreischiffigen Querhaus erhebt sich eine elliptische Kuppel mit einem oktogonalen Ansatz. Sie wurde erst 1380 durch Lupo di Gante und Puccio di Gadduccio im gotischen Stil nachträglich hinzugefügt.

 

Die Fassade wurde am Ende des 12. Jahrhunderts von Rainaldo geschaffen und wurde als Pisaner Romanik in der gesamten Toskana zum Vorbild. Bei der westlichen Fassade erheben sich über den sieben Blendarkadenbögen im Erdgeschoss mit seinen drei Portalen vier Galerien mit insgesamt 52 Säulen. Auf dem Giebel der 35,5 m breiten und 34,2 m hohen Fassade steht eine Madonna mit Kind von Andrea Pisano. An ihrer Seite stehen Engel, die zusammen mit den beiden Evangelisten auf der ersten Galerie durch Schüler von Giovanni Pisano entstanden. Das mittlere Portal ist dem Leben Marias gewidmet. Im linken Bogen der Fassade ist das Grab des ersten Dombaumeisters Buscheto mit einer antiken Sarkophagspolie und einer langen Huldigung in die Wand eingefasst.

 

Die drei Bronzetore aus dem 17. Jahrhundert ersetzen die von Bonanno Pisano geschaffenen Tore von 1180, die bei einem schweren Feuer 1595 zerstört wurden. Die neuen Türen mit umfangreichen Reliefszenen wurden bis 1602 durch Schüler Giambolognas, Francavilla, Mocchi und Tacca, in loser Anlehnung an das alte Vorbild gegossen. Die Porta di San Ranieri am südlichen Seitenschiff ist dem Campanile zugewandt. Hier ist das restaurierte Original des Meisters Bonanno Pisano von 1186 noch erhalten. Es ist nach dem Schutzpatron Pisas benannt und stellt u. a. Szenen aus dem Leben Christi dar.

 

Am gesamten Gebäude findet man vielfach zusammenhanglose Zeichen auf den Außenwänden. Der Grund dafür liegt darin, dass man antike Baumaterialien wiederverwendete oder Materialien aus eroberten Städten holte.

 

Datierungsprobleme

 

Im Hinblick auf die Datierung des Baus und die historische Herleitung ihrer einzelnen Bauformen gibt es in der Forschung seit langem unterschiedliche Ansichten. Eine verbreitete Theorie nennt konkrete Zahlen und die Namen verschiedener Baumeister. Andere Kunsthistoriker halten diese Geschichten für bereits im Mittelalter erfundene Legenden.

 

Nach der ersten Theorie war der Seesieg bei Palermo über die damals im Mittelmeer herrschenden Sarazenen im Jahr 1063 Anlass zum Bau der Gesamtanlage. In Venedig spielten diese sarazenischen Seeräuber ebenfalls eine Rolle. Auch dort war die Abwendung dieser Gefahr Anlass gewesen, den Markusdom neu zu bauen, und zwar im selben Jahr 1063, in dem die Anlage in Pisa möglicherweise begonnen wurde. Auch die Pisaner hatten durch diesen Seesieg reiche Beute gemacht und den Ertrag zur Glorifizierung ihrer Stadt genutzt; Pisa war im 11. Jahrhundert die mächtigste Stadt der Toskana.

 

Nach der zweiten Ansicht ist lediglich erwiesen, dass im Jahr 1118 die Kathedrale im Bau befindlich war. Das sei das einzige zuverlässige Datum. Man habe damals die eher zufällige Anwesenheit des Papstes Gelasius II. genutzt, um eine angemessene Weihe zu vollziehen. Der Bau musste für diesen Fall schon weit genug fortgeschritten gewesen sein, so dass sich die angesetzten Entstehungszeiten der beiden Theorien nicht wesentlich unterscheiden.

 

Die Kathedrale gehört zusammen mit dem Markusdom in Venedig zu den ersten Monumentalbauten des mittelalterlichen Italiens. Daher stellt sich die Frage, auf wen die entscheidenden Bauideen zurückgehen. Die Stadt Pisa popularisierte schon sehr früh eine eigene lokalpatriotische Version, die dem Baumeister die gesamte Anlage als geniale, völlig eigenständige Idee zuschrieb, ohne dass fremde Einflüsse eine Rolle spielten. Demzufolge soll der erste Baumeister der Kathedrale Buscheto gewesen sein, über den nur sehr wenig bekannt ist. Vasari berichtet in seinen Vite, "Busketos" sei griechischer Herkunft gewesen – also kein geborener Pisaner. Dies wird mancherorts bestritten und vor allem lokal dadurch unterstrichen, dass man ihn „Buscheto Pisano“ nennt. Belegt ist seine Eigenschaft als Prokurator der Pfarre und als Mitglied der Dombauhütte.

 

Keine Einigkeit besteht in der Forschung, wer die Idee zu der Kathedrale hatte und was seine stilistischen Vorbilder waren. Pisa hatte – wie Venedig – als Seemacht intensive Handelsbeziehungen im östlichen Mittelmeer. Deshalb liegt es nahe, dass die östliche Baukunst hier Einfluss ausüben konnte. Auf jeden Fall war der Baumeister mit dem byzantinischen Kulturraum vertraut. Seine Baukunst nimmt Anleihen auf bei persischen Moscheen und bei frühchristlichen Kirchen in Armenien und Georgien. Zudem vereint sie Elemente der italienischen Romanik mit Motiven aus der Stadtmauer von Kairouan. Inschriften im Dom belegen die Mitarbeit von Heiden: Türken, Afrikanern, Persern und Chaldäern.

 

Auch wenn sich die Bauzeit des Pisaner Doms lange hinzog, ist der Gesamteindruck einheitlich. Der ersten Theorie zufolge verlief die weitere Entwicklung folgendermaßen: Vor Fertigstellung des Doms habe der neue Baumeister Rainaldus um 1100 den ursprünglichen Grundriss geändert. Er ließ das Langhaus verlängern, den Obergaden erhöhen – die ursprüngliche Höhe ist noch am Querhaus erkennbar – und das untere Geschoss der Fassade errichten. Vollendet worden soll der Bau bis 1160 durch den Innsbrucker Meister Wilhelm gen. Guglielmus (auch Guilielmus)., der um diese Zeit auch die erste Kanzel für den Dom schuf.

 

Rechts über dem mittleren Portal der Westfassade sind zwei Inschriften in die Wand eingelassen, deren erste Rainaldo als Bauherrn rühmen. Als demütige Replik folgt ein Bibelzitat aus der Vulgata (Psalm 21, Vers 22):

 

Hoc opus eximium tam mirum tam pretiosum

Rainaldus prudens operator et ipse magister

constituit mire sollerter et ingeniose

De ore leonis libera me domine et

a cornibus unicornium humilitatem meam

Dieses hervorragende Werk, ebenso wunderbar wie kostspielig,

errichtete Rainald, der kluge Erbauer und selbst [Bau]meister,

in wundervoller, kunstvoller und erfinderischer Weise.

Aus dem Rachen des Löwen befreie mich, o Herr,

und von den Hörnern der Einhörner meine Niedrigkeit.

 

Bedeutung der Fassade für die Datierung

 

Die Westfassade des Doms stellt für die abendländische Architekturgeschichte eine entscheidende Neuerung dar, den Übergang von der glatten Wand zur plastisch gestalteten Schaufläche. Daher ist auch die Frage ihrer genauen Datierung wichtig, denn ähnlich gestaltete Fassaden wurden auch andernorts gebaut, etwa in Lucca an der Kathedrale San Martino, dessen Baumeister Guidetto da Como, der auch in Pisa tätig war, auf der Fassade mit dem Datum 1204 verewigt wurde.

 

Die kritischere zweite Theorie akzeptiert lediglich, dass in der zweiten Hälfte des 12. Jahrhunderts im Westen des Hauptschiffes drei Joche angefügt und die heutige Fassade begonnen wurden. Namen werden in dieser Theorie nicht genannt. Demnach könnte die gesamte Fassade auch erst um 1200 fertig und möglicherweise von Anfang an in ihrer heutigen Form geplant gewesen sein. Andere Schätzungen nehmen sogar erst die Mitte des 13. Jahrhunderts an – also hundert Jahre nach dem Datierungszeitraum der ersten Theorie.

 

Trotzdem spricht viel dafür, dass man zwei verschiedene Phasen in der Entwicklung des Dekorationssystems unterscheiden kann. Die ursprüngliche Konzeption hätte demnach vorgesehen, die Außenmauern im Erdgeschoss durch folgende Elemente zu gliedern: erstens durch Blendbögen, sodann durch waagerechte Streifen aus farbigem Marmor – nach dem Vorbild des Baptisteriums in Florenz – und durch eingelegte Ornamente und Medaillons. Dieses Schema gilt für das ganze Kathedraläußere, an den Seitenwänden auch für die oberen Geschosse. Doch in den über dem Erdgeschoß liegenden Etagen der Westfassade übertraf man diesen Formenreichtum noch um ein Vielfaches. Statt flächiger Aufblendung ließ man in vier Galerien übereinander eine plastische Dekorationsschicht aus Säulen und verzierten Bögen vor der eigentlichen Kirchenmauer deutlich hervortreten.

 

Legenden

 

Im Hauptschiff hängt ein bronzener Leuchter von Vincenzo Possenti aus dem Jahre 1587, der Entwurf stammt aber von Giovanni Battista Lorenzi. Es gibt die Geschichte, dass an dem Leuchter Galileo Galilei die Gesetze der Pendelschwingung gefunden haben soll. Sollte es ein Leuchter in dieser Kirche gewesen sein, der ihn auf das Gesetz brachte, kann es allerdings nicht dieser Leuchter gewesen sein, da Galileo Galilei das Gesetz um 1584 veröffentlicht hat.

 

Zwischen dem nördlichen Seitenschiff und der westlichen Fassade findet man an der Außenwand des Doms an einem Pfeiler einen Stein mit vielen schwarzen Punkten. Von diesem Stein erzählt man sich, dass er vom Teufel sei. Zählt man zweimal hintereinander die Punkte nach, so kommt man jeweils auf ein anderes Ergebnis.

 

(Wikipedia)

Hamilton. Formerly known as the Grange Hamilton is as Scottish as it comes in heritage terms. It sits astride Burn Grange a creek that flows into the Wannon River. It is surrounded by a rich volcanic basalt plain. It claims to be the Wool Capital of the world, the source of its early wealth, but today the economy is very mixed with beef cattle being important. Thomas Mitchell in 1836 said of the Hamilton town site “A finer country could scarcely be imagined: enormous trees of the mimosa or wattle, of which the bark is so valuable, grew almost everywhere”. This was the Australia Felix that he so greatly praised. Mitchell named the creek Grange Burn. The Wedge family established a sheep run called the Grange near here in 1839. In November 1939 the government surveyor who later laid out Portland, recommended this spot for a town. Wedges moved on partly because of conflict with the local Aboriginal groups but other pastoralists replaced them. Sheep were killed, shepherds killed and of course whites retaliated with guns against the Aboriginal people. No official reports of murder were made. Governor La Trobe visited the Grange in 1841 and because of violence between blacks and whites he sent Acheson French as a police magistrate there with troopers for support. The violence had died out by 1842. A village emerged around 1848 and the town was gazetted in 1851. It was named after Hamilton near Glasgow as most settlers were Scottish.

 

The Grange/Hamilton.

White settlers moved into this area in 1839 settling on land on the Grange Burn (or river) which is a tributary of the Wannon which goes into the Glenelg River. The Wedge family who came in 1839 called their sheep run The Grange. The government surveyor Charles Tyers who had surveyed Portland recommended a spot on the Grange River for a town which the Commissioner of Lands for the Port Philip District of NSW approved a few months later in early 1840. By then the Wedges had left because of ongoing conflict and hostility with the local Aboriginal people. One of their shepherds had been killed and there was undoubtedly retaliation for that. Other settlers fared better in their relations with Aborigines because they treated them better and freely gave out meat and flour rations. One of the infamous massacres of Aboriginal people in Victoria occurred near Hamilton on 8th March 1840. This occurred just north of Coleraine on Konongwootong station (57,000 acres) run by the Whyte brothers. They also perpetrated the massacre with no official action taken. Around 40 Aboriginal men, women and children were surrounded and massacred after 127 sheep had been taken for meat. Various sources put the death toll at between 20 to 50 members of the Jardwadjali tribe but Aboriginal tradition estimates it at a higher figure. The Whyte brother stayed on and Konongwootong was divided between the brothers in 1849 and then for closer settlement in 1921.

 

Violence between black and white subsided in 1841 after Governor La Trobe visited the Grange (Hamilton) and appointed a magistrate and ordered police troopers to be stationed at The Grange. A rudimentary Courthouse, barracks and police station followed on the corner of Martin and Thompson streets. Thus began the city of Hamilton out of violence. The town’s first policeman also established the Grange Inn in 1843 and a blacksmith set up a workshop in 1844 as a tiny town began to emerge. Shanties, a few houses and a store opened in 1848 to serve the surrounding sheep stations and the government order a full town survey in 1849. It was gazetted as Hamilton in 1851.The first police magistrate was Acheson French hence those street names in the town. He developed a mansion on his property which he called Monivae(1878).It is now a Catholic College. The first school in Hamilton opened in 1852 and a second hotel in 1853 followed by the first Catholic and Anglican Churches in 1857 and a Presbyterian Church in 1858. The 1854 census noted 230 people living in Hamilton and this grew to 1,197 in the 1861 census, 2,967 in 1881 and 4,024 in the 1901 census. By the 1860s the town had nine hotels, seven churches, two breweries, a tannery, a coach building works, flourmill and a Mechanics Institute. In the 1870s the town prospered more as the rail link to the port facilities at Portland was completed and the town was linked to Melbourne via Ararat and Ballart.

 

The Botanical Gardens designed by William Guilfoyle.

Land was set aside for a botanic gardens in 1853 but nothing happened until 1870 when the first gardener was appointed and some plantings occurred. In 1881 William Guilfoyle was commissioned to design the gardens. He employed his usual techniques of winding paths, a feature lake with white swans, fountain, aviary and animal enclosure, a rotunda, giant trees, rare plants and trees, garden beds and sweeping lawns. Some of these garden features were added later such as the fountain in 1917 and the rotunda in 1988. A list some of the rare plants is located beside the majestic entrance gates also a feature of Guilfoyle’s design. These unusual plants include California Live Oak, Himalayan Oak, Kentucky Coffee Tree, and some rare pines which he often used in his plans. Because he chose plants adaptable to drought and suited to the country they have thrived and grown into massive specimens. This is one of the most intact of Guilfoyle’s garden plans and was a commission he undertook whilst serving as Director of the Melbourne Botanic Gardens.

 

I replaced C45 with Pilotfly Traveler. I used C45 with RX100M4/LX100 but finally determined my GX7MK3 with Gimbal.

I suppose the better part of guys who have Traveler use this with Sony RX series since I didn't find out anybody who toy with Traveler + LUMIX. So I would like to try to test several combination with Traveler and LUMIX Lenses.

 

LEICA DG VARIO-ELMARIT 8-18mm/F2.8-4.0 ; Available.

LEICA DG VARIO-ELMARIT 12-60mm/F2.8-4.0: Available.

LEICA DG SUMMILUX 15mm/F1.7: Available.

LEICA DG SUMMILUX 25mm/F1.4: Available.

LEICA DG MACRO-ELMARIT 45mm / F2.8 : Available.

 

I was afraid if I got a counter wait problem since C45 couldn't be used with GX7MK3 due to this. Traveler has no counter wait issue. So..if you are LUMIX GX7 series user and have an interest in Pilotfly Traveler, you can proceed to buy this coll Gimbal:-).

  

Great Wall DF-3, Efke Aura 820IR, Hoya R72

To release the memory you will need to push the metal handles that are located on the sides of the memory away from the memory.

 

The memory chip will pop up.

 

Take it out. Insert the new memory at a 45 degree angle (just like the old memory was when it poped up) and push it down until you hear a click.

Replaced with (SamsungFlagsatImportplacetuoilinitflickr063016)

This set of images shows step-by-step how to replace the keyboard.

Step 1- open the laptop and fold back the screen. Locate the small indentation on the right hand side of the grey strip above the keyboard and carefully prise the strip up using a small flat-blade screwdriver.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 07-Mar-25.

 

Fleet No: "006". Named: "Robert F. Six"

 

This aircraft was delivered to Continental Airlines as N77006 in Dec-98. Continental was merged into United Airlines in Oct-10. Now over 26 years old, the aircraft continues in service. Updated 07-Mar-25.

Replaced when tracks elevated 1903. Present station built 1913.

Replaced with the Bell

Updating the 2010 Langster headset bearings when they wore out on my 2010 Langster. I discovered from this site www.bikeradar.com/forums/viewtopic.php?f=40004&t=1261... that they are kind of unique to Specialized bikes and kind of crummy. I managed to replace the originals with a Cane Creek IS2 bearing, and thought some people might benefit from info and pics so here they are. The instructions on the link worked for me, with the caveat that knocking out the cups was not easy. I managed it with a hammer and a screwdriver but it took a while, tapping a few times around their circumferences to gradually work them out. The result - steering went from notchy as hell to buttery-smooth!

Replacing an earlier scanned photo with a better version 28-Mar-17.

 

Enlarged from well beyond the range of the 200mm lens I had at the time, so it's a bit grainy.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 28-Mar-25.

 

Fleet No: "648".

 

First flown in Dec-87, this aircraft was delivered to Piedmont Airlines as N608P in Feb-88. It was re-registered N648US in Nov-88 prior to Piedmont being merged into US Air in Aug-89.

 

US Air was renamed US Airways in Feb-97. The aircraft was sold to Castlelake Leasing in Aug-05 and leased back to US Airways. It was re-registered N248AY in Dec-06.

 

It was withdrawn from service in Nov-14 and stored at Mobile-Downtown Airport, AL, USA. After 26 years it had 104,750 hours and 20,740 cycles on the clock! The aircraft was returned to the lessor in Feb-15, moved to Victorville, CA, USA and permanently retired.

 

In Sep-15 the aircraft was sold to the Jet Midwest Group for parting out and was eventually scrapped at Victorville.

 

Note: In Dec-13 US Airways agreed a merger with American Airlines. However, the two airlines continued to operate as separate companies until the official merger date of 08-Apr-15.

Replacing an earlier scanned photo with a better version.

Toshiba M30 keyboard cleaning -IMGP7917