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Bet You Never Knew The Hog In The Pound Was Here?...Closed In The Late Fifies Before Moving Round The Corner See Here (www.flickr.com/photos/rollthedice/9094041233/)That Was Also Sadly Demolished In 2011...Quite Remarkable Timing To Get These Rozzers In The Same Location...I Was Going To Ask Them To Pose As Of 1905...But I Probably Would Have Been Arrested For Terrorism Or Something....Tissot is a Swiss Luxury Watchmakers...You Can See The Markings In The Brickwork Where The Pubs Light Once Hung....Who Recalls Ratners On This Corner?...
A new element has been added to my runs Endomondo
Why would I take a Japanese starter with me?
I had happily (no resignedly) plodded along with no concept of time for many years, stopping and starting, not caring whether I was improving or not thinking, ‘I’m not competitive, I’m just doing this to be healthy.’
Once signed up for Endomondo or ‘world of endorphins’ (the phone app that tracks and times your run, announcing your progress at regular stages.) I went through a transformation.
Similar to facebook it announces what everyone is doing;
‘Lucy Naughton is running. So far she has tracked 4.97miles in 40mins’ . . . and then it shows the route you have taken/are currently taking.
Ordinarily what would be happening on one of my ‘private, un-timed’ runs:
‘Lucy has stopped to look at a heron.’
‘Lucy has slowed down to pull her knickers out of her crack.’
‘Lucy has sped up to look at what she thinks is a magnificent hare in the field.’
‘Lucy has slowed back down - it was a sticky up branch.’
‘Lucy is fiddling with her phone as the podcast she downloaded is incredibly dull and the woman’s voice is grating on her brain.’
From the very start of my first Endomondo tracked jog I ran differently, I was running as if someone was watching me, as if EVERYONE was watching me, from the entire Internet.
I was perpetually waiting for the woman to yell in my ear’ole the time for each km, the first km she yelled my time at me, “Oh how novel, most informative!” I thought.
The second km, “That was slower than the first km, why is that?”
The third km, “Right, I can’t let my time drop below 5 mins per km.”
Not competitive?! Pah!
Where once I would gaze around me looking for glamorous wildlife and amusingly shaped trees, now I was just staring hard, dead ahead, not blinking. My favourite copse full of red kites - a traditional stopping point loomed. As usual the kites soared and swooped and cawed in the way that normally stopped me in my tracks and made me grin inanely at the sky for minutes on end. Today I blasted right past. They looked at each other, perplexed.
I charged along my route like a woman being chased by age. I saw nothing, heard nothing but my timekeeper, and thought nothing but ‘For god's sake don’t slow down.’ There was no room for my loop of negative thought today.
On my way back past the copse the wake of kites had joined wings and were doing a formation display, spelling my name out in the sky, but I couldn’t stop to look or the Endomondo woman would shout in my ear that my lap time had gone down – all the people on Endomondo might mock me, how could I live with the shame?! So on I pressed without looking, the kites forming a giant one-fingered salute at my back.
Another gimmick on the app - people online can comment while you are out running and the Endo woman will announce it to you;
‘Right now I’m drinking an ice cold Lucozade.’
‘Your boobs don’t half bounce when you run.’
‘I didn’t know you had knock knees.’
‘I’m in the bushes waiting to flash you.’
‘CAMEL TOE!’
Endomondo is so informative and rich in ‘look what I’m doing’ features that it shows online the route you have run and when you ran it, it even tells everyone whilst you are on it. Screw the fitness aspect; this may just grow to be the biggest rapist and murderer’s resource ever.
‘Lucy is out running’
‘SerialkillerBob is hiding in a bush.’
‘Lucy is 200m from SerialkillerBob.’
‘SerialkillerBob is getting out his big knife.’
‘Lucy has stopped to help a nice man who seems to have lost his puppy.’
‘SerialkillerBob has updated his kill stats.’
Serial killer with an iPhone? Download ‘Deadomondo’ today!!
Share the best ambush spots with fellow killers.
Find out where your buddies are currently hiding.
Track where you buried your bodies, and monitor decomposition.
Let our cadaverator choose random burial spots that the police will never track.
The World Land Speed Record Breaking
1905 200-hp Darracq Sprint Two-Seater
FOOTNOTES
For a real thrill and for pure joy, nothing ever came up to a full throttle run on the 200, with the car in Algy Guinness capable hands. Old Iron, as its owner had christened it, was definitely one of the great cars of all time! Captain H.W. Bunbury
If the heartbeat of America is the matchless throb of a big V8, then that heart beats with a decidedly French accent, for this impressive centenarian is powered by the first true example of a V8 engine to be seen on either side of the Atlantic. Moreover, this mighty Darracq was the first petrol car to travel at two miles a minute. Built in France with the sole aim of breaking speed records, it was shipped to the United States soon after its debut to show its prowess and made its first 120-mph run at Americas birthplace of speed, the Ormond-Daytona Beach in Florida.
Alexandre Darracq had made his fortune in the cycle industry before building his first car under his Gladiator marque in 1895, but sold out to an English syndicate headed by Terah Hooley and Harry Lawson in 1896 and formed A. Darracq & Cie the following year. Real success came in 1900 with a 6.5-hp single-cylinder car designed by Paul Ribeyrolles, a graduate of the Arts et Métiers college at Chalons-sur-Marne. The Darracq company was acquired by an English financial grouping in 1903, which left Alexandre Darracq in charge. He decided to publicise the company by racing powerful racing cars but concentrating on the manufacture of small and medium-sized automobiles particularly aimed at the British market.
These were all the work of Ribeyrolles, described by that doyen of Continental correspondents W.F.Bradley as a born engineer who had a tiny drawing office overlooking the main machine shop.
Darracqs policy of promoting the marque in competition moved into high gear with an all-out assault on the Gordon Bennett Cup in 1904, dodging the rule restricting each competing country to an entry of three cars by having 11.25-litre four-cylinder cars designed by Ribeyrolles built in Germany as Opels and in Great Britain as Weir-Darracqs, a ploy which sadly failed to bring results.
However, one of the Weir-Darracqs was acquired by Algernon Lee Guinness, who, with his younger brother Kenelm (Bill), was building up a stable of fast racing cars at his home at Windsor, and completely reconstructed by his mechanics Harold Cook and Davy Cleghorn (who had come from Weirs with the car), to such good effect that it proved one of the fastest cars in the eliminating trials to choose the British team for the 1905 Gordon Bennett race before piston failure put it out of contention.
Meanwhile, Paul Ribeyrolles was intent on building the fastest car in the world, following a policy colourfully described by the Guinnesss good friend and business partner H.W. (Bill) Bunbury as putting large engines into the lightest possible chassis; in search of what we now call today better power to weight ratio
he stripped his cars of every possible trapping, leaving the bare necessities to make the wheels go round, and to stop the car, otherwise stark naked, showing everything they had got, with not even a bikini to hide their nakedness
The first fruit of this policy was a 100-hp car with an engine of 190 bore, put into a very flimsy chassis with just two bucket seats with which works driver Paul Baras set a new world speed record of 104.5 mph for the flying kilometre, and which was then bought by Algy Lee Guinness.
Ribeyrolles then set to work developing an even faster sprint car and in order to obtain maximum power for minimum weight hit upon the brilliant idea of mounting eight cylinders in a 90-degree vee configuration on a common crankcase, using forked conrods to enable two opposed cylinders to be served from one crankshaft throw.
He used four sets of pair-cast cylinders of the Gordon Bennett pattern, bored out to 170mm, giving a total swept volume of 25,422 cc, set low in an Arbel pressed steel chassis. A two-speed rear axle was fitted, with a short gear lever placed between the drivers legs; there was neither reverse gear nor differential. A vee-shaped Grouvel & Arquembourg radiator was supplemented by a projectile-shaped water tank above the cylinders. Weighing in at just 900 kg (1982 lb), the new 200-hp Darracq was completed on 28 December 1905 and was immediately taken south to Provence to be tested on the classic speed road that ran arrow-straight for over nine miles across the plain of Le Crau, between Salon-de-Provence and St Martin de Crau (the modern N113).
On Saturday 30 December, Darracqs leading driver Victor Hemery who had already won the Circuit des Ardennes and Vanderbilt Cup during 1905 made four timed runs on the Salon road, observed by the official timekeepers of the Automobile Club de France, MM Gaudichard and Hunziker, and the president of the Automobile Club de Salon, M Bertin. His times were remarkably consistent: with one run in 21.8 sec and one in 20.8 sec, twice he covered the flying kilometre in 20.6 sec, a speed of 175 km/h (109.65 mph), faster than the fastest express train, making the Darracq the fastest vehicle on earth and beating the existing speed record by almost 5 mph.
Gasped L. Gerard, who reported the cars speed run for La Vie Automobile: Can you imagine what that frightening speed of 5 metres a second [110 mph] must be like? No? Well, its that of hurricanes that flatten houses and trees, of tempests that exert the formidable pressure of 300 kg per square metre on the surfaces that they meet
this time, without any exaggeration, the car has beaten the train
The mercurial Hemery grumbled that the very cold weather had adversely affected the carburation, and declared that the car would be even faster in finer weather.
Three weeks later, he was given the opportunity to prove his assertion when he and the 200-hp Darracq formed part of a four-car team competing in the fourth annual Ormond-Daytona Beach Automobile Races. However, while three of the cars successfully passed the weight test for the event, the fourth was ruled to be too heavy and thus ineligible for the lightweight class.
Hemery protested the decision, and when he was over-ruled, had all four cars hauled back to the garage at Ormond. Charles Cooke, Darracqs American distributor, declared that all four cars would race, whether Hemery agreed or not. Then it was found that the car that had been declared overweight could be lightened enough to comply with the regulations and Hemery relented and decided to compete after all.
But then he fell out with the judges again when it was declared that he had made a false start in a race against Fred Marriotts streamlined Stanley Steamer and a 110-hp FIAT, and was barred from the event.
Declared Motor Age in its issue of 25 January 1906: Hemery, successor to the great Théry, has been given a taste of American discipline, which will do his peppery temper good. He had a close call yesterday from being set down, and this was not enough for him, for he broke loose again today and got what was coming to him and he got is good and plenty, nothing less than disqualification for the entire meeting for refusing to obey orders.
Charles Cooke was given full control of the four Darracqs and Louis Chevrolet drove the 200-hp to a new world one-mile record for petrol cars of 30.6 sec (Marriott had just set a steam car record of 28.2 sec, equivalent to 127.66 mph). Then on the last day of the race, Cooke put Darracqs No 2 driver Victor Demogeot in the 200-hp. Matched against the Stanley in a 2-mile race, Demogeot riposted to a time of 59.6 sec by Marriott with a run in 58.8 sec, or 122.5 mph and was crowned Speed King of the World by 14-year-old Mary Simrall, the prettiest girl in Florida.
Then, recalled Bill Bunbury, the 200 returned to the Darracq works at Suresnes, and Algy travelled one day [in May]. After a terrifying trial run round and about the works conducted by Hemery and a bit of haggling, he bought the car for what was a very reasonable figure [and] brought it to Windsor.
On 14 July Algy Lee Guinness competed in the Ostend speed trials in Belgium with the 200-hp Darracq and set a new European flying kilometre record of 117.7 mph, covering the distance in just 19 seconds. Three days later the Darracq was first of the big speed cars in the Circuit du Littoral.
The Darracq was scheduled to race against formidable opposition, including the Maharajah of Tikaris 130-hp De Dietrich and Cecil Edges 90-hp Napier, during the Notts ACs annual race meeting on Skegness Sands on 8 September, but the deteriorating condition of the course meant that these fast cars only made demonstration runs.
But a week later the Darracq covered itself in glory at the race meeting organised along the Blackpool Promenade by the Blackpool & Fylde Motor Club, winning silver cups for setting new world records for the standing kilometre (32.4 sec) and standing mile (45.6 sec), and also created a British flying kilometre record of 21.0 sec (106.52 mph).
On 21 October Algy Lee Guinness took the 200-hp Darracq back to France and set a new world record for the flying kilometre of 20.0 sec, equivalent to 180 km/h (111.8 mph) at the Dourdan speed meeting. A week later he drove the car at Gaillon, and climbed the famous La Barbe hill in 25 seconds, averaging 144 km/h.
Around this time the Guinness brothers and Bill Bunbury set up a business in an old farmhouse at Datchet to manufacture an ignition device known as the Hi-Lo and to operate as a garage and repair business, tuning peoples cars for the newly-opened Brooklands track. The 200-hp Darracq was still very competitive, and was tuned for maximum speed, with the addition of forced lubrication with drilled crankshaft and conrods and a pump chain driven from the front end of the crankshaft, a high-tension magneto instead of the low-tension ignition and a supplementary lightweight radiator.
The car was tested on the open road over Hartford Bridge Flats in Surrey. Recalled Bill Bunbury: It was towed there at night, and we used to time our arrival so as to get the first run in soon after dawn. Other cars brought materials and mechanics and were also used as patrols. We had no trouble from the police, however; the noise could not have disturbed many people. Actually the police used to ask when we should be there, for they loved to look on - unofficially.
It was a thrilling sight to see the 200 approaching, thundering down the road, stabs of flame coming from the stub exhaust pipes, the two occupants crouching down on the car and a great plume of dust following behind
I was very lucky to have a few runs on the Flats with Algy, and can say without question they were the biggest thrills I ever experienced on any car, including the big Benz on Brooklands with Hornsted.
I will try and give some idea of what a run on the 200 felt like. Firstly the bucket seat was more bucket than seat - one seemed to be sitting on it, not in it. There being no floorboards, one's feet had to be braced against a cross member of the frame, the right arm stretched out behind Algy gripping the flange at the end of the petrol tank, the left hand engaged with the air pressure pump. Failure to keep up the pressure was a short jump off murder in Algy's opinion! And so you started. Up to about 40 mph the car seemed to be devoid of any springs at all, and one felt shaken to pieces. That period lasted a very few seconds, after which, when on full throttle, the car was not unduly uncomfortable as far as springing went, but the air pressure on one's body was terrific. Remember that the seats were well perched up with absolutely no protection, which made one hang on for dear life.
I remember glancing down between my legs one day, and to see the road passing in one grey-coloured ribbon within inches of one's anatomy made me very hastily look up, but with ugly thoughts of what would happen supposing one's foot slipped off the cross member!
Added H.J. Needham, who subsequently joined the trio in the garage at Datchet: One day somebody bet Algy he would not drive over to Maidenhead and back on the "200". Needless to say, it was a foregone conclusion. The following Sunday, a lovely hot Summer's day, Algy and "Snowball" Whitehead, attired in white flannels, blue "reefer" coats, and straw boaters, fixed themselves firmly in the two bucket seats of the 200, all hands turned out to push, and with a roar and a sheet of flame from the eight stubby open exhausts, and in a cloud of dust, off she went up our lane. Snowball was hanging on like grim death to his seat with one hand (when it was not pumping pressure into the brass cylindrical petrol tank mounted behind the seat) and to the two straw hats with the other! The car had only two speeds forward and NO reverse, was unlicensed, and had no number plates attached!
Algy duly arrived at Maidenhead, turned into the entrance of Skindles Hotel and out again and left into the Bath Road, and drove straight back to Datchet without stopping. By some miracle, no policeman seemed to have seen (or heard!) them, and nothing was ever heard in the way of complaint. The Gents Straw Boaters were donned for the last few hundred yards to and from Skindles, and Algy and Snowball were bowing left and right to the youth and beauty of Maidenhead like royalty!
June 1907 saw more successes for the big Darracq. On 16 June it set a new standing kilometre record at Schveningen (Hague), and the following week at the Saltburn speed trials, on 22 June, Algy Lee Guinness set a new Yorkshire record for the flying kilometre of 111.84 mph over sands awash with water from the heavy rains.
On 20 September the 200-hp Darracq was taken to the newly opened Brooklands track where it was demonstrated to an American enthusiast named Dugald Ross, who had offered to buy the car for £2000, provided that it could reach a speed of 100 mph. Though Algy Lee Guinness made two runs of 112.2 mph and 115.4 mph, the sale fell through, apparently because Ross was too frightened to complete the £2000 deal.
Indeed, Algy Lee Guinness continued to compete with the mighty Darracq at Saltburn during the following two seasons, and on 28 June 1908 he announced that he would not only attempt to beat the national record that he had set the previous year but would try and establish a world record, too. On his second attempt on the flying kilometre he recorded a speed of 121.57 mph to equal the existing world record and set a new British & European record. The event was captured in a dramatic painting illustrated here - by Autocar artist Frederick Gordon Crosby, which created the legend that yards of flame poured from the stub exhausts of the eight-cylinder engine, imperilling the trousers of Bill Lee Guinness, acting mechanic, who had to hold two chronometers all the time.
The Darracq made one final appearance at Saltburn on 26 June 1909, where it recorded fastest time of the day by covering the flying kilometre at 120.25 mph and averaging 118.09 mph over the four runs it made that day.
That was, it seems, the end of the Darracqs competitive career, but it remained in the garage at Datchet until the business closed down, when it was sold. It apparently fell into the hands of a dealer who we understand scrapped the axles and front and rear of the chassis and just retained the power unit in the remaining chassis channels.
Some time later, noted Bunbury, Algy managed to lay hands on the engine, which remained in his workshop for the rest of his life.
When Algy Lee Guinness died in 1954, his widow was determined that the engine should go to a good home. She canvassed expert opinion and the name of Gerald Firkins, who already owned a 1914 16-hp Darracq, was put forward. He already knew of the car and was able to purchase the engine, still mounted with part of the original chassis, from the family in 1956.
He eventually decided to recreate the 200-hp racer, and a slow and painstaking restoration began, using period Darracq components wherever possible, for the car had originally used a production chassis. When the engine was dismantled, it was found to be in surprisingly good condition. Measurements proved that its swept volume, long believed to be 22.5 litres, was actually 25.5 litres. The original crankshaft, con-rods and camshaft were retained, but eight new pistons were cast in 1991, as one of the original 6.7 in diameter cast iron pistons was found to be cracked, apparently a legacy of its final run at Saltburn.
The long-lost two-speed rear axle had to be recreated, for it had no production equivalent: fortunately a drawing of this component was found in a 90-year-old book, which enabled an accurate replica to be made.
The rebuild was advanced enough for the car to be shown as a static exhibit at Shelsley Walsh, Brooklands and Goodwood in 2004-5, and it was virtually finished in time for its centenary on 30 December 2005. It was shown at Retromobile in Paris in February 2006, and was fired up for the first time in 97 years on 1 April 2006, making its first public run on the long drive of Madresfield Court in Worcestershire on 4 July 2006.
Now offered for sale for only the third time in a century, the Darracq is a unique survivor from the heroic age of motor racing awaiting a new custodian to realise its full potential.
Auctioned in 2006 realising £199,500
www.youtube.com/watch?v=4GA7OVONTj4
Waving goodbye at Jule Verne goodbye at the Exposition Universelle of 1889, a World's Fair held in Paris, France during our time travel
.........................original shot @ Time Travel - VIDEOWALL installation "The TimeKeeper created by the fabulous Mr. Broccoli (xadllas.bing)
.............@ Discovery {TimeKeeper}
Discovery is a theme park dedicated to the visionaries: Jules Verne, H.G. Wells and Leonardo Da Vinci. maps.secondlife.com/secondlife/Pangea/242/147/23
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~~~~~~~~~~~~~ ♥
My most grateful THANKS
to all of you, each and everyone !
THANK YOU
your additions, favorites, comments & valuable feedback <3
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Yeah.
Gotta get me some
Gotta get me instant gratification.
Gimme new kicks,
Won't you show me new tricks
Without the ramifications.
Give it a try, don't be shy.
Well you know you might like it.
Never been to keen a timekeeper
But I'm a pure new pleasure seeker.
All the way from Venus.
Invading from Mars.
Don't let that come between us.
It's written in the stars.
Save me from fading afraid.
The tears of a fool on parade.
Quietly turn into stone.
Make me flesh and bone.
Well come on, oh.
You know that you want it now
Well come on, yeah.
You know that you want it and how.
Stimulation in body and cell.
For the good and misguided.
Desperation I'm under your spell.
Misunderstood and derided.
Speculation they kiss and they tell.
Misjudged and misquoted.
Fell into the abyss
I must have wanted this.
Another myth exploded.
Take a weight off your mind.
Trust the voice of experience.
I'll tell you little white lies.
Viva indifference.
Stoke up the fire
I'm all you require.
They won't set you alight.
Come and live your desire.
Come make me whole.
Body and soul, come make me whole ...
“Pure pleasure seeker” by Moloko.
Photo: study on paper
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#mixedmedia #mixedmediaartist #torontophotographer #torontoartist #gay #gaymale #gayphotographer #gayartist #balance #artproject #instaartist #artistsofinstagram #moloko #purepleasureseeker #study
In Cambridge yesterday for the Eastern Track and Field Championships. All races completed as the timekeepers got Damp, Very Wet then dried out by the end of the day
No thunder but drizzle then very heavy rain, more drizzle then for the last hour sunshine.
CC Week 29: Lines
CC July Most Versatile : Moody Tones
An old watch-on-the-wrist picture of my super rare, Seiko 7T59-6A0A quartz chronograph, taken with my PowerShot G11.
This was a gift from an Internet friend of mine who lives in Germany, who owned a few of these models. He did warn me that this watch was a battery guzzler and he was right - as the years went by, it finally got to the point where a new battery literally lasted for less than a month. As it's no longer a reliable timekeeper, I've decided to declare this lovely watch dead. :-(
Seiko no longer made this watch after 1995 and I don't suppose they have the replacement movement anymore.
The most interesting part about this timepiece is that it was the only all-analogue quartz watch in the world that had a chronograph with a resolution of 1/100th of second; and it was amazing to see the 1/10th and 1/100th second hands spin insanely fast.
The 7T59 also has an entertaining "demo" feature, where it spins ALL of the hands for a minute and it's fun to show my friends and strangers that my watch suddenly went crazy. 😁
*Who is Jim and why is he dead?
It's actually a popular catchphrase or meme, made famous by DeForest Kelley's character, Dr Leonard McCoy in the original Star Trek TV series. "Jim" of course, refers to the well known Captain James T. Kirk on the show.
Red Cliff Bridge (also known as the Eagle River Bridge) (to locals it is known as the "Silver Bridge" for it was originally painted silver) is an arch bridge near Red Cliff, Colorado that carries U.S. Highway 24 over the Eagle River and the former Union Pacific Railroad track over Tennessee Pass. It is one of only two steel arch bridges within the entire state and is listed on the National Register of Historic Places.
The bridge was designed by King Burghardt and built in 1940. Construction was difficult, with workers starting with a cantilevered design, sometimes in sub-freezing (below 32 °F) temperatures hanging over a 200 foot drop. Burghardt wrote in his journal, "In the morning, each gang was lifted to its scaffold on a platform hung from the high line. They took their lunches with them and spent the entire day in the air with the winter wind continually blowing up the canyon." The steel erection superintendent for the project was Earl "Doc" Lay of Minneapolis Steel Company. Cliff Prince was the operator of the highline hoisting system. Off and on, Prince was a law student at the University of Utah. C.P. "Chick" Lay and Ray Walton Sr. were Ironworkers on the project from Union Local 27 in Salt Lake City, Utah. Nels Neilson was the timekeeper for the job. N.P. Mettome was the Western Regional V.P. for Minneapolis Steel at the time.
Over the years, the bridge's condition deteriorated, necessitating restoration work, which was completed in November 2004 at a cost of $3.6 million, with approximately half of that coming from the Federal Highway Administration. The bridge deck was replaced and widened and much of the steel was repainted. However, because of the bridge's historic status, care was taken to maintain the visual aesthetic. The rehabilitation effort won the 2005 National Steel Bridge Alliance Prize Bridge Award for Reconstructed Bridge.
The Grade II Listed Winnowsty Cottage, 1 Wragby Road, Lincoln, Lincolnshire.
Built as a house around l800 with attached wall and railings. Early numbering is uncertain. 1881-1885 as 4 Wragby Road Thomas Harrison, joiner; then 2 Wragby Road 1891-1913 John Camamile, foundryman, storekeeper and timekeeper. As 1 Wragby Road, at some time in the 20th century it became the caretaker’s cottage for St Marys School, 5 Pottergate, followed by temporary use as the Nursery School in 1970; 2011 crèche. St Marys School has since then joined together with Lincoln Minster School.
La Nuit blanche au CCOV - Le Short & Sweet Recyclé XXL - Montréal en Lumière - Nuit blanche à Montréal
www.facebook.com/events/595364667984478
www.facebook.com/CCOVmtl / ccov.org
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LE SHORT & SWEET RECYCLÉ XXL : UNE VERSION AMPLIFIÉE DE L’ÉVÉNEMENT DÉSORMAIS LÉGENDAIRE!
Lors de cette 17e édition de la Nuit blanche, le CCOV donne les rênes à son commissaire artistique invité, Andrew Tay, et à sa collaboratrice de longue date, Sasha Kleinplatz, pour recréer un événement bien connu du milieu de la danse : le Short & Sweet. Les artistes invités ont carte blanche pour présenter un extrait de leur travail, tant que celui-ci dure moins de trois minutes! Un chronométreur est sur place, et toute pièce dépassant le temps alloué est immédiatement arrêtée. À l’occasion de la Nuit blanche, cette activité prendra des proportions exceptionnelles : effectivement, c’est une quarantaine d’interprètes qui fouleront le plancher de danse du CCOV lors de cette soirée!
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THE RECYCLED XXL SHORT AND SWEET: AN AUGMENTED VERSION OF THE NOW LEGENDARY EVENT!
For this 17th edition of the Nuit blanche, the CCOV will give free rein to their Guest Artistic Curator Andrew Tay and his long-time collaborator, Sasha Kleinplatz, to recreate a well-known event in the dance community: The Short & Sweet. Guest artists will be given complete freedom to present an excerpt of their work, as long as it lasts under three minutes! A timekeeper will be on site, and any work exceeding the allotted time will be immediately stopped. During this Nuit blanche, the event will take on exceptional proportions: about forty performers will take over the CCOV’s dance floor during the evening!
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Les artistes invité.e.s / the guest artists: Sydney McManus, Jean Bui, Kimberley De Jong, Peter Trosztmer, Bettina Szabo, Alexandre Morin, Hanna Sybille Müller, Maria Kefirova, Stacey Désilier, Collin Jossua Dufour, Lina Cruz, Ivanie Aubin-Malo, Winnie Ho, Justin de Luna, Lucy May, Christopher Willes, Sovann Rochon-Prom Tep, Matéo Chauchat, Liliane Moussa, Nicolas Patry, Silvia Sanchez, Zoë Vos, Bill Coleman, Nasim Lootij, Brice Noeser, Maxine Segalowitz, Geneviève Duong, Emile Pineault, Emmalie Ruest, Alexia Martel, Michael Martini, Nien Tzu Weng, KG Guttman, Jordan Brown, Nicholas Bellefleur, Alexis O’Hara, Burcu Emeç, Roxa Hy, Shanyça Elie-Leconte, Scott McCabe, Samantha Shayla Hinds et plus encore / and more!
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Lors de cette 17e édition de la Nuit blanche à Montréal / Montréal en Lumière, le CCOV donne les rênes à son commissaire artistique invité, Andrew Tay, et à sa collaboratrice de longue date, Sasha Kleinplatz, pour recréer un événement bien connu du milieu de la danse : le Short & Sweet. Les artistes invités ont carte blanche pour présenter un extrait de leur travail, tant que celui-ci dure moins de trois minutes! Un chronométreur est sur place, et toute pièce dépassant le temps alloué est immédiatement arrêtée. À l’occasion de la Nuit blanche, cette activité prendra des proportions exceptionnelles: effectivement, c’est une quarantaine d’interprètes qui fouleront le plancher de danse du CCOV lors de cette soirée!
Pour intégrer le thème du vert, nous demandons aux artistes invité.e.s de reprendre une idée, un accessoire, un élément de leur travail avec lequel ils/elles ont déjà travaillé dans le passé. L’objectif : réinventer sans gaspiller!
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For this 17th edition of the Nuit blanche à Montréal / Montréal en Lumière, CCOV Guest Artistic Curator Andrew Tay and his long-time collaborator, Sasha Kleinplatz will recreate their well-known event: Short&Sweet. Invited artists are free to present whatever they wish, as long as it lasts under three minutes! A timekeeper will be on site, and any work exceeding the allotted time will be immediately stopped. Especially for Nuit blanche, the event will be bigger than ever, with about forty performers taking over the CCOV’s dance floor during the evening!
To integrate Nuit blanche's "green" theme, invited artists are challenged to reuse an idea, an accessory, or an element from their past work to create a totally new performance. The goal: reinventing without wasting!
===
Canada Council for the Arts | Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal.
#bringingtheartstolife #lartaucoeurdenosvies #nuitblanchemtl #nbmtl #MTLenLumiere
The universe operates through dynamic exchange… giving and receiving are different aspects of the flow of energy in the universe. and in our willingness to give that which we seek, we keep the abundance of the universe circulating in our lives. - Deepak Chopra
---------------
Our Daily Challenge
"TIMEKEEPING"
I Believe In Magic
Day 18...'Giving and Receiving'
--------------
In this photograph is a South Bend watch movement that I will overhaul and once again have it as a 'Timekeeper'.
The movement is:
-Model 2
-16 size
-3/4 plate
-Hunting case
-Lever set
-17 jewel
-Adjusted for temperature
*Notice the ornate 'Damaskeening' on the plates, balance bridge, and winding wheels...
The serial number gives it a production date of 1904.
The dial is ivory porcelain with an ornate gilt design.
I used the back of a 19th century wooden panel that a tall ship painting is on for a background.
This derelict Bristol K was new to Western National as their 881 (HOD 8). It is seen at Silloth Airfield in Cumberland (now Cumbria) 9/73.
'Twiname' were a West Cumbrian House Builder. It is thought that this bus was used as a site office before it moved to Silloth Airfield.
The bus was bought and used by the Solway Motor Cycle Racing Club who had their racing track at Silloth Airfield which took place in the 60's and 70's. It was placed at the start/finish line for the timekeepers and officials.
(Thanks to Diana for this last paragraph).
When aquired the bus was RED.. and was then painted in a version of British Racing Green (it's very faded in this photo..) sometime in 1967/68..it was certainly a winter project because I was the poor fool who got the job. The black and white checker banding was meant to reflect the checkered flag at the finishing line.. my idea and I got to paint that too.. I was 17/18.. no more sense..! Sadly, as the airfield was largely unattended for most of the time, the bus suffered at the hands of the local yoofs who had a good time presumably.
(Thanks to Bill Ferry, Carlisle for this paragraph)
Wonderful actor best known for his role as the patriarch and creator of Jabott Perfumes, John Abbott, on the daytime tv show The Young And The Restless.
Jerry Douglas was born on November 12, 1932, in Chelsea, Massachusetts, USA as Gerald Rubenstein. He was an actor, known for The Young and the Restless (1973), JFK (1991), and Good Guys Wear Black (1978). He was married to Kym Douglas and Arlene Martel. He died on November 9, 2021, in Los Angeles, California, USA.
Here are his credits from imdb:
The Young and the Restless
John Abbott / Alistair Wallingford / Self
(1981-2020)
JFK
Board Room Man
(1991)
Good Guys Wear Black
Joe Walker - The Black Tigers
(1978)
Quincy M.E.
Johnson
(1977)
Actor
The Final Show
(2016)
The Young and the Restless
John Abbott
(1981-2016)
Silent But Deadly
Captain
(2012)
The Back-up Bride
Uncle Billy Bob
(2011)
Cold Case
Eugene 'Skip' Robertson - 2007
(2007)
Melrose Place
Mr. Damarr
(1999)
The Christmas Wish
Mr. Askou
(1998)
The Godson
Freddie Green
(1998)
JFK
Board Room Man
(1991)
Hunter
Mike Murdoch
(1989)
The Greatest American Hero
Jack Martel
(1982)
A Wedding on Walton's Mountain
(1982)
This Is the Life
Williams
(1981)
r
Looker
Laxative Spokesman
(1981)
Mommie Dearest
Radio Interviewer
(1981)
House Calls
Sgt. Ed Fox
(1981)
Barnaby Jones
Paul Ramsey
(1973-1980)
Eischied
(1979)
The Rockford Files
Al Haluska
(1978-1979)
Police Story
Investigator Johnson
(1976-1979)
The Incredible Hulk
Frank Malone
(1979)
Crash
Miami Approach Controller
(1978)
Avalanche
Phil Prentiss
(1978)
Lucan
Yates
(1978)
Good Guys Wear Black
Joe Walker - The Black Tigers
(1978)
Richie Brockelman, Private Eye
Alex Farmer
(1978)
The Feather and Father Gang
Dorsey
(1977)
Cover Girls
Fritz Porter
(1977)
Quincy M.E.
Johnson
(1977)
Most Wanted
Ross Shaeffer
(1977)
The Streets of San Francisco
Ethan Prince
(1974-1976)
The Quest
Jensen
(1976)
The Secrets of Isis
Inspector Bryce
(1976)
Police Woman
Leo Patri
(1976)
The Bionic Woman
Connors
(1976)
Brinks: The Great Robbery
Dennis Fisher
(1976)
The Blue Knight
Timekeeper
(1976)
S.W.A.T.
Ryan
(1975)
Bronk
Ritt
(1975)
The Wide World of Mystery
Ward
(1975)
The Dead Don't Die
Ralph Drake
(1975)
The Rookies
Red Tivoli
(1974)
Harry O
Dave Struder
(1974)
The Manhunter
Proctor
(1974)
The F.B.I.
Agent Munger
(1967-1973)
Steve Perry
(1973)
Hunter
General Rollins
(1973)
Mission: Impossible
Danny Moore
(1970-1972)
Travis Logan, D.A.
Officer Francis Erwin
(1971)
Dan August
Stan Palmer
(1971)
Mannix
Lt. Mitch Webster
(1969-1971)
Ironside
Carl Fenton
(1970)
Land of the Giants
Fielder
(1969)
Bonanza
Jeremiah
(1967)
Gunn
Dave Corwin
(1967)
Dragnet 1967
Sgt. Eugene Zappey
(1967)
Gunsmoke
Clark
(1965)
Harlow
Bit Role
(1965)
Broadside
Seaman Curly Smith
(1964)
The Rogues
Harcourt
(1964)
Bob Hope Presents the Chrysler Theatre
Lieutenant
(1964)
Combat!
Kohler
(1964)
Arrest and Trial
Howard Aubrey
(1964)
The Outer Limits
Tom Evans
(1963)
Black Zoo
Perkins - Lab Technician
(1963)
Empire
LeRoy
(1963)
The Donna Reed Show
Officer Larson
(1963)
The Untouchables
Officer Harrison
(1963)
Shannon
Larry Engstrom
(1962)
Blast of Silence
Gangster
(1961)
Archive footage
Morning Express with Robin Meade
(2021)
Home & Family
(2019-2021)
The Young and the Restless
(1999-2020)
All Filmography
Videos
Silent But Deadly
Did You Know
Trivia
He was a lifelong liberal Democrat.
Star Sign
Scorpio
Personal Details
Born
Gerald Rubenstein
November 12, 1932
Chelsea, Massachusetts, USA
Died
November 9, 2021 (age 88)
Los Angeles, California, USA
Height: 5' 11" (1.8 m)
Related News
11 November 2021 | TVfanatic
Jerry Douglas Dies; Young and the Restless Star Was 88
11 November 2021 | TV Insider
Jerry Douglas, Longtime Star of ‘Young and the Restless’, Dies at 88
11 November 2021 | Variety
Jerry Douglas, Longtime Star of ‘The Young and the Restless,’ Dies at 88
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La Nuit blanche au CCOV - Le Short & Sweet Recyclé XXL - Montréal en Lumière - Nuit blanche à Montréal
www.facebook.com/events/595364667984478
www.facebook.com/CCOVmtl / ccov.org
---
LE SHORT & SWEET RECYCLÉ XXL : UNE VERSION AMPLIFIÉE DE L’ÉVÉNEMENT DÉSORMAIS LÉGENDAIRE!
Lors de cette 17e édition de la Nuit blanche, le CCOV donne les rênes à son commissaire artistique invité, Andrew Tay, et à sa collaboratrice de longue date, Sasha Kleinplatz, pour recréer un événement bien connu du milieu de la danse : le Short & Sweet. Les artistes invités ont carte blanche pour présenter un extrait de leur travail, tant que celui-ci dure moins de trois minutes! Un chronométreur est sur place, et toute pièce dépassant le temps alloué est immédiatement arrêtée. À l’occasion de la Nuit blanche, cette activité prendra des proportions exceptionnelles : effectivement, c’est une quarantaine d’interprètes qui fouleront le plancher de danse du CCOV lors de cette soirée!
---
THE RECYCLED XXL SHORT AND SWEET: AN AUGMENTED VERSION OF THE NOW LEGENDARY EVENT!
For this 17th edition of the Nuit blanche, the CCOV will give free rein to their Guest Artistic Curator Andrew Tay and his long-time collaborator, Sasha Kleinplatz, to recreate a well-known event in the dance community: The Short & Sweet. Guest artists will be given complete freedom to present an excerpt of their work, as long as it lasts under three minutes! A timekeeper will be on site, and any work exceeding the allotted time will be immediately stopped. During this Nuit blanche, the event will take on exceptional proportions: about forty performers will take over the CCOV’s dance floor during the evening!
---
Les artistes invité.e.s / the guest artists: Sydney McManus, Jean Bui, Kimberley De Jong, Peter Trosztmer, Bettina Szabo, Alexandre Morin, Hanna Sybille Müller, Maria Kefirova, Stacey Désilier, Collin Jossua Dufour, Lina Cruz, Ivanie Aubin-Malo, Winnie Ho, Justin de Luna, Lucy May, Christopher Willes, Sovann Rochon-Prom Tep, Matéo Chauchat, Liliane Moussa, Nicolas Patry, Silvia Sanchez, Zoë Vos, Bill Coleman, Nasim Lootij, Brice Noeser, Maxine Segalowitz, Geneviève Duong, Emile Pineault, Emmalie Ruest, Alexia Martel, Michael Martini, Nien Tzu Weng, KG Guttman, Jordan Brown, Nicholas Bellefleur, Alexis O’Hara, Burcu Emeç, Roxa Hy, Shanyça Elie-Leconte, Scott McCabe, Samantha Shayla Hinds et plus encore / and more!
---
Lors de cette 17e édition de la Nuit blanche à Montréal / Montréal en Lumière, le CCOV donne les rênes à son commissaire artistique invité, Andrew Tay, et à sa collaboratrice de longue date, Sasha Kleinplatz, pour recréer un événement bien connu du milieu de la danse : le Short & Sweet. Les artistes invités ont carte blanche pour présenter un extrait de leur travail, tant que celui-ci dure moins de trois minutes! Un chronométreur est sur place, et toute pièce dépassant le temps alloué est immédiatement arrêtée. À l’occasion de la Nuit blanche, cette activité prendra des proportions exceptionnelles: effectivement, c’est une quarantaine d’interprètes qui fouleront le plancher de danse du CCOV lors de cette soirée!
Pour intégrer le thème du vert, nous demandons aux artistes invité.e.s de reprendre une idée, un accessoire, un élément de leur travail avec lequel ils/elles ont déjà travaillé dans le passé. L’objectif : réinventer sans gaspiller!
---
For this 17th edition of the Nuit blanche à Montréal / Montréal en Lumière, CCOV Guest Artistic Curator Andrew Tay and his long-time collaborator, Sasha Kleinplatz will recreate their well-known event: Short&Sweet. Invited artists are free to present whatever they wish, as long as it lasts under three minutes! A timekeeper will be on site, and any work exceeding the allotted time will be immediately stopped. Especially for Nuit blanche, the event will be bigger than ever, with about forty performers taking over the CCOV’s dance floor during the evening!
To integrate Nuit blanche's "green" theme, invited artists are challenged to reuse an idea, an accessory, or an element from their past work to create a totally new performance. The goal: reinventing without wasting!
===
Canada Council for the Arts | Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal.
#bringingtheartstolife #lartaucoeurdenosvies #nuitblanchemtl #nbmtl #MTLenLumiere
I was drawn to this moment of pure concentration and craftsmanship. Watching this watchmaker examine a timepiece through his loupe, I wanted to capture the essence of traditional artisanship that's becoming increasingly rare in our digital world.
I have stated this before, but these Tomorrowland Trees are one of my favorite little details in the Magic Kingdom. While I think they look much better at night (those shots to come...), I though it would be neat to capture a multi-exposure HDR during the day. Easier said than done. Even with the Tokina 11-16 at 11mm, I had to get down on my hands and knees to get this shot. I couldn't do this too long, as the 94 degree heat made the pavement burn my hands and knees. I finally got a decent three shots, and guess what, my multi-exposure HDR processing skills are fully undeveloped. I had never done it before. I tried it in both Photoshop CS3 (with the automerge function) and in Dynamic Photo HDR (which required me to align...at which I was quite unsuccessful) all to no avail. So I ended up just processing this with my typical non-HDR techniques. I think it turned out well enough, but if anyone knows of any good multi-exposure HDR tutorials that they could point me towards, I would appreciate it. It would be a shame to just ignore all of the bracketed shooting I did this trip.
In other Tomorrowland news today, a video has been posted of a new lighting scheme for one of my favorite attractions, the Tomorrowland Transit Authority. I didn't expect a whole lot to occur during this refurbishment (although some new little scenes would be nice!), so this was a bit of pleasant surprise. Let's hope they have it tweaked a bit for the re-opening, which as far as I know, is still September 1st!
If you want tips for taking better photos at Disney, read this article! In it, I share advice applicable for everyone (from amateurs with iPhones to pros with DSLRS) heading to Disney!
View my Disney Photo Gallery for thousands of Disney photos that aren't on Flickr!
DisneyTouristBlog | Facebook | Twitter | Photo Gallery | Google+ | ISO 5571 - Podcast
-> Like & follow me: Google+ | Facebook | Twitter | My Blog
It's crazy how much my day-to-day life has changed in the 3 weeks since I started this 365 project. I went from taking a few snaps every now and then... to spending basically every spare second either thinking about photography, or frantically writing down ideas/sketches in my notebook, or keeping an eye out for interesting locations, or planning my next shoot, or researching lighting/flash tutorials.
If anyone's thinking of doing a 365 project themselves... DO IT! Don't even take a second to think it over; just jump in and do it RIGHT NOW :) On that note, have any of you lovely people tried a 365 yourself? Would love to see the results - post your links!
Big Ben is the nickname for the Great Bell of the clock at the north end of the Palace of Westminster in London and is usually extended to refer to both the clock and the clock tower as well. The tower is officially known as Elizabeth Tower, renamed to celebrate the Diamond Jubilee of Elizabeth II in 2012; previously, it was known simply as the Clock Tower.
When completed in 1859, it was, says clockmaker Ian Westworth, “the prince of timekeepers: the biggest, most accurate four-faced striking and chiming clock in the world.” The tower had its 150th anniversary on 31 May 2009, during which celebratory events took place.
A British cultural icon, the tower is one of the most prominent symbols of the United Kingdom and is often in the establishing shot of films set in London
La Nuit blanche au CCOV - Le Short & Sweet Recyclé XXL - Montréal en Lumière - Nuit blanche à Montréal
www.facebook.com/events/595364667984478
www.facebook.com/CCOVmtl / ccov.org
---
LE SHORT & SWEET RECYCLÉ XXL : UNE VERSION AMPLIFIÉE DE L’ÉVÉNEMENT DÉSORMAIS LÉGENDAIRE!
Lors de cette 17e édition de la Nuit blanche, le CCOV donne les rênes à son commissaire artistique invité, Andrew Tay, et à sa collaboratrice de longue date, Sasha Kleinplatz, pour recréer un événement bien connu du milieu de la danse : le Short & Sweet. Les artistes invités ont carte blanche pour présenter un extrait de leur travail, tant que celui-ci dure moins de trois minutes! Un chronométreur est sur place, et toute pièce dépassant le temps alloué est immédiatement arrêtée. À l’occasion de la Nuit blanche, cette activité prendra des proportions exceptionnelles : effectivement, c’est une quarantaine d’interprètes qui fouleront le plancher de danse du CCOV lors de cette soirée!
---
THE RECYCLED XXL SHORT AND SWEET: AN AUGMENTED VERSION OF THE NOW LEGENDARY EVENT!
For this 17th edition of the Nuit blanche, the CCOV will give free rein to their Guest Artistic Curator Andrew Tay and his long-time collaborator, Sasha Kleinplatz, to recreate a well-known event in the dance community: The Short & Sweet. Guest artists will be given complete freedom to present an excerpt of their work, as long as it lasts under three minutes! A timekeeper will be on site, and any work exceeding the allotted time will be immediately stopped. During this Nuit blanche, the event will take on exceptional proportions: about forty performers will take over the CCOV’s dance floor during the evening!
---
Les artistes invité.e.s / the guest artists: Sydney McManus, Jean Bui, Kimberley De Jong, Peter Trosztmer, Bettina Szabo, Alexandre Morin, Hanna Sybille Müller, Maria Kefirova, Stacey Désilier, Collin Jossua Dufour, Lina Cruz, Ivanie Aubin-Malo, Winnie Ho, Justin de Luna, Lucy May, Christopher Willes, Sovann Rochon-Prom Tep, Matéo Chauchat, Liliane Moussa, Nicolas Patry, Silvia Sanchez, Zoë Vos, Bill Coleman, Nasim Lootij, Brice Noeser, Maxine Segalowitz, Geneviève Duong, Emile Pineault, Emmalie Ruest, Alexia Martel, Michael Martini, Nien Tzu Weng, KG Guttman, Jordan Brown, Nicholas Bellefleur, Alexis O’Hara, Burcu Emeç, Roxa Hy, Shanyça Elie-Leconte, Scott McCabe, Samantha Shayla Hinds et plus encore / and more!
---
Lors de cette 17e édition de la Nuit blanche à Montréal / Montréal en Lumière, le CCOV donne les rênes à son commissaire artistique invité, Andrew Tay, et à sa collaboratrice de longue date, Sasha Kleinplatz, pour recréer un événement bien connu du milieu de la danse : le Short & Sweet. Les artistes invités ont carte blanche pour présenter un extrait de leur travail, tant que celui-ci dure moins de trois minutes! Un chronométreur est sur place, et toute pièce dépassant le temps alloué est immédiatement arrêtée. À l’occasion de la Nuit blanche, cette activité prendra des proportions exceptionnelles: effectivement, c’est une quarantaine d’interprètes qui fouleront le plancher de danse du CCOV lors de cette soirée!
Pour intégrer le thème du vert, nous demandons aux artistes invité.e.s de reprendre une idée, un accessoire, un élément de leur travail avec lequel ils/elles ont déjà travaillé dans le passé. L’objectif : réinventer sans gaspiller!
---
For this 17th edition of the Nuit blanche à Montréal / Montréal en Lumière, CCOV Guest Artistic Curator Andrew Tay and his long-time collaborator, Sasha Kleinplatz will recreate their well-known event: Short&Sweet. Invited artists are free to present whatever they wish, as long as it lasts under three minutes! A timekeeper will be on site, and any work exceeding the allotted time will be immediately stopped. Especially for Nuit blanche, the event will be bigger than ever, with about forty performers taking over the CCOV’s dance floor during the evening!
To integrate Nuit blanche's "green" theme, invited artists are challenged to reuse an idea, an accessory, or an element from their past work to create a totally new performance. The goal: reinventing without wasting!
===
Canada Council for the Arts | Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal.
#bringingtheartstolife #lartaucoeurdenosvies #nuitblanchemtl #nbmtl #MTLenLumiere
Construction staff of the Tyne bridge, employed by Dorman Long & Co. Ltd, 2 March 1928 (TWAM ref. 3730/15/14). The men are identified below.
standing left to right: J. Morgan (Foreman Mason), W. Kingston (Cashier), K. Addison (General Foreman), F. Conaron (Chief Timekeeper), F. Atkinson (Chief Storekeeper).
seated left to right: O.T.R. Leishman (Engineer 2), J. Geddie (Chief Assistant), J. Ruck (Agent), G.I.B. Gowring (Engineer 1), E.W.C. Symes (Engineer 3), W. Pattison (Foremen Carpenter).
seated on ground: F.D.S. Sandeman (Junior).
The Tyne Bridge is one of the North East’s most iconic landmarks. These photographs were taken by James Bacon & Sons of Newcastle and document its construction from March 1927 to October 1928. They belonged to James Geddie, who was Chief Assistant Engineer on the construction of the Bridge with Dorman, Long & Co. Ltd. of Middlesbrough.
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
This is a copyright photo. If you wish to purchase this photo or any other of my fine art prints, please visit my website at; www.jerryfornarotto.artistwebsites.com
H4 (Royal Museums Greenwich):
www.rmg.co.uk/collections/objects/rmgc-object-79142
Longitude found: the story of Harrison's clocks
(Royal Museums Greenwich)
www.rmg.co.uk/stories/topics/harrisons-clocks-longitude-p...
Longitude, by Dave Sobel (author's web site):
www.davasobel.com/books-by-dava-sobel/longitude
John Harrison and the Longitude Problem
(U.S. Naval Institute / Naval History Magazine):
www.usni.org/magazines/naval-history-magazine/2019/octobe...
Royal Observatory, Greenwich (Museum site):
www.rmg.co.uk/royal-observatory
Royal Observatory, Greenwich (Wikipedia):
en.wikipedia.org/wiki/Royal_Observatory,_Greenwich
NEF file processed with DxO PhotoLab 6
Photo Copyright 2012, dynamo.photography.
All rights reserved, no use without license
++++++ from Wikipedia +++++++++
Hagia Sophia (/ˈhɑːɡiə soʊˈfiːə/; from the Greek: Αγία Σοφία, pronounced [aˈʝia soˈfia], "Holy Wisdom"; Latin: Sancta Sophia or Sancta Sapientia; Turkish: Ayasofya) was a Greek Orthodox Christian patriarchal basilica (church), later an imperial mosque, and is now a museum (Ayasofya Müzesi) in Istanbul, Turkey. The Roman Empire's first Christian Cathedral, from the date of its construction in 537 AD, and until 1453, it served as an Eastern Orthodox cathedral and seat of the Patriarch of Constantinople,[1] except between 1204 and 1261, when it was converted by the Fourth Crusaders to a Roman Catholic cathedral under the Latin Empire. The building was later converted into an Ottoman mosque from 29 May 1453 until 1931. It was then secularized and opened as a museum on 1 February 1935.[2] Famous in particular for its massive dome, it is considered the epitome of Byzantine architecture[3] and is said to have "changed the history of architecture".[4] It remained the world's largest cathedral for nearly a thousand years, until Seville Cathedral was completed in 1520.
The current building was originally constructed as a church between 532 and 537 on the orders of the Byzantine Emperor Justinian I and was the third Church of the Holy Wisdom to occupy the site, the previous two having been destroyed by rioters. It was designed by the Greek geometers Isidore of Miletus and Anthemius of Tralles.[5] The church was dedicated to the Wisdom of God, the Logos, the second person of the Trinity,[6] its patronal feast taking place on 25 December, the commemoration of the birth of the incarnation of the Logos in Christ.[6] Although sometimes referred to as Sancta Sophia (as though it were named after Sophia the Martyr), sophia being the phonetic spelling in Latin of the Greek word for wisdom, its full name in Greek is Ναὸς της Αγίας τοῦ Θεού Σοφίας, Naos tēs Hagias tou Theou Sophias, "Shrine of the Holy Wisdom of God".[7][8] The church contained a large collection of relics and featured, among other things, a 15-metre (49 ft) silver iconostasis.[citation needed] The focal point of the Eastern Orthodox Church for nearly one thousand years, the building witnessed the excommunication of Patriarch Michael I Cerularius on the part of Humbert of Silva Candida, the papal envoy of Pope Leo IX in 1054, an act that is commonly considered the start of the East–West Schism.
In 1453, Constantinople was conquered by the Ottoman Empire under Mehmed the Conqueror, who ordered this main church of Orthodox Christianity converted into a mosque. Although some parts of the city of Constantinople were falling into disrepair, the cathedral was maintained with an amount of money set aside for this purpose. Nevertheless, the Christian cathedral made a strong impression on the new Ottoman rulers and they decided to convert it into a mosque.[9][10] The bells, altar, iconostasis, and other relics were destroyed and the mosaics depicting Jesus, his Mother Mary, Christian saints and angels were also destroyed or plastered over. Islamic features—such as the mihrab, minbar, and four minarets—were added. It remained a mosque until 1931, when it was closed to the public for four years. It was re-opened in 1935 as a museum by the Republic of Turkey. Hagia Sophia was, as of 2014, the second-most visited museum in Turkey, attracting almost 3.3 million visitors annually.[11] According to data released by the Turkish Culture and Tourism Ministry, Hagia Sophia was Turkey's most visited tourist attraction in 2015.[12]
From its initial conversion until the construction of the nearby Sultan Ahmed Mosque (Blue Mosque of Istanbul) in 1616, it was the principal mosque of Istanbul. The Byzantine architecture of the Hagia Sophia served as inspiration for many other Ottoman mosques, such as the aforementioned mosque, the Şehzade Mosque, the Süleymaniye Mosque, the Rüstem Pasha Mosque and the Kılıç Ali Pasha Complex.
Contents
1 History
1.1 Church of Constantius II
1.2 Church of Theodosius II
1.3 Basilica of the Hagia Sophia (current structure)
1.4 Mosque (1453–1935)
1.4.1 Renovation of 1847
1.5 Museum (1935–present)
2 Architecture
2.1 Narthex and portals
2.2 Upper Gallery
2.3 Dome
2.4 Minarets
3 Notable elements and decorations
3.1 Loge of the Empress
3.2 Lustration urns
3.3 Marble Door
3.4 Wishing column
3.5 Mosaics
3.5.1 19th-century restoration
3.5.2 20th-century restoration
3.5.3 Imperial Gate mosaic
3.5.4 Southwestern entrance mosaic
3.5.5 Apse mosaics
3.5.6 Emperor Alexander mosaic
3.5.7 Empress Zoe mosaic
3.5.8 Comnenus mosaic
3.5.9 Deësis mosaic
3.5.10 Northern tympanum mosaics
4 Other burials
5 Gallery
6 See also
7 References
8 Bibliography
9 Further reading
9.1 Articles
9.2 Mosaics
10 External links
History
Church of Constantius II
The first church on the site was known as the Μεγάλη Ἐκκλησία (Megálē Ekklēsíā, "Great Church"), or in Latin "Magna Ecclesia",[13][14] because of its larger dimensions in comparison to the contemporary churches in the City.[6] Inaugurated on 15 February 360 (during the reign of Constantius II) by the Arian bishop Eudoxius of Antioch,[15] it was built next to the area where the imperial palace was being developed. The nearby Hagia Eirene ("Holy Peace") church was completed earlier and served as cathedral until the Great Church was completed. Both churches acted together as the principal churches of the Byzantine Empire.
Writing in 440, Socrates of Constantinople claimed that the church was built by Constantius II, who was working on it in 346.[15] A tradition which is not older than the 7th or 8th century, reports that the edifice was built by Constantine the Great.[15] Zonaras reconciles the two opinions, writing that Constantius had repaired the edifice consecrated by Eusebius of Nicomedia, after it had collapsed.[15] Since Eusebius was bishop of Constantinople from 339 to 341, and Constantine died in 337, it seems possible that the first church was erected by the latter.[15] The edifice was built as a traditional Latin colonnaded basilica with galleries and a wooden roof. It was preceded by an atrium. It was claimed to be one of the world's most outstanding monuments at the time.
The Patriarch of Constantinople John Chrysostom came into a conflict with Empress Aelia Eudoxia, wife of the emperor Arcadius, and was sent into exile on 20 June 404. During the subsequent riots, this first church was largely burned down.[15] Nothing remains of the first church today.
Church of Theodosius II
A second church on the site was ordered by Theodosius II, who inaugurated it on 10 October 415. The basilica with a wooden roof was built by architect Rufinus. A fire started during the tumult of the Nika Revolt and burned the second Hagia Sophia to the ground on 13–14 January 532.
Several marble blocks from the second church survive to the present; among them are reliefs depicting 12 lambs representing the 12 apostles. Originally part of a monumental front entrance, they now reside in an excavation pit adjacent to the museum's entrance after they were discovered in 1935 beneath the western courtyard by A. M. Schneider. Further digging was forsaken for fear of impinging on the integrity of the building.
Remains of the second Hagia Sophia
Basilica of the Hagia Sophia (current structure)
Hagia Sophia
Construction of church depicted in codex Manasses Chronicle (14th century)
On 23 February 532, only a few weeks after the destruction of the second basilica, Emperor Justinian I decided to build a third and entirely different basilica, larger and more majestic than its predecessors.
Justinian chose physicist Isidore of Miletus and mathematician Anthemius of Tralles as architects; Anthemius, however, died within the first year of the endeavor. The construction is described in the Byzantine historian Procopius' On Buildings (Peri ktismatōn, Latin: De aedificiis). Columns and other marbles were brought from all over the empire, throughout the Mediterranean. The idea of these columns being spoils from cities such as Rome and Ephesus is a later invention.[16] Even though they were made specifically for Hagia Sophia, the columns show variations in size.[17] More than ten thousand people were employed. This new church was contemporaneously recognized as a major work of architecture. The theories of Heron of Alexandria may have been utilized to address the challenges presented by building such an expansive dome over so large a space.[citation needed] The emperor, together with the Patriarch Menas, inaugurated the new basilica on 27 December 537 – 5 years and 10 months after construction start – with much pomp.[18][19][20] The mosaics inside the church were, however, only completed under the reign of Emperor Justin II (565–578).
Hagia Sophia was the seat of the Orthodox patriarch of Constantinople and a principal setting for Byzantine imperial ceremonies, such as coronations. Like other churches throughout Christendom, the basilica offered sanctuary from persecution to outlaws.
Earthquakes in August 553 and on 14 December 557 caused cracks in the main dome and eastern half-dome. The main dome collapsed completely during a subsequent earthquake on 7 May 558,[21] destroying the ambon, altar, and ciborium. The collapse was due mainly to the unfeasibly high bearing load and to the enormous shear load of the dome, which was too flat.[18] These caused the deformation of the piers which sustained the dome.[18] The emperor ordered an immediate restoration. He entrusted it to Isidorus the Younger, nephew of Isidore of Miletus, who used lighter materials and elevated the dome by "30 feet"[18] (about 6.25 meters or 20.5 feet)[clarification needed] – giving the building its current interior height of 55.6 meters (182 ft).[22] Moreover, Isidorus changed the dome type, erecting a ribbed dome with pendentives, whose diameter lay between 32.7 and 33.5 m.[18] Under Justinian's orders, eight Corinthian columns were disassembled from Baalbek, Lebanon, and shipped to Constantinople around 560.[23] This reconstruction, giving the church its present 6th-century form, was completed in 562. The Byzantine poet Paul the Silentiary composed a long epic poem (still extant), known as Ekphrasis, for the rededication of the basilica presided over by Patriarch Eutychius on 23 December 562.
The vaulting of the nave. (annotations)
In 726, the emperor Leo the Isaurian issued a series of edicts against the veneration of images, ordering the army to destroy all icons – ushering in the period of Byzantine iconoclasm. At that time, all religious pictures and statues were removed from the Hagia Sophia. After a brief reprieve under Empress Irene (797–802), the iconoclasts made a comeback. The Emperor Theophilus (829–842) had two-winged bronze doors with his monograms installed at the southern entrance of the church.
The basilica suffered damage, first in a great fire in 859, and again in an earthquake on 8 January 869, that made one of the half-domes collapse. Emperor Basil I ordered the church repaired.
After the great earthquake of 25 October 989, which collapsed the Western dome arch, Emperor Basil II asked for the Armenian architect Trdat, creator of the cathedrals of Ani and Argina, to direct the repairs.[24] He erected again and reinforced the fallen dome arch, and rebuilt the west side of the dome with 15 dome ribs.[25] The extent of the damage required six years of repair and reconstruction; the church was re-opened on 13 May 994. At the end of the reconstruction, the church's decorations were renovated, including the addition of four immense paintings of cherubs; a new depiction of Christ on the dome; a burial cloth of Christ shown on Fridays, and on the apse a new depiction of the Virgin Mary holding Jesus, between the apostles Peter and Paul.[26] On the great side arches were painted the prophets and the teachers of the church.[26]
In his book De caerimoniis aulae Byzantinae ("Book of Ceremonies"), Emperor Constantine VII (913–919) wrote a detailed account of the ceremonies held in the Hagia Sophia by the emperor and the patriarch.
Upon the capture of Constantinople during the Fourth Crusade, the church was ransacked and desecrated by the Crusaders, as described by the Byzantine historian Niketas Choniates. During the Latin occupation of Constantinople (1204–1261) the church became a Roman Catholic cathedral. Baldwin I of Constantinople was crowned emperor on 16 May 1204 in Hagia Sophia, at a ceremony which closely followed Byzantine practices. Enrico Dandolo, the Doge of Venice who commanded the sack and invasion of the city by the Latin Crusaders in 1204, is buried inside the church, probably in the upper Eastern gallery. In the 19th century an Italian restoration team placed a cenotaph marker near the probable location, which is still visible today. The marker is frequently mistaken by tourists as being a medieval marker of the actual tomb of the doge. The real tomb was destroyed by the Ottomans after the conquest of Constantinople in 1453 and subsequent conversion of Hagia Sophia into a mosque.[27]
After the recapture in 1261 by the Byzantines, the church was in a dilapidated state. In 1317, emperor Andronicus II ordered four new buttresses (Pyramídas, Greek: "Πυραμίδας") to be built in the eastern and northern parts of the church, financing them with the inheritance of his deceased wife, Irene.[28] New cracks developed in the dome after the earthquake of October 1344, and several parts of the building collapsed on 19 May 1346; consequently, the church was closed until 1354, when repairs were undertaken by architects Astras and Peralta.
Mosque (1453–1935)
Constantinople fell to the attacking Ottoman forces on the 29th of May in 1453. In accordance with the traditional custom at the time, Sultan Mehmet II allowed his troops and his entourage three full days of unbridled pillage and looting in the city shortly after it was captured. Once the three days passed, he would then claim its remaining contents for himself.[29][30] Hagia Sophia was not exempted from the pillage and looting and specifically became its focal point as the invaders believed it to contain the greatest treasures and valuables of the city.[31] Shortly after Constantinople's defenses collapsed and the Ottoman troops entered the city victoriously, the pillagers and looters made their way to the Hagia Sophia and battered down its doors before storming in.[32] All throughout the period of the siege of Constantinople, the trapped worshipers of the city participated in the Divine Liturgy and Prayer of the Hours at the Hagia Sophia and the church formed a safe-haven and a refuge for many of those who were unable to contribute to the city's defense, which comprised women, children, the elderly and the sick and the wounded.[33][34] Being hopelessly trapped in the church, the many congregants and yet more refugees inside became spoils-of-war to be divided amongst the triumphant invaders. The building was significantly desecrated and looted to a large extent, with the helpless occupants who sought shelter within the church being either enslaved, physically and sexually violated or simply slaughtered.[31] While most of the elderly and the infirm/wounded and sick were killed, a vast number of women and girls were raped and the remainder (mainly teenage males and young boys) were chained up and sold off into slavery.[32] The church's priests and religious personnel continued to perform Christian rites, prayers and ceremonies until finally being forced to stop by the invaders.[32] When Sultan Mehmet II and his accompanying entourage entered the church, he insisted that it should be converted into a mosque at once. One of the ulama present then climbed up the church's pulpit and recited out the Shahada, thus marking the beginning of the gradual conversion of the church into a mosque.[28][35]
Fountain (Şadırvan) for ritual ablutions
As described by several Western visitors (such as the Córdoban nobleman Pero Tafur[36] and the Florentine Cristoforo Buondelmonti),[37] the church was in a dilapidated state, with several of its doors fallen from their hinges; Mehmed II ordered a renovation as well as the conversion. Mehmet attended the first Friday prayer in the mosque on 1 June 1453.[38] Aya Sofya became the first imperial mosque of Istanbul.[39] To the corresponding Waqf were endowed most of the existing houses in the city and the area of the future Topkapı Palace.[28] From 1478, 2,360 shops, 1,300 houses, 4 caravanserais, 30 boza shops, and 23 shops of sheep heads and trotters gave their income to the foundation.[40] Through the imperial charters of 1520 (AH 926) and 1547 (AH 954) shops and parts of the Grand Bazaar and other markets were added to the foundation.[28]
Before 1481 a small minaret was erected on the southwest corner of the building, above the stair tower.[28] Later, the subsequent sultan, Bayezid II (1481–1512), built another minaret at the northeast corner.[28] One of these collapsed after the earthquake of 1509,[28] and around the middle of the 16th century they were both replaced by two diagonally opposite minarets built at the east and west corners of the edifice.[28]
The mihrab located in the apse where the altar used to stand, pointing towards Mecca
In the 16th century the sultan Suleiman the Magnificent (1520–1566) brought back two colossal candlesticks from his conquest of Hungary. They were placed on either side of the mihrab. During the reign of Selim II (1566–1574), the building started showing signs of fatigue and was extensively strengthened with the addition of structural supports to its exterior by Ottoman architect Mimar Sinan, who was also an earthquake engineer.[41] In addition to strengthening the historic Byzantine structure, Sinan built the two additional large minarets at the western end of the building, the original sultan's lodge, and the Türbe (mausoleum) of Selim II to the southeast of the building in 1576-7 / AH 984. In order to do that, parts of the Patriarchate at the south corner of the building were pulled down the previous year.[28] Moreover, the golden crescent was mounted on the top of the dome,[28] while a respect zone 35 arşin (about 24 m) wide was imposed around the building, pulling down all the houses which in the meantime had nested around it.[28] Later his türbe hosted also 43 tombs of Ottoman princes.[28] In 1594 / AH 1004 Mimar (court architect) Davud Ağa built the türbe of Murad III (1574–1595), where the Sultan and his Valide, Safiye Sultan were later buried.[28] The octagonal mausoleum of their son Mehmed III (1595–1603) and his Valide was built next to it in 1608 / AH 1017 by royal architect Dalgiç Mehmet Aĝa.[42] His son Mustafa I (1617–1618; 1622–1623) converted the baptistery into his türbe.[42]
Murad III had also two large alabaster Hellenistic urns transported from Pergamon and placed on two sides of the nave.[28]
In 1717, under Sultan Ahmed III (1703–1730), the crumbling plaster of the interior was renovated, contributing indirectly to the preservation of many mosaics, which otherwise would have been destroyed by mosque workers.[42] In fact, it was usual for them to sell mosaics stones – believed to be talismans – to the visitors.[42] Sultan Mahmud I ordered the restoration of the building in 1739 and added a medrese (a Koranic school, now the library of the museum), an Imaret (soup kitchen for distribution to the poor) and a library, and in 1740 a Şadirvan (fountain for ritual ablutions), thus transforming it into a külliye, i.e. a social complex. At the same time a new sultan's lodge and a new mihrab were built inside.
Renovation of 1847
Restoration of the Hagia Sophia was ordered by Sultan Abdülmecid and completed by eight hundred workers between 1847 and 1849, under the supervision of the Swiss-Italian architect brothers Gaspare and Giuseppe Fossati. The brothers consolidated the dome and vaults, straightened the columns, and revised the decoration of the exterior and the interior of the building. The mosaics in the upper gallery were exposed and cleaned, although many were re-covered "for protection against further damage". The old chandeliers were replaced by new pendant ones. New gigantic circular-framed disks or medallions were hung on columns. These were inscribed with the names of Allah, Muhammad, the first four caliphs Abu Bakr, Umar, Uthman and Ali, and the two grandchildren of Muhammad: Hassan and Hussain, by the calligrapher Kazasker Mustafa İzzed Effendi (1801–1877). In 1850 the architects Fossati built a new sultan's lodge or loge in a Neo-Byzantine style connected to the royal pavilion behind the mosque. They also renovated the minbar and mihrab. Outside the main building, the minarets were repaired and altered so that they were of equal height.[43][44] A timekeeper's building and a new madrasah were built. When the restoration was finished, the mosque was re-opened with ceremonial pomp on 13 July 1849.[citation needed]
Museum (1935–present)
The interior undergoing restoration
In 1935, the first Turkish President and founder of the Republic of Turkey, Mustafa Kemal Atatürk, transformed the building into a museum. The carpets were removed and marble floor decorations such as the Omphalion appeared for the first time in centuries, while the white plaster covering many of the mosaics was removed. Nevertheless, the condition of the structure deteriorated, and the World Monuments Fund placed Hagia Sophia on 1996 World Monuments Watch, and again in 1998. The building's copper roof had cracked, causing water to leak down over the fragile frescoes and mosaics. Moisture entered from below as well. Rising ground water had raised the level of humidity within the monument, creating an unstable environment for stone and paint. The WMF secured a series of grants from 1997 to 2002 for the restoration of the dome. The first stage of work involved the structural stabilization and repair of the cracked roof, which was undertaken with the participation of the Turkish Ministry of Culture. The second phase, the preservation of the dome's interior, afforded the opportunity to employ and train young Turkish conservators in the care of mosaics. By 2006, the WMF project was complete, though many other areas of Hagia Sophia continue to require significant stability improvement, restoration and conservation.[45] Haghia Sophia is currently (2014) the second most visited museum in Turkey, attracting almost 3.3 million visitors annually.[11]
Although use of the complex as a place of worship (mosque or church) was strictly prohibited,[46] in 2006 the Turkish government allowed the allocation of a small room in the museum complex to be used as a prayer room for Christian and Muslim museum staff,[47] and since 2013 from the minarets of the museum the muezzin sings the call to prayer twice per day, in the afternoon.[48]
In 2007, Greek American politician Chris Spirou launched an international organization "Free Agia Sophia Council" championing the cause of restoring the building to its original function as a Christian church.[49][50][51] Since the early 2010s, several campaigns and government high officials, notably Turkey's deputy prime minister Bülent Arınç in November 2013, have been demanding that Hagia Sophia be converted into a mosque again.[52][53][54] In 2015, in retaliation for the acknowledgment by Pope Francis of the Armenian Genocide, the Mufti of Ankara, Mefail Hızlı, stated that he believes the conversion of Hagia Sophia into a mosque will be accelerated.[55][56]
On July 1, 2016, Muslim prayers were held again in the Hagia Sophia for the first time in 85 years.[57]
On May 13, 2017, a large group of people organized by the Anatolia Youth Association (AGD), gathered in front of Hagia Sophia and prayed the morning prayer with a call for the reconversion of the museum into a mosque.[58] On June 21, 2017, Presidency of Religious Affairs (Diyanet) organized a special program, which included the recitation of the Quran and prayers in Hagia Sofia, to mark the Laylat al-Qadr, the program was broadcast live by state-run television TRT.[59]
Architecture
Section of a "restored" design
a) Plan of the gallery (upper half)
b) Plan of the ground floor (lower half)
Hagia Sophia is one of the greatest surviving examples of Byzantine architecture.[3] Its interior is decorated with mosaics and marble pillars and coverings of great artistic value. The temple itself was so richly and artistically decorated that Justinian proclaimed, "Solomon, I have outdone thee!" (Νενίκηκά σε Σολομών). Justinian himself had overseen the completion of the greatest cathedral ever built up to that time, and it was to remain the largest cathedral for 1,000 years up until the completion of the cathedral in Seville in Spain.[60]
Justinian's basilica was at once the culminating architectural achievement of late antiquity and the first masterpiece of Byzantine architecture. Its influence, both architecturally and liturgically, was widespread and enduring in the Eastern Orthodox, Roman Catholic, and Muslim worlds alike.
The vast interior has a complex structure. The nave is covered by a central dome which at its maximum is 55.6 m (182 ft 5 in) from floor level and rests on an arcade of 40 arched windows. Repairs to its structure have left the dome somewhat elliptical, with the diameter varying between 31.24 and 30.86 m (102 ft 6 in and 101 ft 3 in).
At the western entrance side and eastern liturgical side, there are arched openings extended by half domes of identical diameter to the central dome, carried on smaller semi-domed exedras; a hierarchy of dome-headed elements built up to create a vast oblong interior crowned by the central dome, with a clear span of 76.2 m (250 ft).[3]
Interior surfaces are sheathed with polychrome marbles, green and white with purple porphyry, and gold mosaics. The exterior, clad in stucco, was tinted yellow and red during restorations in the 19th century at the direction of the Fossati architects.
Narthex and portals
The Imperial Gate was the main entrance between the exo- and esonarthex. It was reserved exclusively for the Emperor. The Byzantine mosaic above the portal depicts Christ and an unnamed emperor. A long ramp from the northern part of the outer narthex leads up to the upper gallery.
Upper Gallery
West side of the upper gallery
The upper gallery is laid out in a horseshoe shape that encloses the nave until the apse. Several mosaics are preserved in the upper gallery, an area traditionally reserved for the Empress and her court. The best-preserved mosaics are located in the southern part of the gallery.
The upper gallery contains runic graffiti presumed to be from the Varangian Guard.[citation needed]
Dome
Cupola dome, semi-dome, and apse
View upward to domes. See Commons file for annotations.
The dome of Hagia Sophia has spurred particular interest for many art historians, architects and engineers because of the innovative way the original architects envisioned it. The dome is carried on four spherical triangular pendentives, one of the first large-scale uses of them. The pendentives are the corners of the square base of the dome, which curve upwards into the dome to support it, restraining the lateral forces of the dome and allowing its weight to flow downwards.[61][62] They were reinforced with large buttresses during Byzantine and later during Ottoman times, under the guidance of the architect Sinan. A total of 24 buttresses were added.[63]
The weight of the dome remained a problem for most of the building's existence. The original cupola collapsed entirely after the earthquake of 558; in 563 a new dome was built by Isidore the younger, a nephew of Isidore of Miletus. Unlike the original, this included 40 ribs and was slightly taller, in order to lower the lateral forces on the church walls. A larger section of the second dome collapsed as well, in two episodes, so that today only two sections of the present dome, in the north and south side, still date from the 562 reconstruction. Of the whole dome's 40 ribs, the surviving north section contains eight ribs, while the south section includes six ribs.[64]
Although this design stabilizes the dome and the surrounding walls and arches, the actual construction of the walls of Hagia Sophia weakened the overall structure. The bricklayers used more mortar than brick, weakening the walls. The structure would have been more stable if the builders at least let the mortar cure before they began the next layer; however, they did not do this. When the dome was erected, its weight caused the walls to lean outward because of the wet mortar underneath. When Isidore the Younger rebuilt the fallen cupola, he had first to build up the interior of the walls to make them vertical again. Additionally, the architect raised the height of the rebuilt dome by approximately six m (20 feet) so that the lateral forces would not be as strong and its weight would be transmitted more effectively down into the walls. Moreover, he shaped the new cupola like a scalloped shell or the inside of an umbrella, with ribs that extend from the top down to the base. These ribs allow the weight of the dome to flow between the windows, down the pendentives, and ultimately to the foundation.[citation needed]
Hagia Sophia is famous for the light that reflects everywhere in the interior of the nave, giving the dome the appearance of hovering above. This effect was achieved by inserting forty windows around the base of the original structure. Moreover, the insertion of the windows in the dome structure lowers its weight.[citation needed]
Minarets
The minarets were an Ottoman addition, and not part of the original church's Byzantine design. One of the minarets (at southwest) was built from red brick while the other three were built from white limestone and sandstone, of which the slender northeast column was erected by Sultan Bayezid II while the two larger minarets to the west were erected by Sultan Selim II and designed by the famous Ottoman architect Mimar Sinan.[65]
Notable elements and decorations
Originally, under Justinian's reign, the interior decorations consisted of abstract designs on marble slabs on the walls and floors, as well as mosaics on the curving vaults. Of these mosaics, one can still see the two archangels Gabriel and Michael in the spandrels of the bema. There were already a few figurative decorations, as attested by the eulogy of Paul the Silentiary. The spandrels of the gallery are revetted in opus sectile, showing patterns and figures of flowers and birds in precisely cut pieces of white marble set against a background of black marble. In later stages figurative mosaics were added, which were destroyed during the iconoclastic controversy (726–843). Present mosaics are from the post-iconoclastic period. The number of treasures, relics and miracle-working, painted icons of the Hagia Sophia grew progressively richer into an amazing collection.
Apart from the mosaics, a large number of figurative decorations were added during the second half of the 9th century: an image of Christ in the central dome; Orthodox saints, prophets and Church Fathers in the tympana below; historical figures connected with this church, such as Patriarch Ignatius; some scenes from the gospel in the galleries. Basil II let artists paint on each of the four pendentives a giant six-winged Cherub.[26] The Ottomans covered their face with a golden halo,[26] but in 2009 one of them was restored to the original state.[66]
Loge of the Empress
The Loge of the Empress is located in the centre of the upper enclosure, or gallery, of the Hagia Sophia. From there the empress and the court-ladies would watch the proceedings down below. A round, green stone marks the spot where the throne of the empress stood.[67][68]
Lustration urns
Two huge marble lustration (ritual purification) urns were brought from Pergamon during the reign of Sultan Murad III. From the Hellenistic period, they are carved from single blocks of marble.[28]
Marble Door
The Marble Door inside the Hagia Sophia is located in the southern upper enclosure, or gallery. It was used by the participants in synods, they entered and left the meeting chamber through this door.
Wishing column
At the northwest of the building there is a column with a hole in the middle covered by bronze plates. This column goes by different names; the perspiring column, the wishing column, the sweating column or the crying column. The column is said to be damp when touched and have supernatural powers.[69] The legend states that since St. Gregory the Miracle Worker appeared at the column in year 1200, the column is moist. It is believed that touching the moisture cures many illnesses.[70][71]
Notable elements of the Hagia Sophia
The Loge of the Empress. The columns are made of green Thessalian stone.
Lustration urn from Pergamon
Marble Door
The wishing column
Mosaics
Ceiling decoration showing original Christian cross still visible through the later aniconic decoration
The church was richly decorated with mosaics throughout the centuries. They either depicted the Virgin Mother, Jesus, saints, or emperors and empresses. Other parts were decorated in a purely decorative style with geometric patterns.
The mosaics however for their most part date to after the end of the Byzantine Iconoclasm of 800 AD.
During the Sack of Constantinople in 1204, the Latin Crusaders vandalized valuable items in every important Byzantine structure of the city, including the golden mosaics of the Hagia Sophia. Many of these items were shipped to Venice, whose Doge, Enrico Dandolo, had organized the invasion and sack of Constantinople after an agreement with Prince Alexios Angelos, the son of a deposed Byzantine emperor.
19th-century restoration
Following the building's conversion into a mosque in 1453, many of its mosaics were covered with plaster, due to Islam's ban on representational imagery. This process was not completed at once, and reports exist from the 17th century in which travellers note that they could still see Christian images in the former church. In 1847–49, the building was restored by two Swiss-Italian Fossati brothers, Gaspare and Giuseppe, and Sultan Abdülmecid allowed them to also document any mosaics they might discover during this process which were later archived in Swiss libraries.[72] This work did not include repairing the mosaics and after recording the details about an image, the Fossatis painted it over again. The Fossatis restored the mosaics of the two hexapteryga (singular Greek: ἑεξαπτέρυγον, pr. hexapterygon, six-winged angel; it is uncertain whether they are seraphim or cherubim) located on the two east pendentives, covering their faces again before the end of the restoration.[73] The other two placed on the west pendentives are copies in paint created by the Fossatis, since they could find no surviving remains of them.[73] As in this case, the architects reproduced in paint damaged decorative mosaic patterns, sometimes redesigning them in the process. The Fossati records are the primary sources about a number of mosaic images now believed to have been completely or partially destroyed in the 1894 Istanbul earthquake. These include a mosaic over a now-unidentified Door of the Poor, a large image of a jewel-encrusted cross, and a large number of images of angels, saints, patriarchs, and church fathers. Most of the missing images were located in the building's two tympana.
One mosaic they documented is Christ Pantocrator in a circle, which would indicate it to be a ceiling mosaic, possibly even of the main dome which was later covered and painted over with Islamic calligraphy that expounds God as the light of the universe. The drawings of the Hagia Sophia mosaics are today kept in the Cantonal Archive of Ticino.[74]
20th-century restoration
A large number of mosaics were uncovered in the 1930s by a team from the Byzantine Institute of America led by Thomas Whittemore. The team chose to let a number of simple cross images remain covered by plaster, but uncovered all major mosaics found.
Because of its long history as both a church and a mosque, a particular challenge arises in the restoration process. Christian iconographic mosaics can be uncovered, but often at the expense of important and historic Islamic art. Restorers have attempted to maintain a balance between both Christian and Islamic cultures. In particular, much controversy rests upon whether the Islamic calligraphy on the dome of the cathedral should be removed, in order to permit the underlying Pantocrator mosaic of Christ as Master of the World, to be exhibited (assuming the mosaic still exists).[75]
Imperial Gate mosaic
Imperial gate mosaic
The Imperial Gate mosaic is located in the tympanum above that gate, which was used only by the emperors when entering the church. Based on style analysis, it has been dated to the late 9th or early 10th century. The emperor with a nimbus or halo could possibly represent emperor Leo VI the Wise or his son Constantine VII Porphyrogenitus bowing down before Christ Pantocrator, seated on a jeweled throne, giving His blessing and holding in His left hand an open book.[76] The text on the book reads as follows: "Peace be with you. I am the light of the world". (John 20:19; 20:26; 8:12) On each side of Christ's shoulders is a circular medallion: on His left the Archangel Gabriel, holding a staff, on His right His Mother Mary.[77]
I don't know why, but this is one of my favorite images from our recent trip. Probably more because of the story behind the shot than the shot itself. Please note, the individual on the left is not a guest, but rather a Disney engineer (oddly, he sat near us on Carousel of Progress earlier in the evening).
And now, here is an excerpt from my upcoming trip report (which will be posted today) about the process of capturing this shot:
When the Evening EMH started, I was in the zone, if I do say so myself. It was the UWA's turn to come out and play, and Sarah, feeling somewhat ill, had asked if we could not take any pictures of ourselves that evening. Without having to change lenses or settings between shots, I quickly rolled through my shots, capturing some areas I otherwise have overlooked. We also managed to again unintentionally be overlooked when Fantasyland and Tomorrowland were cleared. This time, no one told us to leave, but I saw the ropes up. In light of this, we cautiously moved around while getting the pictures (as a bit of an aside, Sarah and/or myself have been asked by Cast Members several times during these shoots if we're photographers for Disney and/or Cast Members. Most of the time, I avoid any problems by briskly walking past Cast Members and pleasantly saying hello when I sense that someone might tell us we cannot be in a given location. Surprisingly, that works almost every time.) During the following low angle shot of Tomorrowland, I actually stayed low behind the globe for the entire shot, weary that a manager from a previous night who had 'pushed' us to exit Tomorrowland was standing nearby. Probably my most clandestine act in a Disney park.
Our August 2009 Trip Novel (it's nearly long enough to qualify) is finally posted. There are a lot of pictures in it that are either previews of what will be posted here, or that will just never be posted here (family pictures and the like). Click here to check out the Trip Report!
(from - Wrigley's 1918 British Columbia Directory) - ROCK BAY - a post office and logging camp on Johnstone Strait, 120 miles from Vancouver, in Comox Provincial Electoral District, reached by Union S.S. Co.'s steamers. Has telegraph office. Local resources: Logging.
LINK to photos - B.C. Mills Timber and Trading Co. Operation, Rock Bay, Vancouver, Island - searcharchives.vancouver.ca/uploads/r/null/1/4/1414637/a6... and searcharchives.vancouver.ca/uploads/r/null/1/4/1416522/e6... and - logging camp at Rock Bay
On left is the Rock Bay Hospital and in background are several other family homes - gallery.crmuseum.ca/photograph/logging-camp-rock-bay
The ROCK BAY Post Office was established - 1 January 1902 and closed - 2 August 1955.
LINK to a list of the Postmasters who served at the ROCK BAY Post Office - www.bac-lac.gc.ca/eng/discover/postal-heritage-philately/...;
Henry Twidle served as Postmaster at ROCK BAY, B.C. from - 1 January 1906 to - 6 July 1908. He than served as Postmaster at Minstrel Island, B.C. from - 1 July 1909 to - 21 August 1909. He also served as Postmaster at Granite Bay, B.C. from - 1 August 1911 to - 1926.
Henry Allan Twidle
(b. 11 January 1879 in Beverley Robin Hood's Bay, Yorkshire, England - d. 1 April 1956 at age 77 in Comox, B.C. Hospital / Browns Bay, B.C.) - his occupation was - merchant / General Store / Postmaster.
His wife - Agnes (nee Lucas) Twidle
(b. 18 September 1875 in Toronto, Ontario - d. 18 April 1951 at age 75 in Campbell River, B.C. Hospital / Granite Bay, B.C.) - they were married - 16 July 1907 in Vancouver, B.C.
Englishman Henry Twidle arrived in 1904 at the logging camp in ROCK BAY, B.C. on Johnstone Strait, to take up employment as the timekeeper / paymaster for the Hastings Lumber Company. He married in 1907 and moved with his family to Granite Bay on Quadra Island in 1910. There they opened the store that he ran for 40 years, in addition to keeping the Hotel, running the Post Office and fulfilling the duties of Stipendiary Magistrate. He spent his last years at Browns Bay and died in 1956.
- sent from - / ROCK • BAY / JUN 2 / 35 / B.C. / - split ring cancel - this split ring hammer (A1-1) was not listed in the Proof Book - it was most likely proofed c. 1901 - (RF C).
- sent by: E. G. Touzeau / 5813 Argyle St. / Vancouver, B.C.
Ernest George Touzeau
(b. 20 April 1905 in Channel Islands, Great Britain - d. 16 December 1984 at age 79 in Nanaimo, British Columbia) - his occupation - civil & forest engineer.
His wife: Elsa Pauline (nee Cote) Touzeau
(b. 8 September 1913 in Vancouver, B.C. - d. 10 January 1985 at age 71 in Parksville, British Columbia)
Clipped from - The Province newspaper - Vancouver, British Columbia, Canada - 8 February 1936 - Mr. and Mrs. Paul J. Cole, 'West Forty-third avenue, announce the engagement of their only daughter, Elsa Pauline, to Mr. Ernest George Touzeau, B.A.Sc, elder son of Mr. and Mrs. Ernest Touzeau, Argyle street, Vancouver. Mr. Touzeau graduated from the University of British Columbia with the class of 1928. The Wedding will take place at Ryerson United Church on Saturday, March 7, 1936 at 8 p.m.. Rev. E. D. Braden officiating.
Addressed to: Arthur K. Roberts, Secretary, / PUGET SOUND SECTION, / Society of American Foresters, / 364 Stuart Building, / Seattle, Washington / USA
Arthur Kitchel Roberts
(b. 20 May 1895 in Colfax, Whitman County, Washington, United States – d. 6 January 1976 at age 80 in Portland, Multnomah County, Oregon, United States)
Clipped from - The Spokesman-Review newspaper - Spokane, Washington - 17 November 1944 - LUMBER PAPER HAS NEW EDITOR SEATTLE, The West Coast Lumbermen's association has announced Arthur Kitchel Roberts, Portland, Ore., as a new member of Its information department staff. Prominently identified with forest industry association work in both the west coast and western pine regions since his graduation From the college of forestry. University of Washington, in 1921, his experience will be applied to the editing of Big Trees, the association's newspaper for the retail her trade. He will make his headquarters in the Portland office of the association. Born in Colfax, Washington, Roberts attended schools in Pullman and Olympia and Medford. Ore., before his college years. With army service of 22 months in World War I was in France for a year, as a "medic." Besides his trade association activities, "Art" Roberts has had forestry and lumbering experience as a forest service fire guard, a worker in a veneer plant, a topographical surveyor for the Long-Bell Lumber company and as a representative of Timber Engineering company. For the last. two years he has been doing post-war research at the Portland research laboratory of the Western Pine association.
Tommy Sheard won the 1923 Senior TT in appalling conditions – helped by local knowledge, Tommy steered his Douglas home to his second TT win in a race marred by the death of J H Veasey at Greeba Bridge. Walter Brandish fell in practice between Creg-ny-Baa and Hillberry breaking his leg – the corner for evermore is named after him, the first corner on the TT course to be named after someone. Tommy’s race average was calculated at 55.55mph over the six lap race.
Wal Handley became the first rider to win two TT’s in a week. Wal’s win in the 1925 Junior on his Rex Acme was at an average speed of 8mph faster than the previous year’s race. This was down to Wal, motorcycle development and the Manx authorities laying down of Tarmac on the entire TT course. Wal’s race average for the Junior race was 65.02 mph for the six lap race (on a smaller capacity machine than Sheards in 1923).
Geoff Duke’s win in the 1955 Senior on his Gilera was bitter – sweet as Duke’s ‘first’ ever 100 mph lap of the course was downgraded to 99.97 mph after revision of the chief timekeeper’s arithmetic. Duke missed out on the historic milestone by less than a second. Bob McIntyre would finally break the 100mph barrier two years later in the 1957 Senior TT also on a Gilera. Geoff’s race average was calculated at 97.93 for the seven lap race.
Peter Williams finally won a TT in the 1973 Formula 750 TT setting the fastest lap of the week (107.27 mph) in the process. Williams’ win was Norton’s first TT race win in twelve years. Peter’s race average was 105.47 mph for the five lap race.
The current record race average was set by Peter Hickman in the 2018 Senior TT when he recorded an average of 131.7 mph over the six lap race on his BMW S 1000 RR. Such is progress.
A set of stamps produced by the Isle of Man Post Office in 1975 using the artwork of John Hobson Nicholson.
using one Elinchrom style rx 1200 and one Elinchrom style rx 600 with some reflectors and light painting.
© 2009 Steve Kelley
"We know what happens to today when it becomes yesterday. It waits for them. It waits for them, the timekeepers of eternity. Always following them behind, cleaning up the mess in the most efficient way possible: by eating it!"
The Brooklyn Bridge, Manhattan Bridge, Williamsburg Bridge, Brooklyn, and over-running thunderstorm clouds as viewed from Lower Manhattan at the South Street Seaport in New York City (NYC).
To view all images in larger sizes and to download, purchase, or license please click here: Images of bridges in New York City...
HDR - Nikon d300
Omega is a Swiss luxury watchmaker based in Biel/Bienne, Switzerland. Britain's Royal Flying Corps chose Omega watches in 1917 as its official timekeepers for its combat units, as did the American army in 1918. Omega watches were the choice of NASA and the first watch on the Moon in 1969. Omega has been the official timekeeping device of the Olympic Games since 1932. James Bond has worn it in films since 1995; other famous Omega wearers, past and present, include John F. Kennedy, Prince William, and Buzz Aldrin. Omega is owned by the Swatch Group. (Source: Wikipedia).
Public Clock Photography / 4:3 remastered 2017