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It's been cold enough that ice is already forming on parts of the Sheboygan River. As it's happening so early in the season, some have been caught off-guard.
This rope secures a commercial fishing boat to the dock.
Solid walls adorned with barbed wire, electric wire, surveillance cameras…a common sight in my hometown Windhoek. (High crime rate)
For Wednesday Walls
Have a happy day, everyone!
Various ropes, hooks and chains are needed to secure the large ships in our harbour... a little close uo look
A male Hairy Woodpecker flew into the tree between two limbs to wait until he felt safe to return to the feeders_DSC2316-Hairy
Held in place by a rusty nut and bolt
Photo: ©2022 Phil Wahlbrink
9bis
Bellevue, France
Photo: ©2022 Phil Wahlbrink
9bis
Bellevue, France
*Working Towards a Better World
Peace is the marriage of the people and the planet, with all attendant vows. - Anonymous
Peace comes from being able to contribute the best that we have, and all that we are, toward creating a world that supports everyone. But it is also securing the space for others to contribute the best that they have and all that they are. - Hafsat Abiola
In some ways, the challenges are even more daunting than they were at the peak of the cold war. Not only do we continue to face grave nuclear threats, but those threats are being compounded by new weapons developments, new violence within States and new challenges to the rule of law. -
Kofi Annan
There is no time left for anything but to make peacework a dimension of our every waking activity. - Elise Boulding
Peace cannot be kept by force. It can only be achieved by understanding. - Albert Einstein (1879-1955)
Thank you for your kind visit. Have a wonderful and beautiful day! xo💜💜
Excerpt from www.toronto.ca/legdocs/mmis/2024/ph/bgrd/backgroundfile-2...:
Former Bank of Montreal Building, 309 Cherry Street
The property at 309 Cherry Street contains two buildings: the first is a two-storey, detached bank building on a squared plan with basement, flat roof, and sandstone parapet. The chamfered main entrance at its northwest corner addresses the Cherry and Villiers intersection in a manner typical of bank buildings from this era.
The building was constructed of buff Indiana Limestone, sandstone, and buff brick in 1920 to the Classical Revival designs of the architecture firm Darling & Pearson; it has additional iron, copper, and wood detailing.
All four of the building's elevations are visible from the public realm. The principal elevations (north and west) flanking Villiers and Cherry streets are symmetrical in design and flank the corner entrance. Both are faced in limestone ashlar masonry set in courses of alternating widths. They are organized into two bays, where each bay has a pair of centered and vertically arranged windows: a flat-headed window opening with shouldered architrave surround and stone sill, and, at the raised basement level, a plain, flat-headed window opening with metal grill. The chamfered corner entrance is emphasized by a sandstone staircase up to the Greek Order portico of the raised front porch that features traditional Doric elements of classical design and is quintessentially representative of the Classical Revival style. A triangular pediment sits atop the entablature, which is supported by two outer, engaged square piers and two inner Doric columns with the standard capitals and fluted shafts. The pediment has copper flashing along its upper edges
and a lone anthemion-style acroterion at its apex (two more anthemia were placed at each lower point of the pediment, but these have since been lost). The tympanum is left plain. Underneath the cornice there are mutules with guttae, and the cornice line breaks beyond the portico and runs across the length of both the north and west elevations; the copper flashing continues atop this extended cornice as well. Alternating triglyphs and metopes pattern the frieze, while guttae beneath the triglyphs break into the otherwise plain architrave. Like the cornice, the bottom line of the frieze extends outside the entablature to create a stringcourse along the north and west elevations. The main door opening has a stone architrave surround and cornice. Tying together the main entrance and the entablature, the frieze design in the entablature is repeated on a larger scale in wood carving over the door: two triglyphs and a metope with a clock inset. A pair of rectangular, vertical sidelights with iron grilles in a geometric pattern flank the door; smaller versions are inset to the door panels. The metal door handles, likely brass, are a simple and elegant curving design.
The three bays of the east elevation are comprised of buff brick set in an English Garden Wall bond. It originally had three segmental arch windows with stone sills and irregularly placed basement windows. Building permit elevations from 1980 illustrate how one of these windows has undergone several layers of alterations, from initial infill, a large rectangular opening, to its present small metal door and stairwell with landing; the basement windows have also been repositioned several times. A simple, rectangular chimney stack devoid of ornamentation projects from the southeast corner.
The south elevation has the same brick and bond as the east, but the façade is plain and without windows or decoration. Overall, the building retains a high degree of integrity in both its form and exterior decorative details, such that the original 1920 Darling & Pearson design is quite legible.
The Second Classical Revival (also referred to as Neo-Classical Revival, or Beaux-Arts Classicism) in Toronto was popular at the turn of the century, from around 1890 to 1930. The return to classical forms was influenced by the respected Ecole des Beaux-Arts in France, which taught and championed the classical principles to a generation of architects, and the seminal event of the 1892 World's Columbian Exposition in Chicago that became an international advertising platform for classically styled buildings, which featured heavily at the site. Post offices, libraries, and banks were typologies to which this style was frequently applied. Their façades typically emphasized a main, central entrance, while those who followed the Greek influence had plain surfaces with less adornment (in contrast to the Roman influence that favoured more layers of ornamentation).
However, the architrave does bear evidence of removed signage from previous occupants. Shell Canada Ltd. is listed as the property owner; they submitted a permit for alterations to build a basement entrance and a platform at the east elevation entrance. It was likely at this time (or even earlier) that the original window glazing, mullions, and transoms were replaced.
The design elements of classical architecture projected certain stereotypes within the minds of the public that banking institutions in particular wanted to associate with their business, such as endurance, integrity, and even wealth. Banks designed in the Classical Revival styles appeared like 'Temples of Finance' with their Greek or Roman orders, or even emulated strongboxes through the stone material of their exteriors and compact, balanced layouts. These features encouraged trust from potential clients and subtly communicated that this was a secure and reliable place to invest one's finances.
IMG_8233r
Founded at a time when photography was only beginning to secure a foothold both in museum collections and in the art market at large, A Gallery for Fine Photography is a living landmark in the history of photography. Located in the Historic New Orleans French Quarter, A Gallery opened its doors in 1973, a world away from the cornerstones of the global contemporary art scene. Thanks to the staunchly independent vision of its founder, Joshua Mann Pailet, A Gallery has remained a haven for photography, from the earliest photographs to contemporary pieces. Over more than four decades in business, A Gallery for Fine Photography has established itself as one of the most respected photography galleries in America – one that has flourished despite an ever-changing art world by remaining true to itself and Pailet’s unique perspective.
Joshua Mann Pailet is a documentary photographer and gallerist who has been one of the most significant figures of the photography community in his native New Orleans for forty-five years.
After securing our donuts in the town of Monterey Virginia we headed out into the beautiful countryside of Highland County looking for the Maple Sugar shack that we had visited almost one year ago to the day and were happy to find it. There are quite a few of these Maple Sugar making shacks around the county and many are open during the Maple Fest for visiting. These two gentleman are the same two men that were there last year. So knowledgeable in the process of making maple syrup they generally took turns talking to visitors and explaining the cooking down process but just this one time I was able to snap a shot with both of them in it. I think the one in the background with the purple hat looks like Compo on the "Last of the Summer Wine" a British Sitcom that ran from 1973 to 2010. It's very dark in the shed and the only heat is from the fires used to boil down the sap. Unfortunately for us, but happily for them, they had already sold all their Maple Syrup.
I recently visited the Southward Motor Museum near Wellington and very handily, I just happened to have the big Pentax on board so decided to see what different shots I could get from my previous visits here.
1935 MG R Type
© Dominic Scott 2022
Whatever this man is carrying on his homemade cart he's certainly making sure it's tied securely. Bacolod City
Philippines.