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On his uncle’s request to avoid impending war in Europe, Nikola Nobilo left his home in the villiage of Lumbarda, on the Croatian island of Korčula arriving in New Zealand in 1937, where with hard work many obstacles were overcome with his wife Zuva to develop one of the first commercial vineyards. [1] [2] [3]
Two years after Nikola’s arrival he wrote a letter proposing marriage to Zuva who was his childhood sweetheart. [4] Hitler had invaded Poland and as Europe was shutting down, Zuva had to leave for New Zealand quickly. Yet young single women were not able to travel unaccompanied so Zuva was married in Croatia by proxy in a traditional full nuptial mass with Nikola’s brother standing in as the groom. A photo was taken of Zuva in the garden at the church wearing her wedding dress and holding a photo of her sweetheart Nikola. She sailed to Italy from whence she journeyed with her best friend for 6 weeks to be with her husband in her new home. [3] [4] Nikola and Zuva remained committed to each other through 68 years of marriage and raised 3 children together. [5]
Nikola was working at a limestone quarry on his uncle’s farm in Te Hana, Northland. When Zuva arrived, his uncle presented her with a wedding gift of a pair of gumboots as a welcome to muddy Northland.
Nikola used two trucks to deliver bags of lime to surrounding farms and in 1942 the government informed him that they were to take the trucks for the war effort. At this time a small tornado destroyed the limestone crushing plant. Nikola used the compensation he received to purchase a little old house on 14 acres of land at Huapai West Auckland. He planted the first grapevines here in 1943, and made most of his wine making tools by hand, including his own wine casks and poured the concrete for the wine cellar himself. [3][4]
Nikola went on to lobby for law change to support the viticulture industry and strived to produce higher quality wines by introducing classic grape varieties extending their vineyards throughout the country. [6] The pioneering winemaker grew their business to become one of the largest New Zealand wine producers. [2]
In the 1995 New Year honours Nikola was awarded an OBE for his services to viticulture. [6] He was a kind loving man with firm family values and held a strong catholic faith, his life was focused on his family and making wine, and although retired he was still harvesting grapes into his 90s. [4] [6] By the time of Nikola’s passing at the age of 94 years he and his 3 sons who were also involved in the family winemaking business had become the benchmark grape growers in New Zealand’s $700 million dollar wine industry. [8] [9]
Zuva Nobilo affectionately known as Baba was a devoted wife, mother and grandmother. She was a devout catholic and the last surviving matriarch of New Zealand immigrant Croation winemakers. And at 95 years of age she was still in the habit of drinking 2 glasses of wine with her dinner. [3] [9] Zuva passed away in her 96th year. [10]
NIKOLA NOBILO OBE
Natural philosopher
(coat of arms)
Grapegrower Winemaker
Born 23 August 1913 – Lumbarda Korcula Croatia
Died 29th August 2007 Huapai West Auckland
I love my God. I love my wife, I love my family
Amen. Alleluia
SUVA MARIJA NOBILO
Beloved wife of Nikola
(coat of arms)
Pocivala
U Miru
Born Kriletich 13th February 1920 - Lumbarda Korcula Croatia
Died 11th August 2015 – Huapai West Auckland
Loved mother of Steve. Nik, Mark and their families
As Jesus said so do I, “love one another as I have loved you”
Amen. Alleluia
Compiled by Cathy Currie using the following sources:
[1] www.nobilowines.com/nz/our-story/our-history
[2] www.total-croatia-wine.com/croatian-wine-producers/1220-c...
[3] www.stuff.co.nz/auckland/local-news/nor-west-news/3368924...
[4] www.stuff.co.nz/auckland/local-news/47329/Farewell-to-Nob...
[5] notices.nzherald.co.nz/obituaries/nzherald-nz/obituary.as...
[6] www.indianwineacademy.com/dm_159_item_4.asp
[7] www.thegazette.co.uk/London/issue/53894/supplement/33
[8] www.stuff.co.nz/dominion-post/news/obituaries/6081/Nobilo...
[9] www.nzherald.co.nz/business/news/article.cfm?c_id=3&o...
[10] notices.nzherald.co.nz/obituaries/nzherald-nz/obituary.as...
Photo; Cathy Currie
Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog.
Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog. Voor meer info, check: www.3fm.nl/seriousrequest
On request of a good friend, a little photoshoot with this DAF XF.
As it is 17 years of age, and has done a modest 2 Million kilometers, it's due to go on export, as both this company and the Netherlands deem it too old for duty... Still, sentimental value... as this was her first personal company car, and thus naturally, a proper memory of it had to be captured =)
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Tonemapped
Baroque church
In 1676, when the Brotherhood of the Most Holy Trinity was solemnly introduced to St. Peter's, it soon attained a high membership. A large part of the members were among the richest and most respected citizens of Vienna. The nobility was also represented to the highest tops. The Brotherhood therefore had the means to do so, and in 1700, it decided to demolish the old church and build a new building whose shape was to commemorate St. Peter's in Rome. One year earlier, in the plague year of 1679, Leopold I vowed to build a new building dedicated to the Holy Trinity in place of the dilapidated church. Builder Jankel was requested to make an estimation of the costs. He received 50 guilders for the building survey drawn by him.
According to the technical guide through Vienna (Ing. Martin Paul) the builders are indicated in the inscriptions in the dome knob: Francesco Martinelli, Franz Jänggl and Christian Oettl. However, the bibliographical references are widely differing. According to the manual of the German art monuments of Georg Dehio, the construction was started according to the plan of Gabriele Montani 1702, continued from this until 1703, then, probably completed by Johann Lukas Hildebrandt after modified plan 1708 in the shell and consecrated on October 25, 1708. 1708-1715 was followed by the interior fittings, 1713-1717 the dome space was completed in its current picturesque and sculptural design, but only 1730-1733 built the main choir. Cardinal Kollonitsch consecrated St. Peter's Church in 1733. The tomb of Wolfgang Lazius, who had been buried in the old Peterskirche in 1565, was transferred to the new St. Peter's church. The Petersfreithof (cemetery) still surrounded the church, it was only abandoned under Joseph II. In 1844, the façade was restored, and the many sales offices added to the church disappeared after the abolishemnt of the cemetery.
The history of St. Peter in Baroque period
When the old church was removed in 1701, it was decided to find the foundation stone of the first church, which contained "an old parable of Pope Leo III", the friend and contemporary of Charlemagne.
An old memorial book from the parish notes that the particle in 1749 still existed, but writes nothing about the nature of the same. The founders of the strange foundation stone claimed that it must have been laid in the year 800 and this conviction was maintained, so that afterwards the inscription of the cornerstone for the new church was written, which reads:
Petri prinzipis Apostolorum Petri Coeli Clavigeri Sacris honoribus a Carolo I. Caesare Magno anno post virginis partum DCCC extructe novis ex fundamentis DOM uni in Trinitate Deo et S. Petri honoriter augusta surrexit Lapidem in titulum cen age Jacob restauravit Leopoldus uterque Felix. "
The German translation is approximately as follows:
"This church, which stood over nine centuries, founded on holy honors on the solid rock of Apostle Prince Paul, the key bearer of heaven, by Charlemagne in the year 800, after the Virgin gave birth, has resurrected gloriously in honor of the almighty God who is united in Trinity and St. Peter, as second Jacob the cornerstone has laid Leopold the Great as well as the Happy. "
This laying of the cornerstone was solemnly performed by Emperor Leopold I on June 30, 1702 (according to Harrer, Czeike names April 22, 1702).
Already at the time of the start of construction an accident was recorded:
On the occasion of a solemn procession on October 29, 1702, in which the emperor also participated with his court, as a result of the overburden, the planks laid over the foundations collapsed and about 50 persons, mostly court cavaliers and page boys, plunged into the depths.
The completion of the church progressed very slowly. Even during construction, the wood of the dome was damaged, so this had to be replaced in 1722 by a dome cover, for which Emperor Charles VI as the supreme patron and member of the Brotherhood of the Holy Trinity, supplied the copper. For years, the facade was missing and the towers had no ending.
On May 17, 1733, the church was finally consecrated by the Cardinal Count Sigismund Kollonitsch.
Appearance
The outer image of St. Peter's is dominated by the 56-meter high, massive dome, which in its configuration reminds of the dome of St. Peter. It is a two-storey facade of stocky effect, whose slopingly placed towers flank the concave central part and which is surmounted by the dome of the central building. The building itself glorifies the reign of Emperor Leopold I, whose motto is emblazoned in the interior above the choir arch. The charming, pavilion-like portal porch made of gray marble was built according to a design by Andrea Altomonte only 1751-1753. Figurative decoration made of lead by Franz Kohl, a pupil and assistant of Georg Raphael Donner, decorates it. Right at the top are the statues Faith, Hope and Love, as well as angelic figures bearing tiaras and keys, the insignia of papal sovereignty. On the gable window at the front and the vases on the side reliefs: depictions from the life of Peter. The main portal shows rich carving and beautiful fittings; an inscription commemorates the imperial plague vow.
In the niches below the two slopingly placed towers that flank the front of the church are the following sandstone figures: St. Peter and St. Simon, St. John the Evangelist (according to Paul Harrer St. Paul) and Judas Thaddeus. At the back of the choir (outside wall of the church) are stone sculptures of St. Peter and St. Michael, executed by Lorenz Matitelli around 1730.
On the eastern side wall of the church, opposite the exit of the Goldschmied alley, a marble relief is embedded in the stone wall, depicting the legendary setting up of the cross at this place by Charlemagne. Created by Rudolf Weyr, it was unveiled in 1906.
Barockkirche
Als die Bruderschaft der heiligsten Dreifaltigkeit 1676 feierlich in die Peterskirche eingeführt wurde, erreichte sie bald einen hohen Mitgliederstand. Ein großer Teil der Mitglieder zählte zu den reichsten und angesehensten Bürgern von Wien. Auch der Adel war bis in die höchsten Spitzen vertreten. Die Bruderschaft verfügte daher über die entsprechenden Mittel und so fasste sie im Jahr 1700 den Entschluss, die alte Kirche niederzureißen und einen Neubau aufzuführen, dessen Form an die Peterskirche zu Rom erinnern sollte. Bereits ein Jahr zuvor, im Pestjahr 1679 gelobte Leopold I., anstelle der baufälligen Kirche einen der Heiligen Dreifaltigkeit gewidmeten Neubau zu errichten. Man ließ von Baumeister Jankel einen Kosten-Überschlag machen. Für den von ihm gezeichneten Bauriss erhielt er 50 Gulden.
Nach dem technischen Führer durch Wien (Ing. Martin Paul) werden die Erbauer in den Inschriften im Kuppelknauf angegeben: Francesco Martinelli, Franz Jänggl und Christian Oettl. Die Literaturangaben gehen jedoch hierüber weit auseinander. Nach dem Handbuch der deutschen Kunstdenkmäler von Georg Dehio wurde der Bau nach dem Plan von Gabriele Montani 1702 begonnen, von diesem bis 1703 weitergeführt, sodann, wahrscheinlich von Johann Lukas Hildebrandt nach verändertem Plan 1708 im Rohbau vollendet und am 25. Oktober 1708 geweiht. 1708-1715 folgte die Innenausstattung, 1713-1717 wurde der Kuppelraum in seiner gegenwärtigen malerischen und plastischen Ausgestaltung vollendet, jedoch erst 1730-1733 baute man den Hauptchor. 1733 weihte Kardinal Kollonitsch die Peterskirche. Das Grabmal des Wolfgang Lazius, der in der alten Peterskirche 1565 bestattet worden war, wurde in die neue Peterskirche übertragen. Nach wie vor umgab der Petersfreithof die Kirche; er wurde erst unter Joseph II. aufgelassen. 1844 restaurierte man die Fassade, wobei auch die vielen an die Kirche angebauten Verkaufsbuden verschwanden, die nach der Auflassung des Friedhofs entstanden waren.
Die Geschichte von St. Peter im Barock
Als man 1701 die alte Kirche abtrug, will man bei dieser Gelegenheit den Grundstein der ersten Kirche gefunden haben, der "eine alten Paritkel von Papst Leo III.“, dem Freunde und Zeitgenossen Karls des Großen, enthielt.
Ein altes Gedenkbuch aus der Pfarre bemerkt, dass der Partikel noch 1749 vorhanden war, schreibt aber nichts über die Art desselben. Die Auffinder des merkwürdigen Grundsteines behaupteten, dass er im Jahr 800 gelegt worden sein müsse und an dieser Überzeugung hielt man fest, sodass danach die Inschrift des Grundsteines für die neue Kirche verfasst wurde, welche lautet:
"Ecclesia quae IX ultra saecula steterat, fundata supra firmam Petram prinzipis Apostolorum Petri Coeli Clavigeri Sacris honoribus a Carolo I. Caesare Magno anno post virginis partum DCCC extructe novis ex fundamentis D.O.M- uni in Trinitate Deo et S. Petri honoriter augusta surrexit. Lapidem in titulum cen alter Jacob restauravit Leopoldus uterque Felix.“
Die deutsche Übersetzung ist etwa wie folgt:
"Diese Kirche, die über neun Jahrhunderte stand, gegründet zu heiligen Ehren auf dem festen Felsen des Apostelfürsten Paulus, des Schlüsselträgers des Himmels, von Karl dem Großen Kaiser im Jahr 800, nachdem die Jungfrau gebar, ist dem allmächtigen Gott, der einig ist in der Dreiheit und dem heiligen Petrus zu Ehren prachtvoll wiedererstanden. Als zweiter Jakob hat den Grundstein gelegt Leopold der ebenso Große als Glückliche."
Diese Grundsteinlegung geschah in feierlicher Weise durch Kaiser Leopold I. am 30. Juni 1702 (laut Harrer; Czeike benennt den 22. April 1702).
Schon zur Zeit des Baubeginnes war ein Unfall zu verzeichnen:
Anlässlich einer feierlichen Prozession am 29. Oktober 1702, an der auch der Kaiser mit seinem Hofstaat teilnahm, stürzte infolge der Überlastung die über die Fundamente gelegten Bretter ein und etwa 50 Personen, meistens Hofkavaliere und Pagen stürzten in die Tiefe.
Die Vollendung der Kirche ging sehr langsam voran. Noch während des Baues wurde das Holz der Kuppel schadhaft, sodass dieses 1722 durch eine Kuppeldeckung ersetzt werden musste, wozu Kaiser Karl VI. als oberster Schutzherr und Mitglied der Bruderschaft der heiligen Dreifaltigkeit das Kupfer lieferte. Jahrelang fehlte die Fassade und die Türme hatten keinen Abschluss.
Am 17. Mai 1733 konnte die Kirche endlich durch den Kardinal Graf Sigismund Kollonitsch geweiht werden.
Äußeres
Das äußere Bild das die Peterskirche darbietet, wird beherrschend bestimmt durch die 56 Meter hohe, gewaltige Kuppel, die in ihrer Konfiguration an die Kuppel von St. Peter erinnert. Es handelt sich um eine zweigeschossige Fassade von gedrungener Wirkung, deren schräggestellte Türme den konkav einschwingenden Mittelteil flankieren und der von der Kuppel des Zentralbaus überragt wird. Der Bau selbst verherrlicht die Regierung des Kaisers Leopold I., dessen Wahlspruch im Innen über dem Chorbogen prangt. Der reizvolle, pavillonartige Portalvorbau aus grauem Marmor wurde nach einem Entwurfe von Andrea Altomonte erst 1751 bis 1753 errichtet. Figürlicher Schmuck aus Blei von Franz Kohl, einem Schüler und Gehilfen von Georg Raphael Donner, ziert ihn. Zu Oberst die Statuen Glaube, Hoffnung und Liebe, sowie Engelfiguren, welche Tiara und Schlüssel, die Insignien der päpstlichen Souveränität, tragen. Am Giebelfenster an der Vorderseite und den Vasen an der Seite Reliefs: Darstellungen aus dem Leben Petri. Das Hauptportal zeigt reiches Schnitzwerk und schöne Beschläge; eine Inschrift erinnert an das kaiserliche Pestgelübde.
In den Nischen unterhalb der beiden schiefgestellten Türme, welche die Vorderseite der Kirche flankieren, stehen folgende Sandsteinfiguren: St. Petrus und St. Simon, Johannes Evangelist (laut Paul Harrer St. Paulus) und Judas Thaddäus. An der Rückseite des Chores (Außenwand der Kirche) befinden sich Steinplastiken vom heiligen Petrus und vom Heiligen Michael, die von Lorenz Matitelli um 1730 ausgeführt wurden.
An der östlichen Seitenwand des Gotteshauses, gegenüber dem Ausgang der Goldschmiedgasse ist in die Steinmauer ein Marmorrelief eingelassen, das die sagenhafte Kreuzerrichtung an dieser Stelle durch Karl den Großen vergegenwärtigt. Von Rudolf Weyr geschafften, wurde es 1906 enthüllt.
I recently received a request for pictures of pagodas, so I decided to go back and see what else I had lying around. As it later seemed to turn out, they wanted one for a cover, free with a photo credit. If I could get to a pagoda for free to take a picture I'd consider it, but unfortunately I can't. I must've missed the free pagoda bus.
Please don't use this image on websites, blogs, facebook, or other media
without my explicit permission.
© All rights reserved
This image is from a large collection of photographs held at Queensland State Archives.
Find it in the ArchivesSearch catalogue to see all available metadata, order it to view or request for it to be digitised.
Petrie Bight is a reach of the Brisbane River in Brisbane, Queensland, Australia. The land to the north of the bight, centred on the area under the Story Bridge's northern point and around the Brisbane River to Customs House is also known as Petrie Bight and was formerly a suburb of Brisbane. The area whilst still informally known as Petrie Bight, was absorbed into the suburbs of the Brisbane CBD and Fortitude Valley during consolidation of suburbs by the Brisbane City Council. With a resurgence in Brisbane residents interested in this part of the city and its history, has meant there is a possibility the Brisbane City Council and Queensland Government may once again reinstate Petrie Bight as a suburb to give the area a better sense of identity.
However, land to the south of the reach Petrie Bight does not use that name, and is known by its suburb name of Kangaroo Point. Today, it is overpassed by the Story Bridge (Bradfield Highway), and underpassed by the Clem7 Tunnel toll road.
The land formed by the sharp bend in the Brisbane River around which the CBD is now located was known to the Turrbal people as Meeanjin in the Turrbal language, and this name has more recently been used as the traditional name for Brisbane more generally, as well as its traditional owners and custodians.[3]
The location was known to white settlers as Petrie Gardens and was the location of an early settlement farm, one of two that provided food for the colony.[4]
In 1837 Andrew Petrie who had been living in the Female Factory since his arrival to the penal settlement, selected a site on the bend of the river and constructed his residence. Andrew Petrie also established the prominent Petrie construction business here in 1840. The Petrie construction firm, which were the first architects and builders in Queensland, had their large yard and workshops adjacent to Andrew Petrie's house. Later, the Petrie business constructed a new two-storey office still within the suburb of Petrie Bight at the corner of Adelaide and Queen Streets. This building was demolished by the Brisbane City Council in the 1930s to widen the intersection due to traffic congestion in the city.
Petrie Bight has been the base for water police and in earlier times wharves.[5] The location of Customs House and the preference for wharves was due to site being directly downstream from the central business district.[5]
Surveyor Henry Wade, on his 1844 Map of the Environs of Brisbane Town, identified the Petrie's Bight area south of Boundary Street and east of Queen Street as "Reserved for Dry Dock". Surveyor Galloway did the same on his 1856 Plan of the Suggested Extension of the Town of Brisbane. At this time the surrounding area was sparsely occupied, with Andrew Petrie's house and factory at the corner of Wharf and Queen Streets; Dr Hobbs' house (now St John's Deanery) a little further north in Adelaide Street; the original Customs House in Queen Street, beside the Brisbane River; and a ferry jetty just north of the Customs Houses.
A c. 1860 map of Brisbane Town showing the new town boundaries no longer labelled Petrie's Bight as a reserve for a dry dock (no dry dock was ever established there), but the site remained unsurveyed Government land. An early track (the northern end of Queen Street) ran through this land, branching off in three directions to New Farm, Fortitude Valley and the northwest end of Spring Hollow.
Engraving of the Brisbane Gas Company's gasworks, Petrie Bight, circa 1868
Under the provisions of the Brisbane Gas Company Bill 1864 the Queensland Government granted to the Company a site bounded by what are now Ann, Boundary and Macrossan streets and a 160-metre frontage to the Brisbane River, as the site for Brisbane's first gas works. This was the northern half of the Government land at Petrie's Bight. Gas production commenced there in 1865, providing the Brisbane Municipal Council with a regular supply of gas for street lighting. By the early 1870s the demand for gas for domestic consumption was outstripping supply, and in the mid-1870s a second gasometer was constructed on the site. In 1873 the Brisbane Gas Company gained a formal deed of grant to the Petrie's Bight land, an area of 4 acres 17.5 perches (1.66ha), which the Company had purchased from the Government in May 1873 for £4,300.
An April 1873 a survey plan titled Survey of Site of Gas Works and Adjacent Crown Land Shewing Road Through Same indicates that by this date the gas works site was fenced along the entire length of its land boundaries, but that through this the government had just surveyed a 20 feet wide road between Macrossan and Boundary streets, which later became an extension of Adelaide Street. Photographs from the 1860s and early 1870s show a tall paling fence around the perimeter of the gas works, prohibiting public access. Early Brisbane resident Victor Drury, writing in The Courier-Mail in 1939, recalled: "When Adelaide Street was extended to Boundary Street, there were turnstiles there, and only pedestrians could use the path as a short cut to Queen Street."
In the early 1840s wharfage in Brisbane was concentrated along the South Brisbane Reach of the Brisbane River, but within a decade had extended to the Town Reach further downstream, which soon rivalled South Brisbane in terms of shipping activity. An 1849 decision to locate Brisbane's first purpose-built Customs House at the northern end of the Town Reach acted as the impetus for the development of wharves on this part of the river. The Commissariat Store below William Street, which had served as Brisbane's first customs facility, was replaced in 1850 by a new customs building on the site of the present Customs House in Queen Street, at Petrie's Bight. (This in turn was replaced in 1886–89 by the current building.) During the 1850s and 1860s, a number of shipping companies and private investors constructed wharves and warehouses between the Customs House and Alice Street, near the City Botanic Gardens.
Petrie Bight retaining wall, 2014
Construction of a Government wharf (Kennedy Wharf) at Petrie's Bight north of the Customs House commenced in 1875 was completed in 1877 and was leased to private shipping firms. In 1880 the Brisbane Municipal Council acquired the wharf and immediately extended it northward, creating the (now heritage-listed) Petrie Bight retaining wall between the wharf and Queen Street. In 1884 the Council also constructed a wharf at the end of Boundary Street, and in the mid-1880s William Collin established his own wharf at Petrie's Bight, just downstream from the Council's Boundary Street wharf. Purchase of land from the Brisbane Gas Company in 1902 gave the Council control of the river frontage from the Customs House to Boundary Street, and between 1913 and 1916 the Council constructed reinforced concrete wharves between Macrossan and Boundary Streets, and between Kennedy Wharf and the Customs House. The whole of the Council's wharfage at Petrie's Bight was subsequently renamed Circular Quay Wharves.
Between 1900 and 1912 Brisbane Wharves Ltd established wharves at Petrie's Bight from Boundary Street to Bowen Terrace, rivalling the Council's Circular Quay facilities in importance. Principal investors in the Brisbane Wharf Company were Howard Smith and William Collin and Sons. From the late 1890s, Howard Smith and Company Ltd occupied the Council's Boundary Street Wharf at Petrie's Bight and in the early years of the 20th century leased the adjacent new wharves constructed by Brisbane Wharves Limited at the base of the New Farm cliffs, below Bowen Terrace. These wharves were extended in the 1920s, and in the 1930s were resumed by the Queensland government for the construction of the Story Bridge.
In the early 20th century the roads to Petrie's Bight were improved significantly by the Brisbane City Council, providing an important impetus for the construction of new warehouses in the Upper Adelaide Street area. From 1923 to 1928 the Brisbane City Council implemented its most ambitious town improvement scheme to that date: the widening of Adelaide Street by 14 feet along its entire length. Resumptions in Adelaide Street had commenced in the 1910s, but work on the street widening did not take place until the 1920s. The work was undertaken in stages, commencing in 1923 at the southern end where the new Brisbane City Hall was under construction. Some buildings had the front section removed and a contemporary facade installed on the new road alignment. Elsewhere, earlier buildings were demolished and substantial new structures took their place. At the northern end of Adelaide Street the cutting down of the hill below St John's Cathedral in 1928 facilitated greater access to Petrie Bight, which, close to new city wharves at the end of Boundary Street, boomed in the 1920s as a warehousing district.
By 1921 Queensland was poised to resume the economic boom interrupted by the First World War (1914–18). In the period 1922–1928, Queensland experienced its first and last economic boom between the outbreak of war in 1914 and the 1950s. The benefits of the boom economy were reflected throughout the State, but nowhere more so than in Brisbane, with 29% of the Queensland population in December 1924. In physical terms the boom was expressed in a spate of building activity that transported the central business district of Brisbane into the 20th century, shedding its late Victorian image.
The take-off in the building industry was evident during 1922-23, reflected in an active central business district real estate market, and prompting the Brisbane City Council to re-assess central city rateable values in 1923. By September 1925 property in Queen Street, the principal retail and financial street of Brisbane, could be acquired only at highly inflated prices, forcing investors into more peripheral locations such as Petrie's Bight. A fall in the price of building materials, combined with the trend in using concrete, a more economical product than brick, for large construction projects, further stimulated building activity.
To my mom and to all mothers, Have a beautiful Mother’s Day!
Cinnamon Rolls recipe on my blog, Baking is my Zen.
bakingismyzen.wordpress.com/2013/05/12/cinnamon-rolls-mam...
A Mother's Love
by Jim Brickman & Mark Masri
www.youtube.com/watch?v=vC-D6RLsGXY
Thank you for watching over me
All of the sleepless nights you lay awake
Thank you for knowing when to hold me close
when to let me go
Thank you for every stepping stone
And for the path that always leads me home
I thank you for the time you took
to see the heart inside of me
You gave me the roots to start this life
and then you gave me wings to fly
and I learned to dream
because you believed in me
There's no power like it on this earth
No treasure equal to its worth
The gift of a mother's love
Thank you for every sunlit day
That filled the corners of my memory
Thank you for every selfless unsung deed
I know you did for me
Thank you for giving me the choice
To search my soul till I could find my voice
And I thank you for teaching me
To be strong enough to bend
You gave me the roots to start this life
And then you gave me wings to fly
And I learned to dream
Because you believed in me
There's no power like it on this earth
No treasure equal to its worth
The gift of a mother's love
I thank God for a mother's love
De opbrengst van 3FM Serious Request 2010 gaat naar de stille slachtoffers van aids. Op de markt van Eindhoven nemen Giel, Coen en Gerard plaats in het Glazen Huis.
Generative Art with: ScribblerToo www.zefrank.com/scribbler/scribblertoo/
"blindtext": literally translation of the German word Blindtext = dummy text, dummy page.
Die Variable: von lateinisch variabilis: veränderbar.
In der formalen Logik: „ein sprachliches Zeichen, für das beliebige Ausdrücke einer bestimmten Art eingesetzt werden können“
Variable verwendet man auch in der Mathematik.
In der Typographie dient der sogenannte Blindtext als Platzhalter.
In der Informatik gibt es die Wildcard als Jokerzeichen.
Erstmals verwendet wurden Variable in der formalen Logik und zwar schon von Aristoteles.
Arvo Paert: "Perpetuum Mobile" (youtube)
ScribblerToo_1_12_9_2013
irvine, california
fall 1975
lions
lion country safari
african wildlife preserve
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Belinda requested something 'pretty' for her daughter's 21st birthday. Only requirement was for it to be chocolate and 'diabetic friendly'.
We were thrilled to find out that it was being eaten for breakfast the next morning because it was loved so much 😆
These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.
Local Identifier: V4113-07
Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009
From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009
Contact: Presidential Materials Division (LM)
National Archives Building
7th and Pennsylvania Avenue NW
Washington, DC 20408
Phone: 202-357-5200
Fax: 202-357-5939
Production Dates: 7/26/2002
Persistent URL: catalog.archives.gov/id/18544154
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Sasudio requested some action poses of Sarah Connor trying to take Miles Dyson out. The figure’s articulation is a bit limited but I tried : ) If it is now, she would surely say “Stick to the vacuum machines, Dyson!” HaHaHa!!! Cheers!
Na zes dagen mochten Giel Beelen, Michiel Veenstra en Gerard Ekdom maandagavon om negen uur het glazen huis weer uit op de Oude Markt in Enschede. Tijdens het eindfeest op het Van Heekplein werd bekend gemaakt dat de deejays dit jaar meer dan twaalf miljoen euro hebben opgehaald met 3FM Serious Request.
Foto: Heidie Duteweert
hi guys so i kind of ran out of manip ideas and idk what should i do (or manip) next...got any requests? just submit them here :)
Na zes dagen mochten Giel Beelen, Michiel Veenstra en Gerard Ekdom maandagavon om negen uur het glazen huis weer uit op de Oude Markt in Enschede. Tijdens het eindfeest op het Van Heekplein werd bekend gemaakt dat de deejays dit jaar meer dan twaalf miljoen euro hebben opgehaald met 3FM Serious Request.
Foto: Heidie Duteweert
A look at Conwy Station in the rain. Arriva Trains Wales has services here to Birmingham International. It is a Request Stop.
At the corner of Rosemary Street and Rose Hill Street.
Conwy railway station serves the ancient walled town of Conwy, Wales, and is located on the Crewe to Holyhead North Wales Coast Line. There are through services to Chester via Colwyn Bay, Rhyl, Prestatyn and Flint in one direction and to Bangor & Holyhead in the other. After arrival at Chester, most trains go forward to either Crewe, Cardiff or Birmingham International.
The station was opened by the Chester and Holyhead Railway on 1 May 1848; it was closed as part of the Beeching cuts on 14 February 1966 but reopened on 29 June 1987 as a request stop. Upon reopening, the Welsh spelling Conwy was adopted, in contrast to the Anglicised form Conway used until closure in 1966.
The original station had substantial decorated mock-Tudor style buildings on both sides (being sited within the town walls), along with canopies and a footbridge - this was however demolished soon after closure and no trace now remains. The modern 1987 replacement has only basic amenities, no ticket office and shorter platforms.
The station platforms can only fully accommodate 2 coaches. Services operated by longer DMUs that call at this station do so under 'local door operation', whereby passengers may only board or alight through one door of the train, usually the leading door of the second coach. This avoids obvious safety risks presented by passengers alighting from doors that are not adjacent to the platform. Each platform has an open sided shelter for waiting passengers, a customer help point, timetable poster boards and digital CIS displays. There is no ticketing provision and the station is unmanned - tickets must be bought on the train or in advance of travel. Step-free access is available (via ramps) to both sides.
There is a basic two-hourly service each way Monday to Saturday, improving to hourly at certain times (morning peak and late afternoon/early evening). Trains run between Holyhead and Chester and then on southbound via Shrewsbury to either Cardiff Central or Birmingham International. The Sunday service is infrequent (particularly in winter), with large gaps between trains. Services run to Holyhead and one of Crewe, Cardiff Central, Wolverhampton or Manchester Piccadilly.
cambridge, mass
1971
harvard square
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Another visitor to the 2014 Bouquets to Art deYoung Museum granted our request to capture this image of Melody and me standing next to a wonderful floral arrangement by Mary Ann De Moss and assistant Merilyn Presten of San Mateo CA on the deYoung lower level, though only the mushroom portion of the creation show in this image. Thank you to the anonymous woman who helped us with this memory of our visit. The Bouquets to Art was March 18 through Sunday March 23 2014. A very fun seven day exhibit.
Parochial returns were requested intermittently by the Bishop from priests assigned to parishes. This 1858 return relates to the parish of Tinryland-Bennekerry and was completed by Fr Joseph Murray, parish priest.
1.What is the extent of the Parish or Union?
About 10 miles by 5 do
2.What is the account population of the population? State the number of Males and Females, And – if convenient – the number under 12 years
Under three thousand
I suppose the number of both sexes to be nearly equal. Cannot state exactly the number under 12 years, but believe it to be about one third of the entire population
3.What is the number of schools in the parish? What books are used in them?
Two in connection with the Board of N. Education, and four private schools
The books used (generally) in all schools are those published by the Board, and used in the N. Schools
4.What is the age and character of teachers?
The teachers ages range from 40 to twenty years. Characters of all good.
5.What is the average number of the Children who attended these Schools for the last year?
About 300
6.What proportion of these Children read and write?
about 2 thirds
7.Do any Children in the Parish attend Schools which have not your approval for their Education?
At present I know of but one such child
8.If so, how many Children and for what reason or pretext?
The pretext of the parents of the one child is poverty, and a hope, rather than a certainty of having their child fed & clothed
9.What Religious Confraternities or Sodalities are now existing in the Parish?
There is the Confraternity of the Scapular – of the Christian Doctrine, & of the Sacred Heart
10.What is the number of members in each of said Sodalities?
They are generally the same persons that are connected with the different sodalities, and number about 250
11.What is the average number of Children – distinguishing Male and Female – who attended at the Catechism Schools in each Church and Chapel in the Parish on Sundays and Holidays for the last year?
about 60 males & 60 females in one Church and about 60 males & 40 females in the other
12.What number of books was given out by the Religious Book Society or Parochial Librarian within the last year?
We have but very few books in our parochial libraries, and they are seldom called for, being in a bad state
13.What is the number of Pious Reading Schools in each Church and Chapel in the Parish on Sunday and Holidays?
Two in each of the Parochial Chapels
14.What is the number of Children who made their First Communion within this year?
About 80
Joseph Murray P.P. of Tinryland & Benekerry
Note: The spelling and punctuation used in this transcription replicate the original document.
Document code: KL/P/TD/4
Our images are copyright. Please contact us if you wish to reproduce any image: delanyarchive@carlowcollege.ie
Requested by Susan as a surprise for her husband at his 40th birthday party.
An extended tier white chocolate mud cake with white chocolate ganache and figurines of the family on top. The two girls were reportedly thrilled to see themselves in sugar!
The sea was very much inspired by this cake from the icing on the cake - www.flickr.com/photos/the-icing-on-the-cake/4983230455/in...
Luke:"...This is Pfc.Luke!We've engaged a heavily fortified MG!Request artillery support"
Terran:"Grid Two-Four,Two-Five,Two-Six!"
Request manip for mileyrockstheusa.
Please do not take, if you want a picture made especially for you, you can request a picture as well. :)
Hope you like it! <3
Zelda is nearly potty trained. Zelda does not actually "go" in this video.
Someone asked to see what it was like when she went in the toilet and in this video, Zelda trys/pretends to go (probably because I praise her) This is near when I first moved from the orange level (smaller hole) to the green tray.
William Stone Images - Limited Edition Fine Art Prints
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We do plan future trips and do catalogue our past ones:
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
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We celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied and multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general.
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Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren
in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog.Voor meer info, check: www.3fm.nl/seriousrequest
@tamronguatemala request us @escuelaefe to test theirs lens and I did a comparative using a 70-200 canon and the same one in tamron. Here are photos I did with the help of the model @anncamillae at @hotelelcarmen.
@tamronguatemala nos pidió a @escuelaefe que probáramos sus lentes. Yo hice una comparativa entre el 70-200 canon y tamron. Aquí las fotos que logré gracias a la ayuda de la modelo @anncamillae y que hicimos en @hotelelcarmen. #canon #tamron #canonvrtamron #70-200 #portrait #modelo #swedishgirl #retrato
Foto:
Leonel [nelo] Mijangos
I did one of these a while ago but didn't really get any requests so thought I'd try again! so place you're requests and I will try and do some!
Hello can anybody post some great wallpaper for super amoled screen via /r/wallpapers by edgetheraited ift.tt/2fRdYUn
About a week ago a girl sent me a friend request on facebook. Not one to turn a pretty girl away i accepted. After a week of seeing her wall posts I was curious to see who this girl was so I sent her a message. Turns out she is a friend of a friend and wanted some pictures done. We made plans for the following sunday to do some test shots and to see how we would get along. She arrived at my place around 3:30 and off we went to downtown LA. I had an idea where i wanted to take some pictures but I had only been there at night to take some long exposures and security is pretty hit or miss. Sometimes they let you shoot and others they will kick you out. We made good time to downtown and I was surprised to see street parking near the John Ferrero Building. It looks like the opera was in town across the street and the street parking was taken up mostly by semi trucks. I found a spot to park but there was a temporary no parking sign. Without anyone seeing i took the sign off the post and put my change in the meter. I just hoped no cops were in the area looking to give out tickets. Caitlin had never shot before and was quite nervous. I did my best cracking jokes and just trying to ease her nerves. Very soon she started to get more comfortable and the shots started getting alot better. After shooting at the john ferrero building I thought about shooting at the disney concert hall but didn't want to take my chances with my parking spot so I took her for alittle drive though downtown and showed her one of my favorite places the art district. It seems the camera just loved her and what was supposed to be a test shoot turned into a full on photoshoot. Now i have a ton of pictures to go though. I can't wait to shoot with her again.
strobist: sb-600 on the left of the camera 1/2 power bare. sb-600 on the right of the camera 1/2 power bare. sb-800 on camera set at a commander 1/4 power with a sto fen defuser. triggered with nikon cls.
Na zes dagen mochten Giel Beelen, Michiel Veenstra en Gerard Ekdom maandagavon om negen uur het glazen huis weer uit op de Oude Markt in Enschede. Tijdens het eindfeest op het Van Heekplein werd bekend gemaakt dat de deejays dit jaar meer dan twaalf miljoen euro hebben opgehaald met 3FM Serious Request.
Foto: Heidie Duteweert