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We are replacing the chain link fence with a real wooden fence and I saw online how people converted their metal chain link posts into wooden fences. I tried that on the side of the House but the metal posts are just to short and the fence is kind of wobbly. Not to mention that we are next door to a day care center and the kids like to run and push against the fence. Last thing I need is that thing falling on their heads. So I will have to actually rip out the entire old chain link fence and put down new 4 x 4 wooden posts for the new fence to make sure it's solid.
Replaced the Victor L. Schlaeger in 2011 and was the first new fireboat for the city in sixty years.
2014.07.25-19.18.49
St Anne's Roman Catholic church, in the Chapel End / Camp Hill area of Nuneaton, was built in 1999-2000 to replace the original basic dual-purpose church/school built in the 1940s with a limited budget and lifespan. The new church was opened in March 2000, and dedicated later that year by Archbishop Vincent Nicholls.
The church is square in plan with the corners angled (forming an uneven octagon) with the orientation on the diagonal axis facing south east. There is an unfortunate inbalance in the glazing within, which is concentrated on the north and east walls, the remaining walls having the parish rooms attached. The original design included a central lantern over the nave, but this was sadly abandoned during construction owing to rising costs (this would have given the building a more 'church-like' profile outside and greater light within).
Following my work at Sacred Heart, Bilton I was invited to prepare designs for several of the church's windows prior to construction, and thus had the sanctuary oculus with the dove of the Holy Spirit installed for the first mass in the church in March 2000. In the following years the project continued for the adjoining five windows including a central image of the church's patron St Anne with her daughter Mary.
The remaining windows were filled a few years later with a Crucifixion group and a more abstract Sacrament-themed composition (in lighter colours as continuing the rich blue scheme set by the earlier windows would have made the church too dark!), making this my largest ever stained glass project and my only complete scheme of church windows to date.
In July 2012 a final touch was added when I painted the Sanctuary ceiling with a design of Seraphim and stars in blue and gold, a concept under discussion for some time to remedy the lack of structural emphasis on the altar area and create a more fitting focal point to the interior, with the angel's wings suggesting a canopy.
www.saint-anne-nuneaton.co.uk/
For more information on my work in the church see my website via the following link:-
aidanmcraethomsonstainedglass.weebly.com/st-annes-chapel-...
Huskies replaced Bulldogs at Drake University's Knapp Center on Sunday, May 30 as Hoover High School celebrated the Class of 2021. Hoover welcomed more than 200 new graduates and alums to their ranks.
The market cross is 15th century, but the top fell off and was replaced with a copy in 1950. Very impressive & thirty feet high.
"Legend has it that it was originally erected by Galfridius de Mervin as a thanksgiving for his miraculous recovery from wounds received in a battle with the Saracens in 1309..." www.dorsethistoricchurchestrust.co.uk/stalbridge2.htm : but the cross that survives today is believed to be late 15th century.
"John Wesley says in his journal... that he preached at Stalbridge Cross [in 1766] and tells us his followers were pelted with mud and filth, though Wesley was unharmed." dorset-ancestors.com/?p=1434http://dorset-ancestors.com/?...
In the background is the Swan pub. "Most of the buildings [on the east side of the High Street] have later frontages but have early Georgian or Tudor internal structures... The Swan has a large older stable block behind it (now a skittle alley) which once housed a forge, and there were pigsties, cart sheds, a coach house and stabling for 17 horses. This area with Gold Street was the hub of business and trade from Medieval times until late Georgian." www.stalbridge.info/uploads/3/1/5/8/31586035/stalbridge_h...
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
St Andrew, Walberswick, Suffolk
It wasn't unusual for 15th century Suffolk communities to rebuild their churches in the fashionable perpendicular style. Within ten miles, you can visit Blythburgh, Lowestoft St Margaret, Covehithe, and most famously Southwold. The same happened here - or, not quite. In those other parishes, the rebuilding of the church happened on the site of the old one, and often incorporated bits of the former fabric. Here, the new church replaced an old one that was more than a mile away.
We know a good bit about the old parish church of Walberswick, because records survive. We know about its bells and its thatched roof; we know about its images and stained glass windows. We know that, in 1492, the year Columbus first landed on the shores of the Americas, the new church built to replace it was completed. It was a grand affair, much on a scale with the other local churches previously mentioned.
Intriguingly, the tower of the new church is 70 years older. There was a chapel of ease to the old church on this site, and the tower was built to enhance it. The chapel was then demolished to make way for the new church. By the end of the 15th century, one of the grandest parish churches in England stood here. The windows, images and bells were moved here from the old church.
If you come here today, it may be because you are one of the Londoners discovering Walberswick, finding the charms that recently got it mentioned in a Sunday Colour Supplement as one of England's most fashionable watering holes, still cheaper than over-rated Southwold across the river. Or perhaps you are a Suffolker, and come because Walberswick is the world capital of crabbing. Whatever, the road into the village takes you past this church, and it must entrance you, it cannot fail to do so, for today, St Andrew at Walberswick is one of Suffolk's most dramatic ruins.
You approach from the south east, and the grand tower conceals the fact that the walls of the nave and chancel are a curtain, surrounding an open space. Within this is a smaller church, of little architectural interest, but of considerable social and historical significance. But to the ruins first.
The ruins suggest a building so like Blythburgh and Southwold that, if we are familiar with those two churches, we can read the missing pieces in this one. The aisles continue almost to the eastern wall of the chancel. Altar piscinas give us a sense of the liturgical life of this place. The grand arrays of windows in the south and north aisles allow us to imagine it like Blythburgh, full of light. Those from the north aisle were taken out and placed in the north wall of the new, smaller church that huddles in the ruins. All the coloured glass has gone, destroyed by Puritans in April 1644. They were probably also responsible for removing the brasses that once sat in the indents in the aisle, although their loss may equally be the responsibility of 18th and 19th century collectors.
There were Priest doors on both sides of the chancel; on your journey through the ruins, you walk in through one, and out through the other. There's another in the south side of the sanctuary.
What happened here? Within 50 years of this great Catholic church being erected in the 1490s, the Catholic church was driven from this land by the state centrist forces of Henry VIII and his children. Instead of living the colourful, sacramental life for which the building was erected, the parishioners became listeners, subject to the congregational, Anglican worship of the new Church of England. Simply, there were not enough of them to sustain such a large building.
The 17th century's long years of puritan darkness only exacerbated the problem, and by the 1690s the parishioners asked permission to demolish the old church, and build a much smaller one in the ruins. Permission was granted, and this was done, with the proviso that the tower be retained as a landmark for ships at sea. The same thing happened just up the coast at Covehithe. The bells were sold off to fund the work.
As you wander among the ruins, you will find a plaque on the north side commemorating the churchwardens who ordered the destruction, and oversaw the building of the new church, Edward Collins & John Taylor churchwardens in the yeare when the church was rebuilt and in the eight year of the reign of our sovereign Lord King William the Third AD 1696. Enthusiastic Protestants, then, and perhaps we should not despair of them. After all, any Parish church is a document of the buffeting winds of history that have swept over Suffolk in the last thousand years. At worst, they were pragmatists, preparing a space that was fitting for the worship of the times.
The new church was built in the west end of the south aisle - the old structure completely dwarfs it, and if you stand at the west end of the old nave you are outside, gazing up at the impossibly high roofline with its sanctus bell window.
If you step into Collins and Taylor's little church, you find yourself in a space that feels older than the considerable 19th century restorations in the villages round about. The grand font will catch your eye, surviving as it does from the 15th century building. Intriguingly, it is set beside the remains of one of the pillars that divided the nave from the south aisle.
The church is full of moving little details; the memorials to fishermen lost at sea, the collection of medieval coloured glass rescued from the ruins and put together as a mosaic in the south aisle. The pulpit and the screen survive from the 15th century church, although the screen is only a remnant, of course. The pulpit sits on another pillar fragment. Most moving of all is the supermensa, set in the top of the altar; this was a consecrated stone slab used in medieval times by travelling priests. It was recovered from the ruins shortly before the Second World War. A simple, twisted driftwood cross stands on top of it.
The ruins here are haunting, not because they are ancient - they aren't. Rather, they give us a brief window into what happened in England between their construction in the 1490s, and their destruction 200 years later. They are a document of the English Reformation, and its uneasy years of settlement. This is high drama indeed.
Governor Murphy and Mayor Baraka participate in a roundtable discussion in Newark with Vice President Harris, Environmental Protection Agency Administrator Michael Regan, local residents, and lead service line replacement project workers from LiUNA Local 472. Roundtable participants discussed the completion of the lead service line replacement project in Newark, the historic funding in the Bipartisan Infrastructure Law to remove and replace lead service lines nationwide, and the impact of these initiatives on families and workers on Friday, February 11th, 2022 (Edwin J. Torres/NJ Governor’s Office).
Washington Park is a public urban park in Portland, Oregon, USA. It includes a zoo, forestry museum, arboretum, children's museum, rose garden, Japanese garden, amphitheatre, memorials, archery range, tennis courts, soccer field, picnic areas, playgrounds, public art and many acres of wild forest with miles of trails. Washington Park covers more than 410 acres (166 hectares) on mostly steep, wooded hillsides which range in elevation from 200 feet (61 m) at 24th & W Burnside to 870 feet (265 m) at SW Fairview Blvd. It comprises 159.7 acres (64.63 hectares) of city park land that has been officially designated as "Washington Park" by the City of Portland,[1] as well as the adjacent 64 acre Oregon Zoo and the 187 acre Hoyt Arboretum, which together make up the area described as "Washington Park" on signs and maps.[2]
Contents
1 History
2 Notable features
2.1 Statues and fountains
3 Public access
4 See also
5 References
6 External links
History
Garden near north entrance
A blossoming tree at night in Washington park.
The City of Portland purchased the original 40.78 acres (16.5 hectares) in 1871 from Amos King for $32,624, a controversially high price for the time.[3][4] The area, designated "City Park", was wilderness with few roads. Thick brush, trees and roaming cougar discouraged access. In the mid-1880s, Charles M. Meyers was hired as park keeper. A former seaman without landscape training, he transformed the park by drawing on memories of his native Germany and European parks. By 1900, there were roads, trails, landscaped areas with lawns, manicured hedges, flower gardens, and a zoo. Cable cars were added in 1890 and operated until the 1930s.
In 1903, John Charles Olmsted of Olmsted Brothers, a nationally known landscape architecture firm, recommended several changes to the park including the present name, location of the entrance, separate roads and pedestrian paths, and replacement of formal gardens with native species. The name was officially changed from City Park to Washington Park in 1909.[5]
When the county poor farm closed in 1922, the 160 acres (64.75 hectares) were added to Washington Park.
Portland's zoo was founded in Washington Park in 1887 near where the reservoirs are presently located. It moved in 1925 to what is now the Japanese Garden, and moved again in 1959 to its present location at the park's southern edge. The only surviving structure from the old zoo is the elephant barn, now converted into a picnic shelter and decorated with tile mosaic of various animals and a life-size brick relief sculpture of an elephant and calf.
The City of Portland plans to demolish the existing number 3 and 4 outdoor reservoirs, then replace them with underground reservoirs covered by reflecting pools, due to their age and a federal mandate to cover all reservoirs.[6] The $67 million project has attracted opposition from historical preservationists and residents concerned about construction impacts.[7]
Bus replaced streetcar, 15th and Aloha. I wrote this up as a Seattlest Re:Take.
The house is still back there behind the trees.
The standard mount on the Sony A7 is prone to flexing. It's especially noticeable when using heavier lenses, but one can feel it even when handling a small one like the Zeiss 55mm F/1.8.
I kinda got tired of this and upgraded to the Fotodiox Tough E-mount version.
It replaces the front ring and the plastic one underneath with a single piece.
This prominent corner location has been used for a variety of purposes. Originally occupied by the "Federal Store" and then replaced by a very substantial building constructed by Donaldson, Coburn and Knox Limited in 1899, it became a very important hardware store servicing the port of Wilcannia during the late 1800s and early 1900s.
Commonly known as Knox & Downs, it became the ultimate country general store, and their slogans were Service for the Back Country and Knox and Downs for Everything. The landmark buiding became the commerical hub of the western district, where one could buy everything from a boiled lolly, a Southern Cross Windmill, sheep dip, or even a Chevrolet. The ornate sandstone building, with a full cellar and jarrah staircase burnt down in 2002, but the original stables and storage shed were preserved.
The Knox & Downs building was revitalised as the Baaka Cultural Centre which is a keeping place for Barkindji artefacts, language, and memories. The Aboriginal community of Wilcannia have fond memories of using and working at the Knox & Downs Building, so it was retained in the redevelopment. The new aspect of the building was made of rammed earth, enabling it to reflect and integrate the heritage of Knox and Downs' store.
Aboriginal History of Wilcannia:
Wilcannia is located on the Darling River, about halfway between Bourke and Wentworth. The river is known as Barka by the local Aboriginal people or Barkandji, literally people belonging to the Barka, and it is surrounded on all sides by Barkandji speaking people. The people from along the Barka and varying distances either side from near Bourke down to Wentworth all recognised the Barkandji language as their primary language, but they were divided into subgroups with different dialects of this one language. The Barkandji language is very different from all the neighbouring languages including the adjoining Ngiyampaa/Ngemba to the east, the Kulin, and Murray River languages to the south, and the Yardli and Thura-Yura language groups to the west and north.
Barkandji have a unique culture and depended heavily on the grinding or pounding of seeds on large grinding dishes or mortars and pestles, such as grass, portulaca, and acacia seeds. In the riverine areas, there is a strong emphasis on aquatic plant food tubers and corms, and fish, yabbies, turtles, mussels, and shrimps as well as water birds and their eggs. Insect foods were also important, such as parti or witchetty grubs along the rivers and creeks, and termite larvae in the Mallee country. Large and small canoes were cut out, necessitating ground edge axes, and string manufacture for fish nets, hunting nets, bags, and belts was an important part of the culture. The Wilcannia area still shows tangible evidence of traditional life in the form of canoe trees, coolamon trees, middens, heat retainer ovens, ashy deposits, stone tool quarries and artefacts.
Thomas Mitchell led the first exploring party to reach Wilcannia and gave the Barkandji their first unpleasant taste of what was to come. Mitchell travelled via the Bogan to the Darling River near Bourke and then down the river to Wilcannia then Menindee, reaching it in July 1835. Mitchell was harassed by Barkandji as he did not understand that he had to properly negotiate permission for use of water, grass, land to camp on etc., and in addition his men were abusing women behind his back and breaking all the rules. He gave them names such as the Fire Eaters and the Spitting Tribe as they tried to warn him off. His comments show that the Barkandji groups he met occupied "different portions of the river", and that they owned the resources in their territories including the water in the river. The exclusive possession enjoyed by the Barkandji and the need to obtain permission before using any of their resources is demonstrated by the following comment about the "Spitting Tribe" from the river near Wilcannia:
"The Spitting Tribe desired our men to pour out the water from their buckets, as if it had belonged to them; digging, at the same time a hole in the ground to receive it when poured out; and I have more than once seen a river chief, on receiving a tomahawk, point to the stream and signify that we were then at liberty to take water from it, so strongly were they possessed with the notion that the water was their own"
A hill 15 kilometres north of Wilcannia was named Mount Murchison by Mitchell and this became the name of the very large original station that included the location that was to become Wilcannia township.
In 1862 the area northwest of Mount Murchison Station was still frontier country with continual conflict. Frederic Bonney was based at Mount Murchison homestead and then nearby Momba homestead from 1865 to 1881 and he bluntly states in his notebooks that in this period "natives killed by settlers - shot like dogs"
Bonney recorded extensive detail about the lives, language, culture, and personalities of the Aboriginal people at Mount Murchison/Momba and left us with extremely significant series of photos of Aboriginal people taken in this period. He does not elaborate about the way the station was set up except for his comment above. Frederic Bonney not only respected and looked after the local people but he sympathised with them, worked with them, and respected them. The Bonney papers and photographs are a treasure of information about the Aboriginal people living there between 1865 and 1881. Bonney published a paper in 1884 but long after he had returned to England to live he campaigned for the better treatment of the Aboriginal people, and he tried to educate the public about the complexity of Aboriginal culture.
Bonney names about 44 individual Aboriginal people living at Momba in this period, and one group photo from the same period shows a total of 38 people. Descendants of some of the people Bonney describes still live in Wilcannia and surrounding areas today.
Aboriginal people worked on Moomba and Mount Murchison Station, and from very early times fringe camps grew up around Wilcannia. The land straight across the River from the Wilcannia post office was gazetted as an Aboriginal Reserve, and this became the nucleus of a very large fringe camp that grew into a substantial settlement spaced out along the river bank in the 1930s to the 1970s. By 1953 the Aboriginal Welfare Board had built a series of 14 barrack-like and inappropriately designed houses in an enlarged reserve, now an attractive tree lined settlement known as the Mission (although never a mission it was beside a Catholic School and clinic, thus the name). Today Aboriginal people are the majority of the population of the vibrant, creative, and culturally active town of Wilcannia, and the main users of the post office facilities.
Wilcannia History:
The first secure pastoralists at Mount Murchison were the brothers Hugh and Bushby Jamieson of Mildura Station on the Murray, who in 1856 took up Tallandra and Moorabin blocks, later extended with other blocks and named Mount Murchison Station. Captain Cadell's paddlesteamer Albury was the first to travel up the Darling, landing flour and other stores for the Jamiesons at Mount Murchison in February 1859. The Albury then loaded 100 bales of wool from their woolshed and brought it down to Adelaide. At this time there were no other stations on the Darling between Mt Murchison and Fort Bourke. A little later:
"An enterprising attempt has just been made by Mr. Hugh Jamieson, of Mount Murchison, to bring fat sheep speedily to Adelaide. Mr. Jamieson having chartered Captain Cadell's steamer, Albury, that vessel was prepared, and received on board at Mildura 550 fine fat sheep. These were landed at Moorundee last Tuesday, after a rapid passage of two days, all the sheep being in splendid condition when put ashore"
Jamiesons sold in 1864 to Robert Barr Smith and Ross Reid from Adelaide. The brothers Edward and Frederic Bonney were leasing some adjacent blocks and possibly worked at Mount Murchison for these owners. In 1875 they bought the Mount Murchison/Momba complex, one of the largest stations in New South Wale. In 1865 it was known as Mount Murchison, in 1881 it was all known as Momba, later splitting into smaller stations. The original Mount Murchison Station homestead block was also known as Head Station or Karannia, the Barkandji name for the area just north of the town near where the Paroo River comes into the Barka. The original Mount Murchison woolshed was located on what is now Baker Park, Wilcannia, which is adjacent to the current Post Office.
The site of Wilcannia was selected on Mount Murchison Station in 1864 by John Chadwick Woore, who was appointed Commissioner of Crown Lands of the Albert District in 1863 and was based at Wilcannia. The town was proclaimed in 1866 and in the 1870s it became a coaching centre for prospectors exploiting the region's gold, copper, silver, and opal resources, and the administrative, service, and shipping centre for the pastoral industry. Wilcannia was incorporated as a municipality in 1881, and around this time it became New South Wales biggest inland port and Australia's third largest inland port (after Echuca Victoria and Morgan South Australia). 'The Queen of the River' or 'Queen City of the West'. At the height of its prosperity around 1880, the town boasted a population of 3,000. According to the Register of the National Estate, during 1887 alone, 222 steamers took on 26,550 tonnes of wool and other goods at Wilcannia wharves. The value of goods coming down the Darling River in 1884 was 1,359,786 pounds, and included over 30,000 bales of wool. The customs house, another Wilcannia stone building now demolished, located immediately between the Post office and the river bank and wharfs, took 17,544 pounds in customs duties in 1889. Paddlesteamers gradually declined, particularly after the 1920s, although a few continued to trade up and down the river into the 1940's, still remembered by elderly Wilcannia residents.
Wilcannia in the 1870s and into the 1900s was the centre of the pastoral and mining boom of the far west of New South Wales, and it was the centre of the paddlesteamer river trade from the Upper Darling to the Murray River and outlets such as Adelaide and Melbourne. The frequent dry seasons and lack of water in the river led to other methods of transporting goods being used, such as camel trains, but when the water came down the river trade always returned. The river trade built Wilcannia's fine buildings, but it was also its undoing, as the New South Wales government intervened to reduce the river trade because goods were moving to and from Adelaide and Melbourne, not Sydney.
Plans to improve navigation on the river were suggested in 1859 after Captain Cadell's first successful voyage up the Darling that was followed by other paddlesteamers. Cadell gave evidence at a New South Wales Select Committee that the Darling would be become reliable for boats if a system of locks were built at very reasonable cost that would hold back water during the drier seasons. The plans to build locks along the Darling River to make navigation more consistent were investigated again and again, but were not realised because the New South Wales government believed trade would benefit Victoria and South Australia.
After the opening of the Sydney to Bourke railway line in 1885, Wilcannia lost its status as the major commercial centre of the Darling River. The trade from the far North West New South Wales then tended to go to the railhead at Bourke and straight to Sydney. There were plans in the 1880s for the railway to be run from Cobar to Wilcannia, however this plan was continuously put off. Plans for a railway to Wilcannia continued to be made throughout the 1890's and early 1900's, and including a proposal from Cobar to Broken Hill then linking to South Australia as the Great Western Railway. In 1907 "a large petition was forwarded to Sydney from Wilcannia for presentation to the Premier urging immediate construction of the Cobar-Wilcannia Railway, and subsequent extension to Broken Hill".
The New South Wales government attempt to stop trade leaking out of the state resulted in their refusal to build a railway to Wilcannia (as goods tended to go to Wilcannia and down the river), or to extend the railway to South Australia for the same reasons. The bend in the river on the north side of town celebrates this government intransigence by its name "Iron Pole Bend", the iron pole said to have been placed at the surveyed location of the proposed railway bridge. New South Wales eventually built a railway through the low population Ivanhoe route to the south of Wilcannia reaching Broken Hill in 1927, and even then it stopped at Broken Hill and did not join the South Australian line until 1970. The link between Broken Hill and the South Australian railway was provided from 1884 to 1970 by the narrow gauge private railway 'the Silverton Tramway', which also took trade from Wilcannia.
The combination of missing out on the railway and locking of the river, the severe drought on 1900 - 1901, and the damage to the pastoral economy by drought, rabbits, and over grazing, led to a down turn in Wilcannia's prospects, leaving the fine stone buildings such as the post office languishing as tangible reminders of a time when Wilcannia was known as the "Queen City of the West" and was the largest inland port in New South Wales and the third largest inland port in Australia.
Source: New South Wales Heritage Register & Central Darling Heritage Trail.
New Kwik Kerb Eurostyle curbing creates a striking border around the garden bed keeping grass out and much in - and matches the customer's driveway and compliments their home. Nice work!
During a tough economy, homeowners on a tight budget are wise to focus their home renovation efforts on projects that make lasting economic impacts. For many, that means replacing worn out windows with energy efficient units, which the U.S. Department of Energy says can save homeowners an average of $125 to $450 a year on energy costs.
Replacing the Series III Jaguar XJ in 1986, the XJ40 was once considered Britain's safest car, and came in many different varieties throughout its 8 year lifespan, including the Majestic, the Sport, the Gold, the XJ6 (base model), the Insignia, the XJR, the XJ12, the Daimler Double Six and the Daimler Vanden Plas.
Low level 2CV maintenance. Over the years, replacement of a broken rubber band supporting the drivers or passengers seat has been performed in the time honoured manner of taking one off the back. Now they're all complete. The seat has a wire sewn into the backing, meaning the clip at one end of the rubber band can secure itself onto the seat, the other goes into a hole in the seat frame. On these original seats (stuffed with wood shavings) it is interesting to see how the webbing to help locate the seat and bands has been applied only to a few of the rubber bands. Economy of manufacture, great thought in design.
In order to replace the PSVAR non compliant B10BLEs in the Bristol fleet, a batch of B7L/Wright Eclipses headed down from Norwich. Seen not long after arrival in Dec 2015, 66345 MV02VCY provides less than luxurious capacity on the X9 express from Nailsea.
After a life in Manchester, Northampton, Norwich and Bristol, 66345 headed to Leeds in early 2017.
1982 Raleigh Royal Restoration
I purchased this Raleigh Royal to replace my worn out touring bike. It was in very poor aesthetic condition with a lot of surface rust however straight and free from damage. Most importantly it was made from Reynolds 531 tubing which comes from an era of bikes that I enjoy. Being in its original form it lacked the necessary additions that allowed it to be built up into a modern touring bike. Off to the frame builder with a list of modifications needed to install the new equipment I had purchased for it. Once complete it was powder coated and the original decals applied.
The modifications included;
• Bottle Holders on the seat tube
• Bottle Holder under the down tube
• Replace rear derailleur eyelet (chain stay)
• Remove existing cable guides under BB and replace with new
• Mudguard eyes on the rear drop outs
• Gear Lever Bosses (remove existing shifter tab from down tube)
• Cantilever bosses 700c
• Front rack braze on
• Threadless steerer
• Cantilever Bridge
• Pannier bosses on the rear seat stay
• Bottle cage boss to front fork, rear chain stay bridge and seat stay bridge (for mudguards)
• Rear wheel clearance on the chain stay for 10 speed cassette
• Fill 3 original headbadge holes on the headtube
Pats List;
• Headset - Chris King 1”
• Rear Derailleur – Shimano XTR 952
• Front Derailleur – Shimano Dura Ace 7803
• Crankset - Shimano Dura Ace 7803 180mm 52/39/30
• Shifters - Shimano Dura Ace 7803 3x10 speed
• Cassette Shimano 10 speed 14-34 (mix of junior 6700 & M770)
• Hub Rear - Dura Ace 7850
• Front Rear - Dura Ace 7800
• Rims – DT Swiss TK 540 29er Rim
• Stem – Ritchey Classic 130mm
• Brakes – Shimano R550 Cantilever
• Seat - Rolls
• Seatpost – Kona 27.2mm
• Mudguards - Raleigh
• Tyres – Continental Contact 700c x 32mm
• Rear Rack – Tubus Stainless Steel
• Front Rack – Tubus Stainless Steel
• Handlebars – Ritchey Classic 44cm
• Bar Tape – Ritchey Classic
I finally replaced my aging MacBook Air.
Old MBA 13" was a 1.7Ghz Core i7 w/ 4 Gbs of RAM
New MacBook Pro is a 2.6Ghz Core i7 w/ 16 GBs of ram and a 512 GB SSD with dedicated graphics
Very excited! Both machines are like night and day in usage but the performance per ounce is remarkable.
MV-22 Osprey aircraft with Marine Medium Helicopter Squadron 265 are parked on the tarmac at sunset after being unloaded from the cargo ship Green Ridge at the Marine Corps Air Station Iwakuni harbor here July 23, 2012. This marks the first MV-22 Osprey aircraft deployment to Japan and a milestone in the Marine Corps' process of replacing CH-46E helicopters with the MV-22 Osprey, a highly-capable, tilt-rotor aircraft which combines the vertical capability of a helicopter with the speed and range of a fixed-wing aircraft. The MV-22 aircraft significantly strengthens U.S. ability to provide for the defense of Japan, to perform humanitarian assistance and disaster relief operations and to fulfill other alliance roles. The MV-22 has successfully assisted in HA/DR operations in Haiti, participated in the recovery of a downed U.S. pilot in Libya, supported combat operations in Iraq and Afghanistan and has conducted multiple Marine Expeditionary Unit deployments.
hunter
Inside the church
The single vessel nave was remodeled Romanesque arches were replaced by Gothic arches (missing) which was based on the columns and capitals of age novel. However, if the choir and transepts have retained their arrangement and decoration carved original paintings dating from the nineteenth century. Cloverleaf plan of this part of the church is a rare feature in Saintonge reminiscent perhaps of earlier constructions at the age novel, whether or pre-Romanesque inspired by Antiquity (seaside). The transept is covered by a beautiful dome-shaped tubes on shells, carried by four arches. Those placed in the axis of the nave and chancel are composed of voussoirs in pads that are sometimes compared to books would be stacked with the back. As for the open arches on the arms of the transept, they are based on double and separate columns and are connected by voussoirs leaving gaps at regular intervals.
The choir and chapels forming the transept arms are arched in a cul-de-oven and lighted by a small window.
All this together, choir and transept, is united by a continuous frieze that extends to the base of the arches, the sculpture of the capitals and their abacuses. The pattern of two side apses consists of vertical grooves in the north and in the shape of "S" in the south. However, on the capitals and in the choir unfolds a profusion of foliage and interlaced acanthus where integrated scenes of great vivacity. We discover pecking birds facing a head and a wide variety of lions, presented a profile or two body, human head, tail drawing the scroll of a scroll. Scenes complement the decor: bow hunting, dogs attacking a deer, a man and a woman hugging under the gaze of a third (husband?), A man sitting in the corner of a tent, attacked by birds, in short, a world where people and animals frolic happily in an elegant, decorative, inherited from St. Eutropius or portal Abbaye-aux-Dames de Saintes.
The kanchi Kailasanathar temple is the oldest structure in Kanchipuram. Located in Tamil Nadu, India, it is a Hindu temple in the Dravidian architectural style. It is dedicated to the Lord Shiva, and is known for its historical importance. The temple was built from 685-705AD by a Rajasimha ruler of the Pallava Dynasty. The low-slung sandstone compound contains a large number of carvings, including many half-animal deities which were popular during the early Dravidian architectural period. The structure contains 58 small shrines which are dedicated to various forms of Shiva. These are built into niches on the inner face of the high compound wall of the circumambulatory passage. The temple is one the most prominent tourist attractions of the city.
GEOGRAPHY
The temple is located on the banks of the Vedavathi River at the western limits of the Kanchipuram. It faces east. Its location, demarcated according to the religious faiths, is in one of three "Kanchis", the Shiva Kanchi; the other two Kanchis are, Vishnu Kanchi and Jain Kanchi. It is 75 kilometres from the Chennai, the capital city of Tamil Nadu. Kailasanathar is one of several notable temples in Kanchipuram, the others being Ekambaranatha, Kachapeshwarar, Kamakshi Amman, Kumarakottam Temple, and Varadaraja Perumal.
HISTORY
The Kailasanathar Temple (meaning:“Lord of the Cosmic Mountain”), is built in the tradition of Smartha worship of Shiva, Vishnu, Devi, Surya (Sun), Ganapathi and Kartikeya, in Hinduism, a practice which replaced the Buddhism.
Temple construction is credited to the Pallava dynasty, who had established their kingdom with Kanchipuram (also known as "Kanchi" or "Shiva Vishnu Kanchi") as the capital city, considered one of the seven sacred cities under Hinduism. There was an interregnum when the Chalukya rulers defeated the Pallavas and occupied Kanchipuram. However, the Pallavas regained their territory and started expanding their capital city of Kanchipuram and built many temples of great magnificence. The only temple of this period which is extant is the Kailsahanathar Temple.
The temple was built during 685-705AD. It is the first structural temple built in South India by Narasimhavarman II (Rajasimha), and who is also known as Rajasimha Pallaveswaram. His son, Mahendravarman III, completed the front façade and the gopuram (tower). Prior temples were either built of wood or hewn into rock faces in caves or on boulders, as seen in Mahabalipuram. The Kailasanathar temple became the trend setter for other similar temples in South India. According to local belief, the temple was a safe sanctuary for the rulers of the kingdom during wars. A secret tunnel, built by the kings, was used as an escape route and is still visible.
The temple has gone by other names such as Kachipettu Periya Thirukatrali (meaning: Stone Temple of Kachipettu, the old name for the present day Kanchipuram) when Rajaraja Chola I of the Chola Dynasty paid a visit to this temple. Inspired by the architecture of this temple, he built the Brihadeeswarar Temple in Thanjavur. Currently, Kanchi Kailasanathar Temple is maintained by Archaeological Survey of India.
ARCHITECTURE
The temple has retained the Pallava architecture in its original stylized form with influence of the later styles developed by the Chola Dynasty and Vijayanagara Emperors. It is of stone built architecture unlike the rock cut architecture built into hallowed caves or carved into rock outcrops as in Mahabalipuram. The tall gopuram (tower) is to the left and the temple complex is to the right. The temple's foundations are made of granite, which could withstand the weight of the temple, while the super structure including the carvings are all made of sandstone. Initially, only the main sanctuary existed with pyramidal vimana and a detached mandapa (main hall). The temple complex is complete in all respects as it has garbagriha (sanctum sanctorum), antarala (inner enclosure), mandapa, a high compound wall, and an entrance gate, the gopuram. The mandapa, which was initially detached, was made part of the main shrine by interposing an ardhamantapa (smaller hall). The pillars of the mandapa have the repetitive features of mythical lion mounts.The structure has a simple layout with a tower or shikara at the center of the complex. The shikara of the temple, above the main shrine (sanctum sanctorum), is square in plan and rises up in a curvilinear style or pyramidal shape. The tower has many levels rising proportionately. At the top of this tower, there is a small roof in the shape of a dome. The pillar elements with mythical animal shapes (lions on the base) are extra features in Pallava style. At the entrance, the gopuram walls are plastered. Its entrance wall has eight small shrines and a gopura, precursor to the main gopura. At some later stage, the mandapa and the sanctuary were joined by an intermediate hall called the ardhamantapa, which is reported to have marred the beauty of the temple to some extent. The temple is enclosed within walls in a rectangular layout.
SHRINES
The main shrine has a 16 sided Shivalinga in black granite stone deified in the sanctum sanctorum. Within the walls of the main shrine there is padabhanda adhisthana (main pedestal) with very elegantly carved images of gods with a sculpted Nandi, a little distance away giving guard to the deity. On each face of the outer walls of the main shrine there are many carvings of gods and goddesses. In the south facing wall the sculpture depicts Shiva as Umamaheshavara with Varaha (incarnation of Vishnu as a boar) raising the linga, flanked by Brahma and Vishnu and flying amaras at the lower level. The west facing hall has sculptures of Shiva in the form of Sandhya Tandavamurti and Urdhava Tandvamurti and the ensemble is completed with images of ganas in dancing poses and also with images of Brahma, Vishnu, Nandi and Parvathi. The carving of Shiva on the north facing wall is a composition of Tripurantaka flanked by three ganas, goddess Durga with three ganas, and Bhairavi, Kaushiki and Jyestha. The exterior faces of the vimana (tower) have images of Bhikshatana, Somaskanda and Shiva in Samhara-Tandava (destructive dancing) pose. In the inner walls of the prakara (circumabulatory passage) there is galaxy of images of Durga, Skanda, Bhavati, Tripurantaka, Garudarudha-Vishnu, Asura Samhara (slaying of demons), Narasimha Vishnu (Vishnu in the incarnation of lion faced man), Trivikrama, Shiva Tandava (Shiva in a dancing pose), Shiva severing the fifth head of Brahma, desecration of Yagna of Daksha, Brahma and his wife, Gangadhara, Urdhava tandava, Vishnu flanked by Bhudevi and Sridevi, Lingodhbava (emergence of linga), Bhikshatana, Ravana, and Vali offering prayers to Atmalinga Chandikeshvara. Vimana's south facing wall has very elegant image of Shiva in a sitting posture of peace and quietude known as Dakhshinamurti, and its west wall has Shiva in the form of Lingodhbava.
The tower has multiple shrines embodied on all its external faces which have the appearance of miniature shrines. These shrines have three features, the sala (rectangular), kuta (square) and panjara (apsidal) styles. Eight small shrines also decorate the entrance wall. The 58 small shrines are built into the niches of the compound wall that encloses the main shrine; they depict Somaskanada reliefs of Shiva and his consort Parvathi in many dance forms.
OTHER FEATURES
The outstanding feature of sculptures is the profusion of depiction of the erect lions projecting out in several directions. There are two sculptures of Shiva here which are seen holding the Veena (musical string instrument) in the hand. There is a lot of difference between the Veena found in the said sculptures and the present day Veena. There are also beautiful sculptures of Mathahvialasa Prakshanam. The temple also has the earliest stone inscription records of the twenty eight Saivagamas (Shaiva saints) in which the Pallava King Rajasimhavarman states his faith in Shaivism. The murals on the inner walls are well preserved.
CIRCUMAMBULATORY PASSAGE
A circumambulatory passage, with a symbolic meaning is situated along the compound wall. In order to make the circumambulation, there is a narrow entry passage which devotees must crawl through. Seven steps must be climbed in order to reach the passage. Passing through the narrow passage is indicative of passage through life. After the circumambulation, the exit is through a pit or another narrow passage symbolic of death. It is believed that making the circumambulation round the various deities would usher the same blessings as visiting paradise.
FESTIVAL
Maha Shivaratri is the biggest festival held in the temple when thousand of devotees throng the temple in the evening hours to offer prayers to the main deity.
WIKIPEDIA
Review LG LED IPS Monitor 23MP65HQ (LG 23EA63V replaced) An Phat PC by dtien87 ductien daoductien - www.anphatpc.com.vn
In PS5
1)duplicate bottom layer
2)on new layer, magic wand select sky shift+select multiple areas; select - feather 2 pts; clear (erase) sky, set at top layer
3)copy / paste a nice sky image as middle layer; add black layer mask; gradient tool mask light at bottom to dark at top
In 2008, the European Ka was replaced with a model developed and produced for Ford by Fiat in conjunction with Fiat's own 500 vehicle. The car was built in Fiat's Tychy, Poland, factory alongside the Fiat 500, Fiat Panda, and Lancia Ypsilon. Production started on 18 July 2008.
The second-generation Ka came with a choice of two engines, a 1.2-litre petrol with 69 PS (51 kW) of power and 102 N⋅m (75 lbf⋅ft) of torque and a 1.3-litre TDCi diesel engine with 75 PS (55 kW; 74 hp) of power and 145 N⋅m (107 lb⋅ft) of torque.
The Ka made its debut in the 22nd James Bond film Quantum of Solace and was unveiled in October 2008's Paris Motor Show.
Production ended on 20 May 2016.
⚠️ Replaced in 2026
New Replacement - Christ Alpha C173
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Out Of Service Christ Varius C163 in White/Blue with blue and black sensomix brushes installed in 2016, replacing a Ryko Premier Plus.
Video - youtu.be/SO6NNmOJvnk
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Tesco
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Wilcomatic
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Tesco Petrol Station
London Road
Buckingham
MK18 1AB
England
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On November 12th 2015 GETTY IMAGES unveiled plans for a new stills upload platform called ESP (Enterprise Submission Platform), to replace the existing 'Moment portal', and on November 13th I was invited to Beta test the new system prior to it being rolled out to the general public in December. (ESP went live on Tuesday December 15th 2015)
***** Selected for sale in the GETTY IMAGES COLLECTION on February 18th 2016
CREATIVE RF gty.im/511000698 MOMENT OPEN COLLECTION**
This photograph became my 1,740th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.
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Photograph taken at an altitude of Fourteen metres at 07:47am on Thursday 22nd October 2015, off Bankside on London's South Bank, from the first intersection on The Millennium Bridge, officially known as the London Millennium Footbridge, which was designed by Norman Foster, and was constructed between 1996 and 2000.
It is a steel suspension bridge for pedestrians crossing the River Thames in London, linking Bankside with the City of London. I affectionately call the Bridge, 'The wibbly-wobbly bridge', after somewhat embarassing teething problems which had the old girl flexing in her moorings when first opened. This view looks towards Monument, Tower Bridge and HMS Belfast moored on the River Thames.
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Nikon D800 170mm 1/1250s f/5.6 iso100 RAW (14Bit) Handheld with Sigma Optical image stabilization on. AF-S single point focus. Manual Exposure, Matrix metering. Auto white balance. Auto Active D-lighting.
Sigma 50-500mm F4.5-6.3 APO DG OS HSM. Power UP 95mm HD UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Vertex 200 AW camera bag. Nikon GP-1 GPS unit.
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LATITUDE: N 51d 30m 35.51s
LONGITUDE: W 0d 5m 54.68s
ALTITUDE: 14.0m
RAW (TIFF) FILE: 103.00MB
PROCESSED (JPeg) FILE: 13.32MB
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PROCESSING POWER:
Nikon D800 Firmware versions A 1.10 B 1.10 L 2.009 (Lens distortion control version 2)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX2 Version 2.10.3 64bit. Adobe photoshop Elements 8 Version 8.0 64bit
In 1918, the Erie Canal was replaced by the larger New York State Barge Canal. This new canal replaced much of the original route, leaving many abandoned sections. New digging and flood control technologies allowed engineers to canalize rivers that the original canal sought to avoid, such as the Mohawk, Seneca, and Clyde rivers, and Oneida Lake. In sections which did not consist of canalized rivers (particularly between Rochester and Buffalo), the original Erie Canal channel was enlarged to 120 feet (37 m) wide and 12 feet (3.7 m) deep. The expansion allowed barges up to 2,000 short tons (1,800 t) to use the Canal.
en.wikipedia.org/wiki/Erie_Canal
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...