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De Havilland DH83 Fox Moth ZK-AGM G-CIPJ
Fox Moth was a passenger aircraft. Manufacturer, de Havilland. Designer, A.E. Hagg. First flight, 29 January 1932. Introduction, 1932. Number built, 154. The DH.83 Fox Moth was a successful small biplane passenger aircraft from the 1930s
Photo taken 13th Aug 2021 at the Imperial War Museum Duxford Cambridgeshire UK
BAG_3528
After successfully capturing a fish, nicely tucked away under the tail feathers, this mature bald eagle flies by on its way to a branch for a feast. In the animal kingdom the eagle eye is among the strongest, able to spot a rabbit at just over 3 km. It looks like the eagle is blinking in this photo.
Taken 13 November 2016 at Conowingo Dam in Maryland.
This series of photos will include some of the flowers.....
Geology and climate are important contributing to the successful establishment of plants within the park. Deep deposits of volcanic ash combined with even rainfall, mild winters and warm summer temperatures are conducive to plant growth for a range of species from around the world. With this variety of plant types Pukekura is unique in offering a diverse range of landscapes from dense remnant tawa/mahoe/pukatea forest to broad lawns with annual bedding displays and themed garden plantings.
You can see the way the flake has broken off on this piece in a kind of cone shape, following the shock wave applied to the rock.
That's a hard hammer in John's hand. Those are generally pebbles. Soft hammers are made of bone.
My flint knapping photos were taken on a day course with John and Val Lord. They have a website here:
John has also written a book that's very useful as a beginner:
www.flintknapping.co.uk/shop.html
And John's son Will is also an expert in flint knapping and excellent teacher. He also runs courses, and will teach hide working, prehistoric jewellery making, bow-making and so forth as well.
© Susannah Relf All Rights Reserved
Unauthorized use or reproduction for any reason is prohibited
After a successful hunt, the cormorants may be seen drying their feathers on the dyke. Unlike other birds, they get wet to the skin when they dive. The air and thus the buoyancy are pressed entirely out of the springs. This allows them to dive up to 10-16 meters deep and chase the best fish from the depths of the IJsselmeer to the water surface. CHAPEAU to this spectacular evolutionary feat!
Fossils from Tanzania show cormorants have been around for 23 million years. Humans have only existed for about 3 million years. Despite its beautiful appearance, intelligent hunting method and respectable age, the bird was almost wiped out in the Netherlands. Fishermen complained that cormorants were decimating the fish population.
Size: 80 - 100cm
His flight can be up to 80kmh
Excerpt from www2.hamilton.ca:
Artist Daniel Davelaar’s sculpture the Dressmakers Manikin with Drapery has been selected as the Public Art piece for East Kiwanis Place at the corner of Ottawa Street and Edinburgh Avenue.
The three-meter (10’-0”) high sculpture is modelled on a local seamstress’ manikin draped in cloth in such a way as to recall classical Roman and Greek sculpture. The artwork is to be carved from a single block of Mountain Rose Granite.
Mr. Davelaar’s work was selected from a group of 11 submissions through a four stage juried public art selection process outlined as follows: • Stage 1: A pass/fail technical review by two experts. • Stage 2: A review of creativity, appropriateness and experience by a five person jury, consisting of members of the community. • Stages 3 and 4: Those successful in Stages 1 and 2 prepared a maquette (miniature) of their proposed work for a second jury review and for public review and comment.
The maquette (miniature) was placed on display for public comment during August and September 2008 on Ottawa Street and at the Mustard Festival. Fifty-five questionnaires were completed by the public. Eighty-nine percent noted that they felt the proposed sculpture reflected the attributes of the Ottawa Street neighbourhood very well.
This mature bald eagle has just successfully grabbed a fish out of the Susquehanna river (note the tail fins rising behind the body) with its right claw and will be on its way to a private lunch. It was not challenged for the fish like some eagles were. I love the column of water behind it still rising where the eagle had snatched the fish from the water.
Taken 13 November 2016 at Conowingo Dam in Maryland.
During the North Sea flood of 1953, the river dike Groenendijk began to collapse under the water pressure around 5:30 am on 1 February. Seawater flooded into the deep polder. In desperation, the mayor of the town of Nieuwerkerk commandeered the river ship de Twee Gebroeders (The Two Brothers) and ordered the owner to plug the hole in the dyke by navigating the ship into it. The mayor's plan was successful, as the ship was lodged firmly into the dyke, reinforcing it against failure and saving many lives.
Sculpture by Roel Bendijk.
After a long overnight trip from Kaskinen, the broken class Dr12 diesel electric locomotive number 2216 has returned back to Haapamäki thanks to the little, but brave class Dv16 diesel locomotive number 2038. At Haapamäki mood is relaxing and relieving, as soon the train returns back to the museum depot and the successful rescue operation come to an end.
One from another successful Jon Bowers Charter back in 2018, which featured ex SECR Class O1 65. An afternoon shot with the exhaust caught well by the low sun
NASA successfully launched the RockSat-X education payload on a Terrier-Improved Malemute suborbital sounding rocket at 7:33:30 a.m. EDT Aug. 17 from the Wallops Flight Facility in Virginia.
Students from eight community colleges and universities from across the United States participated in the RockSat-X project.The payload carrying the experiments flew to an altitude of 95 miles. Data was received from most of the student experiments. However, the payload was not recovered as planned. NASA will investigate the anomaly.
Credit: NASA/Wallops/A. Stancil
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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This Cheetah Mum now can serve a delicious breakfast to her Cub. One of them is always on alert. Now this is a moment they are themselves vulnerable to other hunters such as Lions. This was a really rare sighting
The National Railway Museum is a museum in York, England forming part of the Science Museum Group. The museum tells the story of rail transport in Britain and its impact on society
The Green engine is No 66 Aerolite ( built 1869) and was the official railway vehicle of the Chief Engineer of the North Eastern Railway. Over its life, it has been rebuilt twice and gained an extra pair of wheels in the process. Originally used to pull a luxury saloon. It finished it's working life in 1933
The middle engine is a Tank Engine No 1008 (built 1889) This is the only remaining example of the successful express passenger tank locomotive.
The last engine is LMS No 2500 (built-in 1934) This locomotive was designed specifically for suburban commuter traffic
Expedition 48 Commander Jeff Williams (shown here) and Flight Engineer Kate Rubins of NASA successfully installed the first of two international docking adapters (IDAs) Friday Aug. 19, 2016, during a five hour and 58-minute spacewalk. The IDAs will be used for the future arrivals of Boeing and SpaceX commercial crew spacecraft in development under NASA’s Commercial Crew Program. Japanese astronaut Takuya Onishi assisted the duo from inside the station, while all three cleaned up the Quest airlock afterward where they stowed their spacesuits and tools.
On Sept. 1, the two NASA astronauts will spacewalk outside the International Space Station for the second time in less than two weeks. Working on the port side of the orbiting complex’s backbone, or truss, Williams and Rubins will retract a thermal radiator that is part of the station’s cooling system. They’ll also tighten struts on a solar array joint, and install the first of several enhanced high-definition television cameras that will be used to monitor activities outside the station, including the comings and goings of visiting cargo and crew vehicles.
For more information about the International Space Station, click here.
History:
Third synthetic life form and carrier of the Reality Engine. Like her three siblings, Paragon was built by the Predecessors to find and retrieve the Fountain of Life from its inter-dimensional hiding place. Unlike her siblings, though, Paragon was successful in contacting the artifact. Not much is known about what happened when Paragon contacted the fountain, but when she returned from her journey she turned on her creators. With newfound knowledge of the origins and inner workings of the universe, Paragon acted as an angel of protection for her home planet, using her Reality Engine to defend it from natural disasters and malevolent forces.
Personality:
Paragon is a confident and brave individual. She sees it as her duty to defend her home planet, and she appreciates every chance she gets to learn more about the people who inhabit it. While she isn't the best at interacting with people, she lets her actions show her care for others.
Abilities:
Paragon carries the Reality Engine, a dimensional generator. The engine allows Paragon to create a region in which she has god-like control over reality. When using her engine in an affected region, Paragon can move objects with her mind, manipulate gravity, control air pressure and temperature, and more. Overuse of her engine will tire Paragon, forcing her to rest between uses. Paragon carries A broadsword, a buckler, and four remotely controlled wing blades. When her Reality Engine is active, Paragon can combine her tools to form Enki, the Reality Blade. Paragon can move this giant sword at will only in regions affected by her engine, but even with such a limitation, the sword's raw destructive power cannot be denied.
Build notes:
Well, it only took 4 years to build her. I've been wanting to do this concept since I first built Avalon. While the build isn't too innovative (I reused a lot of Svella's design) it does refine several of the concepts used in Svella. Oh yeah, and the mask is painted! This my first attempt at a painted mask, so it is a tad messy, but I'm happy with it!
7 Tips for a successful trek to Everest base camp trek this is amazing greetings from Nepal - found a nice blog today about the mountains www.alpineramble.com/short-annapurna-base-camp-trek-5-6-days
During a fantastic holiday in the Yucatan peninsula of Mexico, I captured this shot of a Great Blue Heron successfully fishing in the mangroves of the biosphere at Sian Ka'an.
Once the jet lag has worn off, I'll be back lineside for my more usual shots!
A majestic great grey owl flies up from its perch and then lands again a short distance away. From its new location, it does a dive down into the grass in an attempt to grab a vole (see an earlier post for an image of that: www.flickr.com/photos/40724294@N04/54400168073/). That was an unsuccessful attempt. But very successful for the photographer! LOL
Successful strike! This is the next frame of the juvenile Great Blue Heron hunting posted recently.
Pillar Point
Half Moon Bay, CA
After a successful landing, troops set up flak guns to provide cover for the retreating ships. There was no attack by the enemy so the forces will move out by morning.
Continuing Rarity
Female
Rusty Blackbird RUBL (Euphagus carolinus)
near
King’s Pond
Cedar Hill Golf Course
Saanich BC
DSCN7966
Not often i see Passerines so at home in the water -- this individual is at times with Brewer's Blackbird flock - and at times doing its own thing.
In some ways it has taken blackbird water foraging to the next level
♥ Faga. Successful Hair ♥
maps.secondlife.com/secondlife/Galileo/52/105/32
♥ Faga. ♥
♥ N-Uno - Fanny Outfit ♥
maps.secondlife.com/secondlife/Serena%20Almeria/65/97/2002
♥ Numer0Un0 ♥
♥ Pure Poison - Diamond Pumps ♥
maps.secondlife.com/secondlife/Pure%20Poison%20District/1...
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Project successful... Specimen showing signs of continued organic life... Transfer is a success.
We will keep the specimen quarantined for the next 3 days... Then it will be released for a trial run. I have great confidence that the run will be a grand success.
_________________________
I haven't posted in forever... School and crosscountry are like a time black hole. :P
Having successfully delivered a bicycle to Southampton, but wishing to avoid the traffic jams around the Berkshire County Show, I decided to take a very roundabout but scenic route home.
I cut through the New Forest, and found myself on the Jurassic Coast. I had Monty with me, so there was a good excuse to go for a walk on the shingle beach by Durdle Door - which for the uninitiated, is this spectacular sea arch.
Being a Saturday there were still a few folk about even though it was starting to get on in the evening - but a long exposure does make a few disappear....
Much to my annoyance I did have to wait for a rather over-amorous couple to shift out of the way. Fortunately for me, and perhaps less fortunately for these two would-be exhibitionist Porn-stars, the sea temperature was a bit on the chilly side so they gave up fairly quickly. I really am turning into a grumpy old man.....
Phillip Mould:
This image, and those generated around it, represent one of the most successful sovereign statements of English history. It was painted under the aegis of the Queen’s own official Serjeant painter, George Gower, in the late 1580s, the decade in which she finally defeated the Spanish threat, and assured her place as one of England’s most successful and popular monarchs. The portrait was owned by Edward Drewe MP, one of Elizabeth’s ablest lawyers, and has remained in his family ever since. A family legend suggests that the portrait was the gift of Elizabeth herself. It is in part through such portraits that the mystique and power of Elizabeth I was conveyed in her day. As such it is not merely a portrait of a monarch, but a symbolic statement of national supremacy.
George Gower was Elizabeth’s Serjeant Painter from 1581 until his death in 1596. He was also a ‘gentleman’, being the grandson of Sir John Gower of Stettenham, Yorkshire. This was not only unusual for the time (hitherto, artists were effectively ranked as servants), but reveals the increasing status – and importance – of portraiture in sixteenth century England. There is little documentary evidence on Gower’s career, but there is no doubt that he was one of the leading English artists of his generation. His documented portraits, such as those of Sir Thomas and Lady Kytson (1573 Tate Gallery, London) show that he commanded the patronage of the important and wealthy from an early age, while his self-portrait (1579, the first known example by an English artist on such a scale) gives a clear indication of the bold characterization with which he depicted his subjects.
Gower’s technique and style is distinct, and perfectly suited to the display of power, and conspicuous monarchical grandeur seen here. His use of strong light on the head enables his subject’s face to stand out from the rest of the painting, and was perfectly suited to Elizabeth’s personal wish to avoid any shadows across her face. His reluctance to rely too heavily on drawing is made up by strong flesh tones and subtle shadows, so that the face is rendered with precision and power, aided by bold features such as the well-delineated eyes. The unmistakably warm and dry palette has the happy effect of seeming to depict the Queen in the heavy make-up on which she increasingly came to rely. In this example, the overall effect is one of power rather than beauty – but such is Gower’s skill that our focus is held unmistakably by Elizabeth’s face and strong gaze, despite the rich and bright details of her luxurious costume.
There are elsewhere in the portrait signs of a master’s touch. The subtle but noticeable pink tones in the ruff under Elizabeth’s chin skillfully illustrates the reflection of her face in the white lace, giving the ruff a three-dimensional effect so often lacking in sixteenth century portraiture. The deft modeling (with even the hint of veins) in the long and elegant hands of which Elizabeth was so proud is superb, while the folds and lace on the golden silk of her sleeves is redolent of Holbein’s supreme skill in depicting the rich quality of Royal costumes.
As with all portraits of the Queen, there comes the question of the level of her personal involvement. Of course, she did not sit for the many contemporary portraits of her that survive. Instead, artists would have followed patterns of her face, and then either have imagined her costume, or in some cases have painted the actual garment itself. The patterns would have been widely-circulated, and the Queen’s likeness then either traced onto a panel or drawn freehand. Surviving examples of patterns are rare, but those of Bishop John Fisher and Sir Henry Sidney can be found in the National Portrait Gallery, as can one previously believed to show Elizabeth herself.
Which ‘pattern’, therefore, is the Drewe portrait based on? Sir Roy Strong’s catalogue of 1963, Portraits of Queen Elizabeth I, and subsequent Gloriana, The Portraits of Elizabeth I were vital works in dating and attributing the many (invariably unsigned) portraits. According to Strong’s categorization, the Drewe portrait is based on the ‘Darnley’ face pattern, after a painting dated c. 1575 once owned by the Earls of Darnley, and now in the National Portrait Gallery attributed to Federico Zuccaro, an Italian landscape and religious painter to whom the Queen sat for a drawing in May 1575.[1] The Darnley pattern, Strong points out, does not change until the ‘Armada pattern’ is developed, apparently by Gower, c.1588.
And yet, such categorization carries with it the disappointing notion that all portraits of the Queen between c.1575 and 1588 are derivatives, completed at a distance from Elizabeth herself. This clearly cannot be the case with the Drewe portrait. Though Elizabeth is shown in a similar (if reversed) profile, she is unquestionably a different woman to that in the Darnley portrait: noticeably hierarchical, sepulchral in characterization, perhaps reflecting the progression of her historical achievements. It seems implausible that Gower, the Queen’s Serjeant Painter, would have been content to follow a pattern. Rather, he may instead have felt constrained by the dictates of Royal iconography to follow an approved pose – just as Henry VIII was invariably portrayed full-face.
It is to the Queen herself that we should seek an explanation for the repetitive nature of her portraits. From the note of her conversation with Nicholas Hilliard in c.1572 it seems she resolved that her portraits should have no “shadowe at all”[2]. After all, Royal portraits were primarily symbols of power combined with obsequious flattery, not simple likenesses. Considerations of deference (and by the 1580s her fading beauty) further forbade any attempt at realism. And artist’s had to operate within an accepted Royal iconography that began in the fifteenth century. It is certain, however, that Gower’s official position, and the fact that he was a gentleman by birth, would have guaranteed him access to the Queen. The Drewe portrait, with its delicately observed facial contours and expressive, piercing eyes, is a world away from the pallid and formulaic pattern portraits of Elizabeth, reflecting an authority derived from one who had access to the royal presence.
The provenance of this portrait is of interest, and helps confirm the attribution to George Gower. It has traditionally hung in the Grange, the Devon seat of the Drewe family, since its construction by Edward Drewe in the 1590s. Drewe was one of the ablest lawyers of the 16th Century. After a spell at Oxford (while apparently a teenager) he began to practice law at the Inner Temple in 1560. He was called to the Bar in 1574. From then he rose rapidly through the legal ranks; a Justice of the Peace in 1579, and a Member of Parliament (for Lyme Regis) in 1584. He must then have been well-known to the Queen and Privy Council, for in 1588 he was amongst those sharp legal minds, along with Francis Bacon, called to draft Government legislation. The letter makes flattering reading;
“Her Majestie… hath made especiall choice of you, upon knowledge of your sinceritie and sufficiencie in that behalfe, to proceede to the consideracion what statutes in your opinion were requisite to be either established or perfected for the better…
We bid you very hertely farewll.”[3]
In 1589 he was appointed a Serjeant-at-law, and became more familiar to the key members of Elizabeth’s Government. Perhaps his most powerful ally was Francis Russell, the second Earl of Bedford. He corresponded regularly with William Cecil, Lord Burghley. And in 1593 he is recorded as making a speech before the Queen when introducing the Lord Mayor of London to Court. Drewe’s correspondence with the Privy Council typically revolved around interrogations of suspects such as Jesuit spies, often in the Tower of London, and he became an important part of the security apparatus first set-up by Francis Walsingham. One case involved the hapless Yorke and Williams, who, “when confronted together, Yorke swore that they took the sacrament to kill the Queen, and that Williams had wished his sword in her belly.”[4] By 1593 Drewe held the prestigious parliamentary seat of the City of London, and in 1596 he was made a Queen’s Serjeant, and a judge on the Northern circuit. He died suddenly, of ‘gaol fever’, in 1598.
Drewe’s central role in the legal apparatus of the Government helps confirm an attribution to George Gower as the artist of this portrait. Gower had been appointed, in 1581, as the Queen’s Serjeant Painter. In 1584 an attempt was made to make Gower solely responsible for portraits of the Queen, a move that reinforced the government’s wish to maintain control of the Queen’s image. Some twenty years earlier, the Privy Council, at the Queen’s behest, had also attempted a similar measure in reaction to the increasing number of debased images of Elizabeth in circulation. And in 1596, the Privy Council ordered that public officers should aid Gower in seeking out and destroying those unofficial images which caused the Queen “great offence”[5].
The Council’s failure, and that of Gower in the 1580s, is belied by the profusion of awkward and unsatisfactory images of the Queen which survive to this day. Nevertheless, a man of Drewe’s public position would have been the most unlikely person to either commission or own in the 1580s and 90s a portrait of the Queen that did not come from the Serjeant Painter’s ‘official’ workshop. Furthermore, in 1593 Drewe made a speech in Parliament against foreign workers in London, advocating support for “our countrymen” over charity to “strangers”, which sentiments would appear to rule out his patronage of any Flemish or Italian artist.[6] Finally, it may also be worth noting the connection between Drewe and the Bedford family, who commissioned the Armada portrait from Gower in 1588.
The Queen’s jewelry is worth noting here, and may assist in the precise dating of this portrait. Here, the jewelry worn by the Queen (aside from that embroidered into her costume) is surprisingly simple – only a double row of pearls. This is identical to the jewelry worn in the Darnley portrait dated c.1575, as is the chain of pearls and jewels around her waist. And such a combination can again be found in other portraits by Gower of the 1580s, Cornelius Ketel’s ‘Sieve’ portrait c.1580-3, and Marcus Gheerearts the Elder’s c.1585 full length. Furthermore, the lack of certain jewelry again suggests a date in the 1580s, for when Leicester died in 1588 he bequeathed to his 2most dear and gracious Sovereign whose creature under God I have been”[7] an extraordinarily large and elaborate jewel of emeralds, with a rope of 600 pearls. Elizabeth, who locked herself in her room on hearing Leicester’s demise, is shown wearing his gift in the Armada portraits of post c.1588, and other later variants – but not here.
Notes;
[1] Zuccaro had traveled to England apparently at the behest of Lord Leicester. Though some have assumed his purpose was to paint the Queen, it is possible that he had been summoned by Leicester to decorate the interior of Kenilworth Castle (now ruined), before the Queen was due to stay there in July 1575. The exquisite chalk and pencil drawing of the Queen by Zuccaro survives (British Museum), along with a pendant of Leicester. However, there seems little connection between the drawing, either in likeness or style, to the ‘Darnley’ portrait in the NPG.
[2] Strong, loc.cit., p16
[3] Letter from Privy Council to Drewe 27th December 1588, in Acts of the Privy Council of England 1588. Official Publications 1897 Vol XVI
[4] Calendar of State Papers (Domestic) Elizabeth I, 1591-94, August 28th 1594
[5] Strong, loc.cit., p14
[6] Oxford Dictionary of National Biography, citing House of Commons Journal
[7] In Public and Private, Elizabeth I and her world, Susan Watkins, London 1998