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Agira is a town and comune in the province of Enna, Sicily. It is located in the mid-valley of the River Salso, 35 kilometres (22 miles) from Enna. Until 1861 it was called San Filippo d'Argiriò, in honour of its saint, Filippo il Siriaco, or Philip of Agira.Agira stands on the site of the ancient Sicel city of Agyrion (Ancient Greek: Ἀγύριον - Agyrion), or Agyrium, which was ruled by tyrants, one of whom, Agyris, was the most powerful ruler in the centre of Sicily. He was a contemporary of Dionysius the Elder, and with him successfully resisted the Carthaginian forces led by Mago when they invaded the territory of Agyrium in 392 BC. Agira was not colonised by the Greeks until the Corinthian general Timoleon drove out the last tyrant in 339 BC, settled 10,000 Greeks, according to Diodorus Siculus, a native of the city, and erected various splendid buildings; no traces remain, as the modern city overlies the ancient one.Diodorus Siculus credits Heracles with the foundation of sacred precincts of Iolaus and of Geryon, and the creation of a nearby lake. In the mid fifth century, Agyrium was the first Sicilian city to mint bronze coinage in the Greek fashion.The Romans called it Agirium. Under their control it underwent a decline, as a result of the heavy taxation imposed on it. In 1063, it was taken by the Normans under Count Roger I of Sicily (Ruggero in Italian), who defeated the Saracens near the river Salso. Agira is mentioned by Muhammad al-Idrisi by the name Shanta Fīlibb (i.e., Saint Philip of Agira), written as شنت فيلب in the Arabic script.Agira passed through the hands of the Hohenstaufen, the Angevines and Aragonese, and in about 1400 it became state property of Sicily. Over the years the town has been influenced by Spanish and Jewish arrivals, both leaving their architectural mark, the latter a synagogue.
The main buildings of note are its numerous churches, most of which contain collections of art works. They include the Norman Chiesa Madre ("Mother Church") dedicated to Santa Maria Maggiore, the Norman church of Santa Margherita, which is the largest in the diocese, with thirteen altars, and which dates from the early 13th century (though it has been much changed since then), the church of St Filippo, which has a nave and two aisles, and contains paintings by Olivo Sozzi, the 16th-century church of Sant'Antonio da Padova, which also has three naves, the 16th-century church of Sant'Antonio Abate, containing fourteen small paintings of the Venetian school, and the church of San Salvatore, with Gothic bell-tower.There is also an Arab–Byzantine castle, later rebuilt by the Hohenstaufen, of which two towers still stand.The municipality of Agira has 9,004 inhabitants, with a population density of 55 inhabitants per square kilometre. It covers 163.11 square kilometres (62.98 sq mi), and is 650 metres (2,130 ft) above sea level.Agira is 141 kilometres (88 mi) from Agrigento, 69 kilometres (43 mi) from Caltanissetta, 66 kilometres (41 mi) from Catania, 34 kilometres (21 mi) from Enna (to whose province it belongs), 162 kilometres (101 mi) from Messina, 184 kilometres (114 mi) from Palermo, 144 kilometres (89 mi) from Ragusa, 124 kilometres (77 mi) from Siracusa, and 291 kilometres (181 mi) from Trapani.The town is a centre of agriculture: productions include cereals, almonds, olives, and grapes. The large areas of pasture also make possible the breeding of cattle, sheep, and horses.The Pozzillo artificial lake lies near the town in a eucalyptus wood, and provides an important habitat for a large variety of birds, and a way-stage for migrators. Another reserve – the Riserva di Piano della Corte – has been created in the Erei Mountains, and the Mediterranean forest of the Vallone di Piano della Corte is scheduled to become another reserve. The area also contains sulphur springs.
Agira (Aggira o Sanfulippu d'Aggira in siciliano) è un comune italiano di 8.241 abitanti della provincia di Enna in Sicilia. Sorge sul sito della greca Agyrion (Ἀγύριον in greco antico, Agyrium per i Romani)Agira dista 35 chilometri da Enna. È a nord est della provincia nella media valle del Salso e domina il lago Pozzillo. Il territorio di Agira comprende anche l'invaso artificiale Sciaguana. Agira sorge sul monte Teja di cui occupa la sommità e le pendici.Sito strategico inespugnabile, è tra i centri siciliani più antichi. La leggenda narra che la città sia stata fondata prima della guerra di Troia. È nota a Cicerone e Tolomeo.Secondo Diodoro Siculo, che vi nacque, la città aveva origini sicule. Nel 339 a.C. vi fu dedotta una colonia di 10.000 greci. Ai tempi di Cicerone che la cita nell'In Verrem era una città ricca.Le origini di Agira sono antichissime e dallo studio di alcuni reperti preistorici si è potuto documentare che inizialmente la città fu popolata, circa 30.000 anni fa, quando l'isola era ancora unita alla penisola italica. Nomadi di origine afro-asiatica, già evoluti nella lavorazione di armi di selce, cacciatori, agricoltori, pescatori e forse anche allevatori, si arroccarono sul Monte Teja, perdendo gradualmente le loro originarie caratteristiche per trasformarsi in popolazioni stanziali. Nell'Area di Agira esistono tracce di abitati umani del Paleolitico, Neolitico ed Età del Bronzo. I popoli più antichi della Sicilia sarebbero stati, secondo quanto scrive Tucidide, ispirandosi ai miti del tempo, i Ciclopi (o Giganti) e i Lestrigoni (o Lotofagi), che avrebbero abitato anche il Monte Cuccio di Palermo.Non si sa se i Sicani fossero un popolo indigeno, come essi stessi avrebbero affermato in epoca contemporanea a quella di Tucidide, o se fossero, invece, una popolazione di origine iberica trasferirtasi in Sicilia dopo essere stata scacciata dalla zona iberica del fiume Sicano, oggi Segra. I Sicani, intorno al II millennio a.C., abitarono alcune grotte naturali o artificiali dell'isola, alcune delle quali ancora osservabili ad Agira (ove sono state rinvenute delle ossa umane riferibili a questo periodo), ad Alia e in località Gulfa. La città di Agira, forse la più antica delle città sicane, prende probabilmente il nome da uno dei capi Sicani, Agiride, che la fondò (ma l'origine del nome potrebbe anche connettersi alla presenza di una miniera d'argento vicino alla città, da argyros, che in greco significa argento). Fino al sorgere di Siracusa ed Agrigento, fu certamente fra le maggiori città di Sicilia. Secondo le antiche leggende convissero, in aree diverse, Sicani, Ciclopi, Lestrigoni ed Elimi in quella che già era chiamata Sicania o Trinacria dal nome del popolo predominante. Intorno al secolo XI a.C. i Siculi, provenienti dalla penisola italica in fuga dagli Osci, si scontrarono con i Sicani, che furono confinati nelle parti meridionali e occidentali. L'isola, con l'avvento dei Siculi, fu da allora chiamata Sicilia. Recenti scavi archeologici,condotti dall'Associazione Regionale SiciliAntica e diretti dalla Soprintendenza di Enna nella persona dell'archeologa Beatrice Basile, hanno permesso di rintracciare nell'area del castello medievale, cospicui resti della città greca (abitato e zecca dei secc. V-IV a.C.).
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Republic of Korea Air Force (ROKAF) F-15K Slam Eagle multi-role fighter aircraft taxi toward their ramp space on the Eielson Air Force Base, Alaska, flight line Oct. 10, 2016, as a U.S. Air Force F-16 Flighting Falcon assigned to the 18th Aggressor Squadron taxis toward its hangar after the two opposing forces wrapped up their first RED FLAG-Alaska (RF-A) 17-1 combat training mission. RF-A is a series of Pacific Air Forces commander-directed field training exercises vital to maintaining peace and stability in the Indo-Asia-Pacific region, and providing U.S. units and partner nation forces like the ROKAF the opportunity to sharpen their combat skills and strengthen interoperbility in a realistic threat environment. (U.S. Air Force photo by Master Sgt. Karen J. Tomasik/Released)
This Brown Pelican was seen enjoying itself at the Bolsa Chica Ecological reserve, Huntington beach, CA.
This juvenile green heron was successful in his/her stalk for a mid morning snack. The first shot below was the one following this one and shows the small fish in his/her beak. The second shot is my previous post and was the shot preceding this one.
Click on either of the images below to see a larger version.
Member of the Flickr Bird Brigade
Activists for birds and wildlife
I made my way to the final fireworks of the 2012 Calgary Stampede with a goal of learning how to shoot fireworks.
I'll give it to you; it may not be a skill that I'll use all that many times in my life, nor one that will tickle my creative core - but what it is, is a step outside the box, an attempt at trying something I had never spent much time on before (fireworks, and night shots in general)
What it turned out to be was what I consider a successful learning experience!
Go me!
(def. better on black!)
The freshly assembled power supply and motor driver box, hooked up to a signal generator for testing purposes. Working nicely!
It's also putting out only a little heat at the moment. (I probably shouldn't be surprised, but more heat is coming off the drive capacitor than the LMD18200 itself. Motor drive is hard work for a cap!)
my first 'successful' star trails pic.
180 x30sec exposures
Star trails over johannesburg. so much ambient light that you don't see many stars...
Most of you successfully managed the foreground wash blending the blue water into the sandy colour below. We used a wet-in-wet technique and throughly soaked the paper with clean water first, then at the "glisten" stage applied our mixture of Antwerp Blue with a touch of Ultramarine. About half way down we cleaned off our 1/2" square brush and switched to our sandy colour made from Raw Sienna with a touch of Brown Madder. This switching between colours is tricky as you found out. You need to quickly dilute your basic blue wash about half way down so it fades into the sandy colour. DO NOT GO BACK IN AND ATTEMPT TO TINKER WITH THIS. You will have a disaster on your hands. Keep your brush strokes horizontal and go back and forth with steady strokes, not jabs of pokes. Sop up the surplus paint from the sides to avoid blossoms. As I explained, if in doubt practice on some scrap paper first. Don't rush this. Take your time.
S. Uma co-owner of Sea Dot, run by tsunami affected women of Chennai, India. Twenty four tsunami-affected women from Kasimedu (Chennai Coastal Area) set up the sea-food processing unit called Sea Dot with the help of ActionAid and other organisations and are now co-owners of a successful enterprise with global market.
Women were the most vulnerable survivors of the 2004 tsunami; they continue to live in conditions of total misery and exploitation, caused by the politics of discrimination of many of the Indian Ocean countries.
This prompted us to put more focus on women in our rehabilitation projects, and thus emerged Sea Dot, a sea-food processing unit under the supervision of 24 Tsunami-affected but determined women from Kasimedu (Chennai Coastal Area) in November 2006.
They are now the owners of the unit and undertake regular market analysis of the product - analysing the production cost and comparing it to the market situation and have turned it into a successful enterprise.
The fish processing unit is located in Chennai about two kilometres from the Chennai Port to a place called Royapuram. The women manage everything by themselves today, starting from purchasing the fish from the market to maintaining the accounts.
All the women involved are from the fishing community prior to being part of this unit most of them were fish vendors, but after the Tsunami they could not continue with their business because most of them had lost their belongings and their rotation money with which to buy the fish, the fisheries college of Tamil Nadu State trained around 100 women affected by Tsunami on alternative livelihood related to sea products, out of which 24 most marginalised women were involved in setting up the unit.
The women took up independent charge of the unit in January 2008. Now the women are divided into four different committees i.e., purchasing, management, accounts and maintenance committee. Each committee has well defined tasks, apart from their regular work of production.
There are representatives from all the four committees in the core group, which convene monthly meetings and take decisions on all important matters.
As of now they are able to manufacture and sell the products only at a small scale. However there is great demand for the product in the market and the only hurdle they face is the competitors who invest big money in advertising and marketing strategies. But the entreprenuers of Sea Dot have trained their sights high and are trying to expand their market to cities nearby.
PHOTO Srikanth Kolari/ActionAid
FORT STEWART, Ga. July 18, 2015 – Two G-11 cargo parachutes slow the descent of a palletized HMMWV after release from a C-130 cargo plane during the first successful heavy drop operation conducted by an Army National Guard unit. Georgia Guardsmen of the 165th Quartermaster Company assembled the pallet on which the HMMWV is mounted, conducted the rigging and parachute packing and certified and inspected the load. Georgia Army National Guard photo by Staff Sgt. Mario Payne / released
Of late, there has been much discussion about the success of online art sales at lower levels of the market. However, we have been holding our breath for the most important test, at the top end of the Australian art market. Would that confidence extend to the highest echelon of art buyers prepared to spend several hundred thousands of dollars?
The first major art sale delayed until 24 June 2020 in Sydney was not just a test of the market, but also for Smith & Singer: would the change from the Sotheby’s brand to the directors’ surnames impact on their previous successful sales record?
In the event, the newly branded Smith & Singer hardly skipped a beat. Limiting their lots to 59, they had far more bidders than they could accommodate.
The first lot was a case in point: a modestly sized and very pretty in pink Arthur Boyd Evening, Shoalhaven River, 1976 (lot 1) with a slender crane in the foreground, reminiscent of the artist’s oil on copper paintings from the period, was estimated at $25,000-30,000. Bidding was swift and from multiple bidders, leaving several collectors disappointed when it sold for the very substantial hammer price of $58,000.
Richly textured forest scenes from the 1960s are some of John Perceval’s most dynamic paintings. These semi-abstract impasto compositions still seem undervalued in the current market, but buyers were ready to embrace and see more value as Flooded Creek, 1960 (lot 4) surged to a $95,000 hp, considerably above its $55,000-75,000 expectations.
The much vaunted cover lot by John Brack, Laughing Child, 1958 (lot 6) had not been seen since it was acquired by Clara Black from Australian Galleries in 1958. This “long lost” painting of the artist’s daughter Charlotte, with her big smile and straw-blonde hair tied in pigtails, caught the eye of several collectors, finally selling to Gary Singer’s phone bidder for $750,000 hp, almost doubling its low estimate of $400,000.
There were a couple of commercially difficult Charles Blackmans, Swings, 1952 (lot 7) and Double Image III, 1961 (lot 9) failed to find buyers on the night.
However, Joel Elenberg’s rare and typically sublime bronze sculpture Mask C, 1980 (lot 11) encountered no difficulties. Estimated at $120,000-160,000, it sold very successfully for $180,000 hp.
After some record breaking times for major paintings by Howard Arkley, and perhaps thus raising expectations ever higher, Stucco House, 1988 (lot 12), was another test for the Arkley market. Achieving the second highest price of the evening, it sold exactly at the low estimate of $700,000.
A wonderful study with great perspective by Jeffrey Smart gave his collectors a chance to focus their minds. Estimated at a not unreasonable $100,000-150,000, Study for Bondi Penthouse, 2002 (lot 13), was bought by Brett Ballard’s phone bidder for $160,000 hp.
Brett Whiteley’s The Owl, 1983 (lot 19) came with hopes of $30,000-40,000, and sold for a whopping $60,000 hp to one wise collector, perhaps pre-empting thoughts that the Brett Whiteley catalogue raisonné due to be published this year will lift prices for the artist’s work.
Two delightful examples of Ethel Carrick’s early and prized work on offer were both competitively bid. On the Sands, 1910 (lot 22), an atmospheric beach scene with red and white striped tents sold close to the top end of expectations for $190,000 hp. on estimates of $140,000-200,000. Meanwhile The Market, Caudebec, 1903 (lot 27) fared even better: estimated at $140,000-180,000, this much larger painting sold for $225,000 hp.
Two Frederick McCubbins were offered: the more impressionistic The Bathers, 1906 (lot 23), did sell for $360,000 hp, below its estimates of $400,000-600,000, while the more traditional landscape Winter at Nunawading, 1886 (lot 26) failed to find interest.
Important paintings by esteemed British artist Sir George Clausen rarely appear at auction in Australia. A Village Boy, 1899 (lot 24) comes with an extraordinary provenance: this ethereal portrait is dedicated to Lindsay Bernard Hall, the former director of the National Gallery of Victoria, so its current owners wanted to “almost give Australians the first right to refusal” (Geoffrey Smith as quoted in the Australian Financial Review, 17 June 2020). Estimated at $400,000-600,000, it sold on the low estimate to on Australian collector and will stay in Australia.
There is no sign that interest in paintings by Arthur Streeton – even late ones – is slowing down anytime soon. The quality as well as the demand for his work is neatly demonstrated in Bridge in New Norfolk, Tasmania (1938) (lot 25). This luminous landscape had previously sold in 1972 at Leonard Joel for $4,800 and in 2003 with Sotheby’s for $77,500 hp. Last night on estimates of $100,000-150,000, Martin Gallon’s gavel finally came down at $240,000 hp for a buyer in the room, after a prolonged battle of 6 phones and several room bidders.
The auction was held at the National Council of Jewish Women of Australia in Woollahra, and not in their usual location at the Intercontinental Hotel in Sydney. Prior seat booking was required due to the capacity limit of 50 attendees. In the end, they numbered in the 40s and they also proved to be active participants, making for a spirited live auction.
The auction totalled $6,621 mio. IBP, with 111% IBP sold by value and 76% sold by numbers.
Article originally published in Australian Art Sales Digest
Successful Start for Smith & Singer is republished from: Banziger Hulme Fine Art
Next stop, Christmas breakfast!
Apple Kuchen from Nigella Lawson's How to Be a Domestic Goddess. Verdict: great balance of flavours for breakfast - not too sweet, apple balances the buttery dough and the sweet dribble of icing very well, although next time I may press some of the apples down into the dough so it's not just a layer on top...
02.07.2009
Oggi ti sei laureata,e io ero al tuo fianco!
Emozione, Agitazione, Soddisfazione e poi... relax!
Aspettami,che in qualche mese arrivo anch'io.
__________
After successful results of the first Tata CNG bus built by CWD, this was the first time when MSRTC inducted a number of CNG buses in their fleet. The buses are built on 12m platform of Ashok Leyland, has 2 doors & 2x2 seating arrangement, has an excellent interior finish comparable to any private coach builders.
from journal: 5 April 2004:" ...spent basically all day in the yard cleaning up. Pulling weeds. Had a big dinner party planned for 630p. Brusi & her friend Carol, also mike & Lorraine. FANTASTIC party-- but they didn't go home til midnight. R was a dynamo all day prior to the event. We had excellent lamb --(rack of)-- plus asparagus, potato-turnip gratin, which got many good comments. Salad followed w his roasted bell peppers and greens, plus a dollop of white sauce-like dressing-- very yogurty and somehow fizzy (feta cheese, garlic, H2O, olive oil). Dessert wonderful-- choc cake atop a layer of cream, w strawberries. Yummy. Then coffee-- we had had three bottles of bottles of wine-- Newton Merlot. (with dinner, a pink dessert champagne.) Then I pulled out some little glasses, and we opened up the Metaxa bottle, which we had been freezing for a couple of yrs in the freezer. (Mike & Lorraine had brought it to us.) Zimmer, after the entire bottle had been polished off, stated that the stuff should be re-named "Metoxin". Then of ocurse, after everybody left, we drank brandy.
Anyway, lotsa fun but very hard getting up this morning, esp for R, who had to drive Z to the airport."
Once home, I neurotically went out for 2.5 miles at dusk to make it 50 miles for the day!
This brings me to 4587 miles for the year so far.
First successful painting with the Brushes app. I have read about this app for a while, and I knew a couple of New Yorker covers had been painted with it. But when I read the review of David Hockney's iPod paintings in the NY Review of Books this week, I finally learned about Brushes' UI -- then I knew I had to try it. Phenomenal how this app works.
It's a bit as if someone said "pick 5 and just 5 features of Photoshop, that you will be able to carry around in your pocket." And if you picked exactly the right 5 features, you would wind up with Brushes.
Almost 3500 internally displaced people have been successfully relocated from the UN Protection of Civilians site in Juba to a new site within the community in a joint effort between the United Nations Mission in South Sudan and humanitarian agencies.
“This is the first movement of displaced people of this magnitude out of the UN Juba protection site. Almost all of those relocated were women and children,” said the UN Special Representative of the Secretary-General and Head of UNMISS, David Shearer. “They had expressed a strong desire to leave the UN site and to be reunited with their husbands and other family members. Early indications and, in my discussions with those who moved, is that they are pleased to be back in the wider community.”
The combined effort to relocate the families to an existing site at Mangateen in the central city followed an UNMISS-negotiated end to sporadic fighting between various groups within the UN protection camp over the past few weeks that threatened vulnerable civilians inside. Once a resolution was reached and people expressed a desire to leave, humanitarian agencies and UNMISS worked quickly and cooperatively to establish temporary housing at Mangateen along with clean water, sanitation and health services.
“All those involved in the relocation process realized the seriousness of the situation given the large number of vulnerable women and children being moved. It was a true team effort to carry out the massive logistical task of transporting and supporting these families in a new location within just a few days,” said David Shearer.
The Mangateen site has traditionally been managed by the South Sudan Government’s Relief and Rehabilitation Commission and it will continue to do so. Humanitarian agencies will provide additional assistance on request.
“I am particularly grateful for the Government’s rapid response to this situation which ensured that people were able to be safely moved and accommodated back in the community,” said David Shearer.
“Hundreds of thousands of people fled to UN protection sites across South Sudan out of fear for their lives during the ongoing conflict. But these camps are not a good long-term option for families,” said David Shearer. “If people have the trust and confidence that the environment is safe enough for them to voluntarily return home, UNMISS is poised to assist them. But providing that confidence in the security situation very much lies with the Government.”
Photo: UNMISS / Eric Kanalstein
Only by for Austria successful outcome of Ottoman wars in Europe the conditions were given to turn the old Hofburg, which until now was more fortress than imperial residence, into a befitting palace of a powerful dynasty. When Emperor Charles VI in 1711 succeeded to the throne, stood along the Schaufler alley until St. Michael's square yet the old two-story Chancellery Wing from the time of Ferdinand I. It was significantly lower than the Amalien wing and the Leopoldine wing, bordering the Interior Castle courtyard on the southwest and the southeast side. Between the Chancellery Wing and the Swiss courtyard there was a by Daniel Suttinger created Gate construction. In its place erected Johann Lukas von Hildebrandt in 1712 the so-called Carolingian Triumphal Arch but which was as well demolished in 1728 because now they had laid the foundation for a much more representative Chancellery Wing and in 1723 started the construction work. Hildebrandt's plans provided the unification of the entire inner castle but failed in the end due to the immense cost. 1726 he had to cede construction management to in the meantime appointed Court architect Joseph Emanuel Fischer von Erlach. This one let the already finished construction at Schaufler alley remain but put in front of it the splendid late baroque wing at the courtyard side. Fischer too could due to lack of sufficient liquid funds of the Imperial family his ideas which comprehended also the entire castle not fully realize. Work came to a halt in 1735 and was finally discontinued. The St. Michael's gate was only from 1888 after the demolition of the old Hofburg theater finished.
Herakles of Mattielli
In Chancellery wing were until 1806 when Emperor Franz II/I resigned the Roman-German Imperial Crown the central offices of the administration of the Holy Roman Empire housed. This included especially as the most important Imperial authority the Aulic Councel. 1810 lived here the French ambassador Berthier, when he, on behalf of Napoleon, asked for the hand of Maria Louise, the daughter of Francis I. At the time of the Vienna Congress in some rooms of the Imperial Chancellery Wing was housed the king of Bavaria. 1848 served archduke Johann a suite of rooms as an apartment. In the summer of this year, he received in Great Audience Hall a delegation from Frankfurt Imperial Diet, offering him the dignity of a "German Imperial Regent". A few years later the rooms were renovated, refurbished and converted into apartments for the Imperial family. Traditionally, no Austrian Emperor has taken over the apartment of his predecessor. Franz Joseph moved into his apartment in 1857, three years after his marriage, and lived there until his death in 1916. The apartment of his wife Elisabeth was in the neighboring Amalien wing. Today, the Imperial Apartments as well as the recently opened Sisi Museum and the former Court Silver and Table Room can be visited. The latter is dedicated to the culture of courtly household and the court ceremonial.
While the front is not very spectacular in Schaufler alley, turns the five-story face side of the Imperial Chancellery Wing towards the interior courtyard. This one served till the 16th century as a tournament court. In 1561 issued Thurnierbuch (tournament book) is yet of tournaments of the future Emperor Maximilian II reported which this one had held here in June of last year. In the 17th century but here no more tournaments took place but mounted tournaments, as the then popular horse ballet. The long facade facing the courtyard is accented by three only little projecting risalits with portals and balconies (1727/29) and divided by giant pilasters. The design of the façade is already reminiscent of the design language of French classicism. Franz Joseph and Elisabeth got through the Imperor's gate in central projection to their rooms on the first floor. The leading upwards Emperor's stairway has a magnificent stucco marble equipment and is decorated with gilted bronze vases. But it is hardly ever used. Today's visitor entrance to the Imperial Apartments is located beneath the dome of St. Michael's gate. The five windows above the Emperor's gate are preceded by a long balcony which rests on strong consoles. On the attic of the central projection is attached the huge blazon of Emperor Charles VI with the double-headed eagle. It is overtopped by the German imperial crown and surrounded by a golden chain with the Golden Fleece. Flanked is it by two, carrying trumpets genii. Beside the portals of the side projections stand each two sandstone sculptures of Lorenzo Mattielli. They show the deeds of Hercules. On the ground floor were housed until 1918 various court offices, as the Chamber for payments of the Court, the House, Court and State Archives (until 1902) and the Control office of the Court. In the premises of once Imperial linen room was from 1921 to 1987 the Vienna tapestry manufacture whose leading products have been exported throughout the world.
Study of Franz Joseph
Additionally to the living quarters of the Emperor - those of the Empress were in neighboring Amalien wing - belongs to the Imperial Apartments the Guard room where the bodyguards were on sentry duty but most of all the large Audience waiting room and the Audience chamber, where the Emperor, standing at his desk, used to receive his visitors individually. Under Maria Theresa, took place the deliberations of the Imperial, Court and State Councils of the former Imperial Chancellery in Audience waiting room. Unfortunately, this beautiful, decorated in white, red and gold hall was similarly to fairy-tale grotto recently equipped with figurines in the national costume of the individual crown lands in order to document that here waited people from all walks of life and from all provinces of the country for an audience. During his long reign, there were at least more than 250,000. In this room, hang large, many-figured murals (1832) of Biedermeier painter Peter Krafft, showing scenes from the life of Emperor Franz I. From the ceiling hangs a eighty-flammy Bohemian crystal chandelier still dating from the time of Maria Theresa. The originally fitted with candles chandelier of the Imperial apartments were in 1891 electrified. The ornate pottery kilns partly still stem from the 18th century. They were heated externally via the situated behind the rooms heating passage with wood. In the equipment of his private rooms the personal modesty of the emperor is reflected. Unlike his wife, he had not even running water injected. Noteworthy is also the simple iron military bed that served him for decades as a place to sleep. His office, in which he most of the time was yet active from six o'clock in the morning is adorned with numerous photos and paintings of his family. Here hangs also a famous portrait of the Empress by Franz Xaver Winterhalter. The equipment of the 22 official and residential premises of Emperor Franz Joseph and his wife Elisabeth, which today can be visited as Imperial Apartments, stems from several eras: from late Baroque to Rococo and the Empire to the 19th century neo-Baroque. These include also the four rooms of Stephan's apartment which is named after Archduke Stephan Viktor. The former theater corridor which enabled a direct connection to the old Hofburg Theater is walled off today.
These scenes were captured during in the Goddard’s LRO Mission Operation Control Center during the critical Lunar Orbit Insertion burn on June 23, 2009.
After a four and a half day journey from the Earth, the Lunar Reconnaissance Orbiter, or LRO, has successfully entered orbit around the moon. Engineers at NASA's Goddard Space Flight Center in Greenbelt, Md., confirmed the spacecraft's lunar orbit insertion at 6:27 a.m. EDT Tuesday. During transit to the moon, engineers performed a mid-course correction to get the spacecraft in the proper position to reach its
lunar destination. Since the moon is always moving, the spacecraft shot for a target point ahead of the moon. When close to the moon, LRO used its rocket motor to slow down until the gravity of the moon caught the spacecraft in lunar orbit.
Credit: NASA/Goddard/Pat Izzo
Full Story:
www.nasa.gov/home/hqnews/2009/jun/HQ_09-144_LRO_moon_orbi...
LRO Website:
successful doctor with arms up - Successful doctor with arms up against white background, Model: Derek Gerhardt. To Download this image without watermarks for Free, visit: www.sourcepics.com/free-stock-photography/24717933-succes...
Experiment Successful: This did make it to Explore.
A little experiment on the ridiculousness of Explore.
Based on this excellent non-scientific study made by mattie shoes. He made a list of all the most commonly occuring tags in Explore. So I am trying to add the same tags and see if that has an effect on the number of views and interestingness. I am just going to add it to one group - Utata and see if it makes it to Explore.
The shot, as you can see, is quite a crappy one, but lets see how it goes.
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
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on the second day of the fifth round match between Guyana Jaguars and Trinidad & Tobago Red Force in the Digicel Regional 4-Day Tournament on Saturday, December 17, 2016 at the Guyana National Stadium.
© WICB Media
Myself on right with Martin Bentham, now a well known Mendip artist. Martin and I spent three nights with night vision kit down in the bushes at Blagdon Pumping Station watching over the fish ponds waiting for a couple of little toe rags who were pinching trout. We caught them up to their necks in the ponds having cut through the chain link, no alarms on those ponds in those days. The funny thing was they came from Withywood over Dundry on a moped with a net and a bin bag, a wet and slippery buisness. I am wearing my cape, very warm and the best bit of kit ever issued.
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The two research rockets in the mission launched two minutes apart, and the first lift-off occurred Nov 10, at 21:36:00 UTC, reaching a apogee of 358 kilometers, while the second launch vehicle reached 144 kilometers
We ended up successfully braving the road to the Vandalia dam--I've never been able to get to it before! The road was always too bad to pass before. So I was thrilled when we finally made it! This old relic has been here for such a long time.
Here is some information I found on it from a government website:
"The Vandalia Diversion Dam on Milk River, 3 miles west of Vandalia, MT, is a reinforced concrete slab and buttress weir-type structure with movable crest gates and auxiliary overflow crest. The hydraulic height is 27 feet; the crest length is 2,340 feet. The auxiliary crest, 1,200 feet in length, is located north of Milk River opposite the dam to provide adequate channel for extreme floodflows. The Vandalia Canal diverts on the south side of the river at the dam and conveys water to the land in the Glasgow Division. The canal has a design capacity of 300 cubic feet per second."
I respected the signs and stayed off the dam. It's so old I didn't want to fall in haha! The giant gears on the dam are the most interesting feature, obviously. They didn't move or anything but I had to photograph them!
The Milk River is a gross color, but wow it looked like pure glass going over the dam!
I took these pictures in between yelling at the dogs because they were right on the edge of the bank and kept trying to run across the dam. It nearly gave me a heart attack!
Below is a short video of the dam. It's so remote. I'm glad I got to see it but it seems like a place I may not go back to. Unless of course it starts to cave in or something!