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Early juveniles in August when all or most adults dead. Similar form to adults, but periostracum thinner and paler, and spire protrudes less.
Maximum dimension 4.1 mm and 3.3 mm, Portlethen, north-east Scotland, August 1970.
Full SPECIES DESCRIPTION BELOW
Revised PDF available at www.researchgate.net/publication/372768813_Lacuna_pallidu....
Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/
Lacuna pallidula (da Costa, 1778)
Synonyms: Cochlea pallidula da Costa, 1778; Lacuna neritoidea Gould, 1840; Lacuna patula Thorpe, 1844; Lacuna retusa Brown.
Current taxonomy: WoRMS www.marinespecies.org/aphia.php?p=taxdetails&id=140168
Vernacular: Pallid chink shell; Pale lacuna; Gwichiad agennog gwelw (Welsh); Lacuna pâle (French); Lavspiret grubesnegl (Danish); Bleke scheefhoren (Dutch); Blek lagunsnäcka (Swedish).
Shell description
The largest dimension of female shells is up to about 12 mm fig. 01 flic.kr/p/2kNQ7pc and males grow to 6 mm. The species has an annual life cycle; all or most adults are dead by June. Their small juvenile offspring occur in summer fig. 02 flic.kr/p/2kGH2G9 , growing to full size in winter. The body whorl forms the great majority of the shell, and the very small spire is sunk below the upper margin in most views. Juveniles are similar in form with a slightly lower spire. Sutures between the whorls are distinct. The smooth surface has no sculpture apart from numerous, growth lines.
One face of the hollow columella is missing, exposing a long wide columellar groove (lacuna, chink or canal), leading to a large funnel-like umbilicus fig. 03 flic.kr/p/2kNL1YB . On some specimens the columellar groove is indistinct and the umbilicus reduced fig. 04 flic.kr/p/2kNPCc9 and fig. 05 flic.kr/p/2oQ83ra .
The very large ‘D’ shape aperture is as high as the whole shell, and it occupies about 75% of the area in apertural-view images fig. 01 flic.kr/p/2kNQ7pc . The palatal lip is semi-circular, and it continues along the abapertural side of the columellar groove. The wide, white columellar lip forms the adapertural edge of the groove fig. 03 flic.kr/p/2kNL1YB .
The ‘D’ shape operculum is a rapidly expanding oligogyrous spiral with its off-centre nucleus close to the base of the columellar lip. It is transparent, tinted yellow fig. 04 flic.kr/p/2kNPCc9 & fig. 06 flic.kr/p/2kNL1Ut or nearly colourless fig. 05 flic.kr/p/2oQ83ra . The substantial periostracum is olive-brown with distinct growth lines on large specimens fig. 07 flic.kr/p/2kNQ773, and it usually extends beyond the lip of the aperture fig. 04 flic.kr/p/2kNPCc9 . Under the periostracum, the calcareous shell is white or yellowish white fig. 01 flic.kr/p/2kNQ7pc . Live adults with a thick opaque periostracum are olive-green/brown in water fig. 08 flic.kr/p/2kNPC3g becoming dull brown when dead and dried fig. 01 flic.kr/p/2kNQ7pc . There are no coloured bands or variegation at any stage.
Body description
The flesh is translucent white with varying amounts of yellow or pink tinting fig. 07 flic.kr/p/2kNQ773 and fig. 05 flic.kr/p/2oQ83ra . The snout is ventrally slit fig.06 flic.kr/p/2kNL1Ut and usually rolled into a cylinder fig. 09 flic.kr/p/2oQ92WM . The extended cephalic tentacles are long, smooth, translucent whitish and taper to a blunt tip. When contracted they wrinkle and any yellow tint is intensified fig. 08 flic.kr/p/2kNPC3g . There is a black eye on a slight bulge at the base of each tentacle fig. 07 flic.kr/p/2kNQ773 . The roof of the mantle cavity is whitish translucent showing the colour of the shell except for the mantle edge which is thick and sometimes yellowish fig. 09 flic.kr/p/2oQ92WM . The foot is white with varying amounts of yellow or pink fig. 07 flic.kr/p/2kNQ773 , especially on the opercular disc which supports, and is visible under and through, the transparent operculum fig. 05 flic.kr/p/2oQ83ra and fig. 09 flic.kr/p/2oQ92WM . The two small, flat metapodial tentacles protrude beyond the posterior of the operculum fig. 09 flic.kr/p/2oQ92WM .
Key identification features
Lacuna pallidula
1) Columellar groove (lacuna or chink) leads to umbilicus fig. 01 flic.kr/p/2kNQ7pc but is sometimes sealed over fig. 04 flic.kr/p/2kNPCc9 .
2) Largest dimensions up to 12 mm (female) and 6 mm (male). Hardly any of the spire protrudes beyond the body whorl fig. 01 flic.kr/p/2kNQ7pc
3) Very large ‘D’ shape aperture equals shell height and occupies about 75% of area in apertural view fig. 01 flic.kr/p/2kNQ7pc.
4) Shell olive-brown with no spiral bands fig. 08 flic.kr/p/2kNPC3g .
5) Body white fig. 07 flic.kr/p/2kNQ773 , sometimes yellowish or pinkish; no grey stipple.
6) Found mainly on Fucus serratus and sometimes on Laminaria.
Similar species
Lacuna parva (da Costa, 1778) fig. 10 flic.kr/p/2kNL1A2 .
1) Columellar groove (“lacuna” or “chink) leads to umbilicus. 2) Usual maximum height 4 mm; sometimes 6 mm. Spire 30% to 40% of shell height.
3) Aperture occupies about 50% of area in apertural-view images.
4) Body whorl has three brown spiral bands; basal band 1 easily overlooked if base of shell not examined. Some shells are uniform white or brown with no bands.
5) Body translucent white, usually stippled grey.
6) Found mainly, especially when young, on small red weeds. Sometimes on fucoids.
Littorina fabalis (W. Turton, 1825) and
L. obtusata (Linnaeus, 1758) fig. 11 flic.kr/p/2kNPBJk .
1) No columellar groove or umbilicus.
2) Maximum dimension up to 17 mm. Very large body whorl and small spire.
3) Aperture occupies about 50% of area in apertural-view images.
4) Shell of L. obtusata is sometimes greenish olive.
5) Body varied shades of yellow, brown or black.
6) Found on Fucus serratus (L. fabalis) or Ascophyllum (L. obtusata) and on Fucus vesiculosus (both).
Lacuna vincta (Montagu, 1803) fig. 12 flic.kr/p/2kNQ6PK .
1) Columellar groove (“lacuna” or “chink”) leads to umbilicus. 2) Maximum height about 10 mm. Well developed spire about 50% of adult shell height, and about 30% on juveniles less than 3 mm high.
3) Aperture occupies about 30% of area in apertural-view images of full grown adults.
4) Body whorl has four brown spiral bands.
5) Body whitish with grey, yellow, orange and/or aquamarine parts.
6) Found on Laminaria and, especially juveniles, on small red weeds. Also on Zostera and sometimes on fucoids.
Lacuna crassior (Montagu, 1803) fig. 13 flic.kr/p/2kGH26u
1) Wide white columellar shelf. Usually no groove or umbilicus but sometimes small ones present.
2) Distinct spire about 50% of mature shell height, about 45% when younger.
3) Aperture occupies about 30% of area in apertural view.
4) Shell when live, has translucent, yellowish-brown spire and brownish-white body whorl. Thick periostracum has distinct, raised, transverse (costal) ridges. Dead dry shells are dull yellowish-brown if periostracum retained, yellowish white with faint spiral lines if periostracum worn off.
5) Body translucent whitish.
6) A rare species which often associates with the bryozoan Alcyonidium diaphanum.
Habits and ecology
L. pallidula feeds on the surface of Fucus serratus (Smith, 1973) and Laminaria (Lebour, 1937) near low water on rocky shores and to 70 metres depth. It is usually absent where turbidity or soft substrate prevents growth of F. serratus. It cannot survive desiccation. Some populations live in the Baltic in salinity down to 12‰.
It moves with a bipedal stepping motion, lifting alternately the right and left sides of the foot. It breeds in late winter and spring, sometimes extending into summer and autumn, with a maximum in February to May in Britain, but precise dates vary regionally. The spawn mass is a low gelatinous dome with an almost circular, oval base (not kidney-shape), diameter 3.9 mm to 5.3 mm (Lebour, 1937), laid on fronds of F. serratus or Laminaria. There are up to about 200 ova per spawn mass fig. 14 flic.kr/p/2kNQ71M . In the low salinity Øresund, Denmark, the masses are smaller with as few as 13 ova (Thorson, 1946 in Fretter & Graham, 1962).
Fretter and Graham (1962) reported confusion with the spawn of “Littorina littoralis” (the name mistakenly used formerly by British authors for an aggregate of Littorina obtusata and L. fabalis). The limited material examined for this account suggests the confusion is with L. fabalis which lives on F. serratus at the same shore level and lays similar, almost circular oval spawn masses, while L. obtusata lives higher up the shore, favouring Ascophyllum, and often lays kidney-shaped spawn masses up to 7 mm long. The difference between the spawn masses of L. fabalis and Lacuna pallidula may be that the latter has a distinctly bevelled peripheral rim while the surface of the former slopes to the substrate without a break in slope fig. 14 flic.kr/p/2kNQ71M . But more investigation is required to test these suggestions; the difference might be due to age of spawn mass. Lacuna parva also has similar spawn but it is found on red algae and is smaller, about 2.5 mm diameter with about 50 ova in Britain fig. 14 flic.kr/p/2kNQ71M ; 2.2 mm to 2.5 mm with 6 to16 ova in the brackish Øresund (Ockelmann & Nielsen, 1981 in Wigham & Graham, 2017).
The individual egg capsules of L. pallidula become angular as they swell and become crowded and compressed. There is no planktonic veliger stage; young emerge as tiny crawling snails. Through a microscope, just before hatching, two tentacular extensions of the opercular disc protruding beyond the operculum may be detected on the embryos within the clear capsules (Fretter & Graham, 1962). Males die after mating, and the females about a month later, so all or most adults breeding in the main period are dead by June or July, and few specimens over 5 mm high can be found in August fig. 02 flic.kr/p/2kGH2G9 . Both sexes grow rapidly until October. From October to February males grow slowly, but females at three times their rate so that by breeding time they are over twice as high as males (Thorson, 1946 in Fretter & Graham, 1962). When mating, the small male rides on the female’s shell near the aperture with his penis inserted into her mantle cavity 15Lp flic.kr/p/2rSk89j.
Distribution and status
L. pallidula occurs from northern Norway and Iceland to Atlantic Spain and New England (USA). GBIF map www.gbif.org/species/2301181
It is found all around Britain and Ireland, but is scarce or absent in the north-eastern Irish Sea and southern North Sea where lack of hard substrate and/or turbidity hinder the growth of Fucus serratus and Laminaria. UK distribution map NBN species.nbnatlas.org/species/NBNSYS0000175975#tab_mapView
Acknowledgements
For use of images, I thank Sarah Charles and Rob Durrant.
References and links
Forbes, E. & Hanley S. 1849-53. A history of the British mollusca and their shells. vol. 3 (1853), London, van Voorst. archive.org/details/historyofbritish03forbe/page/56/mode/2up
Also plate LXX11 at end of vol.4, fig. 1 & 2, also fig. 3 & 4 labelled “L. patula” archive.org/details/historyofbritish04forbe/page/n459/mod...
Fretter, V. and Graham, A. 1962. British prosobranch molluscs. London, Ray Society.
Graham, A. 1988. Molluscs: prosobranch and pyramidellid gastropods. Synopses of the British Fauna (New Series) no.2 (Second edition). Leiden, E.J.Brill/Dr. W. Backhuys. 662 pp.
Jeffreys, J.G. 1862-69. British conchology. vol. 3 (1865). London, van Voorst.
archive.org/details/britishconcholog03jeffr/page/350/mode...
Lebour, M.V. 1937. The eggs and larvae of the British prosobranchs with special reference to those living in the plankton. J. mar. biol. Ass. U.K., 22: 105 – 166. plymsea.ac.uk/953/
Ockelmann, K. W. and Nielsen, C. 1981. On the biology of the prosobranch Lacuna parva in the Øresund. Ophelia 20: 1-16.
Abstract at www.tandfonline.com/doi/abs/10.1080/00785236.1981.10426559
Smith, D. A. S. 1973. The population biology of Lacuna pallidula (da Costa) and Lacuna vincta (Montagu) in north-east England. J. mar. biol. Ass. U.K., 53: 493-520.
Thorson, G. 1946. Reproduction and larval development of the Danish marine bottom invertebrates. Meddelelser fra Kommissionen for Danmarks Fiskeri- og Havundersøgelser, Serie Plankton 4: 1-523.
Wigham, G.D. & Graham, A. 2017. Marine gastropods 2: Littorinimorpha and other, unassigned, Caenogastropoda. Synopses of the British Fauna (New Series) no.61. (344 pages). Field Studies Council, Telford, England.
Glossary
‰ = (salinity) parts salt per thousand parts water (brackish <30‰).
abapertural = away from the aperture.
abapical = away from the apex of the shell.
adapertural = towards the aperture
adapical = towards the apex of the shell.
aperture = mouth of gastropod shell; outlet for head and foot.
apical = at or near the apex.
chink = (see columellar groove).
columella = solid or hollow axis around which gastropod shell spirals; concealed except next to aperture where hollow ones may end in an umbilicus, slit or siphonal canal.
columellar = (adj.) of or near central axis of spiral gastropod,
columellar groove = Groove where one face of hollow columella missing, terminates in umbilicus. Also called “lacuna” or “chink.
columellar lip = lower (abapical) part of inner lip of aperture.
cephalic = (adj.) of the head.
costa = (pl. costae) rib crossing a whorl of a gastropod shell at about 90° to direction of coiling and any spiral ribs or lines.
costal = (adj.) of, or arranged like, costae.
ctenidium = comb-like molluscan gill; usually an axis with a row of filaments either side.
height = (of gastropod shells) distance from apex of spire to base of aperture.
lacuna = (see columellar groove).
mantle = sheet of tissue that secretes the shell and forms a cavity for the gill.
oligogyrous = (of a spiral) having few turns.
operculum = plate of horny conchiolin used to close shell aperture.
palatal lip = outer lip of gastropod aperture.
parietal lip = upper (adapical) part of inner lip of gastropod aperture that lies, often as a glaze, on surface of whorl.
periostracum = thin horny layer of conchiolin often coating shells.
plankton = animals and plants that drift in pelagic zone (main body of water).
protoconch = apical whorls produced during embryonic and larval stages of gastropod; often different in form from other whorls.
suture = groove or line where whorls adjoin.
umbilicus = cavity up axis of some gastropods, open as a hole or chink on base of shell, sometimes sealed over.
umbilical groove = narrow slit opening of umbilicus on some gastropods.
veliger = shelled larva of marine gastropod or bivalve mollusc which swims by beating cilia of a velum (bilobed flap).
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The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
Stonemasonry or stonecraft is the creation of buildings, structures, and sculpture using stone as the primary material. It is one of the oldest activities and professions in human history. Many of the long-lasting, ancient shelters, temples, monuments, artifacts, fortifications, roads, bridges, and entire cities were built of stone. Famous works of stonemasonry include the Egyptian pyramids, the Taj Mahal, Cusco's Incan Wall, Easter Island's statues, Angkor Wat, Borobudur, Tihuanaco, Tenochtitlan, Persepolis, the Parthenon, Stonehenge, the Great Wall of China, Chartres Cathedral.
DEFINITION
Masonry is the craft of shaping rough pieces of rock into accurate geometrical shapes, at times simple, but some of considerable complexity, and then arranging the resulting stones, often together with mortar, to form structures.
Quarrymen split sheets of rock, and extract the resulting blocks of stone from the ground.
Sawyers cut these rough blocks into cuboids, to required size with diamond-tipped saws. The resulting block if ordered for a specific component is known as sawn six sides (SSS).
Banker masons are workshop-based, and specialize in working the stones into the shapes required by a building's design, this set out on templets and a bed mould. They can produce anything from stones with simple chamfers to tracery windows, detailed mouldings and the more classical architectural building masonry. When working a stone from a sawn block, the mason ensures that the stone is bedded in the right way, so the finished work sits in the building in the same orientation as it was formed on the ground. Occasionally though some stones need to be oriented correctly for the application; this includes voussoirs, jambs, copings, and cornices.
The basic tools, methods and skills of the banker mason have existed as a trade for thousands of years.
Carvers cross the line from craft to art, and use their artistic ability to carve stone into foliage, figures, animals or abstract designs.
Fixer masons specialize in the fixing of stones onto buildings, using lifting tackle, and traditional lime mortars and grouts. Sometimes modern cements, mastics, and epoxy resins are used, usually on specialist applications such as stone cladding. Metal fixings, from simple dowels and cramps to specialised single application fixings, are also used. The precise tolerances necessary make this a highly skilled job.
Memorial masons or monumental masons carve gravestones and inscriptions.
The modern stonemason undergoes comprehensive training, both in the classroom and in the working environment. Hands-on skill is complemented by an intimate knowledge of each stone type, its application, and best uses, and how to work and fix each stone in place. The mason may be skilled and competent to carry out one or all of the various branches of stonemasonry. In some areas, the trend is towards specialization, in other areas towards adaptability.
TYPES OF STONE
Stonemasons use all types of natural stone: igneous, metamorphic and sedimentary; while some also use artificial stone as well.
IGNEOUS STONES
Granite is one of the hardest stones, and requires such different techniques to sedimentary stones that it is virtually a separate trade. With great persistence, simple mouldings can and have been carved from granite, for example in many Cornish churches and in the city of Aberdeen. Generally, however, it is used for purposes that require its strength and durability, such as kerbstones, countertops, flooring, and breakwaters.
Igneous stone ranges from very soft rocks such as pumice and scoria to somewhat harder rocks such as tuff to the hardest rocks such as granite and basalt.
METAMORPHIC
Marble is a fine, easily worked stone, that comes in various colours, but mainly white. It has traditionally been used for carving statues, and for facings of many Byzantine and Italian Renaissance buildings. Prominent Greek sculptors, such as Antenor (6th century BC), Phidias and Critias (5th century BC), Praxiteles (4th century BC) and others used mainly the marble of Paros and Thassos islands, and the whitest and brightest of all (although not the finest), the Pentelikon marble. Their work was preceded by older sculptors from Mesopotamia and Egypt, but the Greeks were unmatched in plasticity and realistic (re)presentation, either of Gods (Apollo, Aphrodite, Hermes, Zeus, etc.), or humans (Pythagoras, Socrates, Plato, Phryne, etc.). The famous Acropolis of Athens is said to be constructed using the Pentelicon marble. The traditional home of the marble industry is the area around Carrara in Italy, from where a bright and fine, whitish marble is extracted in vast quantities.
Slate is a popular choice of stone for memorials and inscriptions, as its fine grain and hardness means it leaves details very sharp. Its tendency to split into thin plates has also made it a popular roofing material.
SEDIMENTARY
TYPES
TYPES OF STONEMASONRY ARE:
FIXER MASONS
This type of masons have specialized into fixing the stones onto the buildings. They might do this with grouts, mortars, and lifting tackle. They might also use things like single application specialized fixings, simple cramps, and dowels as well as stone cladding with things like epoxy resins, mastics, and modern cements.
MEMORIAL MASONS
These are the masons that make headstones and carve the inscriptions on them.
Today's stonemasons undergo training that is quite comprehensive and is done both in the work environment and in the classroom. It isn't enough to have hands-on skill anymore. One must also have knowledge of the types of stones as well as its best uses and how to work it as well as how to fix it in place.
RUBBLE MASONRY
When roughly dressed stones are laid in a mortar the result is a stone rubble masonry.
ASHLAR MASONRY
Stone masonry using dressed (cut) stones is known as ashlar masonry.
STONE VANEER
Stone veneer is used as a protective and decorative covering for interior or exterior walls and surfaces. The veneer is typically 2.54 cm thick and must weigh less than 73 kg m2, so that no additional structural supports are required. The structural wall is put up first, and thin, flat stones are mortared onto the face of the wall. Metal tabs in the structural wall are mortared between the stones to tie everything together, to prevent the stonework from separating from the wall.
Slipform stonemasonry
SLIPFORM STONEMASONRY
Slipform stonemasonry is a method for making stone walls with the aid of formwork to contain the rocks and mortar while keeping the walls straight. Short forms, up to two feet tall, are placed on both sides of the wall to serve as a guide for the stonework. Stones are placed inside the forms with the good faces against the formwork. Concrete is poured behind the rocks. Rebar is added for strength, to make a wall that is approximately half reinforced concrete and half stonework. The wall can be faced with stone on one side or both sides.
TRAINING
Traditionally medieval stonemasons served a seven-year apprenticeship. A similar system still operates today.
A modern apprenticeship lasts three years. This combines on-site learning through personal experience, the experience of the tradesmen, and college work where apprentices are given an overall experience of the building, hewing and theory work involved in masonry. In some areas, colleges offer courses which teach not only the manual skills but also related fields such as drafting and blueprint reading or construction conservation. Electronic Stonemasonry training resources enhance traditional delivery techniques. Hands-on workshops are a good way to learn about stonemasonry also. Those wishing to become stonemasons should have little problem working at heights, possess reasonable hand-eye coordination, be moderately physically fit, and have basic mathematical ability. Most of these things can be developed while learning.
Tools
TOOLS
Stonemasons use a wide variety of tools to handle and shape stone blocks (ashlar) and slabs into finished articles. The basic tools for shaping the stone are a mallet, chisels, and a metal straight edge. With these one can make a flat surface – the basis of all stonemasonry.
Chisels come in a variety of sizes and shapes, dependent upon the function for which they are being used and have many different names depending on locality. There are different chisels for different materials and sizes of material being worked, for removing large amounts of material and for putting a fine finish on the stone.
Mixing mortar is normally done today with mortar mixers which usually use a rotating drum or rotating paddles to mix the mortar.
The masonry trowel is used for the application of the mortar between and around the stones as they are set into place. Filling in the gaps (joints) with mortar is referred to as pointing. Pointing in smaller joints can be accomplished using tuck pointers, pointing trowels, and margin trowels, among other tools.
A mason's hammer has a long thin head and is called a Punch Hammer. It would be used with a chisel or splitter for a variety of purposes
A walling hammer (catchy hammer) can be used in place of a hammer and chisel or pincher to produce rubble or pinnings or snecks.
Stonemasons use a lewis together with a crane or block and tackle to hoist building stones into place.
Today power tools such as compressed-air chisels, abrasive spinners, and angle grinders are much used: these save time and money, but are hazardous and require just as much skill as the hand tools that they augment. But many of the basic tools of stonemasonry have remained virtually the same throughout vast amounts of time, even thousands of years, for instance when comparing chisels that can be bought today with chisels found at the pyramids of Giza the common sizes and shapes are virtually unchanged.
Stonemasonry is one of the earliest trades in civilization's history. During the time of the Neolithic Revolution and domestication of animals, people learned how to use fire to create quicklime, plasters, and mortars. They used these to fashion homes for themselves with mud, straw, or stone, and masonry was born.
The Ancients heavily relied on the stonemason to build the most impressive and long-lasting monuments to their civilizations. The Egyptians built their pyramids, the civilizations of Central America had their step pyramids, the Persians their palaces, the Greeks their temples, and the Romans their public works and wonders (See Roman Architecture). People of the Indus Valley Civilization, such as at Dholavira made entire cities characterized by stone architecture. Among the famous ancient stonemasons is Sophroniscus, the father of Socrates, who was a stone-cutter.
Castle building was an entire industry for the medieval stonemasons. When the Western Roman Empire fell, building in dressed stone decreased in much of Western Europe, and there was a resulting increase in timber-based construction. Stonework experienced a resurgence in the 9th and 10th centuries in Europe, and by the 12th-century religious fervour resulted in the construction of thousands of impressive churches and cathedrals in stone across Western Europe. Medieval stonemasons' skills were in high demand, and members of the guild, gave rise to three classes of stonemasons: apprentices, journeymen, and master masons. Apprentices were indentured to their masters as the price for their training, journeymen were qualified craftsmen who were paid by the day, and master masons were considered freemen who could travel as they wished to work on the projects of the patrons and could operate as self-employed craftsmen and train apprentices. During the Renaissance, the stonemason's guild admitted members who were not stonemasons, and eventually evolved into the Society of Freemasonry; fraternal groups which observe the traditional culture of stonemasons but are not typically involved in modern construction projects.
A medieval stonemason would often carve a personal symbol onto their block to differentiate their work from that of other stonemasons. This also provided a simple ‘quality assurance’ system.
The Renaissance saw stonemasonry return to the prominence and sophistication of the Classical age. The rise of the humanist philosophy gave people the ambition to create marvelous works of art. The centre stage for the Renaissance would prove to be Italy, where Italian city-states such as Florence erected great structures, including the Florence Cathedral, the Fountain of Neptune, and the Laurentian Library, which was planned and built by Michelangelo Buonarroti, a famous sculptor of the Renaissance.
When Europeans settled the Americas, they brought the stonemasonry techniques of their respective homelands with them. Settlers used what materials were available, and in some areas, stone was the material of choice. In the first waves, building mimicked that of Europe, to eventually be replaced by unique architecture later on.
In the 20th century, stonemasonry saw its most radical changes in the way the work is accomplished. Prior to the first half of the century, most heavy work was executed by draft animals or human muscle power. With the arrival of the internal combustion engine, many of these hard aspects of the trade have been made simpler and easier. Cranes and forklifts have made moving and laying heavy stones relatively easy for the stonemasons. Motor powered mortar mixers have saved much in time and energy as well. Compressed-air powered tools have made working of stone less time-intensive. Petrol and electric-powered abrasive saws can cut through stone much faster and with more precision than chiseling alone. Carbide-tipped chisels can stand up to much more abuse than the steel and iron chisels made by blacksmiths of old.
WIKIPEDIA
After making this I was told that it is quite similar looking to the dee-lite pop video groove is in the heart. Based on stock by Taversia: taversia.deviantart.com/art/Lady-In-Red-18-192523732
Product Name: Shape Water Game
Product No: GW030
Size: 7mL
Pack: 1.2m× 0.6m× 0.6m
Weight: 25kg
Material: 0.9mm PVC
Cert: CE,EN14960,EN71
Contact Site:http://www.pangoinflatable.com/
Not just fit and finish, Pango make a second blower tube and hide it if not use. We make the two tubes on different of the bouncer so that could fit the power location. Looking down the road you will find you need a second inflation tube. We want to make sure clients could use the bouncer convenient.
Stronger Baffles
Baffles that are secured by a 840 denier material that provides the MAXIMUM strength of the internal baffling of every inflatables. This material upgrade is unmatched by anyone else in the industry. This material is key to the overall durability of the products we sell.
D Ring Expose
Take a close look at the construction of the "d" rings in the products we sell. A tether system is only as strong as its weakest link. Tether points on the inflatable are extremely durable. The "d" ring tethering System have been laboratory-tested and certified by Professional Engineers for use on all giant slides and all other types of inflatables.
Vinyl（PVCTarpaulin） Expose
At Pango Inflatable, the only products we sell are constructed from the finest coated vinyl. Unlike other vinyl producers, the Coated Vinyl are Lead-Free in addition to meeting the EN71 test by SGS. Lead-Free vinyl are a standard that has been that way since day one. Exposure to lead is dangerous to children. The products Pango Inflatable sell are safe from the effects of lead. As for durability, the materials are a weft inserted substrate, which makes any possible rips virtually impossible.
No Wax Surfaces
We provide removable sliding surfaces for every slides we made, While other only provide the normal vinyl, Inflatable vinyl is not naturally slippery, therefore, waxing has become a normal preparation for getting a slide ready for use. The removable sliding surface found the on the products we sell is a high polished urethane coating, which in turn reduces the need to wax.
Zipper with Flaps
Unlike others, Pango Inflatable sells products that are easy to use. For example, the deflation zipper utilizes a Velcro flap that covers the zipper, thus, less air is lost and zippers are not exposed to abrasion or mischief.
Blower Tube Strap
While most manufacturers tie their blower inflation tubes to the blower system, however, the products Pango Inflatable sells, utilizes a universal sleeve with a cinching Velcro strap. One- handed operation keeps the tube securely attached to the blower system.
Liquid Laminator
DWe do the Digital Printing in our factory, unlike most factory here in China, they do the printing outside and could not control the delivery time and the quality. igitally printed graphics are one thing, keeping those beautiful images durable as well scratch and fade resistant is quite another. Every digital image used within an inflatable sold by Pango Inflatable is clear-coated with a special liquid laminate that is vulcanized to the vinyl surface.
Finger-Safe Netting
Most bouncer manufacturers use 1" or 2" netting. A child bouncing can easily catch their fingers in that size of netting, thus serious injuries can happen. Only the Pango Inflatable could provide netting that even a small child's finger cannot penetrate. Yet, the netting is still transparent enough to allow for easy viewing.
Removable Covers
Virtually every area that your customers step, slide or climb upon is on a replaceable & easily removable vinyl cover. From climbing stairs, to entrance tunnel sleeves to sliding surfaces, Pango Inflatable only sells products that are designed for high-volume traffic.
Safety Door on Bouncers
Worried about children possibly falling out of a bouncer? Don't be. We got 3 points of reinforcement on the entrance of the bouncer which make the entrance very strong. Also we add the step outside the entrance following the AU and USA standards of jumping castle.
On-Staff Engineering and Designing
We do reinforce stitching at the fixion of D-ring. Four stitching line will share the tension of the bouncer. This made the D-ring last much longer and stronger. Other factory use other design of the fixion, but will not good for the tension sharing. Could find the differnce in the attached photos.
Cushion Designs
We do cushion between the wall and the base. When the kids bounce on the bouncer this parts bear most of the pressure, so this new design will make this parts much more strong and safety, while other factory only stitch to the base.
Now available at the Marketplace:
marketplace.secondlife.com/p/MACCUS-Enzel-Shape-Style-Car...
[Released a day later, as I made a few changes to it.]
The brand new Bettie Page shape from Body Doubles!
I would provide details on the skin, hair, eyes, etc, but you'll have to get the styling card from Body Doubles for that!
I work for RD so I can tell you that the outfit is "Racy RN"
The shoes are mine (Ooh Strappy! Stilettos from Messy) and no longer available.
Yay The all new Weekend Deal event is here !! New shapes just released 70 L each
TP To Girl Krush
maps.secondlife.com/secondlife/Serena%20Crystal%20Fire/18...
Bodysuit Jumpsuit
Miss Moly Latex Full Body shaper Modeling Shapewear Waist Cincher Underbust Bodysuit Jumpsuit Pants Zipper Slimming Corset
Description
Specification
Color:Black/Beige
Material:Latex, Nylon,Spandex
Underwear Size:S/M/L/XL/2XL/3XL
Ocassion:Every day/Glamour/Party/Wedding/Show/Dinner
Feature:Breathable Push-Up,Bodysuit Shapwear,Tummy Control, Invisiable Shaping Body
Warehouse Location:China,United States
Our Advantage:
1. High quality Clothing
2. Faster and Safer shipping methods.
3. Fast Parpare in 48 hours
4. Sending from China and United States
5. Professional team serve you.
Size Chart
Tag Size
Underbust Size
Waist Size
Hip Size
-
inch
cm
inch
cm
inch
cm
S
28 1/2"~30 1/2"
72.5~77.5
26 1/2"~28 1/2"
67.5~72.5
36 1/2"~38 1/2"
93~98
M
30 1/2"~32 1/2"
77.5~82.5
28 1/2"~30 1/2"
72.5~77.5
38 1/2"~40 1/2"
98~103
L
32 1/2"~34 1/2"
82.5~87.5
30 1/2"~32 1/2"
77.5~82.5
40 1/2"~42 1/2"
103~108
XL
34 1/2"~36 1/2"
87.5~92.5
32 1/2"~34 1/2"
82.5~87.5
42 1/2"~44 1/2"
108~113
2XL
36 1/2"~38 1/2"
92.5~97.5
35"~37"
89~94
44 1/2"~46 1/2"
113~118
3XL
38 1/2"~40 1/2"
97.5~102.5
37 1/2"~39 1/2"
95.5~100.5
46 1/2"~48 1/2"
118~123
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
The local size(US size,UK size...) is based on clothing size and only for your reference ,Please check your waist measurement before purchasing.
~~~~~~~~~~~~~~~~~~~~~~~~
This shape is meant for:
LeLutka's Piper Mesh Head
Maitreya Lara Mesh Body
Comes w/ Style card
~~~~~~~~~~~~~~~~~~~~~~~~
You can find our shop on the marketplace! Search: Kieli under Merchant/Stores tab - should be the first one you see!
Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Leytonstone, London here are the details of the project.
The Terrace House Garden in Leytonstone, London E11
BRIEF:
This plot was a long urban garden and was almost completely bare, but for two large, established trees. The client was attempting to construct a pond in the near right corner using green slate boulders as decoration, and requested that this should be included in the design.
The interior of the house had a modern, contemporary feel fused with Victorian architecture. As the patio doors lead directly from the kitchen/diner into the garden, the garden becomes very much an extension of the house – as such the style of the interiorwas of particular consideration in the design the exterior space.
SOLUTION:
The final design created a low maintenance garden with a simple and contemporary feel. The area directly behind the house was laid with decking, running half way down the left side of the space. New wooden fences, to replace the existing worn out wire fences, were erected down the right of the garden, onto which a selection of clematis and everlasting sweet peas were trained.
The main area of the garden consisted of a tapered, oval shaped lawn, encircled by a raised bed following the same shape as the lawn. A smaller, tapered oval raised bed in the middle of the lawn served to slightly mask the bottom of the garden, breaking up the space and helping to create a sense of intrigue.
The simplicity of the borders was echoed in the planting, which consisted of white flowers and green foliage. Cool, crisp and elegant, a white planting scheme provides an air of harmony and tranquillity, and is well suited to the style of the garden and the interior of the house. An area devoted to graceful architectural ferns helped to accentuate the simplicity
of the space and serves to provide a stunning and effective display throughout the year.
Re-designing the layout of the client’s existing pond, using state boulders together with a powerful pump to produce an effective waterfall, helped to create a striking water feature. The pond and surrounding area was given life with the addition of water lilies and other aquatic and semi-aquatic plants. A bowed Cedrus libani (ssp.atlantica) ‘Glauca’, trailing branches in the water, presented the final flourish to the space.
TESTIMONIAL:
“Katrina and her team worked extremely hard and long hours to complete the garden quickly and with minimum disruption to our home. Considering that we have no access other than through the entire house, there was almost no disruption to our lives.
Watching the garden grow from its original design and come to life was amazing. It exceeded our expectations completely, and the aftercare pack and service offered by Earth Designs was brilliant.
We have no hesitation in recommending Earth Designs to any of our friends, who have also been amazed with our fantastic new garden - of course we have been showing it off at every sunny opportunity. Thanks to Katrina and her team at Earth Designs for such a fantastic design, utilising the space brilliantly and creating an outside space that we are extremely proud of.”
If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.
Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.
Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.
Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you want and are looking for a landscaper London to come and visit your garden, please get in touch.
Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.
Earth Designs is located in East London, but has built gardens in Essex , gardens in Hertfordshire Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.
If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.
NEW shape
・❥ Only for leLutka evo x Ceylon 3.1 bento head, others may look different.
・❥ Shape to Lara, Legacy, Freya, Gen x classic, curvy & Kupra, Reborn mesh body.
・❥ Style card & eyebrow sharp included.
・❥ Eyeliner & blushes >BONUS< !
・❥ Shop at Marketplace
・❥・CREDITS:
Jamila Dress from NiU
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.