View allAll Photos Tagged robust
Tahai, Rapa Nui, Easter Island, Chile.
The three ahu of Tahai
But without a doubt, the great focus of attention at Tahai are its three ahu or ceremonial platforms located on the small rocky cliff that rises above the sea. The altars form a visual line that stars in this magnificent setting. If you look straight at the platforms, the first group on the left with five moai statues is the Ahu Vai Uri, the next one is the Ahu Tahai and the last one with a single statue wearing a pukao or hat is the Ahu Ko Te Riku.
Ahu Vai Uri
The Ahu Vai Uri, whose name could be translated as dark water or green water, is the platform with the largest number of erected statues. Its construction dates from 1200 AD. and its five restored moai are a sample of the different styles of how they were carved.
The first one on the right is currently a piece of rock that is barely recognizable. However, the one that follows, much better preserved as such as the first on the left, has a lower and more robust body than the rest and shows a grim expression.
Ahu Tahai
Ahu Tahai has a single solitary moai about 4.5 meters high. The figure, which is very eroded, shows a thick torso and a wide neck, and rises on the oldest platform of the complex built around 700 AD.
Despite the enormous wear suffered by the moai over time, it still shows the greatness and pride of the ancestors they represent and, in some way, still transmits that mythical power called mana.
Ahu Ko Te Riku
Ahu Ko Te Riku is the last and singular platform located further north. Above it rises a single moai of 5.1 meters high that was restoredwith all the elements that adorned the old finished statues.
On his head it carries a pukao, a cylindrical piece carved in red scoria from the Puna Pau volcano. This form, which according to different opinions, represents a hat or a hair bun, was placed in the last phase of construction of the ahu. It is believed that the original pukaoof this moai was used to carve the Christian cross that is found in the nearby cemetery to Tahai, but there is not even the certainty that it had one. The other differentiating element of Ahu Ko Te Riku is that it supports the only moai that has eyes of the whole island.
For video, please visit youtu.be/b3LaCk0laBo
A Sé Catedral da Guarda, fotografada ao pôr do sol, é um dos mais impressionantes monumentos góticos e manuelinos de Portugal.
A Sé da Guarda, Monumento Nacional desde 1907, é uma imponente catedral fortificada no coração da cidade. A sua construção, iniciada no final do século XIV e concluída em 1540, resultou numa harmoniosa mistura de estilos arquitetónicos: românico (contrafortes e torres), gótico (abóbadas e portal norte) e manuelino (arco trilobado e colunas torsas). A sua estrutura robusta em granito, em forma de cruz, é dominada por duas torres octogonais. No interior, destaca-se a sobriedade e grandiosidade, com um notável retábulo renascentista na capela-mor, atribuído à escola de João de Ruão. Mais do que um edifício religioso, a Sé representa a história da Guarda, sendo testemunha da sua importância como sede episcopal desde o século XIII, e reflete a evolução artística e histórica de Portugal.
This robust little bristlecone - all two-feet of it - is something of a revolutionary. It may well have germinated early in the Industrial Revolution, and has thrived - high in its remote, rocky aerie - through the early decades of the Green Revolution. Normally, it would be reasonable to expect it could easily live another two or three thousand years - perhaps much more. Revolutions, however, are fraught. Powerful, strengthening, reverberations are poised to intersect its life-span at any time.
But, for the moment, it can be imagined to exemplify a certain type of universal youthful innocence and exuberance - pom-pom branchlets raised high as the sun drops neatly between two distant peaks, it seems to signal, “Score!”
If you happened to be sitting with this tree at such a moment, you might experience the tiniest twinge of... well...Hope. But, as only you would know, the game is far from over...
A compact, robust, and big-headed warbler. Males are striking with a black hood contrasting with whitish throat, grey back, and red eye-ring. Females duller with a gray hood, white throat, and buff body. Common in many typical Mediterranean habitats including tall bushes, open woodlands, gardens, coastal scrub, and plantations; also in oases, acacia woodlands, and scrubby desert in non-breeding range. Usually first detected by its song, a fast, angry-sounding rattling "ctret-tret-tret-tret-tret" or "tetwtweer-tik-tik-tik" with whispering in between. The call is a dry "tseck."
The robust Lada Niva series was introduced in 1977. The series is continued till the present day. The boxy design was kept almost equal for over 35 years.
Chief designers were Pyotr Prusov and Vladimir Solovyev. Prototypes appeared in 1976.
The AWD Lada was also known as LADA-VAZ 2121 or Lada Niva 2121.
Vertical rear light units and a bigger rear door appeared in 1994.
Long chassis 3-door Niva's were introduced in 1993. The 5-door version was presented in 1995 and was initially called VAZ-2131 or Niva 2131. Many were in use as ambulance.
Model name 'Niva' was dropped in 2006.
1690 cc L4 petrol engine.
Performance: 80 bhp.
1349 kg.
General production Lada Niva series: April 1977-present.
Production Lada 2131 long platform: 1995-2001/2001-present
Production Lada 4x4 this version: 2006-present.
Original first reg. number: March 6, 2009.
New Dutch reg. number: April 15, 2016 (private import).
With current owner since April 20, 2017.
Amsterdam-Noord, Sperwerlaan, May 18, 2017.
© 2017 Sander Toonen Amsterdam/Halfweg | All Rights Reserved.
The Blood Moon is a no frills starfighter with no explosives, energy weapons, or terribly robust shields. Its job is punching new ventilation shafts through enemy ships with its two powerful cannons, and letting the vacuum of space do the dirty work. It relies on its speed to get away as it has little defense against return fire.
I built this over the course of about 5 weeks. The ideas that led to it started off long before that, though, as I was toying with an idea for a drone fighter. I wanted to revisit the color scheme that I used in my cyberpunk hopper car. Dark red as the main color earned it the working title Blood Moon. I got stuck on that for awhile, then started over with a very different design in a different color scheme, now featuring a cockpit. After going away on vacation for a bit, I returned and started over again, returning to the original color scheme, and something a bit closer to the original concept than the direction I'd started to veer off into with the first restart.
On top of my original sketch, I took some inspiration from present day lifting body aircraft. With the exception of the tail, the side profile has a deliberate airfoil shape.
The thing that finally got me going somewhere, after spinning my wheels for a while, was the #69754 tile shooter, which I used in the engines of my previous spacecraft, the Astral Vortex.
The cockpit came next. I really wanted to put the nose way out in front on this one, because I've done a lot of hiding it between cannons or Vic Viper prongs on past builds, which has let me focus less on the shaping. I originally wanted to brick-build a sleeker version of the classic 2507 windscreen in trans neon green. I didn't have those hinged wing parts that make the side in the right color, so I temporarily used black, and by the time I got the parts in my intended color it had evolved and I liked the black better.
Another of my frequent habits, showing up in nearly every spacecraft I've built since the Ugly Duckling, is using a lot of white brick in my hulls. I like that look, and I certainly don't plan to abandon it, but this time around I decided to use none at all for the sake of trying something different. The goal was to achieve a darker grittier look, while still keeping the high contrast that comes with spanning a wide range of shades.
This is one of my more complicated builds in terms of weird out-of-system geometry. There are few 90 degree angles to be found, anywhere. They only visible part with studs not at some weird out of system angle from the frame is the small recessed panel in front of the intake below the black pipe.
---
I originally intended for the V-shaped cutaway in back to be mostly taken up by the engines. But I noticed that I had accidentally created a dinosaur foot overhead profile. I wanted to keep that, and so the exhaust nozzles got shrunken significantly.
There are only two fish, the other one is a stick.
These fish float near motionlessly, with their mouths facing downwards, around a background that makes them nearly impossible to see. They feed on tiny crustaceans, sucked inside through their long snouts. They live in open waters except during breeding, when they find a coral reef or muddy bottom, changing color and shape to minimize visibility. Unlike true pipefish, female ghost pipefishes use their enlarged pelvic fins to brood their eggs until they hatch. (Wikipedia) Anilao, South Luzon, Philippines
NASA ground controllers have begun checking out and commissioning a shoebox-sized spacecraft that the agency purposely built to show that CubeSat platforms could be cost-effective, reliable, and capable of gathering highly robust science.
The Dellingr spacecraft will begin science operations once ground controllers complete checkout, which began a few hours after the NanoRacks CubeSat Deployer aboard the International Space Station released the CubeSat into its low-Earth orbit Nov. 20.
This image shows the release of the Dellingr spacecraft, which NASA specifically developed to provide high-quality science data on a small platform.
Image credit: Nanoracks/Larry Kepko
The white-beaked dolphin is a robust species of dolphin with a short beak. Adults can reach 2.3 to 3.1 m (7 ft 7 in to 10 ft 2 in) long and weigh 180 to 354 kg (397 to 780 lb). Calves are 1.1 to 1.2 m (3 ft 7 in to 3 ft 11 in) long at birth and probably weigh about 40 kg (88 lb).
The upper body and flanks are dark grey with light grey patches, including a 'saddle' behind the dorsal fin, while the underside is light grey to almost white in color. The flippers, fluke, and the tall, falcate, dorsal fin are all a darker grey than the body. As the common name implies, the beak is usually white in color, but it may be a dark, ashy grey, in some older individuals.
White-beaked dolphins have 25 to 28 teeth in each jaw, although the three teeth closest to the front of the mouth are often not visible, failing to erupt from the gums. They have up to 92 vertebrae, more than any other species of oceanic dolphin. Although the young are born with two to four whiskers on each side of the upper lip, these disappear as they grow, and, as in other odontocetes, the adults are entirely hairless.
The humerus of the right flipper has been recorded as being longer and more robust than that on the left, indicating a degree of lateralized behavior.
The white-beaked dolphin is endemic to the cold temperate and subarctic waters of the North Atlantic Ocean, most commonly in seas less than 1,000 m (3,300 ft) deep. They are found in a band stretching across the ocean from Cape Cod, the mouth of the St. Lawrence River and southern Greenland in the west, around Iceland in the centre, and across in the west from northern France to Svalbard; however, they are not well adapted to truly Arctic conditions.
Due to the fact they are not fully adapted to Arctic conditions, they are more vulnerable to predators, most notably polar bears.
This image was taken on a Whale Watching trip with Laki Tours from Olafsvik in Iceland
"Grevílea-robusta (Grevillea robusta) é a maior planta do gênero Grevillea. É nativa da costa leste da Austrália. É uma árvore de crescimento rápido, de folha perene, que atinge 18–35 m de altura e tem folhas verdes delicadamente denteadas e bipinuladas, semelhantes à folhagem dos fetos. As folhas têm geralmente 15–30 cm de comprimento com o lado inferior branco acinzentado ou cor de ferrugem. Suas flores são cor laranja-ouro com floração tipo Callistemon, com 8–15 cm de comprimento na primavera, num caule de 2–3 cm. As sementes, maduras no final do inverno ou começo da primavera, frutificam em folículos marrom escuro, com cerca de 2 cm de comprimento, com uma ou duas sementes chatas, com asas."
A robust Great Lakes Central train utilizing CN trackage rights from Detroit rolls past the iconic Grand Trunk station in Durand, MI. Stupid PTC pole ruins everything.
The crew will have work here before heading for Owosso with a much-reduced train. Another crew will bring the return trip back south later in the afternoon.
Tintoretto (Jacopo Robusti - Venice 1518 - 1594) - the Last Supper (1578-81) - oil on canvas (487 × 538 cm) - Scuola Grande di San Rocco - Campo San Rocco - San Polo district Venice
Qui a San rocco, a differenza delle composizioni con la stessa tematica e la stessa tipologia iconografica che si trovano nella chiesa di San Trovaso (“L’ultima cena”, 221 x 413 cm.) e nella chiesa di San Paolo (“L’ultima cena”, 228 x 535), la visione avviene in un interno molto vasto la cui dilatazione spaziale, enfatizzata da un impianto disposto in diagonale, si accresce con sapienti contrasti di luce-ombra e con linee prospettiche in un rapido ritmo decrescente.
Here in San rocco, unlike the compositions with the same theme and the same iconographic typology found in the church of San Trovaso ("The Last Supper", 221 x 413 cm.) And in the church of San Paolo ("L ' last supper ", 228 x 535), the vision takes place in a very vast interior whose spatial expansion, emphasized by a diagonally arranged system, grows with wise contrasts of light-shadow and with perspective lines in a rapid decreasing rhythm.
The Desert Channels Region is a largely unmodified environment with robust pastoral, mining, and tourism industries. Home to 14, 500 people the region covers 510 000 square kilometres, (about one-third of the state of Queensland) and incorporates the Queensland section of the Lake Eyre Basin. This region is valued for its unique and healthy inland river systems, landscapes, cultural heritage, sustainable communities and production.
The Thomson River forms part of the Lake Eyre Basin. The river was named by the explorer, Edmund Kennedy, in the 1840s. The northernmost headwaters of the river begin at Torrens Creek, inland from Charters Towers. The watercourse becomes the Thomson just north of the town of Muttaburra, where the channels of Landsborough Creek, Towerhill Creek, and Cornish Creek meet. The river continues in the southwesterly direction, passing the towns of Longreach, Stonehenge, and Jundah, before joining with the Barcoo River north of Windorah to form Cooper Creek. This is the only place in the world where the confluence of two rivers forms a creek. As with all the rivers in the Lake Eyre Basin, the waters from the Thomson never reach the sea, and instead either evaporate or, in exceptional flooding, empty into Lake Eyre. Floods are not uncommon along the river, and, due to the flat nature of the country traversed, the river can then become many kilometres wide. The area which the river flows is semi-arid blacksoil plains.
Declared pest plants and animals have an enormous impact on the Longreach Region. Competition between these invasive pest plants and native Flora has seen the destruction of habitat. The loss of feed and breeding areas has seen rapid declines in some animal species. Longreach Regional Council is committed to the eradication of pest plants and animal species and has formulated a comprehensive Pest Management Plan.
Desert Channels Queensland (DCQ) is a community-based non-for-profit group and a government-endorsed regional body. Their board membership represents landholders, Indigenous groups, the Great Artesian Basin, conservation and local governments. DCQ works with all the sectors of the community to sustainably manage the natural resources in the region. Together with the land management community, they develop projects to address the issues identified in the community-endorsed natural resource management plan, Protecting Our Assets. Assets include land, water, biodiversity, and community. Major issues DCQ considers are weeds and feral animals, vegetation management, grazing pressure, water management, land degradation, and viability and economics. The DCQ's mission is a community group dedicated to improving the quality of the life of current and future generations through leadership, innovation, knowledge, and partnerships, in the responsible management of their unique natural recourses.
Source: Desert Channels Queensland (DCQ)
Cette grande et robuste abeille solitaire, vol rapide, fort bourdonnement, si elle peut impressionner lorsque vous l'interrompez dans son savoureux repas et qu'elle vous frôle la chevelure en s'inspirant de l'avion de chasse, est en fait assez pacifique ; rapidement la voici accrochée à une nouvelle tête de chardon pour la suite de son festin.
Plus tard, elle ira pondre dans une de ces vieilles souches qui abondent dans les forêts alentour : des pentes abruptes coupées de falaises, aucune route à l'horizon, et des arbres en nombre : un lieu que l'on nomme à juste titre Le Désert.
Robust warbler found near the ground in thick vegetation. Yellow below with blue-gray head and olive back. Adult males show black chest patch. Females are paler gray on the head; immatures are more olive-toned with a yellowish throat. Breeds in brushy, weedy clearings within mixed or coniferous forest. Often favors raspberry thickets. Tends to stay hidden in low vegetation, so can be difficult to see. Listen for its rolling song, “churry churry churry chew.” Most similar to MacGillivray’s Warbler, but little range overlap, and Mourning has somewhat shorter tail and lacks bold white eye-arcs. Also frequently confused with Common Yellowthroat, especially in fall, but Mourning is larger, with heftier pinkish bill, and brighter yellow underparts.
Compact, robust, and big-headed warbler. Males are striking with a black hood contrasting with whitish throat, gray back, and red eyering. Females duller with a gray hood, white throat, and buff body. Common in many typical Mediterranean habitats including tall bushes, open woodlands, gardens, coastal scrub, and plantations; also in oases, acacia woodlands, and scrubby desert in non-breeding range. Usually first detected by its song, a fast, angry-sounding rattling "ctret-tret-tret-tret-tret" or "tetwtweer-tik-tik-tik" with whispering in between. The call is a dry "tseck."
Grey with large, dark-edged, rectangular pale blotches extending from head onto flattened plump tail. Toes expanded to form pads, underside covered with two rows of large plates, including a large circular pair under the tip.
Favours rock-faces and hollows in large, smooth-barked eucalypts, but also thrives in human dwellings.
Common in Brisbane's outer suburbs and surrounding eucalypt woodlands. Mid-eastern Australia.
Photographed Samsonvale, Queensland, Australia.
Steve Hitchcock © All rights reserved
..ging es vergangenen Sonntag für den Pingelheini in Richtung Stuhr.
Die Stadt Bremen will eine Straßenbahnlinie bis nach Leeste bauen, welche auf der Trasse der Bremer-Thedinghausener Eisenbahn verläuft.
Der Abschnitt Leeste-Thedinghausen wird allerdings so als Nebenbahn bleiben.
Bei der Abfahrt nach Stuhr konnte ich 992 001, welche eine Werkslok der Marke Schöma ist und 1957 ausgeliefert wurde, mit ihrem Zug in Leeste ablichten.
Hinter der Lok lief ein Güterwagen, welcher zum Fahrrad- & Generatorwagen umfunktioniert wurde.
The Sea Tower in Gdynia, which has been in operation since 2009, is with its 38 floors one of the tallest residential buildings in Poland.
I have re-visited the ID of this dragonfly. It is the highly (Maryland) state-rare Robust Baskettail (Epitheca spinosa).
This individual appears to be the Robust Basketball. Since I am not a dragonfly expert, I appreciate help with determining dragonfly ID. Thanks!
Una casona robusta y silenciosa emerge en medio del valle, construida en piedra y madera, como si hubiese nacido del propio terreno que la sostiene. A su espalda, la ladera del monte se extiende en un mosaico de árboles desnudos, cuyos tonos ocres y pardos anuncian el reposo invernal. Sobre la cima, una franja de luz y niebla desciende y se dispersa, generando un contraste dramático con el cielo profundo. La escena captura la esencia de la arquitectura rural que resiste el paso del tiempo, envuelta en un paisaje sereno que invita a la contemplación pausada.
POR FAVOR
-No pongas gifs animados, logos o premios (awards) en tu comentario.
-No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
A cambio te animo a que hagas tus comentario críticos sobre mi fotografía, pero con respeto, porque solo así puedo seguir avanzando como fotógrafo. Gracias!
The gull-billed tern (Gelochelidon nilotica), formerly Sterna nilotica, is a tern in the family Laridae. The genus name is from Ancient Greek gelao, "to laugh", and khelidon, "swallow". The specific niloticus is from Latin and means of the Nile.
This is a fairly large and powerful tern, similar in size and general appearance to a Sandwich tern, but the short thick gull-like bill, broad wings, long legs and robust body are distinctive. The summer adult has grey upperparts, white underparts, a black cap, strong black bill and black legs. The call is a characteristic ker-wik. It is 33–42 cm (13–17 in) in length and 76–91 cm (30–36 in) in wingspan. Body mass ranges from 150–292 g (5.3–10.3 oz).
In winter, the cap is lost, and there is a dark patch through the eye like a Forster's tern or a Mediterranean gull. Juvenile gull-billed terns have a fainter mask, but otherwise look much like winter adults.
Juvenile Sandwich terns have a short bill, and are frequently mistaken for gull-billed tern where the latter species is uncommon, such as North Sea coasts.
It breeds in warmer parts of the world in southern Europe, temperate and eastern Asia, both coasts of North America, eastern South America. This bird has a number of geographical races, differing mainly in size and minor plumage details.
All forms show a post-breeding dispersal, but the northern breeders are most migratory, wintering south to Africa, the Caribbean and northern South America, southern Asia and New Zealand.
The gull-billed tern is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies.
This species breeds in colonies on lakes, marshes and coasts. It nests in a ground scrape and lays two to five eggs. While widely distributed in freshwater areas in Eurasia, it is associated almost solely with saltwater, coastal areas in North America.
This is a somewhat atypical tern, in appearance like a Sterna tern, but with feeding habits more like the Chlidonias marsh terns, black tern and white-winged tern. It used to be grouped in the genus Sterna but is now placed on its own in the genus Gelochelidon.
The gull-billed tern does not normally plunge dive for fish like the other white terns, and has a broader diet than most other terns. It largely feeds on insects taken in flight, and also often hunts over wet fields and even in brushy areas, to take amphibians and small mammals. It is also an opportunistic feeder, and has been observed to pick up and feed on dead dragonflies from the road.
For more information, please visit en.wikipedia.org/wiki/Gull-billed_tern
Tintoretto (Jacopo Robusti 1519 - 1594) Trinity (1561-62) dimensions 122 x 181 cm - Galleria Sabauda Torino
La tela è il frammento di una pala d’altare. L’iconografia è comunque identificabile con la Trinità, ripensata però da Tintoretto in modo originale e personale. Dio Padre con le braccia aperte con un gesto insieme di pietà e accoglimento sovrasta la croce con Cristo morto, realizzata in una prospettiva molto scorciata. Tra i due è collocata la colomba dello Spirito Santo. Ai lati due angeli vegliano il crocifisso. Più in basso, in parte tagliati, due putti alati pregano con le mani giunte. Sullo sfondo si intravedono teste di cherubini appena abbozzate. I colori intensi delle vesti dei personaggi, a suggerirne la consistenza serica, sono esaltati da un sapiente uso del chiaroscuro e della pittura tonale. Una luce diffusa giallo-ambra illumina la porzione di scena dando risalto alle ombre sui volti e sui corpi, sottolineando quindi la tragicità dell’evento. Questa porzione di dipinto è fortunosamente scampata a un rovinoso incendio. Proviene dalla chiesa veneziana di San Girolamo, andata a fuoco nel 1705. Pare dunque probabile che il genovese Gerolamo Ignazio Durazzo l’avesse acquistato a seguito di quelle drammatiche circostanze. Secondo recenti segnalazioni documentarie, sembra che il dipinto fosse collocato sull’altare dedicato a Sant’Adriano, edificato nel 1560 per conto di Piero Alessandro Lippomano, già antico committente del pittore. Oltre al gruppo trinitario la pala si componeva della presenza dei santi Adriano, Francesco e Agostino ai piedi della croce. La sua datazione si orienta intorno al 1561-62. L’opera venne acquistata da Carlo Felice di Savoia nel 1824.
The canvas is the fragment of an altarpiece. The iconography is however identifiable with the Trinity, however rethought by Tintoretto in an original and personal way. God the Father with open arms with a gesture of piety and acceptance overwhelms the cross with the dead Christ, realized in a very shortened perspective. The dove of the Holy Spirit is placed between the two. At the sides two angels watch over the crucifix. Lower down, partly cut, two winged cherubs pray with folded hands. In the background one can see the heads of cherubs that have just been sketched. The intense colors of the characters' robes, to suggest their silky consistency, are enhanced by a clever use of chiaroscuro and tonal painting. A diffuse amber-yellow light illuminates the portion of the scene giving prominence to the shadows on faces and bodies, thus emphasizing the tragedy of the event. This portion of the painting has fortunately escaped a disastrous fire. It comes from the Venetian church of San Girolamo, which was burnt down in 1705. It therefore seems probable that the Genoese Gerolamo Ignazio Durazzo had bought it following those dramatic circumstances. According to recent documentary reports, it seems that the painting was placed on the altar dedicated to Sant’Adriano, built in 1560 on behalf of Piero Alessandro Lippomano, the former commissioner of the painter. In addition to the Trinitarian group, the altarpiece consisted of the presence of Saints Adriano, Francesco and Agostino at the foot of the cross. Its dating is around 1561-62. The work was purchased by Carlo Felice of Savoy in 1824.
Robust, agile, and adaptable, the Vespula drone is ideal for all your security, protection and combat requirements.
This tall, robust, leafless aquatic plant can grow 4 to 5 m (13 to 16 ft) high. It forms a grass-like clump of triangular green stems that rise up from thick, woody rhizomes. Each stem is topped by a dense cluster of thin, bright green, thread-like stems around 10 to 30 cm (4 to 10 in) in length, resembling a feather duster when the plant is young. Greenish-brown flower clusters eventually appear at the ends of the rays, giving way to brown, nut-like fruits.
The younger parts of the rhizome are covered by red-brown, papery, triangular scales, which also cover the base of the culms. Botanically, these represent reduced leaves, so strictly it is not quite correct to call this plant fully "leafless".
Egyptians used the plant (which they called aaru) for many purposes, most famously for making papyrus. Its name in Greek and in English is widely believed to have come from Egyptian. Cyperus papyrus is now used mainly for decoration, as it is nearly extinct in its native habitat in the Nile Delta, where in ancient times it was widely cultivated.
Theophrastus's History of Plants (Book iv. 10) states that it grew in Syria, and according to Pliny's Natural History, it was also a native plant of the Niger River and the Euphrates.
Aside from papyrus, several other members of the genus Cyperus may also have been involved in the multiple uses Egyptians found for the plant. Its flowering heads were linked to make garlands for the gods in gratitude. The pith of young shoots was eaten both cooked and raw. Its woody root made bowls and other utensils and was burned for fuel. From the stems were made reed boats (seen in bas-reliefs of the Fourth Dynasty showing men cutting papyrus to build a boat; similar boats are still made in southern Sudan), sails, mats, cloth, cordage, and sandals. Theophrastus states that King Antigonus made the rigging of his fleet of papyrus, an old practice illustrated by the ship's cable, wherewith the doors were fastened when Odysseus slew the suitors in his hall (Odyssey xxi. 390)
The "rush" or "reed" basket in which the Biblical figure Moses was placed may have been made from papyrus.
Farichild Tropical Botanic Garden, Miami FL
Paddan är ett robust och satt groddjur, inte lika slank som grodorna. Huden är tjock och vårtig. Färgen är brunaktig men varierar i ljust och mörkt. Honan blir 123 mm lång, hanen bara 78 mm.
Paddan förekommer i större delen av Sverige, med undantag för fjällen. Den föredrar inte någon speciell terrängtyp. Vad den däremot behöver, är fuktiga gömställen under dagen, såsom under stenar, rötter, omkullfallna träd, tuvor, buskar, eller i lövhögar. Det är därför vi ofta hittar den i våra trädgårdar och parker.
Paddan är solitär. Den är ett skymnings- och nattdjur med gott mörkerseende, och patrullerar ett litet revir. Den är också stationär, man kan återfinna den på samma ställe i veckor eller månadsvis.
Paddan kan klättra och intar stundtals dagplatser högt upp, på murar och i häckar. Vid regn eller fuktigt väder, blir de även aktiva på dagen och kan jaga daggmaskar.
De övervintrar på frostfritt djup, från september-oktober till april-maj. Flera paddor kan övervintra på samma ställe, ibland i sällskap av kopparödla och huggorm.
Fridlyst
Den vanliga paddan, liksom alla våra paddor, grodor, ödlor och ormar är fridlysta i hela landet.
www.nrm.se/faktaomnaturenochrymden/djur/grodochkraldjur/v...
Don Delaney added a note:
These are called alula feathers. They work independently, and fine tune the landing. Great example of them at work.
Robust Colors.
Tiefe Euphemismen grabende wesentliche Farbtöne explodierende Staffelei offene Gelbs dunkel Blues hell laute Rottöne schimmernde Bedingungen geheimnisvolle Schatten Grüns,
pwyntiau uniongyrchol lliwiau dadleuol arwyddion esthetig gwerthoedd amhenodol lluniau gweledol llinellau hyfryd cyfatebiaeth addurniadol,
Effets spectaculaires syntaxe individuelle Vitesse artistique de la virtuosité mise en évidence points éclaboussures efforts créatifs évolution passionnante développement énergétique,
calcolare orizzonti geometriche persuasioni valido pointillismo simbolismo espressionismo caleidoscopio sogni risposte pazzo moderni ostacoli arrabbiare nemici nemici,
διακεκομμένες μεταφορές φλογερά σύμβολα δυσάρεστες διαδρομές δυσανεξίες αντανακλάσεις που ταξιδεύουν μουσικό υπόβαθρο ξεχωριστό αισθησιακό μέσο,
不安な形が遠くに浮かび上がる奇妙な表面空間的な深さ視覚的な混合的な印象平行な縞模様の同化激しい急いで触れるアート.
Steve.D.Hammond.