This page simply reformats the Flickr public Atom feed for purposes of finding inspiration through random exploration. These images are not being copied or stored in any way by this website, nor are any links to them or any metadata about them. All images are © their owners unless otherwise specified.
This site is a busybee project and is supported by the generosity of viewers like you.
G-KASX Supermarine Seafire MkXVII SX336 Royal Navy VL 105
The Supermarine Seafire was a naval version of the Supermarine Spitfire and this seafire was constructed at the Westland Factory in Yeovil Somerset UK.
The aircraft is marked up in the colours of 767 naval air squadron based as RNAS based Yeovilton with 105 and the Yeovilton VL a
Photo taken at the Imperial War Museum Duxford Cambridgeshire
Battle of Britian Air show practice and fly-in day 11th Sept 2026
HAA_6386
Warsaw, details
More is here:
www.patreon.com/iskander/posts/100-about-warsaw-168831130
The famous Narmer Palette, depicting in early hieroglyphs the unification of Upper and Lower Egypt by King Narmer, founder of the 1st Dynasty, in the 31st century BCE.
This face shows Narmer, the founder of ancient Egypt's Old Kingdom wearing the White Crown of Upper Egypt and is shown at the center, wielding a raised mace as he grasps a kneeling enemy by the hair, ready to strike him down.
His sandal-bearer stands behind him, while above, the god Horus — depicted as a falcon — perches on a cluster of papyrus flowers representing Lower Egypt, symbolically restraining the enemy on Narmer's behalf.
Below this central scene, two defeated enemies either flee or lie prone, having already fallen before the king.
At the very top of the palette, two cow-headed figures with human faces look out from either corner — usually identified as the goddess Hathor, though some Egyptologists suggest they may represent the lesser-known cow-goddess Bat instead.
This "smiting" pose — the king gripping a foe by the hair with mace raised — became one of the most enduring and frequently repeated images in all of ancient Egyptian royal art, used by pharaohs for the next three thousand years.
The Narmer Palette was carved from a single piece of flat, fine-grained dark gray-green siltstone.
Discovered by British archaeologists James Quibell and Frederick W. Green in what they called the Main Deposit in the Temple of Horus at Nekhen, Aswan Governorate, during the 1897–98 dig season.
Currently on display at the Egyptian Museum of Cairo.
Le Havre
France
AOK 15 - KVA F - KVGr Le Havre
WN 04 - Batterie de Dollemard
Originally built by the French military between 1892 and 1894.
Built to protect the Seine estuary and the port of Le Havre.
At the time, France wanted to defend the area against potential attacks from England.
It featured deep underground tunnels and was originally armed with four 270 mm mortars and four 95 mm Lahitolle cannons.
WWII
During World War II, the German army occupied France and integrated the fort into their Atlantic Wall coastal defenses.
The Germans set up 138mm coastal guns at the site.
They also planned to install four larger 150mm guns, but that plan was abandoned in 1942.
Because the fort sat in a highly exposed position, on top of a 94-meter cliff, it invited heavy Allied naval and air attacks.
As a result, the Germans dismantled the battery in 1943 and moved its guns down into the main Le Havre harbor area.
When the region was liberated, the fort was briefly utilized by the 25th US Navy Construction Battalion (Seabees).
Favoured by painters and writers. Customers have included Oscar Wilde, Renoir, Monet, Whistler and Pisarro. Sickert's painting of the exterior is in the Tate.
Screenshot
Apart from the outdoor clothing of the tourists, this is how a street in Glencoe, Scotland would have looked in the 17th Century. The turf and creel house at the Glencoe Visitor Centre is an authentic recreation of a home in the township of Achtriachtan. The township existed around the time of the infamous Glencoe massacre of 1692. In Explore 12.9.26
boat ride in Gdańsk
author: Jan Helebrant
location: Gdańsk, Poland
www.juhele.blogspot.com
license CC0 Public Domain Dedication
A MiG jet aircraft stands proudly on display its sleek profile visible against a backdrop of contemporary buildings. The scene captures a moment in military history merging past and present.
The Gatton Weeping Mothers War Memorial was designed and produced by well known and highly regarded Ipswich mason, Frank Williams. The marble memorial honours the 68 local men who fell during the First World War.
The memorial cost over £500 which was raised through public subscription. A memorial committee was formed and the Chairman, Richard James laid the foundation stone on the 22nd of April 1922. The date of the official unveiling is unknown.
In 1933, a light to illuminate the statue at night was added by the Gatton RSL and Womens Auxiliary and was officially switched on by ex-First World War nurse, Nurse Pollock on Armistice Day.
Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60 000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.
Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word 'cenotaph', commonly applied to war memorials at the time, literally means 'empty tomb'.
Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they paid the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.
Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers, and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects.
Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.
Many different types of war memorials were erected throughout Queensland, however none are as emotive or as unique in design as the one at Gatton. At the laying of the foundation stone, the memorial was said to be an expression of sympathy with the mothers of fallen soldiers.
Source: Queensland Heritage Register.
Survivor Tree
