Leaders of the L.A. County Metropolitan Transportation Authority (Metro) today joined federal, state and local elected officials in the Mid-Wilshire District of Los Angeles to break ground on the long awaited Metro Purple Line Extension Project, the largest, most ambitious public works project in the Western United States.

 

In July, Metro’s Board of Directors approved a contract with Skanska, Traylor and Shea (STS), a Joint Venture, to construct the Purple Line Extension Project. Construction of the subway extension will connect West Los Angeles to the region’s growing rail network, making it possible to travel between Downtown Los Angeles and Westwood in 25 minutes. The first subway segment will extend the Purple Line 3.9 miles from the existing Wilshile/Western Purple Line terminus near Koreatown into Beverly Hills. Three new underground stations are planned at Wilshire/La Brea, Wilshire/Fairfax and Wilshire/La Cienega, providing fast, frequent, high-capacity transit service farther west along busy Wilshire Boulevard.

 

“The Purple Line will ease traffic along the congested Wilshire corridor and will make traveling from the westside to downtown faster and greener.” said Eric Garcetti, Mayor of Los Angeles and Metro Board Chair. “When it comes to infrastructure, L.A. is on the move. We are right now investing 36 billion dollars in our transportation infrastructure to ease congestion and create thousands of jobs. All together, this is the largest public works project in the nation. In the car capital of the world, we are looking to reduce traffic and cut air pollution by giving people car-free options to get to work and play.”

 

The Purple Line Extension is a critically important rail project that is partially funded by the 2008 Measure R sales tax that was overwhelmingly approved by two-thirds of L.A. County voters. The first segment of the subway is expected to be completed in 2023 with a project budget of $2.821 billion. In addition to this local funding, Metro received a $1.25 billion Full Funding Grant Agreement (FFGA) from the Federal Transit Administration to help pay for the first segment. The U.S. Department of Transportation also granted Metro a low-interest loan of $856 million from a Transportation Infrastructure Finance and Innovation Act (TIFIA) to complete the funding package for the project’s first phase. Combined, these nearly $2 billion in project commitments represent the biggest federal transportation investment for a single construction segment in the history of Los Angeles County.

 

The remaining $821 million in project funding for the first segment includes Measure R, City of Los Angeles local funding, and other existing local and federal funds.

  

“Today we launch the construction of the first subway segment along the Wilshire corridor to West Los Angeles,” said Los Angeles County Supervisor and Metro Board Member Zev Yaroslavsky. “No transit corridor in our region is in greater need of mass rapid transit. The area to be served is one of the most dense employment centers in the county and is plagued by some of the worst traffic congestion in the country. This groundbreaking is long overdue and will be well received by people who work and live in the Westside.”

 

“Breaking ground on the Purple Line extension is an important step toward completing this key transit option for Angelenos, which will help relieve congestion and boost the local economy,” said U.S. Senator Diane Feinstein. “I applaud the efforts of everyone who helped us reach this point, but we have work left to do. The federal government is committed to providing $1.25 billion of the $2.8 billion cost for phase one, but future phases will require an estimated $3.5 billion. I will continue to strongly support federal funding to complete this important transit project.”

 

The project is planned to be built in three sections. Section 2, which will include Wilshire/Rodeo and Century City stations, is scheduled for completion in 2026. Section 3, which will include Westwood/UCLA and Westwood/VA Hospital stations, is planned to open in 2035. When all three project sectionss are complete, the Purple Line will extend westward from Wilshire/Western for nearly nine miles with a total of seven new stations.

 

Metro is currently seeking additional federal funding that could accelerate subway construction for Section 2 in the form of a $1.1 billion grant from the federal New Starts program, and a $307 million low-interest loan from the federal TIFIA program.

 

“Los Angeles has made enormous strides to expand transportation options and accelerate construction of projects that will create jobs, improve mobility, and spur economic growth,” said U.S. Senator Barbara Boxer. “The Purple Line Extension is another major accomplishment. I am proud that the TIFIA Program from MAP-21 provided key financing of $856 million that enabled this project to move forward.”

 

“The Purple Line extension puts Angelenos to work building a 21st century transit system for our city,” said U.S. Congressman Xavier Becerra. “Connecting the Westside to the greater Los Angeles area by subway will create over 25,000 jobs, increase ridership and result in a boon for our local economy. This project is the right investment that will keep Los Angeles on the move.”

 

The full nine-mile project is projected to generate about 62,000 daily weekday boardings at the seven new stations. Today, there are 39,000 daily boardings on the Purple Line between Union Station and Wilshire/Western. By 2040, 150,000 daily boardings are expected on the Purple Line between Union Station and Westwood/VA Hospital.

 

During peak periods, trains are expected to run every four minutes. During off-peak periods, they are expected to run every 10 minutes. It will also create tens of thousands of jobs and generate increased economic activity for the region.

 

Over 300,000 people travel into the Westside every day for work from throughout the region. More than 100,000 people leave the area for outside destinations. These numbers will increase over time. The Purple Line is expected to provide a much needed transit alternative for traveling to and from West Los Angeles, one of the county’s most densely populated, job-rich areas. The area is also home to major world-class destinations.

 

“I’m delighted that construction on the Purple line extension is beginning,” said U.S. Congressman Henry Waxman. “This rail link will fundamentally change how the people of L.A. get around and provide a direct route to some of the great sites in the Westside. After section one is finished, you’ll be able to hop on the subway downtown and visit the La Brea Tar Pits, the Los Angeles County Museum of Art, the Petersen Automotive Museum and Restaurant Row.”

 

The subway extension is expected to reduce reliance on automobiles, help reduce roadway congestion, reduce travel times and reduce greenhouse gases.

 

“The Purple Line Extension will continue to make Los Angeles a great place to work, live and play,” said U.S. Congresswoman Karen Bass. “This extension is an example of what can happen when federal, state and local leaders all work together—bringing billions of dollars into the Los Angeles economy and creating thousands of jobs over the next decade, while building on a vital rail line that will benefit Angelenos for generations.”

 

“The subway extension project is important not just for the Westside, but for the entire region,” said Pam O’Connor, Santa Monica Mayor and Metro Board member. “Whether you’re traveling to or from West L.A. making the trip will be easier by utilizing the Metro system that connects Angelenos through virtually every part of the county.”

 

The Purple Line extension also will offer improved connectivity to the entire Metro Bus and Rail network, as well as municipal bus lines and other regional transportation services. It is just one of several projects designed to improve transit options and mobility in the area. Other planned improvements include the Wilshire Bus Rapid Transit Project and Expo Phase II line to Santa Monica.

 

“This project’s groundbreaking is the culmination of many years of consensus-building on the Metro Board,” said Ara Najarian, Glendale City Council member and Metro Board member. “Our Board unanimously supported the design and construction of the Purple Line Extension, and we are very glad to see construction begin as we make Los Angeles County a world-class destination with rich transit amenities.”

Sour Cream and Chive Fantails on smittenkitchen.com

Seattle Japanese Gardens

 

Olympus XA3 - Kodak Portra 400NC

Tapeworm segments passed in the feces of a lamb. Tapeworms are the only worm affecting sheep/goats that is visible in the feces. Though gross-looking, they tend to be non-pathogenic.

Tapeworm segments passed in the feces of a lamb. Tapeworms are the only worm affecting sheep and goats that is visible in the feces. Though gross-looking, they tend to be non-pathogenic. It was not necessary to treat the lamb that passed these tapeworm segments.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on authentic facts. BEWARE!

  

Some background:

The forerunners of the Philippine Air Force was the Philippine Militia, otherwise known as Philippine National Guard (PNG). On March 17, 1917 Senate President Manuel L. Quezon enacted a bill (Militia Act 2715) for the creation of the Philippine Militia, in anticipation that there would be an outbreak of hostilities between United States and Germany.

 

The early aviation unit was lacking enough knowledge and equipment to be considered as an air force and was then limited only to air transport duties. In 1935, Philippine Military Aviation was activated when the 10th Congress passed Commonwealth Act 1494 that provided for the organization of the Philippine Constabulary Air Corps (PCAC). PCAC was renamed as the Philippine Army Air Corps (PAAC) in 1936 and started with only three planes on its inventory. In 1941, PAAC had a total of 54 aircraft including fighters and light bombers, reconnaissance aircraft, light transport and trainers. They later engaged the Japanese when they invaded the Philippines in 1941–42, and were reformed in 1945 after the country's liberation.

 

The PAF became a separate military service on July 1, 1947, and the main aircraft type became the P-51 Mustang, flown from 1947 to 1959. Ground attack missions were flown against various insurgent groups, with aircraft hit by ground fire but none shot down. The Mustangs would be replaced by the jet-powered North American F-86 Sabres in the late 1950s, assisted by Lockheed T-33 Shooting Star and Beechcraft T-34 Mentor trainers.

 

During the 70s, the PAF was actively providing air support for the AFP campaign against the MNLF forces in Central Mindanao, aside from doing the airlifting duties for troop movements from Manila and Cebu to the warzone. In late 1977, the Philippine government purchased 35 secondhand U.S. Navy F-8Hs that had been stored at Davis-Monthan AFB in Arizona. Twenty-five of them were refurbished by Vought and the remaining 10 were used for spare parts. As part of the deal, the U.S. would train Philippine pilots in using the (only) TF-8A, and they were mostly used for intercepting Soviet bombers. The F-8s were grounded in 1988 and were finally withdrawn from service in 1991 after they were badly damaged by the Mount Pinatubo eruption, and have since been offered for sale as scrap.

This left the PAF with the F-5 Freedom Fighter as the only jet-powered combat aircraft. The Philippine Air Force acquired 37 F-5A and F-5B from 1965 to 1998 (from Taiwan and South Korea). The F-5A/Bs were used by the 6th Tactical Fighter Squadron (Cobras) of the 5th Fighter Wing and the Blue Diamonds aerobatic team. The F-5s also underwent an upgrade which equipped it with surplus AN/APQ-153 radars with significant overhaul at the end of the 1970s to stretch their service lives another 15 years.

 

Since the retirement of the Northrop F-5s in September 2005, the Philippine Air Force was left without any fighter jets and thus also without any serious air cover, considerably weakening the countries position in the region. Financial constraints prevented the procurement of refurbished F-16A/Bs from US surplus stocks, so that the PAF initially resorted to Aermacchi S-211 trainer jets to fill the void left by the F-5's. These S-211's were later upgraded to light attack capability and used for air and sea patrol and also performed counter-insurgency operations from time to time. Apart from these trainers, the only active fixed wing aircraft to fill the roles were SF-260 trainers with light attack capability, and a handful of obsolete OV-10 Bronco light attack and reconnaissance aircraft.

 

With rising tensions and frequent incidents with Chinese forces, however, the PAF settled upon the “Flight Plan 2028”, a long-term modernization and procurement plan. One of the first investments in order to re-build the PAF’s jet fighter force was eventually settled in 2010, when the Philippines started negotiations with Israel to purchase refurbished IAI Kfir fighter-bombers. In August 2012 Israel Aerospace Industries officially announced that it would deliver twenty-one pre-owned Kfir fighter jets to the Philippines, with a 40-year guarantee and a supply of Python 4 IR-homing AAMs, at a rumored unit price of USD $20 million - a price that represents 1/3 the cost of a brand new fighter with similar capability, but without the weaponry.

 

These machines were Kfir C.10s, a variant developed especially for export, basically an updated C.7. The aircraft for the Philippines received the designation C.10P in order to reflect the new operator’s specifications. The most important changes of the C.10 update were the adaptation of an Elta EL/M-2032 multi-role radar and the integration of two 127×177mm MFDs in the cockpit.

The EL/M-2032 is an advanced Multimode Airborne Fire Control Radar designed for multi-mission fighters, oriented for both air-to-air and strike missions. Modular hardware design, software control and flexible avionic interfaces ensure that the radar can be installed in a wide range of existing fighter aircraft (such as F-16, F-5, Mirage, Harrier variants, F-4, MiG-21, etc.), and it can be customized to meet specific user requirements.

The EL/M-2032 greatly enhances the Air-to-Air, Air-to-Ground and Air-to-Sea capabilities of the aircraft, even though the PAF’s machines did not feature the optional Helmet Mounted Display System (as installed on board of the upgraded Ecuadorean Kfir C.10s). In the Air-to-Air modes, the radar enables long-range target detection and tracking for weapon delivery or automatic target acquisition in close combat engagements. The EL/M-2032 has a maximum range of 150 km and can detect and track an aerial target with a 1m² radar reflection surface equivalent at 100 km. Up to 64 aerial targets can be tracked at the same time, and this information can be shared with other aircraft, including the status which aircraft actually tracks which target.

In Air-to-Ground missions, the radar provided very high-resolution mapping (SAR), surface target detection and tracking over RBM, DBS and SAR maps in addition to A/G ranging. In Air-to-Sea missions, the radar provided long-range target detection and tracking, including target classification capabilities (RS, ISAR).

 

The first Kfir C.10Ps were quickly delivered, and in September 2014 the PAF’s 6th Tactical Fighter Squadron “Cobras” at Basa AB was reformed, the unit which had formerly operated the country’s last F-5s until 2005. Despite the type’s multirole capability, the Filipino Kfirs primarily fulfill interceptor and air patrol tasks against intrusions into Philippine airspace. Their prime task is to act as a general repellant against Chinese aggressions in the South China Sea, esp. in defense of the Scarborough Shoal fishing ground that Manila claims as part of its territorial waters.

Since 2015, the PAF’s jet fighter force has also been augmented by supersonic FA-50 trainers, procured from South Korea, and the PAF’s updated “Flight Plan 2028” lists another 16 Kfirs C.10Ps (including four TC.10P two-seaters), as well as more FA-50s, planned for the future.

 

Since their introduction the FAP’s Kfirs frequently intercepted Chinese and Russian reconnaissance aircraft (typically Y-8 maritime patrol aircraft, but also H-6 missile strike bombers and reconnaissance aircraft) over the Spratly Islands in the South China Sea, even though with no serious confrontations so far.

Beyond these standard duties, the PAF’s new type also took part in several other deployments: On 26 January 2017, two Philippine Air Force Kfir C.10s demonstrated their strike capabilities for the first time and conducted a nighttime attack on terrorist hideouts in Butig, Lanao del Sur province in Mindanao, the first “hot” combat sortie flown by these aircraft. In June 2017, Kfirs and FA-50s were sent out to conduct airstrikes against Maute terrorists entrenched in the city of Marawi, starting in May 2017.

  

General characteristics:

Crew: One

Length: 15.65 m (51 ft 4¼ in)

Wingspan: 8.22 m (26 ft 11½ in)

Height: 4.55 m (14 ft 11¼ in)

Wing area: 34.8 m² (374.6 sq ft)

Empty weight: 7,285 kg (16,060 lb)

Loaded weight: 11,603 kg (25,580 lb) two 500 L drop tanks, two AAMs

Max. takeoff weight: 16,200 kg (35,715 lb)

 

Powerplant:

1× IAl Bedek-built General Electric J-79-J1E turbojet with a dry thrust of 52.9 kN (11,890 lb st)

and 79.62 kN (17,900 lb st) thrust with afterburner

Performance:

Maximum speed: 2,440 km/h (2 Mach, 1,317 knots, 1,516 mph) above 11,000 m (36,000 ft)

Combat radius: 768 km (415 nmi, 477 mi) in ground attack role, with, hi-lo-hi profile, seven 500 lb

bombs, two AAMs, two 1,300 L drop tanks

Maximum range: 3,232 km (2,008 miles, 1744 nm), high profile, with two 1,300 L drop tank

Service ceiling: 22,860 m (75,000 ft)

Rate of climb: 233 m/s (45,950 ft/min)

 

Armament:

2× Rafael-built 30 mm (1.18 in) DEFA 553 cannons, 140 RPG

9× hardpoints for a total payload of 5,775 kg (12,730 lb), including an assortment of unguided

air-to-ground rockets, guided missiles (AIM-9 Sidewinders, Shafrir or Python-series AAMs; Shrike

ARMs and AGM-65 Maverick ASMs) or bombs such as the Mark 80 series, Paveway and Griffin

LGBs, SMKBs,TAL-1 OR TAL-2 CBUs, BLU-107 Matra Durandal, reconnaissance pods or Drop tanks

  

The kit and its assembly:

Like many of my what-if models, this one is rooted in real life. AFAIK, the PAF actually considered the procurement of refurbished, ex-Israeli Kfirs after the purchase of 2nd hand F-16s had turned out to be too costly – but even the Kfir deal did not materialize due to budgetary restrictions. However, whifworld can change this… And eventually, the PAF procured the South Korean FA-50 Golden Eagle multi-role advanced trainer.

 

The kit is the Italeri Kfir C.2/7, a sound and priceworthy offering, but it comes with some inherent flaws - the alternative Hasegawa kit is IMHO much easier to build, even though it is not much more detailed. Problem zones of the Italeri kit include the complex intersection between the air intakes, wings and the fuselage (nothing fits well, gaps galore!), ejector pin markings on the landing gear and on the wheels, sinkholes on the wings’ upper side towards the leading edges and the cockpit tub as a whole, which seems to stem from a different kit - including the dashboard, which is too wide, too.

 

In order to keep things simple and plausible, the kit was mostly built OOB, which is in itself enough work, with only a few cosmetic changes:

- a new nose section with a bigger radome from the scrap box and transplanted chines and pitot

- replacement of the early OOB Shafrir AAMs with Python AAMs, left over from a Trumpeter J-8

- additional/modified antennae and air sensors, including a RHAWS sensor at the top of the fin

- a refueling probe above the right air intake, from a Harrier GR.3, modified

- a Martin Baker ejection seat and some cockpit interior details

  

Painting and markings:

Since the fictional PAF Kfirs were to be primarily operated in the interceptor role, I gave the aircraft an air superiority scheme. Inspiration was taken from the type’s predecessor, the PAF’s F-8 Crusaders and their late Eighties livery, a wraparound scheme in two grey tones, coupled with low-viz (black) markings.

 

I actually used the F-8 camouflage pattern as benchmark and tried to adapt it to the delta-wing Kfir, but this eventually ended in almost complete improvisation. The colors are – based on visual impressions of some PAF Crusaders rather than on hard facts (since these turned out to be quite contradictive and/or implausible) – FS 36440 and 36270, Humbrol 129 and 126, respectively. The result appears a bit pale and reminds a lot of the French air superiority scheme (which is more bluish, though), but it does not look bad at all.

The radome and other dielectric fairings were slightly set apart from the camouflage tones (with Revell 47). The landing gear as well as the air intake interior were painted in gloss white (Humbrol 22), while the cockpit was painted in Sea Grey (Humbrol 27).

 

The model only received a light weathering treatment through a black ink washing and some post-shading with slightly lighter tones, since the aircraft would be relatively new in service – even though I have the impression that any PAF aircraft’s exterior quickly suffered under the local climate?

 

The national markings belong to a Philippine F-5 (a late camouflaged aircraft, hence the insignias’ small size), taken from an Aztec Decal sheet. The modex was created from code markings for a Bréguet Alizé and the cobra emblems on the fin belong to a Malaysian MiG-29 (Begemot sheet). The contemporary USAF-style BuNo for PAF aircraft was created with single decal letters – a fiddly affair.

Only a few stencils were actually taken from the OOB sheet and many of the original red markings were replaced. Most stencils became black and the walkway markings on the wings were replaced by segmented lines from a Mirage 2000.

After some final, very light weathering with graphite the kit was finally sealed with a coat of matt acrylic varnish (Italeri) and completed.

  

Nothing spectacular, but rather an exotic and still plausible what-if build, rooted in real life. While the paint scheme as such is not outstanding, I must say that the two-tone grey scheme suits the Kfir well, esp. together with the subdued markings.

 

St Helen is probably my favourite Kent church. At least from the outside. Alternating bands of flints and local stone give it a Christmas Cake effect, but in bright sunshine it looks stunning.

 

Inside, its no less impressive. Part of the wall paintings survive, as do geometric patterns on some of the supporting columns.

 

And it is huge, with a fine wooden roof, a replacement after a fire, but still works well, and the fabric of the church seems good.

 

Everywhere there are fabulous things to find; Aumbries, memorials, and so much more.

 

And I reeived a warm welcome from the warden who was waiting for visitors. Last time I was here, there was a display of how the estuary airport-cum-Boris Johnson vanity project seemed a real possibility. Now he is back insulting foreigners, and the airport is dead. But a new Thames crossing is being mooted, and it might run across Grain, which would be a shame to have the peace and quiet shattered.

 

--------------------------------------------------

 

An absolute knockout of a church. From the first glimpse of the exterior, with its zebra-like stripes of flint and stone, you know that here is a church of great interest. In plan it consists of an aisled nave, transepts, chancel and west tower - all built on a prodigious scale. Although the church was heavily restored on two occasions in the nineteenth century there is still a great deal of interest and a visit here should not be rushed. The pillars of the nave have distinctive 'V' paintings contemporary with their fourteenth-century construction. The pulpit is of 1636 and shows some excellent carved arcading. Attached to it is a contemporary hourglass stand. The north transept has wall paintings depicting the martyrdom of St Edmund, but these were over-touched-up by Professor Tristram in 1932. Further paintings exist in the south transept and probably show the martyrdom of St Margaret. The base of the rood screen is fifteenth century while the rather insubstantial traceried top is an early twentieth-century addition. There is an elaborate tie-beam high in the roof with little quatrefoil piercings in the spandrels, but this could not have supported the rood as the remains of the rood loft staircase may be seen in its usual position. Outside the north chancel wall can be found a piscina and holy water stoup - all that remains of a medieval chantry chapel or anchorite's cell which has been demolished. The blocked-up doorway that originally gave access to it may be seen both inside and out. On the inside south wall of the chancel is one of the finest sedilia in Kent which together with its double piscina dates from the early years of the fourteenth century.

 

www.kentchurches.info/church.asp?p=Cliffe

 

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THE Church at Cliffe is dedicated to St. Helen and bears the distinction of being the only church in Kent dedicated to that Saint. It stands in a prominent position at the edge of the Hoo peninsula overlooking the extensive marshes which at this point stretch some two miles to the Thames.

The village seems at one time to have been of greater importance than it is to-day. Lambarde describes it as a large town in his day in spite of a disastrous fire which had destroyed many of the houses about 1520, a fire from the effects of which it appears never to have recovered.

The Manor of Cliffe belonged from very early times to the Prior and Convent of Christ Church, Canterbury, who were also the owners of the advowson, and thus became concerned with the upkeep of the church. At the Dissolution the Manor passed to George Brooke, Lord Cobham, though the Archbishop of Canterbury is still the patron of the living. Among the Rectors of Cliffe were several men of distinction, some of whom probably never visited the parish. From an early date there seems to have been a perpetual vicarage attached to the church, but when it became merged in the Rectory is uncertain.

Of the first church at Cliffe there is no definite record. It is sometimes said to have been founded by Offa, king of Mercia, in the latter part of the eighth century, though the only evidence for this appears to be the presumed identification of the place with the Cloveshoo of the Saxon Chronicle, where various synods of the Saxon Church were held in the eighth and ninth centuries. Without attempting to suggest a solution of this very debatable point, it can only be said that the evidence in favour of Cliffe appears to rest on at least as good authority as that of the rival claimants—Abingdon in Berkshire, and Clifton Hoo in Bedfordshire. There is moreover good reason to think that Cliffe was less inaccessible than might be supposed in mediaeval times. There still remain traces of a causeway across Higham Marsh, which must at one time have led to a ferry, thus affording an easy means of approach from Essex and the Midlands.

The earliest undisputed documentary reference to a church at Cliffe is in the Domesday Survey. It was evidently a building of more than usual importance for it is expressly stated that two ministers were in charge. Of this building, however, not a vestige remains, though there can be little doubt that from it the present plan has, on more or less recognised lines, been developed.

The plan as it exists to-day is complete, and consists of a nave with wide aisles, north and south transepts, chancel, western tower and south porch. The church is one of the largest in Kent, and is a striking example of a parish church whose size and splendour could have borne but little relation to the actual needs of the locality. It was the product of an age whose zeal for church building was limited only by the funds available. The total internal length from east to west is 182 feet, while the width across the transept is 82 feet. The exterior has been the subject of somewhat extensive restoration, which has robbed it of much of its ancient appearance. The south aisle differs from that on the north in having an embattled parapet, similar to that of the porch. The walls of the tower and transepts are faced with flint rubble with little attempt at regular coursing. The later work of the nave and chancel, though extensively refaced, is composed of alternate courses of dressed flints and stone ; the latter, a soft ragstone from the lower green sand formation which, quarried probably from the outcrop a few miles to the south, has weathered badly in many places. A variety of other materials is noticeable, some of which appear to have been reused from the earlier church. A block of Caen stone in the east wall of the chancel, and several pieces in the north wall, have obviously been reused, while a single piece of calcareous tufa can be seen in the north wall of the transept; Reigate stone is also fairly abundant.

 

It is not till one enters the church, that its size is fully realised. The absence of pews over a large part of the nave, with the fact that the nave arcade is carried past the crossing without a break, and the absence of a chancel arch, all combine to emphasise its spaciousness. The impression

gathered from a superficial survey of the interior is that of a thirteenth century church with considerable additions in the fourteenth century, but a more careful inspection shows at least one trace of an earlier building. The arch from the north aisle into the transept, which has been partially cut away when the thirteenth century nave arcade was constructed, is certainly of late twelfth century date and must therefore have survived from an earlier church. Before, however, considering the development of the ground plan, it is necessary to refer briefly to the chief features of architectural interest which call for notice.

The porch is of a fairly common type, with an upper room, approached by a stair turret from the south aisle. It measures internally 11 feet 5 inches from east to west by 16 feet from north to south, and is apparently of late fifteenth century date. On the right of the inner doorway are the remains of a holy water stoup. The room above has been considerably modernised, and there is nothing to indicate its original use. Occasionally an altar is found in the porch chamber, which, however, in this case would seem more likely to have been used for storing the church goods.

 

The north and south aisles of the nave are 19 feet 10 inches and 18 feet wide respectively, and are thus considerably wider than the nave itself. They contain a fine series of Decorated windows, those at the end of either aisle being particularly interesting examples of three lights. The church as a whole is very rich in windows of this period, which form in themselves an interesting study in design. The south aisle has a stone bench running along its south and west walls.

The tower is entered from the nave by a plain thirteenth century arch, and measures approximately 15 feet 6 inches from east to west by 17 feet 6 inches from north to south (interior measurements). The lower stage, which is shut off from the church by a screen, and is now used as a vestry, is lit by three narrow lancets, one in each of the disengaged walls. The roof is a simple quadripartite vault, without any boss at the intersection of the ribs, which are carried on shafts supported on corbels set in the four angles. The lower part of the tower is apparently thirteenth century work, and somewhat earlier than the transepts. The flat, clasping buttresses appear to be original, though now entirely re-faced, and might in themselves suggest a transitional date for the base of the tower. The upper part has been rebuilt at a much later date, and contains a Perpendicular window. Like most towers of the period, it is probable that there was originally no structural stairway leading to the upper stages, access to which had to be obtained by means of a ladder, though the existing doorway to the modern stair turret appears to be of fairly early date.

 

The transepts deserve special consideration on account of the very interesting work which they contain. Their date cannot be later than about 1260 and there are some grounds for thinking that the south transept may be slightly the earlier of the two. The east wall of the south transept is

divided into two bays by blind arches, supported on slender banded shafts, with a narrow lancet window in the centre of each arch. A somewhat similar arrangement exists on the east wall of the north transept, though in this case the central shaft is not carried to the ground, but rests midway on a moulded bracket, below which is a piscina with a trefoil head of the same date. The treatment of the west wall of the north transept is very similar to that of the east, but the arches are much narrower, and the arrangement has been somewhat interfered with by a later widening of the nave aisle. In the south transept the arcading on the west wall is somewhat plainer, and the banded shafts have been dispensed with. Although similar in general design, certain details point to the south transept being slightly the earlier. The string course below the windows, which is continued round the shafts of the mural arcading, is a plain scroll moulding, while in the north transept a fillet is substituted, and the central bands on the shafts of the arcading are of a more elaborate character. The triple lancet windows at the ends of either transept are modern, and replaced two large fifteenth-century windows, which are shown in several early views.

The north transept was formerly shut off from the rest of the church by a screen, and used for holding the Rector's Court. In mediaeval times, and down to 1845, the Rector of Cliffe had a peculiar jurisdiction within his parish. He was exempt from all ecclesiastical authority other than personal visitation from the Archbishop of Canterbury. The wills of parishioners were proved in the local court, and the official seal of the Peculiar is still preserved in the Rochester Museum.

The chancel, which appears to have been rebuilt entirely in the middle of the fourteenth century, is complete, save for the insertion of a modern east window, which replaced an extraordinarily ugly eighteenth-century aperture of brick. The remaining windows are all fine examples of Decorated work, the tracery of which shows a distinctly Flamboyant tendency. The eastern pair affords interesting examples of Kentish tracery. All have good hood-mouldings with

grotesques at the ends. Beneath the windows is a stringcourse, which terminates at the altar rails with a grotesque head on either side. That on the north has been renewed, but the southern one represents the battered head of a monk.

The chief interest in the chancel, however, is its fittings. In the south wall is a series of three very beautiful fourteenth century sedilia, with a piscina of uniform character, recessed in the wall and ascending eastward. They are divided by slender buttressed shafts, supporting elaborately carved ogee canopies, and surmounted by crockets and finials. Beneath the canopies are trefoiled arches, and behind these the roof is carved in imitation of sexpartite vaulting.

Opposite in the north wall is a fine late-fourteenth century tomb of early Perpendicular character, which is often referred to as an Easter sepulchre, for which purpose it may well have been used. The wide cinquefoil arch is surmounted by an elaborate embattled cornice, supported on narrow

buttressed shafts, and terminating with a carved head at either end ; circles with internal cuspings fill the spandrils of the arch.

 

Immediately west of this tomb is a blocked doorway which led to an adjoining building, now demolished. The exterior wall at this point is of a different character from the rest of the chancel walls, and apparently of earlier date. It is composed of a variety of material, including pieces of Caen stone, which probably came from the earlier church, and suggests that this section of wall and the chapel, of which it formed part, survived the re-building of the chancel in the fourteenth century. The two adjoining buttresses have been constructed out of sections of the eastern and western walls of the chapel, and serve to indicate its approximate size. The position of its low roof is clearly shown by the stone corbels which remain at a height of 7 feet 8 inches from the ground. The floor must have been somewhat lower than the present ground level, as the small piscina in the exterior of the chancel wall is now only two feet from the ground. In the base of the westernmost of the two buttresses is a niche, now scarcely eighteen inches from the ground, which may originally have been used as a holy water stoup, since it was close to the entrance to the chapel. This small building probably served the joint purpose of a Sacristy and Chapel. That it contained an altar there can be no doubt from the piscina already noted.

It may possibly be referred to in the will of Richard Elys, who in 1468 left 12 pence to the light of the Blessed Mary in the chapel and 4 pence to the light of the Blessed Mary near the pulpit, though one of the transepts may of course have been here intended. Such evidence as there is on the other hand seems to point to the chapel having been pulled down at the time of the rebuilding of the chancel or soon afterwards. The blocked doorway in the chancel wall was originally carried down to the present ground level on the exterior, so that there must have been some steps in the thickness of the wall leading down into the chapel. The date of this doorway, which was probably contemporary with the building to which, it led, is uncertain. It is certainly earlier than the adjoining late-fourteenth-century tomb, as parts have been cut away when the latter was inserted, and the use of somewhat small stones points to an earlier rather than a later date. Its details on the other hand include the wave moulding which is usually taken to be characteristic of the Decorated period, or one might otherwise be inclined to think that it formed part of the thirteenth century chancel. The filling on the exterior is certainly not modern, and the fact that a plinth has been inserted when the doorway was blocked up, to match that round the rest of the chancel evidently with the intention, which was never carried out, of continuing it along the section of earlier walling where the chapel stood, seems to suggest that this work was undertaken about the same time as the rebuilding of the chancel.

 

We are now in a position to consider the probable development of the ground plan, which, though somewhat conjectural for the earlier period, has left some interesting and unmistakable traces of its later history. In the entire absence of remains of the early Norman church, one is forced to rely for the identification of its position on analogy with other buildings of similar type. The first church of which we have any record in all probability consisted of a simple nave and square- ended chancel. The three easternmost bays of the existing nave arcade would preserve the line of

the north and south walls of the church, while the chancel would occupy the interior of the present crossing. There is nothing to show the position of the west wall, but it would have been approximately in a line with the present north and south doors. Towards the close of the twelfth century north and south aisles, about half the width of the present ones, were probably added by piercing the original walls with arches, and about the same time a small chapel or aisle appears to have been built to the north of the original chancel, and the existing arch constructed so as to give access into it. This arch, which cannot be later than about 1200, is obviously much earlier than the present transept and must therefore have communicated with an earlier building on its site. Some evidence in support of this came to light during the restoration of the north transept in 1864. The foundations of an early wall four feet thick were found beneath the present floor running parallel and close to its eastern wall. At a distance of 15 feet from the chancel wall it appears to have been met by another wall at right angles to it. Unfortunately no further record was made of this discovery, but it establishes beyond doubt the existence of a building in this position, to which the arch in question opened. It is possible that this was the chancel arch of a late twelfth century church, and that the foundations were those of the former chancel, though such a theory would be more difficult to reconcile with the later development of the plan. Moreover on the assumption that there already existed a building on the north of the original chancel when the thirteenth-century builders decided to remodel the church, it is possible to account for the hitherto unexplained fact that the north transept is wider than the south by some three feet. The normal development of the thirteenth century produced a cruciform church. A new and longer chancel, and north and south transepts, were built around the small twelfth century chancel, while the nave and aisles were lengthened by the removal of the west wall some 20 feet further west, and a tower erected to the west of this. These extensive works could not of course have been simultaneous.

The tower appears to be somewhat earlier than the transepts, so that presumably the lengthening of the west end was undertaken first, and at the same time an Early English arcade, extending an additional bay westward, was inserted in place of the twelfth century arches. Contrary to what was frequently the case in churches of this type, there was clearly never any intention to erect a central tower over the crossing, since the abutments are far too weak to have supported the weight. This weakness would account for the presence of the strainer arch of oak, which must

have been inserted sometime in the fifteenth century.

With the completion of this work the early builders grew more ambitious. Almost immediately the work on the new chancel and transepts must have begun. A temporary hoarding was probably erected, shutting off the nave and the altar, transferred there until the new works were finished. The chancel and the south transept were probably first erected, as the sites were free of buildings ; the width of the latter being determined by the size of the former chancel and the chapel on the north. When the work was completed attention was directed towards the north transept, which, according to the usual practice, would have been rebuilt round the earlier building, the foundations of which were discovered in 1864, thus accounting for its slight extra width. Probably towards the end of the century the small chapel, the remains of which have already been mentioned, was built on the north of the new chancel.

Considerable alterations were undertaken in the fourteenth century, the principal of which were the rebuilding of the thirteenth century chancel, and the widening of the nave aisles. The latter was a very frequent form of improvement at this period, and was usually occasioned by the desire

for extra space to set up additional altars so as to meet the enormous increase in the popularity of Chantry bequests. At Cliffe the effect of this widening is clearly shown on the already completed design of the transepts. In the north transept one of the lancets was cut away, and a short pointed arch springing from shafts, which do not reach the ground, inserted in its place. The apex of the original lancet still remains in the wall above. In the south transept a similar alteration in plan is treated somewhat differently. A segmental arch, here reaching to the ground, and opening into the extended aisle, was inserted within the earlier bund arch in the west wall of the transept. This also necessitated the removal of an original lancet, the head of which can be seen occupying the space between the original arch and the later insertion. The windows in the nave all appear to be of this date. Probably contemporary with this extension of the aisles, was the heightening of the nave to allow for the clerestory with its row of single splayed lancets. The junction of this work with the old can be clearly seen immediately above the arcading. The thirteenth century roof of the nave was about on a level with those of the aisles, as the small window in the east face of the tower, which now looks into the church, must originally have looked out over the roof. The line of the fourteenth roof, which was erected at the time that the clerestory was added, can be seen on the wall of the tower, passing across the window opening. Below this the position of the third roof, erected 1732, can also be seen. This roof, which was almost flat, was replaced by the present one about forty years ago.

The rebuilding of the chancel would appear to have been undertaken at the same time as extension of the aisles, to judge from the similarity of the external stonework. This would again have necessitated the use of the nave for services, and it is probable that either at this time, or during the earlier work on the interior of the transepts, the round headed arch, which can be seen on the exterior of the north wall of the north transept, was constructed for the convenience of the masons while the ordinary entrances were not available. That this arch or doorway, which has sometimes been said to be of Norman origin, was really of a much later date, and of a purely temporary character, seems to be shown by a close inspection of its construction. The position is not in the centre of the wall while the arch itself is made up of a variety of material including large flints, pieces of Beigate stone and a single block of calcareous tufa, the latter doubtless coming from the early church. Further, the fact that the filling of the arch' seems to be of much the same character as the adjoining walls points to it only having been used for a comparatively short time. Everything in fact indicates that it was a purely temporary arrangement used during the construction of the transepts, or the later chancel, and filled up as soon as the work was completed. A somewhat similar, though smaller, arch in the exterior of the south wall of the tower was probably of a similar nature, though its purpose is conjectural, and it may have had some connection with original stairs to the upper floors. By the end of the fourteenth century the church was practically complete. The porch was added early in the following century, and the large Perpendicular windows, which formerly existed at the ends of the transepts, inserted. At the same time the upper part of the west tower was rebuilt. Certain work also seems to have been in progress about this time in the chancel, for in the will of the Rector in 1413 a sum of money was left towards that object. Exactly what resulted from the bequest one cannot say.

The subsequent additions were chiefly in the nature of modern insertions. The eighteenth century saw many acts of destruction which are duly entered in the parish registers. In 1730, during the Rectorship of George Green, the old high-gabled roofs were taken down, the lead recast, and an

almost flat roof substituted. Two years later the east window was demolished and a hideous brick opening substituted, and at the same time the old timber roof of the chancel, which, since it bore his arms, had probably been erected during the time of Archbishop Arundel, who occupied the See from 1396 to 1414, was pulled down, and both the nave and chancel ceiled. During this period also the two enormous brick buttresses, which are shown in some early views, were erected on the north and south sides of the tower. The church was in this condition when Sir Stephen Glynne visited it in 1857. Subsequent restorations have been extensive, though for the most part necessary. The brick buttresses to the Tower were removed shortly after Sir Stephen Glynne's visit, and the present circular stair turret erected in the place of the southern one. The chancel was restored in 1875, when traces of the original reredos were discovered, and the jambs of the original east window, which were of Reigate stone and about 15 feet apart, were found in situ. The present window was erected in place of the eighteenth century one in 1884, and at the same time the flat lead roofs of the nave and chancel were removed, and the present high-pitched tiled roofs substituted. Finally a small building, without any communication with the church, has been erected in recent years to the east of the north transept. During these successive restorations much of the external walls has been refaced from time to time, and the whole of the upper part of the east wall of the chancel which was pulled down in 1732, was rebuilt when the present window was inserted.

It is somewhat difficult now to picture the appearance of the interior of the church in mediaeval times. A brilliant colour scheme evidently played an important part in the general effect. Many of the piers of the nave arcades, which are apparently constructed of hard chalk, still show traces of a bold chevron pattern in red and yellow, and, together with the extensive wall paintings, slight traces of which still remain in the transepts, and the brilliance of the mediaeval glass, must have combined to give a very rich effect to the interior. Of the ancient glass very little remains. Dr.

Grayling mentions some fourteenth century borders in the chancel windows, which seem to have disappeared. In the central window of the north aisle is a small piece of ancient glass representing a ship with fish in the water beneath, which is said to have been found many years ago in a shed in the churchyard. In the top of the adjoining window is a fifteenth century figure of the Virgin and Child. A coat of arms in another window is mentioned by Thorpe, but this also seems to have disappeared. The wall paintings, though now very indistinct, were evidently much clearer until

comparatively recent times. On the east wall of the north transept, in the space between the southernmost of the two lancets and the arch in which it is placed, is one of these paintings, divided into five panels, depicting the Martyrdom of St. Edmund. Very little of it can now be made out, though the whole of this transept showed traces of colour at the time of the restoration of 1864. Some remains of a painting in a similar position in the south transept can still be seen, and are said to represent the Last Judgment.

Several bequests for the provision and upkeep of lights before the various altars add a little to our knowledge of the interior in mediaeval times. Of the various saints to whom lights were dedicated in the church Our Lady was of course the most popular. We have already seen that two altars

were dedicated to her. One of these is again mentioned in 1483, when Robert Qwikerell left 20 pence "to the Parish Church of Cleue and to the ligth of Our Lady besyde the pulpett there" and also a similar amount to the lights of St. Laurence and St. George. Richard Elys in 1469 also

mentions lights of St. Christopher, St. John and St. James, while in 1509 Steven Tudor bequeathed to the high altar of St. Elyn 20 pence, and to the light of St. Elyn 12 pence.

Of the position of these various lights one cannot speak with any certainty. That to St. Christopher would have been near the main entrance to the church, while the light of the patron saint, St. Helen, would have been in the Chancel, probably over the high altar. Remains of a piscina in four other places in the church prove the former existence of altars in these positions. That in the Sacristy has already been mentioned. At least one altar stood in each of the transepts, while a small piscina, apparently constructed of broken window tracery at the east end of the south aisle, testifies to another. An altar probably stood in a corresponding position in the north aisle. This disposition would exactly account for the number of lights mentioned in early wills. Besides the lights burning before the altars, there would also be a light before the great Rood over the entrance to the chancel. Some of the lower panels of the original rood screen survive. Above, and partly supported by, the screen was the rood loft, which was already in existence as early as 1413, when it is mentioned in conjunction with the great rood itself and its attendant figures in the will of Nicholas de Ryssheton, Canon of Sarum and Rector of Cliffe. The small fifteenth century doorway with a fourcentred arch, which gave access to it, can still be seen high up in the north wall just east of the entrance of the chancel, and the original stairs remain in good condition, though the entrance from the church has been blocked up and covered over with plaster.

The furniture in the church has suffered much from “restoration" and other causes. Six of the ancient stalls remain, three on each side of the chancel, though panelling at the backs and all the seats except two are modern. The sides terminate in carved heads, some of which have been

renewed, while the two original miserecords are carved with grotesques. The Communion rails are Jacobean, though somewhat repaired. They are of the fairly common baluster type with a central bulge. The pulpit is a very fine piece of Renaissance carving, and retains the original stand for the hour glass, though the glass itself is modern; on it is the date 1636.

Besides the fragments of the original rood screen there is another screen shutting off the vestry under the tower.

The font, which has been moved from its original position, is 3 feet 4£ inches in height, and apparently of late-fourteenth century date. The perfectly plain octagonal bowl has concave sides, around the lower edge of which is a hollow chamfer. The bowl is supported by an octagonal, buttressed stem on a plain base. On the westernmost pillar of the south arcade can still be seen the bracket and chain by which the font cover was raised, indicating its original position.

The monuments in the church are few, and call for little comment. In the floor at the west end of the north aisle are two flat coffin-shaped stones with early fourteenth century French inscriptions in Lombardic capitals. The one on the north is probably the earlier, judging from the very rough

characters which are now scarcely legible. It commemorated Eleanor de Olive, of whom nothing is known. The other stone shows traces of brass, and is inscribed in memory of Joan, wife of John Earn. These stones are described in the Gentleman's Magazine, and old rubbings of them exist among the collection of the Society of Antiquaries. There are three brasses of seventeenth century date, one of which is thought to have been engraved locally.

Two wills are of interest in connection with early burials in the church. In 1376 Robert de Walton, Rector of Cliffe, desired to be buried in the church of Olyve at the entrance to the quire. Some years later, in 1387, Thomas de Lynton, a subsequent rector, directed that he should be buried in the chancel near the entrance, and between the entrance to the quire and the tomb of Master Robert Walton, late Rector, and he ordered that a handsome marble monument should be placed over his body at the discretion of his executors. It seems not unlikely however that his executors favoured a brass monument. In the chancel is the stone matrix of what must once have been a very fine brass of about this period, representing a priest under a canopy. Another smaller matrix of an ecclesiastic is close to the pulpit.

Of the church plate the most important piece is a very beautiful paten of silver gilt of the early part of the sixteenth century. In the centre, worked in coloured enamels, is a seated figure of God the Father holding before Him a figure of the crucifixion. The extreme rarity of pre-reformation

plate is not generally recognised, and the example at Cliffe is one of the finest English patens in existence. At some period or other the paten at Cliffe served as a chalice cover, and it is even said to have been used as an alms dish, which would account for its numerous signs of wear. The other plate is of seventeenth century and later date, and of no particular interest.

It remains for me to acknowledge my indebtedness to Mr. F. O. Blliston Erwood for several suggestions and for the photographs which illustrate this paper. The present account is intended to supplement, but not to supplant altogether, an article on Cliffe Church, by the Rev. I. Gr. Lloyd, a former Rector, which appeared in Vol. XI. of Arch. Cant., where reference should be made for further particulars.

 

www.cliffehistory.co.uk/martin.html

 

-------------------------------------------------

 

CLIFFE (St. Helen), a parish, in the union of North Aylesford, hundred of Shamwell, lathe of Aylesford, W. division of Kent, 5 miles (N. by W.) from Rochester; containing 842 inhabitants. The parish is bounded on the north by the Thames, and comprises 5660 acres, whereof 180 are woodland, about 2000 arable, and the remainder pasture, including a considerable portion of marshy land. The village, which is supposed to take its name from the cliff or rock on which it stands, was formerly of much greater extent, a great part of it having been destroyed by fire in 1520: it was the scene of several provincial councils. A pleasurefair is held on September 28th. The living is a rectory, valued in the king's books at £50; net income, £1297; patron, the Archbishop of Canterbury: the glebe contains 20 acres. The church is considered one of the finest in the county, being a large handsome cruciform structure in the early English style, with an embattled central tower, and containing several curious monuments and remains of antiquity, together with six stalls that belonged to a dean and five prebendaries, it having been formerly collegiate.

 

www.british-history.ac.uk/topographical-dict/england/pp63...

Terrible storms all weekend have kept us housebound. A good opportunity to play around. I have seen this sort of thing done on a couple of sites, so thought I would give it a go. It's very fiddly, and my banana wasn't the best specimen, but I'm glad I gave it a go.

I had a bunch of short pieces of maple, walnut, mahogany and pine plus a couple scraps of some veneer so rather than toss them I made a bowl. I've never been better than borderline at sharpening chisels or knives and with all the end grain this was a bear to finish and is still not great. Chisels have to be ultra sharp to avoid bending the wood fibers to a degree that's impossible to get out. It's 7 5/8" diameter and 3 1/2" tall with walls about 3/16" thick. Finished with five coats of water-based poly and rubbed with wet or dry #400 and 600 and two grades of pumice and oil and finally rottenstone.

Blue Springs Segment, Stony Ridge Segment, Eagle Segment, Ice Age National Scenic Trail

This fork was probably the most challenging thing that I've made, but the result is great!!

Recently decommission due to budget cuts, this Space Police transport could carry two, four, six or more prison cells at once, using standard removeable modules.

Water Tank Hollow Vista, Susquehannock State Forest, Potter County.

 

Spring view here.

Sun. 11th Morning quick out & about.

So just a few clicks for the day.

.

Assembling the gears and disks and just sitting the segment disks on top as a sanity check. Wheels in the '4' position (see next image).

O segundo encontro para debater o #PPAParticipativo com o Conselhão em São Paulo. Agora é hora de ouvir os representantes do movimento sindical.

 

Foto: Ricardo Lima/MPO

2.75"h x 7.25"dia

Colorado Trail - Segment 7. Copper Mountain to Gold Hill Trailhead. 12.8 Miles. July 2015.

Pentax K-S2, SMC Pentax-M 200/4

 

For the Single in March 2016 Challenge, my last entry before joyfully dropping out for the last three days of March! ^_^ Done with 200mm!

Fantasia 1985 Press Release Kit . Fantasia 45th Anniversary . The press kit cover is in good shape some wrinkles and creases . The press kit itself inside is in like new condition .

 

About Fantasia:

 

Fantasia is a 1940 American animated film produced by Walt Disney and released by Walt Disney Productions. With story direction by Joe Grant and Dick Huemer, and production supervision by Ben Sharpsteen, it is the third feature in the Disney animated features canon. The film consists of eight animated segments set to pieces of classical music conducted by Leopold Stokowski, seven of which are performed by the Philadelphia Orchestra. Music critic and composer Deems Taylor acts as the film's Master of Ceremonies, providing a live-action introduction to each animated segment.

 

Disney settled on the film's concept as work neared completion on The Sorcerer's Apprentice, an elaborate Silly Symphonies short designed as a comeback role for Mickey Mouse, who had declined in popularity. As production costs grew higher than what it could earn, he decided to include the short in a feature-length film with other segments set to classical pieces. The soundtrack was recorded using multiple audio channels and reproduced with Fantasound, a pioneering sound reproduction system that made Fantasia the first commercial film shown in stereophonic sound.

 

Fantasia was first released in theatrical roadshow engagements held in thirteen U.S. cities from November 13, 1940. It received mixed critical reaction and was unable to make a profit due to World War II cutting off the profitable European market, the film's high production costs, and the expense of leasing theatres and installing the Fantasound equipment for the roadshow presentations. The film was subsequently reissued multiple times with its original footage and audio being deleted, modified, or restored in each version. As of 2012, Fantasia has grossed $76.4 million in domestic revenue and is the 22nd highest-grossing film of all time in the U.S. when adjusted for inflation. Fantasia, as a franchise, has grown to include video games, Disneyland attractions, a live concert, and a theatrically released sequel (Fantasia 2000) co-produced by Walt's nephew Roy E. Disney in 1999. Fantasia is widely acclaimed, and in 1998 the American Film Institute ranked it as the 58th greatest American film in their 100 Years...100 Movies and the fifth greatest animated film in their 10 Top 10 list.

  

In 1936, Walt Disney felt that the Disney studio's star character Mickey Mouse needed a boost in popularity. He decided to feature the mouse in The Sorcerer's Apprentice, a deluxe cartoon short based on the poem written by Johann Wolfgang von Goethe and set to the orchestral piece by Paul Dukas inspired by the original tale. The concept of matching animation to classical music was used as early as 1928 in Disney's cartoon series, the Silly Symphonies, but he wanted to go beyond the usual slapstick, and produce shorts where "sheer fantasy unfolds ... action controlled by a musical pattern has great charm in the realm of unreality." Upon receiving the rights to use the music by the end of July 1937, Disney considered using a well-known conductor to record the music for added prestige. He happened to meet Leopold Stokowski, conductor of the Philadelphia Orchestra since 1912, at Chasen's restaurant in Hollywood, and talked about his plans for the short. Stokowski recalled that he did "like the music"; was happy to collaborate on the project, and offered to conduct the piece at no cost.

 

Following their meeting, Disney's New York representative ran into Stokowski on a train headed for the East Coast. In writing to Disney, he reported that Stokowski was "really serious in his offer to do the music for nothing. He had some very interesting ideas on instrumental coloring, which would be perfect for an animation medium". In his excited response dated October 26, 1937, Disney wrote that he felt "all steamed up over the idea of Stokowski working with us ... The union of Stokowski and his music, together with the best of our medium, would be the means of a success and should lead to a new style of motion picture presentation." He had already begun working on a story outline, and wished to use "the finest men ... from color ... down to animators" on the short. The Sorcerer's Apprentice was to be promoted as a "special" and rented to theatres as a unique film, outside of the Mickey Mouse cartoon series.

   

Deems Taylor was the film's Master of Ceremonies, who introduced each segment in live action interstitial scenes.An agreement signed by Disney and Stokowski on December 16, 1937, allowed the conductor to "select and employ a complete symphony orchestra" for the recording.Disney hired a stage at the Culver Studios in California for the session. It began at midnight on January 9, 1938, and lasted for three hours using eighty-five Hollywood musicians. As production costs of The Sorcerer's Apprentice climbed to $125,000, it became clearer to Disney and his brother Roy, who managed the studio's finances, that the short could never earn such a sum back on its own. Roy wanted his brother to keep any additional costs on the film to a minimum. He said, "because of its very experimental and unprecedented nature ... we have no idea what can be expected from such a production." Ben Sharpsteen, a production supervisor on Fantasia, noted that its budget was three to four times greater than the usual Silly Symphony, but Disney "saw this trouble in the form of an opportunity. This was the birth of a new concept, a group of separate numbers—regardless of their running time—put together in a single presentation. It turned out to be a concert—something novel and of high quality."

  

For the 1982 and 1985 releases Disney presented Fantasia with a completely new soundtrack recorded in Dolby Stereo. First released on April 2, 1982, this version of the film marked the first time a film's soundtrack had been digitally re-recorded in its entirety. To replace Stokowski's recordings, the noted film conductor Irwin Kostal was engaged. He directed a 121-piece orchestra and 50-voice choir for the recording that took place over eighteen sessions and cost $1 million. To maintain continuity with the animation Kostal based his performance on the tempos and pacing of the Stokowski recordings, including the cuts and revisions to The Rite of Spring. However, for Night on Bald Mountain he used Mussorgsky's original orchestration instead of Leopold Stokowski's own edition that was part of the original soundtrack. The new recording also corrected a two-frame lag in projection caused by the old recording techniques used in the 1930s. Deems Taylor's scenes were deleted and a much briefer voiceover narration was recorded by Hugh Douglas as the studio felt the modern audience "is more sophisticated and knowledgeable about music." This version returned to around 400 theaters in 1985, this time with actor Tim Matheson providing the narration.

  

Buy Rare Disneyana Collectibles

 

When the yellow launching truss is actively lifting segments off the ground traffic is stopped or routed around the segment being lifted. Once the individual segments have been securely attached to the launch truss it is safe for traffic or pedestrians to travel under the guideway segments.

firefly or net-winged beetle larva.

About the Book

Dejan Stojanović, Sunce sebe gleda, Književna reč, Beograd, 1999

 

By statement: Dejan Stojanović.

Series: Biblioteka Pismo

Source records: Library MARC record

Library MARC record

 

Language: Serbian

Dimensions: 21 cm.

Pagination: 157 p. ;

LCCN: 00279202

LC: PG1419.29.T587 S86 1999

Subject: Poetry

 

THE SUN WATCHES ITSELF

 

The second collection of Dejan Stojanovic's verse, "The Sun is Watching Itself," is covered by a metaphysical and philosophical veil. Eleven segments are connected by these two abstract approaches and by such key images as a circle, suggesting infinity, and silence, reflecting space and eternity. The circle serves as a powerful symbol and a device of the perpetual in this poetry: "the end without endlessness is only a new beginning," claims the poet. Thus, one of the poems bears the title "God and Circle," symbolizing the perennial search for an exit and the eventual finding of one, which only leads into another circle and to continuous evolution. This prompts Stojanovic to pose the question "Is God himself a Circle?"--implying that God is endless and ever present.

 

Although concise, the poems convey in a powerful and specific manner messages from the triad circle-God-eternity, connected by man's destiny and the poet's concept of human life and origins, and of the universe itself. In other words, microcosmic observations lead to macrocosmic revelations and didactic conclusions. The poems seem to teach us what is obvious in the context of common sense, often surprisingly remote to the modern man.

 

In terms of style and format, the author has a coextensional approach; he uses relatively simple expressions and words in an interplay of brilliant meanings that bring about highly complex but easily readable structures. If elegance is represented by simplicity, then these are some of the most elegant verses imaginable; unadorned verses that are a source of beauty and wisdom.

 

Stojanovic's perceptions of light and darkness, of fantasy and reality, of truth and falsehood present us with a circular format of infinity and resurrection.

 

The format has its logical beginning and end. "The Sun is Watching Itself" begins with poems dedicated to God and the universe, then descends from the metaphysical to the philosophical, focusing on more ordinary such us the symbolic meaning of a stone, a game, a place, silence, hopelessness, and the question "Is it possible to write a poem?" Stojanovic's collection might well serve as an affirmative answer to this question. The poet has taken us on a long journey from God and universe to our everyday world. We all seem to be a part of a circle, says the author, searching for the eternal in the universe, only to realize the finality of life on earth. The poet's message is doubly effective for its extraordinary, soul-searching content and its reflective, powerful language.

 

-Branko Mikasinovich, Washington, D.C.

WLT World Literature Today, A Literary Quarterly of the University of Oklahoma, Norman, Oklahoma

Volume 74, Number 2, Page 442, Spring 2000

 

SOLARNI KRUG ISTINE

 

Već sa prvom zbirkom ("Krugovanje") Dejan Stojanović je kvalitativno značajno postulirao svoj poetički credo i simbolički kompleks tako da uz pomoć njega može uspešno da se prati obimno koncipirana celina, kontinuitet i preokupacije, drama pesničkog stvaranja u borbi za istinu i traženje smisaonosti kroz kreaciju u zbirci "Sunce sebe gleda." Kroz poetičku prizmu narečenih zbirki jasno se sagledava i poetsko "vjeruju" Dejana Stojanovića koje bi bilo najbliže Nastasijevićevoj misli da bi trebalo prožeti se poezijom, a ne samo dodirnuti je. Pesnik sa prvom zbirkom prihvata izazov, koji još bolje značenjski produbljuje u drugoj; odricanje od moderne koja je sama sebi svrha, opredeljujući se da pesničkim simbolima iskaže univerzalnu dramatičnost.

 

Pesnik, i kada je osećanje slobode u njemu jedna od osnovnih dominanti osećanja sveta, ne može se oteti utisku da je još samo jedna karika u lancu potvrđivanja i nastavljanja volje onih spodoba koje iz dubina nebića izlaze na svetlo dana, zauzimajući sebi svojstvena i primerena mesta u hipokriziji, oportunizmu i egocentričnom konformizmu naših dana. Otuda je u poeziji Dejana Stojanovića put ka suštini i istini poetički i smisleno lociran "s druge strane vida" ("Krugovanje") dok se formalno poigravanje smislom reči—koje na planu metafizičkog usložnjavanja povlači razgranato poigravanje značenjem—prepliće sa nepomućenom verom u pročišćujuću ulogu reči. Profetska uloga poezije u prizivanju i ovekovečavanju kataklizme totalitarnog sveta daruje ontološki pečat postojanja svemu; u rekombinacijama i specifičnim međuodnosima i višnjoj harmoniji između stvari iz fundusa očiglednosti. Osluškivanje pulsacija bića izjednačeno je sa osluškivanjem večnosti koja vaskrsava u poetskoj matrici saznanja o nepreglednosti i, u isto vreme, uniženosti bića u odnosu na apsolut, ciji je pečat jasno utisnut u svakodnevnu pojavnost. Samim tim kategorije vanljudskog počivaju u metaforama i slikama sveta koji se atomizira u supstancijalni praelement smisla; u prapočelo, odakle se ponovo vaspostavlja pod blagotvornim utiskom i oblikom pesme.

 

Poniranje u nemušte i tajinske zone bica, osetljivost i pažljivost u građenju lirskog subjekta, imaginativni spojevi prepuni duhovne osetljivosti, od velike većine pesama zbirke "Sunce sebe gleda" stvaraju univerzalne simbole poetski rafinovane imaginacije, fantazijskih obasjanja i pazljivo odabranih folklornih rudimenata pamćenja izniklih iz našeg tla. Jezički senzibil uvodi nova značenja u poznate relacije; svetlo i tama—oportuna simbolika sna, pretvaraju se u okolnosti stvaranja, tišina prerasta u dinamično stanje unutrašnje molitve, a istina, kroz potrage za njenim ontološkim parametrima—preispitivanjem nutrine, postaje samosvojno stanje izopštenih i jurodivih umova. Upravo takvo posedovanje istine, kao unutrašnjeg osećanja i kao istupa iz sebe, u poetskom ludensu Dejana Stojanovića povlači irinijske i sarkastične linije pevanja; asketskog izrugivanja svetu materije, hipokrizije i prosečnosti, suprotstavljanja istine jedinke (bića) "istini" mase (kolektivnog zla utemeljenog u ne-bicu). Pozicija čoveka samca jeste pozicija pesnika u odnosu na, do obezličenja multiplikovan, organon vaskolikog sveta.

 

Stišani tonovi gradacije simbola, stvaranje specifične hijerarhije, traženje sebe u drugima i drugih u sebi, elementarizuju u ovoj zbirci jedinstvo kruga kao alegorični pečat apsoluta i istraživanja beskonačnosti i konačnosti zemaljskih dana. Između reči i glasova, katalizatora duhovnog i uzvišenog, apsoluta i smisla postojanja, sugestivno i simbolički redukovanih stihova, do širokog narativnog zamaha, utkana je čitava ova zbirka. Ova poezija je sva u jeziku i sva od jezika. Put Nojeve barke jezika jeste njeno apsolutno znanje kojim plovi kroz žamor i bure nerazumevanja, neshvatanja i reči iz kojih je iscureo smisao kao pesak iz klepsidre sveta čije dane prepune iskušenja intenzivno proživljavamo.

 

-Petar V. Arbutina, 1999.

 

PESNIK PRED OTVORENIM VRATIMA

 

Dejan Stojanović, u poslednje dve godine načinio je pravi podvig: objavio je šest knjiga. Osim jedne, sve knjige pesama.

 

Stojanović je pesnik koji traga za savršenim pesničkim oblikom jer istovremeno traga i za apsolutnim smislom čovekovog postojanja.

 

"Krugovanje" (1993) je naznačilo Stojanovićev pesnički put, a nove knjige—"Sunce sebe gleda", "Znak i njegova deca", "Tvoritelj", Oblik, uz treće, dopunjeno izdanje "Krugovanja", zaokruzile su njegovo dosadašnje pesničko delo. U "Razgovorima," Dejan Stojanović je sabrao intervjue koje je početkom devedesetih godina vodio sa veoma istaknutim srpskim i stranim stvaraocima, u Beogradu, Parizu i Čikagu, a objavljivao ih je tih godina (1990-1992) u magazinu "Pogledi". Nije mala stvar naći se oči u oči sa piscima kakvi su Alek Vukadinović, Momo Kapor, Nikola Milosević, Žak Klod Vilar, Sol Belou, Stiv Tešić, Branko Mikašinović, Čarls Simić i Nadja Tesić, ili sa slikarima Petrom Omčikusom, Ljubom Popovićem, Milošem Šobajićem, Savom Rakočevićem. Umeti sa njima razgovarati na visokom, dakle njihovom nivou, postavljati im odgovarajuća, za svakog od njih dobro promišljena i pronađena pitanja, koja otključavaju brave i njihovih dela i njihovih ličnosti, to je posao koji zahteva veliko i veoma rznovrsno znanje. Nije, onda, čudo što je za ovu knjigu Dejan Stojanović dobio nagradu Matice iseljenika i Udruženja književnika Srbije za intelektualni angažman.

 

Knjiga pesama "Krugovanje" bila je objavljena prvi put 1993. godine, a zatim je doživela još dva izdanja, 1998 i 2000. Pesnika iz Čikaga srpska javnost je doskora poznavala samo po toj knjizi. Poznavala i cenila, što se može zaključiti iz sažete ocene Aleka Vukadinovića: "Specifičan, iznenađujuće originalan, izvan tokova kolektivno negovanih senzibiliteta i pomodnih trendova. "

 

I poznati američki pesnik, Čarls Simić, ima laskavo misljenje o prvoj Stojanovićevoj knjizi.: "'Krugovanje' je knjiga u kojoj sam u potpunosti uživao. Obilje lepih kratkih pesničkih formi." Ne iznenađuje ovakva Simićeva ocena, jer on kao stvaralac i prevodilac Nastasijevića i Pope zna šta je lepota kratke pesničke forme. Zato je i važno to priznanje kada ono baš od njega dolazi, a pogotovo što se odnosi na nešto sto je bitna karakteristika Stojanovića kao pesnika: za njega su reči sakralni znaci, pa se on prema njima i odnosi sa krajnjim poštovanjem, odgovornošću, uzdržanošću, koja je na samoj granici straha:

 

Kada bismo utvrdili

Koliko je važno da se nešto kaže

Mozda nijednu reč ne bismo napisali

 

("Isto")

 

Ali strah ne sputava pesnika. Razmišljajuci o svojoj poetici , Stojanović se prisetio majstora nad majstorima, Betovena:

 

"Samo praznina kad gleda / Uvek isto vidi". Praznina može da vidi samo prazninu. A čovek kada gleda vidi čoveka—mada ni njega nije lako videti, pogotovo sagledati. Pesnik, međutim, gleda kroz čoveka i vidi ono što vide pravi stvaraoci, umetnici i duhovnici—tajnu. Stojanović je, pored ostalih, napisao i dve lepe pesme o tajni. Prva "Tajna" kao da je od ovoga, čovekovog i prirodnog sveta:

 

Bogata i daleka

Ti nemo čekas

 

Gde se kriješ

Daj znak

Primi u goste

 

Morem opasana

Nehajna—sebi dovoljna

Nećeš da otvoriš vrata

 

A druga tajna, u pesmi "Tajna i istina", kao da je ona koja je u vezi, pored drugih, sa jednom, najvišom istinom, istinom nad istinama, u vezi sa samim izvorom života i postojanja, sa istinom Tvoritelja:

 

Ima mnogo tajni

Nemoj ih sve rešavati

 

Ima mnogo istina

Samo ka jednoj teži

 

Sve istine iz jedne dolaze

 

U pesmi "Blago izvora", iz tog istog ciklusa "Betoven i smrt", u knjizi "Sunce sebe gleda", Stojanović se ponovo vraća sličnoj slici početka svih početaka, ishodištu svih ishodišta, izvoru svih izvora:

 

Ne propusti da vidiš

Kako se cveće Suncu

Galeb vodi raduje

Primi ih u sebe

Gledaj kroz mrak

Sanjaj kroz svetlost

Ka jezgru

Iz kog si na put krenuo

 

Pored apsolutnih, svemirskih "vrata", Stojanović ne zaboravlja ni čovekova vrata, na kojima se, ranije ili kasnije, ugleda smrt. I ta se pesma, "Betoven i smrt" odlično uklapa u ovaj ciklus u kojem se ukrštaju simboli izlazaka i ulazaka:

 

Smrt je na vratima

Kaže Betoven

Da li da mu verujemo

 

Možda se i nije šalio

Možda je stvarno video smrt

Oči im se srele

 

Njemu nije imao ko da kaže

Da zaključa vrata

 

I da mu je rekao, Betoven ih ne bi zaključao. Nije ih zaključao ni Stojanović. Srećom po sebe i poeziju koju piše drži ih i on širom otvorena.

 

Sreću mu se oči sa smrću, ali i sa svetlošću.

 

-Aleksandar Petrov

Amerikanski Srbobran, Književni dodatak, decembar 2000.

 

Table of contents:

 

NEBOKRET

 

Prva Tišina, 7

Vrh i dno, 8

Omeđen beskrajem, 9

Vetrenjača, 10

Sveti plam, 11

Tačka, 12

Vasiona, 13

Cvet svemira, 14

Jesi li ili nisi 15

 

BOG I KRUG

 

Dan svemira, 19

Nebo i krug, 20

Istina kruga, 21

Bog i krug, 22

 

NEBOHOD

 

Kiša apsoluta, 25

Oblak I, 26

Oblak II, 27

Svetlost i mrak, 28

Obmana, 29

Mladi starac, 30

Večnost i trajanje, 31

Večnost i večnost, 32

Nula, 33

Brzina, 34

Beskraj i kraj, 35

 

MESTO ZABORAVLJENO

 

Ognjište, 39

Bajka i kraj, 40

Paradoks, 41

Božji šegrt, 42

Varka, 43

Čvsrta zemlja, 44

Bog je zauzet, 45

Zvezda u travi, 46

Slovo njegovo, 47

Mesto zaboravljeno, 48

Vatra, 49

Povratak, 50

 

KAMEN I REČ

 

Gde prestaje pesma, 53

Reč, 54

Prva reč, 55

Kaman i reč, 56

Slaganje reči, 57

Skrivene reči, 58

Reči nekazane, 59

Priče, 60

Hipnoza reči, 61

Nekoliko reči, 62

Ista priča, 63

Misao II, 64

Laž, 65

Istina i laž, 66

Sokrat, 67

Umor, 68

Nova reč, 69

 

ŠTA POSLE

 

Nemost, 73

Ili, 74

Pitomi zvuk, 75

Tamo i ovde I, 76

Ništa, 77

Svetiljka, 78

Ovako i onako, 79

Šta posle, 80

Vitez, 81

Vitezovi, 82

 

IGRE

 

Ne, 85

Rat, 86

Stvari, 87

Prevara, 88

Cirkus, 89

Visočanstvo, 90

Patuljak, 92

Virus duše, 93

Vrednost i promašaj, 94

Produži dan, 95

Igra I, 96

Igra II, 97

Igra III, 98

Razmišljanje naljućenog, 100

 

MOŽE LI SE NAPISATI PESMA

 

Da li postoji Bog, 103

Uvreda I, 104

Božji sin, 105

Hrist, 106

Glava, 107

Život, 108

Blesak tišine, 109

Dobrotvori, 110

Može li se napisati pesma, 111

Predah, 112

 

BEZIZLAZ

 

Oduzetost, 115

Nasamo sa sobom, 116

Ako, 117

Tamo i ovde II, 118

Apsurd, 119

Uvreda II, 120

Podvala, 121

Misao o nama, 122

Pitanje suncu, 123

Seansa, 124

Stara klupa, 125

Vrt , 126

 

ZVUK TIŠINE

 

Šapni mi svoju tajnu, 129

Mera borbe, 130

Jednostavnost, 131

Empatija, 132

Put, 133

Pakao i raj, 134

Miris polja, 135

Lek, 136

Zrak, 137

Dan, 138

 

BETOVEN I SMRT

 

Izlaz, 141

Tajna, 142

Tajna i istina, 143

Blago izvora, 144

Možda, 145

Betoven i smrt, 146

Isto, 147

 

EPILOG

 

Pakao, 151

 

DODATAK

 

Solarni krug istine, Petar V. Arbutina, 155

 

Beleška o piscu, 158

 

By statement: Dejan Stojanović.

Series: Biblioteka Pismo

Source records: Library MARC record

Library MARC record

 

Language: Serbian

Dimensions: 21 cm.

Pagination: 157 p. ;

LCCN: 00279202

LC: PG1419.29.T587 S86 1999

Subject: Poetry

I've loved doing the segmented cookie sets the past year (Santa last Christmas, then the Easter Bunnies). So - here's Rudolph! With Some Magic Reindeer food to sprinkle on your lawn on Christmas Eve! Borrowed some of Myri's (Chapix Cookies) little detail magic for the heads! This was the first (draft) -- I suspect the next ones will be tweaked a little!

CO (Chaffee County)

 

near Winfield Historic Site (Collegiate West 02) to meadow at Texas Creek Road (Collegiate West 02)

 

CW02 is the best segment (so far)! It rained most of the night but once again stopped by morning. I saw some leaks in my tent, so I had set-up my poncho as a fly. It worked ... I was glad I had it. I was packed up and hiking (with wet tent and poncho) by about 0700. It was 50f with mostly clear skies.

 

Shortly thereafter I encountered a Colorado Trail thru-hiker by the trail name of Right Here who had camped nearby. He was drying his gear and drinking some coffee. He offered me some, so of course, I stopped for a few. You can't beat a cup of coffee first thing in the morning, especially alongside a trail with spectacular views and warm sunshine. Lake Ann Pass was still about 6 miles away, so after finishing the coffee I hiked on.

 

The next portion of trail was spectacular. Open meadows with plenty of mountainous views. A conical mountain dominated the landscape which I believe to be Granite Mountain. I could tell the general direction the trail was heading but couldn't tell which side the pass would be on. It was an enjoyable hike.

What happen when you surround yourselves in a room full of brightly lit 7 Segment Displays :>

Moss tufa, a segment from a a larger roadside tufa complex

January 28, 2018

Centerville, Washington County, Pennsylvania

 

This is a closer view of the section to the left in image 1 of 4. With the exception of the opening, surrounding the snow, to the left of the images, the brown, as well as the moss-covered material, is all tufa-limestone. As the limestone forms, flow-ways used by the water change, which accounts for different colors of the tufa. The green moss-covered areas indicate the sections of the tufa that are currently receiving a steady supply of water.

The Evergreen Line celebrated a milestone on March 3, 2015 with the installation of the last segment of its elevated guideway on Pinetree Way in the City of Coquitlam. Since construction began on the elevated guideway, 1,005 segments have been installed, including 618 along Clarke Road and North Road and 387 along Pinetree Way.

Playing with a large seven-segment display. Read more about this project here.

Thinking Graphically

Combination of different urban segments, circa 90° angle to benefit from the segmentation that is provided by the floor pattern.

Segments 2 & 3 of the Colorado Trail - Rolling Creek to South Platte River Trailhead. 24 miles. June 2016.

Hey everyone, and welcome to the first instalment of 'Weekly Recommendations'! Starting off this new segment, I'd like to recommend you all my favorite movie of all-time and favorite video game of all-time! Let's begin!

 

Guardians of the Galaxy: I kinda already did a review of it so go check it out here: www.flickr.com/photos/antdude3001/14799518055/in/set-7215...

 

Sonic Adventure 2: Battle: Now this game is really special to me, partly because it was the first console game I ever owned. Some say that Sonic Adventure 2: Battle is the last good Sonic game, which I don't really agree with. In this game you can either choose the Hero missions, that includes Sonic, Tails, and Knuckles; or you could choose the Dark missions, and that includes Dr. Eggman, Shadow, and Rouge. Now this game is just fantastic on all levels. The levels with Sonic and Shadow are just high-speed fun, the levels with Knuckles and Rouge are really fun and have really great music, and the Tails and Eggman levels are ok, but they aren't as good as the treasure hunter and the runner levels. Also, the multiplayer in this game is amazing. The story mode is really strong with a really intense story! Overall, this is my favorite game and it probably always will be because this is the game that got me to like video games in general! If you haven't played this game, you should really go check it out! It's on X-box Live and the Playstation store!

 

Oh yeah, next week's instalment will be on a Saturday because this week's was supposed to be on a Saturday but I forgot because I was playing the Super Smash Bros 3DS Demo!

From the more modern and fully operational grain elevator in Lincoln, KS.

panelists landscape

Multi-Stakeholder Segment, Working session - Emerging Risks

13:00 - 14:30

Technological Hazards: From Risk Reduction to Recovery

 

Organizer(s): WCDRR

Venue: Sendai International Centre Room N°: Main Hall

 

Photos: Tetsuro Chiharada

CO (Saguache County)

 

Day 5 random campsite (Segment 19) to random campsite (Segment 20)

 

Not a cloud in sight ... anywhere.

 

Started off chilly and in the 40s. The sun was shining brightly though, so it warmed up quickly. Saw a large pine tree which reminded me of Sequoias ... this was still CO right? There were several more miles in the large meadow/valley. I noticed a fenced area which might have been a spring, but a small sign had DEATH scribed on it. Then up and over a short bump which was through an aspen grove. The trail finally wandered down to Cochetopa Creek.

 

Cochetopa Creek was flowing very well. The previous few days had intermittent water sources. That would not be a problem today as the trail followed this creek for many miles. I thought I would have to ford it but someone had put a log over it to bridge the gap. Although this area was completely exposed, it was very enjoyable hiking. Easy, unique terrain, fall colors and a meandering creek. One of my favorite sections so far. Did encounter some steep sidehill and had some glimpses of Organ Mountain. San Luis Peak is hiding behind.

 

A few miles before the end of Segment 19, the trail entered La Garita Wilderness. Wilderness Areas are specially designated areas that remain undeveloped and maintain primeval character. There are additional restrictions to visiting and on the Colorado Trail bicycles are not allowed in Wilderness Areas.

Aldi`s ,Sudbury`s most photogenic supermarket

To view other photos and upcoming exhibitions see...

 

www.facebook.com/pages/Tim-Ranson/277279032304293

The Ponte Vecchio ("Old Bridge") is a Medieval stone closed-spandrel segmental arch bridge over the Arno River, in Florence, Italy, noted for still having shops built along it, as was once common. Butchers initially occupied the shops; the present tenants are jewelers, art dealers and souvenir sellers. The Ponte Vecchio's two neighbouring bridges are the Ponte Santa Trinita and the Ponte alle Grazie.

  

The bridge spans the Arno at its narrowest point where it is believed that a bridge was first built in Roman times, when the via Cassia crossed the river at this point. The Roman piers were of stone, the superstructure of wood. The bridge first appears in a document of 996. After being destroyed by a flood in 1117 it was reconstructed in stone but swept away again in 1333save two of its central piers, as noted by Giovanni Villani in his Nuova Cronica. It was rebuilt in 1345, Giorgio Vasari recorded the tradition in his day, that attributed its design to Taddeo Gaddi,besides Giotto one of the few artistic names of the trecento still recalled two hundred years later. Modern historians present Neri di Fioravanti as a possible candidate.Sheltered in a little loggia at the central opening of the bridge is a weathered dedication stone, which once read Nel trentatrè dopo il mille-trecento, il ponte cadde, per diluvio dell' acque: poi dieci anni, come al Comun piacque, rifatto fu con questo adornamento.[The Torre dei Mannelli was built at the southeast corner of the bridge to defend it.

 

The bridge consists of three segmental arches: the main arch has a span of 30 meters (98 feet) the two side arches each span 27 meters (89 feet). The rise of the arches is between 3.5 and 4.4 meters (11½ to 14½ feet), and the span-to-rise ratio 5:1.

  

It has always hosted shops and merchants who displayed their goods on tables before their premises, after authorization of the Bargello (a sort of a lord mayor, a magistrate and a police authority). The back shops (retrobotteghe) that may be seen from upriver, were added in the seventeenth century.

 

It is said that the economic concept of bankruptcy originated here: when a money-changer could not pay his debts, the table on which he sold his wares (the "banco") was physically broken ("rotto") by soldiers, and this practice was called "bancorotto" (broken table; possibly it can come from "banca rotta" which means "broken bank"). Not having a table anymore, the merchant was not able to sell anything.

 

During World War II, the Ponte Vecchio was not destroyed by Germans during their retreat of August 4, 1944, unlike all other bridges in Florence. This was allegedly, according to many locals and tour guides, because of an express order by Hitler.Access to Ponte Vecchio was, however, obstructed by the destruction of the buildings at both ends, which have since been rebuilt using a combination of original and modern design.

 

To enforce the prestige of the bridge, in 1593 the Medici Grand Dukes prohibited butchers from selling there; their place was immediately taken by several gold merchants. The corporative association of butchers had monopolised the shops on the bridge since 1442. A stone with an inscription from Dante (Paradiso xvi. 140-7) records the spot at the entrance to the bridge where Buondelmonte de' Buondelmonti was murdered on behalf of the Amidei, in 1215, initiating the urban fighting of the Guelfs and Ghibellines.

  

Along the Ponte Vecchio, there can be seen many padlocks affixed in various places, especially to the railing around the statue of Benvenuto Cellini. This is a recent tradition for the Ponte Vecchio, although it has been practiced in Russia and in Asia before. It was perhaps introduced by the padlock shop owner at the end of the bridge. It is popularly connected to idea of love and lovers: by locking the padlock and throwing the key into the river, the lovers became eternally bonded. This is an example of the negative impact of mass tourism: thousands of padlocks needed to be removed frequently, spoiling or damaging the structure of the centuries-old bridge; however, it seems to have decreased after the city administration put a sign on the bridge mentioning a €160 penalty for those caught locking something to the fence.

 

There is a similar ongoing padlock phenomenon at Ponte Milvio, due to one of Federico Moccia's books.

 

The bridge was severely damaged in the 1966 flood of the Arno.[17]

 

The bridge is mentioned in the aria "O mio babbino caro" by Giacomo Puccini.

5 by 9 cherry body maple and bloodwood design ring

CO (Saguache County)

 

Day 5 random campsite (Segment 19) to random campsite (Segment 20)

 

Not a cloud in sight ... anywhere.

 

Started off chilly and in the 40s. The sun was shining brightly though, so it warmed up quickly. Saw a large pine tree which reminded me of Sequoias ... this was still CO right? There were several more miles in the large meadow/valley. I noticed a fenced area which might have been a spring, but a small sign had DEATH scribed on it. Then up and over a short bump which was through an aspen grove. The trail finally wandered down to Cochetopa Creek.

 

Cochetopa Creek was flowing very well. The previous few days had intermittent water sources. That would not be a problem today as the trail followed this creek for many miles. I thought I would have to ford it but someone had put a log over it to bridge the gap. Although this area was completely exposed, it was very enjoyable hiking. Easy, unique terrain, fall colors and a meandering creek. One of my favorite sections so far. Did encounter some steep sidehill and had some glimpses of Organ Mountain. San Luis Peak is hiding behind.

 

A few miles before the end of Segment 19, the trail entered La Garita Wilderness. Wilderness Areas are specially designated areas that remain undeveloped and maintain primeval character. There are additional restrictions to visiting and on the Colorado Trail bicycles are not allowed in Wilderness Areas.