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Tips to keep water from gathering on the lens port
Posted 07 February 2010 - 11:34 AM
Spit is the trick on flat face ports .... rounded ports my be a different animal .... I've never used one.
Posted 16 February 2010 - 11:44 PM
One huge difference I've noticed between underwater and surf housings -- with underwater housings, we use ports that have flanges that come up past the actual dome or flat port. You can put a housing down with its dome port or flat port facing down, and the flange will protect the port from being scratched.
Not so with surf housings, and this is because the flanges are the cause of water droplets. With surf housings, the port has nothing around it. It comes up and is on its own. This is good, because water just sheets off the port (as long as there is "quality" spit on it).
I've used various compounds for over/under shots to have water droplets sheet off ports. Dried spit works well, but the spit must be "quality". By that, I mean this: you cannot have eaten anything recently. The spit has to be pretty clear. You have to let it dry on the port first. After that, it forms a very thin shield against water droplets.
Folks have tried using stuff like RainX and Turtle Wax. None of this stuff works and may actually damage acrylic or Lexar ports. The only thing I have found that works is mask defogger called Spectramar Beris that was marketed by ScubaPro years and years ago. This stuff works well, but is almost impossible to find. Its primary ingredient is ethylene glycol, and I've been tempted to just get some ethylene glycol and try it out sometime. But I still have a couple of bottles of Spectramar Beris after 25 years of underwater shooting.
Norbert Wu
Norbert Wu?! Wow. You can't see me right now, but I'm doing my best Wayne's World imitation: I'M NOT WORTHY!!!!
Okay. Sorry. Don't mean to embarass you. I've been a huge fan of your photos since I saw the NG Antarctica article.
Just joined the forum. Aloha, Everyone! Anyhooz...Thanks also to the originator of this thread. I should be getting a new Essex housing for my 7D any day now and these "little things" that can make or break a shot are just plain priceless.
Anti-freeze, though? I'll let someone else try it first. Heh!
Ken Ige (Iggy460)
Kailua, HI
Posted 17 February 2010 - 01:29 AM
Edited by TimG, 17 February 2010 - 01:41 AM.
(PADI IDC Staff Instructor and former Dive Manager, KBR Lembeh Straits)
Nikon D500, Nikkors 105mm and 8-15mm, Tokina 10-17mm, Subal housing
Latest images: http://www.shutterst...lery_id=1940957
Posted 29 April 2010 - 09:51 AM
Posted 30 April 2010 - 12:01 AM
Hope you had fun with the Essex housing. I just got mine too and have been enjoying it.
For me so far, the best tip I got for this subject was from Mike Waggoner of Essex: Use the waxy oils from the side of your nose or ears. Get some on your fingertip. Put the port front halfway in the water. Now rub vigorously up and down, spreading the stuff on the port front. Sounds gross and counterintuitive (I thought it would produce flare or haze), but it really works!
I've found two basic, but different situations for this issue:
1) Not sure if I have this right, but it seems when I use the wideangle (10-22mm), I have a very short amount of time where the rider is close enough to get a good shot, so I can do the dunk method: Keep the camera underwater as the rider approaches, then pull it out and shoot. A thin film of water stays on the port front but doesn't seem to affect the photo quality. I'm guessing because it's a very thin film and is thus optically pretty "correct", as Phil said earlier.
2) But when I use the 24-105mm, I can shoot each wave for a longer period of time, so that film of water eventually breaks down and that's when the spots and other irregularities occur. So this is when I want that thin film of water off the port BEFORE I start shooting. And that's where the nose/ear grease seems to work the best. Holding the camera out of the water, that film of water comes off a bit faster with the grease. And I always check the port before each wave and blow off any remaining drops.
Hope this helps!
Posted 04 June 2010 - 06:21 AM
Posted 06 August 2010 - 11:50 AM
Posted 07 August 2010 - 03:36 PM
- ScubaBob likes this
The Sharks of the Forgotten Islands
- A Natural History Documentary -
Posted 11 March 2011 - 02:47 PM
Posted 16 March 2011 - 12:16 AM
Potato's, pure and simple. Someone mentioned a while back about spitting seems to provide best results after eating french fries. Connected? I'm hitting the surf most days now and have started rubbing a freshly cut potato onto the port about 20 minutes before hitting the water. Let it dry and off I go. It maintains a thin film of water on the port after emerging from the water for about a solid minute. This deteriorates in duration with the extended time in the water.
Spuds guys, that's the answer.
- Jojolcuisto likes this
The Sharks of the Forgotten Islands
- A Natural History Documentary -
Posted 16 August 2011 - 03:28 AM
Clean it with washing up liquid. (Pat the port, don't rub, just incase there's grit on your cloth) rinse with clean water and leave it to dry.
Make sure nothing touches it in the mean time. I have a plastic column that is taller than the port and then put a cloth over the top and secure with elastic band.
Then before going in the water spit and lick the port and let it dry for a minute or so. That should work a treat. If an spots aren't clearing then lick that one bit.
Make sure you don't have anything on your lips like suncream etc and be weary of what you've eaten. Cleaning your teeth before you go surfing helps.
Posted 02 August 2012 - 12:57 PM
The spit technique is such a smart and simple fix. Thanks for everyone's input.
I own a Women's Surf Camp in Costa Rica and we shoot a lot of pictures of clients. We have only recently thought about shooting from the water (instead of from the shore). This tip will prove to be very handy.
Thanks again,
Owner of Pura Vida Adventures
Posted 21 June 2014 - 07:03 PM
I've been a surf photographer on shore and in the water since the 80's and my first underwater camera was a Nikonos I. Back then I used Cascade diswasher soap, but had to mortar and pestle the grains of the gritty soap for fear I would scratch the lens. Now, there is "Liquid Cascade", and as you know from the TV commercials, this will not only let water sheet off of wineglasses in the dishwasher, but also off of the surface of your air/water interface camera lens.
Just take that bottle of Liquid Cascade and transfer a little of it into a small squeeze bottle like a spent Visine bottle. Keep this little bottle in your photo bag. It only takes one drop, you know. So first put a drop between your thumb and forefinger and rub them together to clean that forefinger surface from any foreign debris. Rinse it off and put another solitary drop onto your forefinger and rub it gently onto the lens surface just before you go into the water. In other words, don't treat the lens, walk away, and let it dry on there. That might be bad for the seals of your housing or underwater camera. Apply it just before going into the water. This simple method has served me well for many years.
Posted 01 March 2017 - 11:43 PM
Mumbai, back in the early days we used to have Fiat cars with wipers that never really did the job in a heavy downpour. So we used to buy a filter less cigarette called charminar. You just have to take the tobacco and rub it on your windshield. No drops ! Just an even film of water that one could see through. I used this with good success. Even rubbing potatoes works. BUT hey in time i just reverted to plain old spit :-) (on my housing dome port - not the windshield
- Davide DB likes this
Diggy http://www.scubadiggy.com/
Canon7D, Nauticam housing, mini and large dome, canon 100mm, canon 60mm, 10-17 tokina, macro ports, extensions, two inon Z240, Nauticam SMC converter, +3, +5 diopters. Two Sola 2000, One Sola 1200, Go Pro hero 3 Black
Posted 12 June 2018 - 12:57 AM
We rub a potatoe on ours!


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Tuesday, September 4, 2012
Cowboys @ Giants - Week 1
On defense let's start with the secondary. Hakeem Nicks and Victor Cruz destroyed the Cowboys last season. So the Cowboys changed out three of the four starters in the secondary to try to find a way to stop the passing game of the Giants. Brandon Carr is a clear upgrade at one cornerback. And Morris Claiborne is potentially an upgrade at the other starting corner spot. Barry Church takes over for Abe Elam and has looked like a major upgrade at safety. It will be very interesting to see how the new look secondary of the Cowboys can match up against the Giants.
Also on defense the Cowboys have become younger and more athletic at middle linebacker. Sean Lee is still starting but this time he'll have full use of both hands unlike last season after his dislocated wrist. And Bruce Carter is a clear upgrade in terms of athleticism over Bradie James and Keith Brooking. The concern with Carter is his lack of experience. He is going to make mistakes. The Cowboys just have to hope they aren't the kind of mistakes that lose games. Carter will be much better in pass coverage than James or Brooking were even if he is making mistakes.
There haven't been many changes on offense at the skill positions. But the fullback is new (Vickers) and four of the five starting offensive lineman are new or playing in new positions. I'm hoping the Vickers-Murray combination can put up enough rushing yards that the Cowboys don't have to resort to a pass happy offense. The pass blocking should be improved but it doesn't matter if the Giants know the pass is coming. The pass blocking for the Cowboys will be one of the key factors in the game.
Martellus Bennett will be starting at tight end for the Giants. He will undoubtedly be fired up to do some damage against the Cowboys. The Cowboys do have good personnel to match up against Marty B. down the field with Carter and Barry Church likely getting most of the coverage duties. Martellus has always had all the potential in the world but has never been able to grasp the offense or catch the ball consistently enough to be a big factor in the passing game. But something tells me he will have a big game against the Cowboys. Hopefully he'll run the wrong route at a crucial moment or drop a few easy passes like he has done over the years for the Cowboys.
This game really feels like a toss up to me. The teams are very evenly matched regardless of what the experts are saying. For some reason a lot of people are forgetting that the Giants were only 9-7 last season and I'm not sure they have really upgraded their roster significantly this offseason. I know the Super Bowl champion hasn't lost their season opener in a long time. But it just feels like the Cowboys are long overdue for a win against the Giants and just a big win in general. I predict the Cowboys win the game 30-25.
4 comments:
- AnonymousSeptember 5, 2012 at 9:40 AM
I have a bad feeling that Marty B is just gonna come up with a Clutch catch today. Lets do this! GAMEDAY!ReplyDelete
- AnonymousSeptember 5, 2012 at 11:20 AM
I wouldn't worry about M.B. He sucked with us and he will suck with the Giants. He couldn't make a clutch catch to save his life. I am and will always be a M.B. hater. He is big and lazy for nothing. I can just about promise, someone will lay him on his ass during the game tonight. Now Cruz and Nicks scare the crap out of me!! Just my opinion.ReplyDelete
Marty B will fumble late and Dallas will recover to seal the victory, how sweet would that be? O-Line and Secondary is what concerns me. Remember though, last year it was those short yard passes that turned into big gains because we could not tackle. I see this D swarming and creating havoc on the ball...GO COWBOYS!ReplyDelete
This game really feels like a toss up to me. The teams are very evenly matched regardless of what the experts are saying. I have the same feeling!ReplyDelete


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HANG TIME HEADQUARTERS — He's going to write it on his shoes before every game, and for his sake let's hope that adds up to 82 times during the regular season. He's going to speak it into existence every time someone sticks a camera, microphone or tape recorder in his face.
If can do anything about it, John Wall is going to will the Washington Wizards into the playoffs one way or another.
It's an ambitious goal for someone who has never known anything but the lottery during his brief career. It's also a courageous thing to do in this day and age, when anything you say can and will be held against you on social media at some point. I think Wall is right to repeatedly mention the word "playoffs" where his Wizards are concerned. That's what a leader does, identify the goal and then fight, claw and scrap until that goal is reached.
So when Wall opened up to Howard Beck of Bleacher Report recently, he expanded on what he and Wizards owner Ted Leonsis have been saying for months since before Wall signed that five-year, $80 million extension … it's playoffs or bust this season:
"I should be in the playoffs," Wall said.
Don't just talk about it, be about it. And from all indications that's exactly what Wall is doing. He's no longer the young point guard playing strictly on instincts and raw talent. He's refined his game a bit and his confidence is soaring:
"My first two years, I wasn't really confident," Wall said, "because I didn't believe in myself and some other people didn't believe in me. But that was just me not being confident in my own ability."
With another offseason of training and shooting drills behind him, Wall said, "My confidence level is at an all-time high." He added, "This is the most comfortable I've felt with shooting the ball. So I don't care if I miss 12 straight. I still will shoot an open shot without no hesitation."
Despite everything, Wall averaged 18.5 points and 7.6 assists last season and is the sixth-fastest player in NBA history to reach 2,000 points and 1,000 assists in a career, hitting those marks in just 124 games.
With a better jumper and a little more judicious passing, Wall might yet threaten to break the top tier of point guards. Early reports from training camp were positive.
"I think he's taken a step," coach Randy Wittman said. "Direction and being a leader, and vocal, and being the guy that kind of gets everybody where they need to be."
We've been saying it for months now, the renaissance in Washington starts and ends with Wall and the grand investment Leonsis has made in the now healthy face of his franchise. The talent is there (his backcourt mate Bradley Beal is a budding young talent that is ready for prime time as well). So is the drive. The leadership is still a work in progress, but he's clearly on the right track.
The only thing left to do … did someone say "playoffs?"
Write it down, take a picture, do whatever you need to young fella.
Set the bar yourself!


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Oskar Kokoschka (Austrian, Pöchlarn, Austria 1886 - 1980 Villeneuve, Switzerland)
Sposalizio (Double Portrait), 1912
Signed, lower left in red oil paint: O K
Oil on canvas
41 7/16 x 25 in. (105 x 63.5 cm)
Elisabeth Lotte Franzos Bequest, 1958
Painted in Vienna in the spring of 1912, this double portrait is one of a series of innovative portraits in which Kokoschka attempted to express the interior states of his subjects, rather than realistically depict their physical exteriors. An important manifestation of German Expressionism, the painting was exhibited in the International Sonderbund exhibition in Cologne in May of that year, along with five other works by the artist.1
The title Sposalizio--Italian for "engagement"--connects the painting to a long tradition of similarly titled representations of the betrothal of Mary and Joseph, and thus elevates the subjects, a Viennese Jewish couple engaged to be married, within the context of a biblical allusion.
Although the identity of the sitters is not certain, they have most often been identified as the writer and critic Emil Alphonse Rheinhardt and his second wife Elsa Romanic.2 Kokoschka's portrait drawing of Rheinhardt, inscribed "OK Meinem lieben Freund A. Rheinhardt Vienna 29 May 1912" and thus drawn after the painting was completed, supports this identification,3 as does a drawing of the woman.4 Kokoschka was not able to remember the names of the sitters in 1958,5 and the testimony of his first biographer Edith Hoffmann is similarly inconclusive.6
The Oberlin painting has also been confused with another double portrait (executed in December of the same year) of Alma Mahler and Kokoschka, which the artist mentions in a letter to Alma: "Isn't it strange, that I have not been able to work for such a long time and that it is another 'Sposalizio' but this time with us in it."7 In contrast to the first Sposalizio, in which the groom stands behind the bride with his hands on her shoulders, Kokoschka depicts himself side by side with Alma, hands clasped and bodies turned toward each other, while both their faces confront the viewer.
The second Sposalizio, or self portrait with Alma, marks the beginning of a new phase in Kokoschka's work, marked by heightened color as well as richer nuances of individual shades.8 In contrast, the Oberlin Sposalizio is one of the opaque portraits of 1911-12, an earlier group characterized by dark colors and heavy impasto.
Kokoschka's early work is dominated by portraits in which the sitters are removed from background, floor space, and descriptive details, and are instead depicted radiating an "aura." This "immaterial field of tension" sometimes detaches itself or retreats from the sitter and constitutes an abstract, yet personal sphere that determines the mood of the image.9 Kokoschka also deliberately drained from his sitters' countenances any reference to who they are or what they do in the external world, often inverting the gaze of the sitter introspectively.
In contrast with the effete gestures of the fin-de-siècle portraits of Gustav Klimt, Kokoschka used the hands of his sitters expressively, often investing them with an energy and power lacking in the faces. This tension between hands and faces is reinforced by the immateriality of the figures, whose contours are interrupted by or disappear into the surrounding space, and by the agitated surface of the painting where the thinly painted, transparent ground emerges through the heavily impasted opaque brushstrokes.10 The overall effect in Kokoschka's portraits is a new focus on nervous, hesitating in-between states of being, those moments when it is unclear which psychological impulses are in control.
The Sposalizio can also be interpreted as a reflection of the transient state of engagement, as opposed to the permanence of marriage vows, and of the larger political instability of pre-war Vienna.
D. Hamburger
Work (C) 1998 Artists Rights Society (ARS), New York/Pro Litteris, Zurich
Born 1 March 1886 at Pöchlarn on the Danube, Kokoschka spent his childhood and youth mainly in Vienna, where he studied at the Kunstgewerbeschule (School of Applied Arts) from 1905 to 1909, joined the Wiener Werkstätte, and wrote and illustrated fairy tales, poetry, and theatrical works. In 1909 he turned to "psychological" portrait painting and in 1910 moved to Berlin, where he collaborated with Herwarth Walden on the Expressionist periodical Der Sturm, produced lithographs and posters, and had his first solo exhibition at Paul Cassirer's gallery. Upon his return to Vienna in 1911, he continued to paint portraits, although his work was vilified by the conservative press.
In the spring of 1912, he began a two-year affair with Alma Mahler, widow of the composer Gustav Mahler and the inspiration for three double portraits by the artist. Kokoschka was seriously injured in World War I, while serving in the Austrian army. In 1917, after recovery, Kokoschka moved to Dresden, where he taught until 1924, and worked on large portrait drawings, watercolors, and paintings, as well as landscapes and biblical scenes.
From 1924 until 1931, thanks to a contract with Cassirer, he was able to travel widely throughout Europe and North Africa. In 1933 financial difficulties and health problems forced him to return to Vienna. He later moved to Prague, where he met his future wife Olda Palkovská. The two moved to England in 1939, and to Villeneuve on Lake Geneva in 1953. There Kokoschka died on 22 February 1980.
Throughout his life Kokoschka was an outspoken proponent of the avant garde as an artist, writer, and political activist. Eight of his works were shown at Hitler's Entartete Kunst (Degenerate Art) exhibition in Munich in 1937, and over eight hundred of his works in German public collections were confiscated by the National Socialists.
General References
Hoffmann, Edith. Kokoschka, Life and Work. London, 1947.
Wingler, Hans Maria, ed. Oskar Kokoschka, Schriften 1907-1955. Munich, 1956.
Wingler, Hans Maria. Oskar Kokoschka: Das Werk des Malers. Salzburg, 1956. Translated by Frank S. C. Budgen et al. New York, 1958.
Kokoschka, Oskar. Mein Leben. Munich, 1971.
Wingler, Hans Maria. Oskar Kokoschka: Das druckgraphische Werk. 2 vols. Salzburg, 1975-81.
Whitford, Frank. Oskar Kokoschka: A Life. London, 1986.
Calvocoressi, Richard, ed. Oskar Kokoschka 1886-1980. Exh. cat., Tate Gallery, London, 1986.
Schroder, Klaus Albrecht, and Johann Winkler. Oskar Kokoschka. Exh. cat., Kunstforum Länderbank, Vienna, 1991.
Winkler, Johann, and Katharina Erling. Oskar Kokoschka: Die Gemälde 1906-1929. Salzburg, 1995.
Collection Lotte Franzos, Vienna and Washington, D.C., purchased from the artist by 1916 11
Bequeathed by Lotte Franzos in 1958
Cologne, Städtischen Ausstellungschalle, 1912. Internationale Kunstausstellung des Sonderbundes westdeuscher Kunstfreunde und Kunstler. 25 May - 29 September. Cat. no. 359.
Dresden, Galerie Ernst Arnold, 1925. Oskar Kokoschka: Gemälde, Handzeichnungen, Aquarelle, Drucke. 18 January - late February. Cat. no. 10 (as dated 1910).
The Hague, Haags Gemeentemuseum, 1927. Ostenrijksche Schilderijen en Kunstnijverheid 1900-1927. 15 October - 13 November. Cat. no. 28.
Zurich, Kunsthaus, 1927. Oskar Kokoschka. 6 June - 3 July. Cat. pl. 8.
Vienna, Österreichisches Museum fur Kunst und Industrie, 1937. Oskar Kokoschka. May - June. Cat. no. 8 (as dated 1913).
The Arts Club of Chicago, 1941. Oskar Kokoschka. 3 - 27 January. Cat. no. 2.
New York, Buchholz Gallery, 1941. Kokoschka. 27 October - 15 November. Cat. no. l0 (as dated 1912).
The Minneapolis Institute of Arts, 1948. Displaced Paintings: Refugees from Nazi Germany. 9 April - 9 May. Cat. no. 24.
Boston, Institute of Contemporary Art, 1948. Oskar Kokoschka: A Retrospective Exhibition. 16 October - 14 November (also shown at Washington, D.C., The Phillips Memorial Gallery; St. Louis, City Art Museum; and San Francisco, M. H. de Young Memorial Museum). Cat. no. 20.
Munich, Haus der Kunst, 1958. Oskar Kokoschka. 14 March - 11 May (also shown at Vienna, Kunstlerhaus; and at The Hague, Haags Gemeentemuseum). Cat. no. 28.
Dallas, Museum for Contemporary Arts, 1959. Signposts of Twentieth Century Art. 28 October - 7 December. Cat. p. 16.
Columbus, Ohio, Gallery of Fine Arts, 1961. German Expressionism. 10 February - 9 March. Cat. no. 42.
London, Tate Gallery, 1962. Kokoschka. 14 September - 11 November. Cat. no. 34.
Zurich, Kunsthaus, 1966. Oskar Kokoschka. 1 June - 14 July. Cat. no. 24.
Karlsruhe, Badischer Kunstverein, 1966. Oskar Kokoschka. Das Porträt. 21 August - 20 November. Cat. no. 18.
Vienna, Österreichische Galerie im Belvedere, 1971. Oskar Kokoschka zum 85. Geburtstag. 27 April - 16 June. Cat. no. 23, p. 45.
Munich, Haus der Kunst, 1971. Oskar Kokoschka, Bildnisse von 1907-1970. 3 July - 26 September. Cat. p. 23, pl. 13.
The Cleveland Museum of Art, 1975-76. Extended loan for exhibition with permanent collection. 9 April 1975 - 22 December 1976. No cat.
Bloomington, Indiana University Art Museum, 1977. German and Austrian Expressionism. 23 October - 3 December. Cat. no. 58.
New York, Galerie St. Etienne, 1981. Austria's Expressionism. 21 April - 30 May. Checklist no. 31.
Stefan, Paul. Oskar Kokoschka, Dramen und Bilder. Leipzig, 1913, ill.
Hoffmann, Edith. Kokoschka, Life and Work. London, 1947, pp. 113, 300, no. 71, pl. 16.
Plaut, J. S. Oskar Kokoschka. New York, 1948, pp. 15, 23, 82.
Wingler, Hans Maria. Oskar Kokoschka. Salzburg, 1956, p. 301, no. 67. Translation by Frank S. C. Budgen, et al. New York, 1958, p. 301, no. 67.
J., R. [Recha Jaszi]. "The E. Lotte Franzos Bequest." Allen Memorial Art Museum Bulletin 15, no. 3 (Spring 1958), pp. 116-18, 127, ill.
Stechow, Wolfgang. Catalogue of European and American Paintings and Sculpture in the Allen Memorial Art Museum, Oberlin College. Oberlin, 1967, pp. 95 & 96, fig. 123.
Hodin, Joseph P. Oskar Kokoschka: Sein Leben - Seine Zeit. Mainz, 1958, p. 181.
Leshko, Jaroslaw. "Oskar Kokoschka: Paintings 1907-1915." Ph.D. diss., Columbia University, 1977, pp. 177-78, pl. 89.
Eckel, Walter. "Rekonstruktion eines tapferen Lebens." In Süddeustsche Zeitung (Munich), 24/25 June 1989, p. xiv.
Winkler, Johann, and Katharina Erling. Oskar Kokoschka: Die Gemälde 1906-1929. Salzburg, 1995, pp. 46-47, cat. no. 79.
Technical Data
Kokoschka reused a previously painted canvas for Sposalizio; much of the relief structure comes from this lower paint layer. The paint of the present composition is applied in thin layers and modeled wet-in-wet. In 1957 the original canvas was lined onto a medium-weight canvas with a wax-resin adhesive, mounted on an ICA-type spring stretcher, and the reverse coated with an aluminum paint. The painting was unvarnished prior to 1957. The painting is in good condition, with only small, minor areas of inpainting and loss at the edges; the varnish has greyed, however, altering the tonality of the composition.
1. The International Exhibition of the Sonderbund held in Cologne in 1912 was an early and polemical "survey" of German Expressionist art. The exhibition included Kokoschka and Egon Schiele of Vienna, all the German artists of Die Brücke, and Kandinsky and Jawlensky of Der Blaue Reiter, along with French Fauve and Cubist contemporaries. See "Europäische Kunst 1912: Zum 50. Jahrestag der Austellung des "Sonderbundes westdeuscher Kunstfreunde und Künstler" in Köln (exh. cat., Wallraf-Richartz-Museum, Cologne, 1962).
2. Johann Winkler and Katharina Erling, Oskar Kokoschka. Die Gemälde 1906-1929 (Salzburg, 1995), pp. 46-47, cat. no. 79. Born in Vienna on 9 April 1889, Rheinhardt was a critic and biographer of Eleonora Duse and Eugénie and Joséphine de Beauharnais [Bonaparte]. He died in a concentration camp in 1945. On Rheinhardt, see Walter Eckel, "Rekonstruktion eines tapferen Lebens," in Suddeustsche Zeitung (Munich), 24/25 June 1989, p. xiv.
3. Ernest Rathenau, ed., Der Zeichner, Kokoschka (New York, 1961), vol. 1, pl. 49. Sposalizio was already included in the Sonderbund exhibition in Cologne by 25 May 1912.
4. The portrait drawing of Elsa Romanic, which is dated "19. Mai 1912," is in the Graphische Sammlung Albertina, Vienna; see Ernest Rathenau, ed., Der Zeichner, Kokoschka (New York, 1961), vol. 5, pl. 19. Also in Hans Maria Wingler, Oskar Kokoschka: The Work of the Painter, trans. Frank S. C. Budgen et al. (New York, 1958), p. 301, pl. 67; Hans Maria Wingler, O. Kokoschka, Handzeichnungen (Berlin, 1935), pl. 45; and Paul Stefan, Oskar Kokoschka, Dramen und Bilder (Leipzig, 1913), unnumbered.
5. "The title was my own because the young couple of lovers were supposed to consider marriage in the future. The name Rheinhardt has nothing whatsoever to do with the famous theater man [Max Reinhardt] from Berlin of whom I also made portraits, two lithographs, and who produced some of my plays in the Kammerspiele, Berlin, 1920. The real names of the young people (Viennese) I have forgotten and only remember having heard long afterwards that the man had been gassed and the girl died from starvation during the Russian occupation of a part of Austria from where she could not get out. You see a very sad fate befell my sitters as, unfortunately most of my friends of that epoque." From a handwritten letter dated 4 May 1958 from Kokoschka to Chloe Hamilton in response to her query about the identity of the sitters (museum files).
6. "Kokoschka never mentioned the name of the woman portrayed in Sposalizio to me and I always assumed that it was Mrs. Franzos, since there is a certain resemblance with her portrait....It certainly is not Mrs. Swoboda, whose husband was Dvorak's assistant and who is shown in the series of lithographs entitled Konzert. I am also absolutely certain that the sitter is not Alma Mahler, because she does not resemble her at all and also Kokoschka barely knew Alma when Sposalizio was painted." From a letter to Recha Jaszi dated 19 January 1958 (museum files); translated by D. Hamburger.
7. Letter from Kokoschka to Alma Mahler, late February 1913, published in Olda Kokoschka and Heinz Spielmann, eds., Oskar Kokoschka, Briefe I, 1905-1919, (Dusseldorf, 1984); here translated by D. Hamburger. Even Alma Mahler must have been confused about the two Sposalizios; she apparently had forgotten the existence of the first one, as indicated in a letter from Erika Tietze to Chloe Hamilton dated 22 October 1957 (museum files): "In order to answer your question in the most reliable way, I called Mrs. Alma Mahler over the phone. She well remembered the picture and tells me that she even has a letter written by O.K. about this painting and why he had called it Sposalizio. It is again meant as a self portrait (not Rheinhardt) and the woman was meant to be her. She always hated the painting because there was not the least resemblance with her and she found the painted girl just awful...."
8. This period intensifies in 1913 during his trip to Italy with Alma, and culminates in his double portrait Windsbraut (The Bride of the Wind) of 1914.
9. See Christoph Asendorf, "Wankender Raum, Das Frühwerk 1907-1916," in Klaus Albrecht Schroder and Johann Winkler, eds., Oskar Kokoschka (Vienna, 1991), pp. 11-18.
10. See Christoph Asendorf, "Wankender Raum, Das Frühwerk 1907-1916," in Klaus Albrecht Schroder and Johann Winkler, eds., Oskar Kokoschka (Vienna, 1991), pp. 11-18.
11. Lotte Franzos (1881-1957) was born Elisabeth Lotte Rapp in Erfurt, Germany. Married to Emil Franzos, a lawyer, she maintained a salon in Vienna where artists, writers, and politicians gathered, and she supported young artists, such as Kokoschka, who painted her portrait in 1909. After her husband's death, she emigrated to Washington, D.C. Her bequest to the AMAM included several German paintings, drawings, and prints (including two of her own self-portraits from about 1912). See R. J. [Recha Jaszi], "The E. Lotte Franzos Bequest," Allen Memorial Art Museum Bulletin 15, no. 3 (Spring 1958), pp. 116-18, 127, ill.
In an undated letter (in the museum files) Kokoschka wrote to Recha Jaszi in Oberlin: "She [Franzos] had meant a great deal in my life. And she remained loyal to my work, very different from many other people in my youth. I will always be grateful to her beyond death and especially that she left Sposalizio to the Oberlin museum.
For evidence that Lotte Franzos owned the painting by 1916, see the letter from Oskar Kokoschka to Herwarth Walden, 21 February 1916, Vienna: "Frau Dr. Franzos...hat ein gutes Frauenbild [her portrait] und 'Sposalizio' und Zeichnungen" (Oskar Kokoschka Briefe, eds., Heinz Spielmann and Olda Kokoshka, vol. 1 [Düsseldorf, 1986]), p. 234).


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no news in this list.
Oct 17, 2013 12:27
Category: Announcer Blog
Category: Announcer Blog
Unexpected Surprise
A diner pays for a mother and daughter's meal when he overhears one of them get terrible new in a phone call. READ THIS. You'll be encouraged today.
It reminds me of the Drive-Thru difference we just finished up last week. There are so many ways to bless others. Be inspired to touch somebody else's life today.


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Information surrounding Microsoft's (MSFT) next-generation Xbox leaked earlier this week and suggested that the system will require an always-on Internet connection. The report also reinforced earlier rumors that claimed Microsoft's new console would be unable to play used games. Speaking to Bloomberg on Friday, GameStop (GME) spokesman Matt Hodges cited a company survey that found consumers would be less likely to buy a console that limits trading in pre-owned games.
"We know the desire to purchase a next-generation console would be significantly diminished if new consoles were to prohibit playing pre-owned games, limit portability or not play new physical games," Hodges said.
Microsoft is expected to unveil its next-generation Xbox at the E3 gaming conference this summer. The console is said to be equipped with a 1.6GHz eight-core AMD CPU, D3D11.x 800MHz graphics, and 8GB of RAM, along with a new Kinect sensor.


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This photo was given to me by a cousin, Dave McCombs a couple years ago, and I've been trying to figure out who everyone is every since, but after gathering all the these other photos from my Aunts I was able to make better conclusions on my identities then before. I've also gotten help from my mom to identify some of them.
Mary Ellen Hayes, my grandmother at age 15.


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2013 Arsenal Credit Union Scholarship Winners
Four St. Louis-area students recently received college scholarships from Arsenal Credit Union based on academic achievements, extracurricular activities and community involvement.
Grace Myers is a graduate of Ursuline Academy and earned a $1,500 scholarship from the credit union. She will attend Creighton University (Omaha, Neb.) to study nursing, ultimately planning to become a pediatric nurse. She is the daughter of John and Kathleen Myers, of Oakville.
Dylan Blake recently graduated from Fox High School and received a $1,200 award. He will attend Missouri University of Science and Technology, where he plans to major in mechanical engineering and minor in aerospace engineering. He is the son of Dan and Kristine Blake, of Imperial.
Holly Heibeck also received a $1,200 scholarship. She just graduated from Northwest High School and is headed to Missouri State University, where she will study Business in the hopes of someday becoming an entrepreneur. Gregory and Jeanene Heibeck, live in Cedar Hill.
Elise Ott, a new graduate of Cor Jesu Academy, earned a $900 scholarship from the credit union. She plans to study film at the University of Alabama, followed by a master's degree in marketing; she hopes to put her film degree to work in business. She is the daughter of Steven and Sylvia Ott, of Oakville.
In the past 17 years, Arsenal Credit Union has awarded $49,950 to 59 students.
Pictured (from left): Elise Ott, Grace Myers, Holly Heibeck and Dylan Blake
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Philips' new 'Xenium 800' touchscreen phoneWritten by JOJY on May 9, 2008 – 3:48 pm -
Not content with just busting out a new pair of Elite KURO plasmas, Pioneer has separately introduced four 1080p Pro models for those with (even more) exquisite tastes and deep wallets to back it up. The whole lot enjoys the firm's highly touted Optimum Mode, which "simultaneously monitors video and room light conditions" and then makes the most appropriate adjustments based on what it senses, and "industry leading" calibration features. As for the 50-inch PRO-111FD ($5,000) and PRO-151FD ($6,500), you can expect a bolstered two year warranty and a ship date to be determined, while the Signature Series PRO-101FD (50-inch) / PRO-141FD (60-inch) units will arrive in October and August (respectively) with prices not yet disclosed.
Tags: Mobile Reviews, Philips, touchscreen, Xenium 800
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text: Police officer grateful to doctors and others who helped save his life after heart attack Published: August 17, 2012 Category: Cardiovascular Center, Medicine One moment, Jacksonville Sheriff's Office Patrolman Michael Pickering was in pursuit of a suspect. A few minutes later, he was in the back of an ambulance, on his way to Shands Jacksonville Medical Center. It was Jan. 20, when Pickering felt a pain in the center of his chest during the chase and called for paramedics. Now on the stretcher, Pickering, 50, felt tired. He wanted to close his ... [More] Tagged as: Dr. Theodore Bass, Cardiology, heart attack, radial artery catheterization, cardiac catheterization, stent Tweet


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I don't understand why there has been all this brouhaha having to do with deficit reduction. Simply make the people who have benefited from the fiscal handouts in the past 30 or so years pay their fair share. That's not Communism — it's equity.
Mary wondered recently whether I ever got mad. Well I did, I said, especially when my tennis partner the other night called me off a ball near the net that was clearly mine, I being at the time closest to it. "First to the ball," I said, "that's an unwritten rule of doubles!" I was fuming, really furious.
If I could translate that dudgeon into national and international — not to mention local — affairs I would be a virtual firebrand, and in a state every day, losing sleep because of the transmogrification into dreams of the plaints of my waking hours.
But then I wouldn't be a card-carrying WASP.
(Confession: As it is, I do get up at 3 a.m. to pee, though without the angst.)
The French side of my family used to call me Morpheus, and it is true that even to this day I am quasi-narcoleptic, drifting off while reading, while watching TV, while at my wooooooord process.................
But to the point at hand: I could begin with overassessment and the coddling of south-of-the-highway denizens, and then segue into executive pay, gun-running and the absurd availability of semiautomatic weapons, nuclear power, nuclear proliferation, the gutting of the Environmental Protection Agency, the scapegoating of teachers (long live whatever unions that are left), the war against Planned Parenthood, the packing of prisons, foreign policy overreach, the tyranny of health insurance companies, deficit obsession at the expense of jobs, the worship of false gods, xenophobia, quackery of all sorts, bloviating of all sorts, the plague of social media, swine flu, staph infections, plate tectonics, and overwriting.
There. I feel better, cleansed.
Yes, there is plenty to be mad about to be sure. I've about got to the point where, with Peter Finch, I'm inclined to say, "I'm as mad as hell, and I'm not going to take this anymore!"


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Community, I'm new at Lubuntu and don't know more than a simple user - so I need someone who explains me the installation and configurations in a very simple way (and if posible in german?) My problem: Yesterday I bought a new Laptop from HP with preinstalled Win8, AMD E1-1200 and UEFI-Boot. I wanted to make a parallel installation of Lubuntu. I managed to install Lubuntu 12.04 from the CD after some changes in the boot-menu. But it is possible that it wasn't a UEFI-version/installation.
After installing Lubuntu I expected, that the computer would ask me automatically while starting with wich OS (Win or Lubuntu) I wanted to work - as it does on my old computer. Unfortunately it doesn't work that way.
Than I began to search and changed in the boot options: Legacy Support - enabled (loads Compatibiltiy Support Module) and Secure Boot disabled. Now I can load Lubuntu, if I push ESC while starting the computer to get to the boot menu. Then I have to manually elect "Boot from notebook hard drive" (CSM). And then I come to the well known menu where I can select the OS. Complicated....
Unfortunatley UEFI boot order has still "higher priority than legacy boot order" so the computer starts with the "UEFI OS boot loader" where only Win8 works. I can't change the boot order in the way that "Boot from notebook hard drive" (CSM) would be at first place. With other words: I haven't found a automatical way to come to the menu. I have to go to the boot menu every time I wnat to start Lubuntu.
Can someone help me, please??? Thanks a lot.


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Kate Linder
It's a toss-up between Mrs. Chancellor and Esther being kidnapped by Morey Amsterdam and when she delivered my onscreen child, Chloe (then Kate), on the stairs of the Chancellor Mansion during a violent rainstorm. The first was fun and wild; the second was very dramatic and touching. - Kate Linder


text: hi! I followed this tutorial to the letter (http://www.howtoforge.com/virtual-u...x-courier-mysql-and-squirrelmail-ubuntu-11.10) however, after mailing a welcome message, postfix does not create a Maildir in /home/vmail. instead, it creates a file with the username in /var/mail/. this is my error message in /var/log/mail.log: Code: May 1 20:57:04 h2025044 imapd: chdir herr-webdesign.de/alex/: No such file or directory May 1 20:57:04 h2025044 imapd: [email protected]: No such file or directory what can I do?


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Edinburgh, Gaelic Dun Eideann, capital city of Scotland, located in southeastern Scotland with its centre near the southern shore of the Firth of Forth, an arm of the North Sea that thrusts westward into the Scottish Lowlands. The city and its immediate surroundings constitute an independent council area. The city and most of the council area, including the busy port of Leith on the Firth of Forth, lie within the historic county of Midlothian, but the council area also includes an area in the northwest, around South Queensferry, in the historic county of West Lothian.
Physically, Edinburgh is a city of sombre theatricality, with much of this quality deriving from its setting among crags and hills and from its tall buildings and spires of dark stone. Edinburgh has been a military stronghold, the capital of an independent country, and a centre of intellectual activity. Although it has repeatedly experienced the vicissitudes of fortune, the city has always renewed itself. Today it is the seat of the Scottish Parliament and the Scottish Executive, and it remains a major centre for finance, law, tourism, education, and cultural affairs. Area council area, 102 square miles (264 square km). Pop. (2001) city, 431,393; council area, 476,626; (2011) city, 459,366; council area, 482,640.
Character of the city
Although Edinburgh absorbed surrounding villages and the Firth of Forth ports between 1856 and 1920, its aesthetic and political heart still lies in its small historic core, comprising the Old Town and the New Town. The Old Town, built up in the Middle Ages when the fear of attack was constant, huddles high on the Castle Rock overlooking the surrounding plain. The New Town, in contrast, spreads out in a magnificent succession of streets, crescents, and terraces. The medieval Old Town and the Neoclassical New Town were designated a UNESCO World Heritage site in 1995.
"This profusion of eccentricities, this dream in masonry and living rock is not a drop-scene in a theatre," wrote Robert Louis Stevenson, the 19th-century Scottish novelist, essayist, and poet who was born in the New Town, "but a city in the world of reality." The contrasts that make Edinburgh unique also make it typically Scottish, for, despite its reserved exterior, it is also a city capable of great warmth and even gaiety. Historically, its citizens have also been capable of great passion, especially in matters royal or religious. In 1561, for example, a mob spurred by the fiery Protestant preacher John Knox tried to break into the private chapel in the Palace of Holyroodhouse, where Mary, Queen of Scots (1542–67), newly returned from France, was attending a Roman Catholic mass. In 1637 a riot in the cathedral of St. Giles in protest against a new service book provoked a Scottish revolt against Charles I and precipitated the War of the Three Kingdoms, which engulfed the whole of Britain in the 1640s and ended in Charles's execution (see Bishops' Wars; English Civil Wars). In 1736 the burgh nearly lost its royal charter following the lynching of John Porteous, captain of the city guard. The Porteous riots and lynching were a type of violent gesture common to the history of most old cities. Yet, even in this moment of deranged passion, the city manifested its complex character: needing a hanging rope, the mob descended on a shop and bought one.
A city long renowned for a somewhat inflexible respectability—when West Princes Street Gardens were turned over to the general public in 1876, smoking was forbidden—Edinburgh concurrently maintained a fascinating netherworld of ribaldry and drunkenness. A poet, jurist, or novelist of sufficient distinction might succeed in inhabiting both worlds. One who clearly did was William Brodie, a member of respectable society—deacon of the Incorporation of Wrights and Masons and a town councillor—who by night was the mastermind behind a gang of burglars. Brodie was convicted and hanged in 1788 for his crimes, and his double life is reputed to have been part of the inspiration for Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde (1886). Brodie's Close, a public house on the Royal Mile in Edinburgh, is named after him. Such "Edinburgh characters" abounded during the flourishing Neoclassical period of the 18th and 19th centuries known as the Augustan Age, when the city's authors, critics, publishers, teachers, physicians, and scientists formed an intellectual elite of world influence. With the subsequent relapse of the city into a more provincial role, such noted eccentrics became virtually extinct.Blake Ehrlich Archie Rule Turnbull Michael Lynch
City site
Edinburgh occupies some 7 miles (11 km) of north-facing slope between the Pentland Hills and the broad Firth of Forth estuary, where it merges with the once-independent seaport of Leith. Upthrusts of lava punctuate this slope. One of them, called Arthur's Seat, the centrepiece of the royal park, has an elevation of 823 feet (251 metres) and dominates the city's southeastern flank. The valleys between these striking hills were scoured deep and clean by glacial action in the Pleistocene Epoch. Edinburgh has been built on top of and around these obstacles so that the nearer one comes to the city centre, the more spectacular is the juxtaposition of natural and built environment, with terraces of stone confronting soaring thrust.
At the city's core is the Old Town's Castle Rock, a plug of black basalt sealing the vent of an extinct volcano. It stands 250 feet (76 metres) above the valley floor and is crowned by the famous Edinburgh Castle, which, subtly floodlit every night, stirs even the habituated townsfolk. Glacial ice once flowed from the west and around the Castle Rock's flanks, depositing the accumulated debris of a lateral moraine east of the rock to create a crag and tail formation. Along the crest of this tail, and down its steep sides, the Old Town was built from the 12th century onward.
Some 600 feet (180 metres) north of the Castle Rock, across the valley that is now Princes Street Gardens, lies the New Town, a district that was planned and built in successive phases between 1767 and 1833. It offers a dignified tribute to the international taste of the Enlightenment and to the surveyor's set square. Its design was overly regular to begin with, but later developments—as can be seen at the west end of Princes Street—paid more respect to natural contours and softened the regimentation of the right angle with curves and crescents. The New Town's northwestern boundary is roughly the line of Edinburgh's only substantial stream, the Water of Leith. The stream's brief course from the Pentlands to the sea provided power for the mills of a series of villages—Dalry, Dean, Stockbridge, Silvermills, and Canonmills—that experienced significant growth from the early 17th century onward. These villages, which sprang up largely as industrial centres with paper and textile mills, are now embedded in the 19th-century matrix of the town, providing fashionable, bijou residences.
Edinburgh has a mild climate. Its proximity to the sea mitigates temperature extremes. Winters are relatively warm, with average daily minimum temperatures remaining above freezing, while summers are comparatively cool, with temperatures seldom rising much above 70 °F (21 °C). The prevailing easterly winds are often cold but relatively dry; warmer southwesterly winds coming off the North Atlantic Current often bring rain. Annual precipitation is moderate, averaging 27 inches (685 mm), and is evenly distributed throughout the year. Edinburgh lacks prolonged sunshine: on average it annually receives less than one-third of the possible sunshine for its latitude. But its ever-changing cloudscape partly compensates for this.
City layout
Until the late 18th century, Edinburgh followed a common European pattern by continually renewing itself on its original site, and the lack of space for outward expansion compelled each successive phase to conform to the original layout. Subsequently, when expansion became possible, the town quickly broke free of its medieval mold, and each new development was built adjacent to, rather than on top of, its predecessor. Consequently, the soaring vertical lines of the Old Town confront the expansive horizontal ones of the Georgian New Town to the north, and both are encircled by acres of individually distinct Victorian suburbs and finally by a ring of 20th-century construction that makes its way toward hills and sea.
Expansion from the Old Town
For centuries the barrier to northward expansion was the lake and encircling marsh—the North Loch, or Nor' Loch—that choked the valley along the foot of the moraine and the Castle Rock. King James II (reigned 1437–60) originally had the lake created from swampland as a defense against attack. Even when it was drained and the land was firmed, access to the north had to await the ability of civil engineers to span the valley with a bridge. This was achieved in 1772 with the completion of the North Bridge—70 feet (21 metres) high, 1,130 feet (344 metres) long, and canted steeply northward; today's steel-arch structure dates from 1895.
In the centuries between the founding of the Old Town and the beginning of the New Town, Edinburgh eased itself down the southern flank of the moraine. Its original markets were all held along the High Street. By the 1330s a second, parallel street called the Cowgate (originally called the Southgate) had been built, at a lower level, at the foot of the steep slope to the south. Halfway down the Cowgate is King's Wall, the Old Town's first known defense, which was constructed in the mid-15th century. At the west end of the Cowgate, the Grassmarket was built in the shadow of the Castle Rock, and by the 17th century it had become the Old Town's main market for sheep and cattle—as well as the location of its public executions. Edinburgh, in effect, is a two-tier town, and the steep slope between its two main streets has made travel difficult for medieval horses and modern tourists alike. Farther to the south, beyond the Magdalen Chapel (built between 1541 and 1544)—the last of Edinburgh's pre-Reformation churches and now ironically owned by the Scottish Reformation Society—the town slowly climbed the facing slope of the adjacent moorland. Candlemaker Row, the home of a noxious and inflammable trade that was pushed for safety reasons to the edge of the burgh, is a short street that runs in a northwest-southeast direction and marks the southern limits of the Old Town. At the top of this steep street, just outside the old Bristo Port (or gate) and on the site of the pre-Reformation Franciscan friary, Greyfriars, the town's first post-Reformation church, was built in the early 17th century to house the growing population of the southwest quarter. Little remains of the Flodden Wall, built in the years after the traumatic Scottish defeat at the Battle of Flodden (1513) to guard against English attacks. Near Greyfriars is the original site of the "Toun's College" (later the University of Edinburgh), granted a royal charter in 1582, at the Kirk o'Field, where Henry Stewart, Lord Darnley, second husband of Mary, was assassinated in 1567. The medieval collegiate church no longer exists, as the magnificent "Old College," designed by Scottish architect Robert Adam in 1789, now sprawls across the site. Farther south is the university's main campus, which encircles the formal gardens of George Square. Edinburgh's first real suburb, George Square was laid out in 1766—nearly 20 years before the first stages of the building of the New Town; although only part of two sides of the square—with its original small-scale domestic architecture—survives amid the bleak concrete tower blocks of the modern university, it is noticeably friendlier than the somewhat bleak facades of the New Town.
Edinburgh's bridges
In the 50 years following the building of the North Bridge, four other bridges were completed, enabling the city to expand where it pleased. Two of these, the South Bridge (1788) and the King George IV Bridge (1834), are multiple-arch constructions that span the Cowgate ravine. These new bridges opened the south to rapid expansion. In the same period Waterloo Bridge, with its Regency Arch (1820), opened the eastern slopes of Calton Hill (northeast of the Castle Rock) to Regency building, while King's Bridge (1833), leaping westward from the Castle Rock, was the vital link in the so-called "western approach." Throughout the Victorian and Edwardian ages, the city grew in every direction, recording in its stone tenements and detached mansions every foible of changing taste: Neoclassical, Gothic, Scotch Baronial, Italianate, and a more recent profusion of 20th-century brick and concrete.Archie Rule Turnbull Michael Lynch
The Old Town
Edinburgh Castle, 443 feet (135 metres) above sea level, dominates the city. Archaeological excavations have shown that the Castle Rock, previously thought to have first been fortified as a stronghold of the Gododdin in the 6th century, originated in the Bronze Age and has been occupied for some 3,000 years. Its first documented use as a royal castle dates from the reign of Malcolm III Canmore (1058–93), but successive phases of damage and reconstruction have been so extensive that little of substance before the reign of James IV (1488–1513) has survived. The small chapel of St. Margaret, queen of Malcolm Canmore, on the highest point of the rock, probably dates from the reign of her youngest son, David I (1124–53), and is the oldest surviving building.
The Royal Mile, which begins outside the Castle Esplanade, descends Castle Hill, the crest of rock linking the castle with the Palace of Holyroodhouse to the east. The Augustinian abbey of Holyrood and the royal burgh of Edinburgh, first mentioned in the period 1124–27, were both originally creations during the reign of David I. The Royal Mile bears several street names that are medieval in origin—Castle Hill, Lawnmarket (or "land market," where the produce of the countryside was sold), High Street, and Canongate (reflecting the fact that Edinburgh was an abbot's burgh and its superior was head of a religious house of Augustinian canons). The Old Town's towering tenements press together along the crest. Because of its shortage of building space—only 140 acres (57 hectares)—the Old Town was compelled to expand skyward as its population increased sharply during the 16th and 17th centuries. It was only after 1600, however, that Edinburgh began to acquire its characteristic 6-, 10-, and even 12-story tenements. This upward expansion—symbolized by Gladstone's Land, a six-story tenement in Lawnmarket that is now a museum—let very little light into the narrow passageways and gave the Old Town its herringbone settlement pattern. The cliff face of houses is broken by wynds (narrow, winding stone lanes leading down either side of the ridge) and closes or vennels (entryways into courtyards, around and behind which are yet more buildings).
A number of important buildings line the Royal Mile. At its heart is the cathedral of St. Giles (the High Kirk of Edinburgh) of the Church of Scotland. It has a fine late-Gothic nave and a magnificent 15th-century crown tower: an open spire with eight flying buttresses supporting a sculptured turret, aping the imperial crown that Scottish kings claimed to possess from the reign of James III (1460–88) onward. Sadly, much of the exterior stonework is a fairly crude 19th-century restoration.
Behind St. Giles, in Parliament Square, is Parliament House, built by the town council between 1632 and 1639. Parliament Square lies over the site of the medieval graveyard where John Knox, the most celebrated figure of the Scottish Reformation, was buried; thus, Knox has no marked grave or tombstone, save for a small plaque above one of the designated parking spaces between the church and Parliament House, which now houses the supreme civil and criminal law courts of Scotland. Although Parliament House is now one of the city's finest buildings, its construction by Charles I was originally opposed by many in Edinburgh, which was forced to finance the enormous costs of its erection. The Scottish Parliament met there from 1639 to 1707. The Parliament House complex is adjacent to the National Library of Scotland, successor to the Advocates' Library, founded in the 1680s; the philosopher David Hume was once its librarian.
Opposite St. Giles, slightly to the east, are the City Chambers. This building, completed in 1761 as the Royal Exchange but never used for that purpose, faces the Mercat Cross (Market Cross), the hub of the old city. Before James VI left Scotland and its capital to claim the throne of England as James I in 1603, the Mercat Cross was, in a very real sense, the centre of the kingdom of Scotland. In the 18th century it was a focal point of the Scottish Enlightenment, home of some of the world's foremost economists and philosophers (e.g., Hume and William Robertson). Indeed, William Smellie, printer for the University of Edinburgh and editor of the first edition of Encyclopædia Britannica, the oldest English-language encyclopaedia, immortalized the Mercat Cross, noting a remark made by an English visitor at the height of the city's reputation: "Here I stand at what is called the Cross of Edinburgh, and can, in a few minutes, take fifty men of genius and learning by the hand." Part of the original pillar of the cross was used in a late 19th-century reconstruction undertaken at the expense of British Prime Minister William Ewart Gladstone. Royal proclamations are announced from its tower platform by members of the Court of the Lord Lyon (the Scottish equivalent of the College of Heralds).
Some 300 feet (90 metres) to the east of Mercat Cross was another symbol of the burgh's status—the tron, or weighbeam, where all incoming goods were weighed. It was also the site of the Tron Kirk (built 1637–47), Edinburgh's second post-Reformation church and now a tourist information centre, where the North and South bridges later cut across the crest of the ridge. Almost directly across from the kirk is Anchor Close, where Smellie printed the 1787 edition of the Poems of Robert Burns. Smellie introduced Burns to the conviviality of a club called the Crochallan Fencibles; the poet, in return, regaled them with the bawdy songs titled Merry Muses of Caledonia (first published in 1800).
Among the noteworthy buildings along the High Street and Canongate sections of the Royal Mile is John Knox House, which stands close to the Netherbow, the main gate of the royal burgh until the 18th century. Now a museum, the house provides a glimpse of an older Old Town (though its forestair probably dates from the 1550s, part of the house itself was originally built in the 15th century). Other notable buildings along this stretch of the Royal Mile are Moray House, a 17th-century town house now used as a teacher-training college; the Baroque-fronted Canongate Church (1688–90), whose graveyard contains the tombs of 18th-century poet Robert Fergusson and political economist Adam Smith; Acheson House (1633), containing the Scottish Craft Centre; Huntly House, containing the Civic Museum; and the old Canongate Tolbooth (1591). Queensberry House (1681), acquired by William Douglas, 1st duke of Queensberry, as a town house in 1686, served as a barracks and a hospital; closed in 1995, it was redeveloped and is now the focal point of the Scottish Parliament complex. The 17th-century inn in White Horse Close, once the terminus of the London coach, has been splendidly restored as a group of private homes.
Away from the crowded buildings, at the lower end of the Royal Mile, is Holyrood. The Augustinian abbey, built on the first available expanse of solid ground at the foot of the volcanic crag and tail, was founded in 1128 and rebuilt about 1220. The ruins of the nave are impressive examples of the bold, imaginative work of the period. The Palace of Holyroodhouse, which shouldered the abbey aside, comprises an early 16th-century wing, built by French and Scottish masons in the reign of James V (1513–42), and a 17th-century quadrangle court and facing wing. It is the British sovereign's official residence in Scotland. Facing the palace along Holyrood Road is the site of the new Scottish Parliament complex, which opened officially in October 2004. South and east of the palace is Holyrood Park, which includes the Salisbury Crags and Arthur's Seat as well as three lochs.
Princes Street Gardens
The Princes Street Gardens, laid out between the Old and New towns in the drained lake bed of the old North Loch, have a distinct character. Flowers are set out in beds that are changed several times a year, and a floral clock planted in 1903 (the first in the world), which embowers a quarter-hour cuckoo, has some 24,000 plants in its 36-foot (11-metre) circumference. Among the lawns, flower beds, and groves are recreational areas, a bandstand, an outdoor dance floor, and numerous memorials, the most conspicuous of which is an 1844 Gothic spire, 200 feet (60 metres) high, that rises above a statue of Sir Walter Scott and his hound, Maida.
For the first 100 years of its existence, West Princes Street Gardens was the private amenity of Princes Street proprietors. In 1876 this tract was opened to the public, which had always had access to the eastern gardens. The Mound, a causeway of rubble and earth from New Town construction, forms the division between the two gardens. On the Mound are two neo-Grecian temples to the arts: the Royal Scottish Academy (1832) and the National Gallery of Scotland (1859). Atop the Mound, near the Royal Mile, stands New College, the home of the University of Edinburgh's faculty of divinity. Attached to it is the Assembly Hall of the Church of Scotland (1859), which served as the temporary meeting place of the new Scottish Parliament between 1999 and 2004. The skyscape viewed from the New Town reveals Edinburgh's best piece of architectural one-upmanship: the enormous Gothic spire of the (Highland) Tolbooth Church (1844; now the Hub, or Edinburgh Festival Centre) at the head of the Royal Mile is framed in an architectural embrace by the twin towers of the New College (1850). The original embrace was scarcely friendly: the Tolbooth was designed as a church and the meeting hall of the General Assembly of the Church of Scotland; New College was planned as a church and theological college for the rival Free Church, set up after the bitter Disruption of 1843. The Disruption, which split the Church of Scotland apart—some two-fifths of the ministry and three-fifths of parishioners left the Church of Scotland for the Free Church—is recaptured in stone at the head of the Mound. Railroad tracks—now almost concealed by landscaping—were laid through the middle of the Princes Street Gardens in 1847, and trains bound for Glasgow and the north pass under the Mound. The rails terminate in the east end of the park at Waverley Station.
The New Town
In 1767 the town council approved plans for the New Town as a suburban residential district, designed only for people "of a certain rank and fortune." The architect, James Craig, set out a vision of order and space: a grid five streets deep and seven streets wide with a broad central axis terminating in grand squares at each end. St. George's Church would anchor the western end of the scheme, St. Andrew's the eastern. In the process Princes Street, the southernmost of the new streets, was lined only on its north side with residences, which faced the castle across the valley. Symbolic of Scotland's new role (from the Act of Union in 1707) as "North Britain," the streets were named for members of the Hanoverian dynasty, which had originated with George I (1714–27). When built, the New Town was deliberately designed without shops or places of entertainment, as it was meant to provide a new privacy and gentility; it was anticipated that the crowded Old Town would remain the hub of commerce and business. The arrival of the railway changed the face of Princes Street, however, and residential space gave way to shops and hotels. Princes Street became the main shopping street and the principal thoroughfare of the city, and few original buildings remain behind the shop fronts. Register House (1774–92), at the east end of Princes Street facing the North Bridge, is the finest of the city's buildings by the 18th-century architects James and Robert Adam. Now the National Archives of Scotland, it and West Register House, situated at the opposite end of the New Town in Charlotte Square, house part of the national records. In the remainder of Craig's New Town, much has been done to restore and improve the amenity of the streets and squares. In St. Andrew Square the Royal Bank of Scotland, built as a town house in 1772–74 for Sir Lawrence Dundas when he was the member of Parliament for Edinburgh, is a fine example of an 18th-century mansion and has a stunning Victorian banking hall (1858). In George Street is the parish church of St. Andrew, an oval building with a fine plaster ceiling and an elegant spire. On the north side of Charlotte Square, the Georgian House, managed as a museum by the National Trust for Scotland, is completely furnished from kitchen to bedrooms with all the appurtenances of late 18th-century Edinburgh elegance.
At the east end of Princes Street, Calton Hill rises above the central government office of St. Andrew's House (1939) and the adjacent Royal High School (1825–29), considered for a time in the 1990s as the site for the new Scottish Parliament. It is crowned by the 19th-century architect William Playfair's City Observatory (1818) and a charming Gothic house by Craig, built for the astronomer royal. Behind this rise 12 columns of an intended replica of the Parthenon that was designed by Playfair in 1822 as a memorial to the Scots who died in the Napoleonic Wars. Construction of the memorial was abandoned when funds fell short in 1830. Down the slope to the south stands the tiered circular tower of the Nelson Monument (1807). This ambitious scheme to build a series of symbolic monuments to mark Edinburgh's elevation to the status of "a splendid and magnificent city"— a "Modern Athens"—remained unfinished, though the hill gave rise to the city's nickname as the "Athens of the North." Although the area is still sometimes called "Edinburgh's disgrace," the view westward from the National Monument atop Calton Hill at sunset, with Princes Street and the Gothic steeple of the Scott Monument (completed 1844; inaugurated 1846), honouring Sir Walter Scott, foreshortened below it, remains one of the most famous and compelling visions of Edinburgh.
To the north, on the flat plain toward the Forth, the Royal Botanic Garden, at its finest when the great rhododendrons are in bloom, offers from its crest a superlative vista of the New Town backed by the distinctive skyline of the Old Town.


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Don't mistake these colorful gentlemen for anything less than trained killers.
In fact, they're part of a 500-year line of mercenaries who "took part in brief but glorious wars and then returned home with the "pay" and the booty."
New recruits in the Papal company of these Swiss mercs recently swore in last week — an annual ritual — and added a batch of 35 warriors to their ranks.
As Swiss troops, trained in Switzerland, they have a firm grasp of modern combat, small arms, and counter terrorism. The Vatican outfit numbers around 150 to 200.
They're on a paid contract to the Papacy ... one that's lasted 500 years.


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Israel News - Stay Informed, Pray Informed
In yet another example of just how silly are the claims that Israel is a racist apartheid state, 19-year-old Lina Mahoul, an Arab Christian from the northern town of Acre, became the second winner of Israel's wildly popular singing competition show, The Voice.
Nearly every Israeli eye was glued to the television Saturday evening as Mahoul faced off against Ophir Ben Sheetrit, an Orthodox Jewish girl from Ashdod, in the final.
For those who believe Israel is a state that practices racism against its minorities, the choice should have been obvious. Of course the Jew would win! Those racist Israelis would never vote for an Arab!
How wrong such sentiments are, as proved on Saturday night, when Israelis voted overwhelmingly for Mahoul, who in turn played to her audience by performing a touching rendition of Leonard Cohen's "Hallelujah."
During her final performance, Mahoul's family and friends could be seen happily enjoying the moment surrounded by Jews. Again, not really a picture of apartheid.
It was also pointed out that the young Mahoul volunteers at Magen David Adom, the Israeli Jewish version of the Red Cross.
Watch Lina Mahoul's winning performance:
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There is a new Card Caravan Challenge starting at The Hybrid Chick today, and I'm hosting! My theme for the challenge is Lucky Green. You can check it out here. If you're not keen on green, you can grab some inspiration from the photo (below) or go with the lucky part of the theme. So there are lots of possibilities!
I used some of the scrap papers to create the flower. I punched, inked and scrunched, then layers a few medium and small punched flowers together to create this bloom. The ribbon is some old seam binding from my stash that I sprayed with Glimmer Mist to give it a green color.
Hope this inspires you to "go green" :-)
Joanna Sheen
Passionately Artistic


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Did Whitney Houston Have a Secret Affair With Jermaine Jackson?
Rumors have been rampant about every aspect of Whitney Houston's life since her tragic death on Feb. 11, but the latest isn't about her substance abuse or financial woes. It's about an affair with Jermaine Jackson.
The Sun reports that Houston had a secret affair with Jackson, claiming it explains why he was so devastated by her death last month. The pair recorded several duets together and were longtime friends, however, which could easily explain his sadness at her passing as well as an affair could. In any case, the newspaper says the pair had a year-long affair while Jermaine was married to Hazel Gordy.
The tab claims Michael Jackson was one of the few people aware of the clandestine romance and that he didn't approve of the pair. The affair allegedly began in 1984 and concluded in 1985 when Jermaine refused to leave Gordy for the budding superstar, Radar Online reports. Sources say Houston deliberately cast a Jermaine doppelganger in her video for 'Saving All My Love For You,' a song about an affair with a married man.
The Sun claims that Houston and Jermaine never lost touch even after the end of their affair, and that Houston even comforted Jermaine following the death of Michael in 2009. Rumors suggest that Jermaine didn't attend Houston's funeral because he was simply too overwhelmed with grief.
Watch Jermaine Jackson and Whitney Houston Perform 'Nobody Loves Me Like You Do'
Watch Whitney Houston 'Saving All My Love For You' Video


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Thomas_Demolliens wrote:Hi-
I generate my tours with PTP2. Is it possible to generate a personalised link to start the tour with a specific pano?
i.e. my tour is composed of 5 scenes and I want to create an URL to start the tour with the 2nd scene instead of the 1st one? I don't want to change the tour and the HTML file, but want to know if it is possible to add parameters to it?
Thanks for your kind answer,
Frenchev wrote:Hi, is this "?startscene=panoID" working on tours build with PTP 1.8?
If not, is there an other way, to do it on tours build with 1.8?
And where can I find the panoID?
Arnim wrote:I'm using Panotour 2.0beta3 (not Pro) - and I'm not able to get the Parameters working.
Do I have to use the Pro Version? Or what could be wrong?
Arnim wrote:@benji33: I'm not able to locate the Information-Panel you are talking about. There is no (i) anywhere in the "Properties".
Arnim wrote:@mediavets: As I told you - I don't have that button. Maybe its a PRO feature?
mediavets wrote:Arnim wrote:@mediavets: As I told you - I don't have that button. Maybe its a PRO feature?
benji33 wrote:mediavets wrote:Arnim wrote:@mediavets: As I told you - I don't have that button. Maybe its a PRO feature?
Ok I'm sorry, I've answered too quickly, it's a Panotour Pro feature. Deep linking and (i) button are available only into the Pro version. It's why it doesn't work with your Panotour Standard edition visit.
Hellkeeper wrote:Hi,
I got a Question to this functionality ... we used swfAddress in V1.8 - and are now in the process of switching to 2.0 Beta.
How can we achieve that the URL will be updated with actual Image-Call like with swfAddress? (so someone can copy/paste URL to get to the viewed Image)
(using PRO Version)
Thank you
Andreas Schnederle-Wagner
Arnim wrote:Deep linking is the Feature I'm looking for - correct? :-(
benji33 wrote:Hi, I don't know the functionnality of this plugin but you can have a look into the YOUR_TOUR_core.xml file and look after the computeDeepLinkingURL action which generate the PTP deep linking string into the tour_deeplinkingvars variable. This variable can be added to your url with krpano string operator txtadd.
benji33 wrote:Parameters are :
param. = value
startscene (or s) = scene name ID
h = hLookAt value
v = vLookAt value
f = fov value
sample :
- Code: Select all
<events name="returnDeepLinkingValuesEvent" onloadcomplete="returnDeepLinkingValues();" keep="true" />
<action name="returnDeepLinkingValues">
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Find Your Closest Club Location
Welcome to Southport Marina
The entire facility at Southport Marina underwent extensive renovation and upgrades between 2006 and 2008, making this one of the largest and most amenity-laden marinas in North Carolina. Southport Marina is a "must see" destination while traversing the East coast waterways. Our location puts you within a day's travel of Wrightsville Beach, NC and Myrtle Beach, SC. As well as walking distance of downtown Southport, NC
Conveniently located on the Intracoastal Waterway at mile 309, Marker 2A, the full service marina has over 200 in-water protected slips with deep water access, a floating dock house and a transient / fuel dock. The new 50' high, 220 unit dry-storage facility is hurricane rated to withstand 140 mph winds and we have a travel lift capable of handling boats up to 55 tons.
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I'd like to see Jay Cutler put together a scoring drive with actual third-down conversions, just like big-boy offenses, and even those run by Derek Freakin' Anderson. Palm-to-forehead.
I'd also like to see the rookies on the right side of the offensive line look like they deserve their spots. Not to scare Cutler, but what if J'Marcus Webb is the best right tackle on the roster?
I'd like to see how healthy Brandon Marshall is against competition that is less fake than training camp rules.
I'd like to see Martellus Bennett in the red zone because that's where "Black Unicorns'' rule.
I'd like to see whether Bears fans have learned to shut up when the Bears offense reaches the red zone.
Something else I'd like to see in the scrimmage against the San Diego Chargers on Thursday night and certainly next week in the scrimmage that matters:
A receiver who actually can do what Devin Hester never really managed. You know, speed with a clue.
I'm not lobbying for Lovie Smith's former No. 1 receiver to come back to the offense. Omigawd, can you believe that Smith spouted that slop? And the way Smith used to say it -- just leave the smarm to us professionals.
Anyway, Hester couldn't figure out where to line up, so there's no reason to think Hester could pick up Marc Trestman's offense if you spotted him two "huts.''
Still, I'm waiting for the Bears to complete the offensive set with that kind of deep threat. I'd like to see a receiver who can take the top off the defense, a burner who scares defensive backs into instant retreat, a target who demands double coverage deep.
Cutler loves that kind of receiver and that kind of play. Go deep. Go up and get it. I'm sure Cutler would abuse that option in audibles the way he defaults to throwing to Marshall even if he's triple-covered.
So, that part might need work, but the point is, that kind of deep threat tends to clear the middle of the field and opens everything underneath. After a lot of short drops and quick throws into contested coverage that sucks up the safeties, the Bears are one pump-fake away from a bomb that goes for six.
And once that happens, those short drops and quick throws tend to open up because the extra defenders have become scaredy cats.
Yep, it's a great weapon.
It just not here.
At least, it's not here if the first game in any indication. If that guy is here, then the Bears are doing a great job of not putting it on video.
So, I'd bet that guy isn't here. But I'd also bet that rookie Marquess Wilson makes the team because he's the closest they have. Wilson grabbed a Matt Blanchard pass across the middle of the field and turned it into a 58-yard gain against Carolina. Wilson should've scored. Sidelines, kid, sidelines.
But Wilson showed explosiveness. The Bears need explosiveness. Wilson didn't show little-guy speed, but gained yards by the chunk with his long strides. He looked like a Transformer. You could hear Bears fans saying, "Whoa.'' You could imagine Carolina defensive backs spitting out "Uh-ohs.''
You've seen what those receivers can do in games that matter. Certainly you've seen what they could do to the Bears. Under Smith, safety Chris Conte was ordered to line up so deep that it would be impossible for opposing receivers to beat him deep, and so, Conte could be seen waving from the Bean.
I'd like to see Wilson get snaps with the starters --- snaps aimed at finding out whether he's the guy. The sooner you find out that he's not, the more urgently the Bears can step up the search.
Somebody has to be that guy. Super Bowl teams tend to have that guy.