In geomorphology, badlands are areas of bare ground which have been intensely eroded by running water into a maze of miniature canyons and steep slopes. There may be hundreds of tiny stream channels within a single square kilometre or mile, with the channels containing water only after rainstorms. Common on clays and shales in areas where the climate is semi-arid, they occur also on the tip-heaps of mines, especially of china-clay workings, in areas where the climate is wetter. Resistant layers of rock are often left as cappings on pillars of softer rock; these structures are known as hoodoos, or pedestal rocks. Research Badlands
Dew is a deposition of water from the atmosphere upon the surface of the earth in the form of minute globules. During the day the earth both absorbs and emits heat, but after sunset its supply of warmth is cut off, though it still continues to radiate heat into the surrounding space. Grass, flowers, and foliage being good radiators, lose after sunset the heat which has previously been absorbed by them, without receiving any in return, and their temperature consequently falls considerably below that of the atmosphere. From the proximity of these cold substances the particles of vapour in the adjoining air are condensed and deposited upon their surfaces in the form of dew, or of hoar-frost where the temperature of the earth is below freezing.
When the sky is clouded the heat abstracted from the earth's surface by radiation is restored by the clouds, which, being good radiators, send back an equal amount of heat to what they receive; and a balance of temperature being thus maintained between the earth and the surrounding atmosphere, no dew is formed. The deposition of dew is likewise prevented by wind, which carries away the particles of air before the vapour contained in them has been condensed. Horizontal surfaces, and those which are exposed to a wide expanse of sky, receive a greater supply of dew than sheltered or oblique surfaces, where circumstances diminish the amount of radiation. The radiation from the earth's surface is one of those happy provisions for the necessities of living beings with which nature everywhere abounds.
The heavy dews which fall in tropical regions are in the highest degree beneficial to vegetation, which, but for this supply of moisture, would, in countries where scarcely any rain falls for months, be soon scorched and withered. But after the high temperature of the day the ground radiates under these clear skies with great rapidity, the surface is quickly cooled, and the watery vapour, which, from the great daily evaporation, exists in large quantities in the atmosphere, is deposited abundantly. This deposition is more plentiful also on plants, from their greater radiating power; while on hard, bare ground and stones, where it is less wanted, it is comparatively trifling.
In cold climates the earth, being cold and moist the clouds prevent the radiation of heat; the surface is thus preserved warm, and the deposition of dew is, in a great measure, prevented. Research Dew
Engraving is the art of representing objects and depicting characters on metal, wood, precious stones, etc, by means of incisions made with instruments variously adapted to the substances operated upon and the description of work intended.
Impressions from metal plates are named engravings, prints, or plates those printed from wood being called indifferently wood engravings and wood-cuts. While, however, these impressions are not altogether dissimilar in appearance, the processes are distinct. In plates the lines intended to print are incised, and in order to take an impression the plate is daubed over with a thick ink which fills all the lines. The surface is then wiped perfectly clean, leaving only the incised lines filled with ink. A piece of damp paper is now laid on the face of the plate, and both are passed through the press, which causes the ink to pass from the plate to the paper. This operation needs to be repeated for every impression, for the wood block, on the contrary, the spaces between the lines of the drawing are cut out, leaving the lines standing up like type, the printing being from the inked surface of the raised lines, and effected much more rapidly than plate printing.
Engraving on wood, intended for printing or taking impressing from, long preceded engraving on metals. The art is of eastern origin, and at least as early as the 10th century engraving and printing from wood blocks was common in China. We first hear of wood engraving being cultivated in Europe by the Italians and Germans in the 13th century. For a hundred and fifty years, however, there is small indication of the practice of the art, which was at first confined to the production of block-books, playing cards, and religious prints. In the 15th century the art of printing from engraved plates was discovered in Florence by Maso Finiguerra.
Engraving had long been used as a means of decorating armour, metal vessels, etc, the engravers generally securing duplicates of their works before laying in the niello (a species of metallic enamel) by filling the lines with dark colour, and taking casts of them in sulphur. The discovery of the practicability of taking impressions upon paper led to engraving upon copper plates for the purpose of printing from.
The date of the earliest known niello proof upon paper is 1452. The work of the Florentine engravers, however, was almost at once surpassed in Venice and elsewhere in North Italy by Andrea Mantegna, Girolamo Mocetto, Giovanni Batista del Porto, and others. In Marc Antonio Raimondi, who wrought under the guidance of Raphael, and reproduced many of his works, the art reached its highest point of the earlier period, and Rome became the centre of a new school, which included Marco da Ravenna, Giulio Bonasone, and Agostino de Musis.
In the meantime, in Germany the progress of the art had been not less rapid. Of the oldest school the most important engraver is Martin Schongauer. He was, however, surpassed a generation later by Albert Durer who excelled both in copper and wood engraving, especially in the latter. Among his most famous contemporaries and successors were Burgkmair and Lucas Cranach. The Dutch and Flemish schools, of which Durer's contemporary Lucas van Leyden was the head, did much to enlarge the scope of the art, either by paying increased attention to the rendering of light and shade, and the expression of local colour, as in the case of Cornelius Cort and Bloemart; or by developing freedom and expression of line, as in the case of Goltzius and his pupils.
Rubens influenced engraving through the two Bolswerts, Vorstermann, Pontius, and de Jode, who engraved many of his works on a large size. Towards the end of the 17th century etching, which had before been rarely used, became more common, and was practised with great success by Rembrandt and other painters of that period. In France Noel Garnier founded a school of engraving about the middle of the 16th century; but it produced no work of any high distinction until the reign of Louis XIV, when Nanteuil's pupil Gerard Edelinck and Gerard Audran flourished. The former was skilled in using his graver to produce colour effects, the latter is famed for his engravings from Nicolas Poussin and Le Brun. But these were all surpassed about the middle of the 18th century by Wille, a German resident in Paris.
Before the middle of the 17th century England produced little noteworthy work, availing herself principally of the work of foreign engravers, of whom many took up temporary and even permanent residence. The first English engraver of marked importance was William Hogarth, whose works are distinguished for character and expression. Vivares, a Frenchman by birth, laid the foundation of the English school of landscape-engraving, which was still further developed by William Woollet, who was also an excellent engraver of the human figure.
In historical engraving a not less remarkable advance was made by Sir Robert Strange, and Richard Earlom produced some admirable works in mezzotint. In succession to these came William Sharp, James Bazire, Bartolozzi, James Heath, Bromley, Raimbach, and others.
The substitution of steel for copper plates around 1820 to 1830 gave the power of producing a much larger number of fine impressions, and opened new possibilities for highly-finished work.
During the closing years of the 18th century line engraving attained a depth of colour and fulness of tone in which earlier works generally are deficient, and during the following century it reached a perfectness of finish which it had not previously attained. A picture, whether figure or Landscuape, may be translated by line engraving with all its depth of colour, delicacy of tone, and effect of light and shade; the various textures, whether of naked flesh, silk, satin, woollen, or velvet, all successfully rendered by ingenious modes of laying the lines and combinations of lines of varying strength, width, and depth. Among engraverswho have produced historical works of large size and in the line manner the names of Raphael Mrghen, Longhi, Anderloni, Garavaglia, and Toschi, in Italy; of Forster, Henriquel-Dupont, Bridoux, and Blanchard, in France; of John Burnet, J H Robinson, Doo, J H Watt, and Lumb Stocks, in England, stand pre-eminent.
Among historical and portrait engravers in the stipple or dotted manner the names of H T Ryall, Henry Robinson, William Holl and Francis Holl, may well be mentioned.
In the period 1820 to 1860 landscape engraving attained a perfection in Great Britain which it had not attained in any other country, or at any other time. Among landscape engravers the names of George Gooke, William Miller, E Goodall, J Cousen, K Brandard, and William Forrest hold the foremost places. In mezzotinto engraving Samuel Cousins is unrivalled.
In the period 1830 to 1845 various publications called Annuals, composed of light literature in prose and verse, and illustrated by highly-finished engravings in steel, were very popular. The engravings were necessarily of small size, and are generally of great excellence. A number of them both figure and landscape are executed with such finish and completeness as to be esteemed perfect works. The unrivalled illustrations of Rogers' Poems and Rogers' Italy after Turner and Stothard belong to this period. Many of the originals of the engravings in the Annuals were finished pictures of large size.
A great part of the difficulty in engraving on a small scale from a large picture, consists in determining what details can be left out, and still preserve the full effect and character of the original. The most noted engravers for work of small size are Charles Heath, Charles Bolls, W Finden, E Finden, E. Portbury, J Goodyear, F Engleheart, Henry Le Keux, E Goodall, and W Miller.
After 1870 many plates were produced by a combination of etching and dry point, a comparatively cheap and rapid process. Such works were fashionable and very popular with collectors. But while some of them have been excellent of their kind, the process is of limited resource, and the best works in this manner will not stand comparison with the masterpieces of line engraving. Through lack of encouragement, change of fashion, and the adoption of other methods of reproduction such as photography, line engraving rapidly becoming a lost art in Great Britain. The men who made line engraving famous died, and there was no sufficient inducement for younger men to pursue that art. In France and in Germany some able line engravers were still in practice at the start of the 20th century.
Line Engraving, as implied by the term, is executed entirely in lines. The tools are few and simple. They consist of the graver or burin, the point, the scraper, and the burnisher; an oil-stone or hone, dividers, a parallel square, a magnifying lens; a bridge on which to rest the hand; a blind or shade of tissue paper, to make the light fall equally on the plate, callipers for levelling important erasures, a small steelanvil, a small pointed hammer, and punches. In etching, the following articles are required: a resinous mixture called etching-ground, capable, when spread very thinly over the plate, of resisting the action of the acids used; a dauber for laying the ground equally; a hand-vice; some hair-pencils of different sizes, and bordering wax, made of burgundy-pitch, bees'-wax, and a little oil.
In engraving, the plate, which is highly polished and must be free from all scratches, is first prepared by spreading over it a thin layer of ground. The surface is then smoked, and the outline of the picture transferred to it by pressure from the paper on which it has been drawn in fine outlines by a black-lead pencil. The picture is then drawn on the ground with the etching-needle, which removes the ground in every form produced by it, and leaves the bright metal exposed. A bank of wax is then put round the plate and diluted acid poured on it, which eats out the metal from the lines from which the ground has been removed, but leaves the rest of the plate untouched. The plate is then gone over with the graver, the etched lines clearly defuned, broken lines connected, new lines added, etc. Sometimes the plate is rebitten more than once, those parts which are sufficiently bitten in the first treatment being stopped with varnish, and only the selected parts exposed to after-biting. Finally the burnisher is brought into play alternately with the graver and point to give perfectness and finish.
Such is the process for landscape engraving. In historical and portrait engraving of the highest class, the lines are first drawn on the metal with a fine point and then cut in by the graver, first making a fine line and afterwards entering and re-entering till the desired width and depth of lines is attained. Much of the excellence of such engravings depends on the mode in which the lines are laid, their relative thickness, and the manner in which they cross each other. In historical engraving etching is but little used, and then only for accessories and the less important parts.
In Soft-ground Etching the ground, made by mixing lard with common etching-ground, is laid on the plate and smoked as before, but its extreme softness renders it very liable to injury. The outline of the subject is drawn on a piece of rough paper larger than the plate. The paper is then damped, and laid gently over the ground face upwards, and the margins folded over and pasted down on the back of the plate. When the paper is dry and tightly stretched the bridge is laid across, and with a hardish pencil and firm pressure the drawing is completed in the usual manner. The pressure makes the ground adhere to the back of the paper at all parts touched by the pencil, and on. the paper being lifted carefully off, these parts of the ground are lifted with it, and the corresponding parts of the plate thus left bare are exposed to the subsequent action of the acid. The granulated surface of the paper, causing similar granulations in the touches on the ground, gives the character of a chalk-drawing. The biting-in is effected in the same manner as already described, and the subject is finished by re-biting and dotting with the graver.
Stipple, or Chalk Engraving, in its pure state, is exclusively composed of dots, varying in size and form as the nature of the subject demands, but few stipple plates are now produced without a large admixture of line in all parts, flesh excepted. A great advance, however, was made in stipple engraving by the introduction of large and varied forms of dotting in the draperies, the results almost rivalling line engraving in richness and power.
The Mixed Style is based on mezzotinto, which, still forming the great mass of shading, is in this method combined with etching in the darker, and stipple in the more delicate parts. By this combination a plate will produce a larger number of good impressions than were it done entirely in mezzotinto.
The wood best adapted for engraving is box. It is cut across the grain in thicknesses equal to the height of type, these slices being subjected to a lengthened process of seasoning, and then smoothed for use. Every wood engraving is the representative of a finished drawing previously made on the block; the unshaded parts being cut away, and the lines giving form, shading, texture, etc, left standing in relief by excavations of varied size and character, made between them by gravers of different forms. Drawings on wood are made either with black-lead pencil alone or with pencil and indian ink, the latter being employed for the broader and darker masses. It is now much the practice to photograph drawings made in black and white upon the wood instead of making the drawing on the wood block. When the drawing is put on the wood by washes or by photography instead of being entirely done by pencil lines, the engraver has to devise the width and style of lines to be employed instead of cutting in facsimile, as is the case when the drawing is made entirely in lines. The tools required for wood engraving are similar but more numerous than those of the engraver on copper or steel. Research Engraving
Fallow is land left unsown for a period of time, usually a year in order that it may recover itself from an exhausted state. Strictly spealdng, fallow ground is left altogether without crops; but in agricultural usage strict fallow is not always adopted, and the term fallow is applied to various modes of treatment, of which at least three distinct varieties are recognized: baref allow, bastard fallow, and green-crop fallow. Bare fallow is that in which the land remains completely bare for a whole year; in bastard fallow it is ploughed up and worked after the removal of a spring or summer crop, preparatory to the sowing of a root or forage crop, to occupy the ground during autumn or winter; in green-crop fallow the land is sown with a root-crop, such as turnips or potatoes, placed in rows far enough apart to admit of the intermediate spaces being stirred, pulverized, and cleaned, during its growth, by machine or hand implements.
Fallowing is an ancient process, it has been known for centuries that the same crop frown on the same land deteriorates after a few years, partly because the soil is exhausted and partly because of disease. By leaving the land for a year, it can recover and subsequent crops improve. Research Fallow
History (from the Greek historia, from historeo, meaning I inquire into) is a term first used by Herodotus in the sense which it has since retained, of a narrative of events and circumstances relating to man in his social or civic condition. A. record of bare facts by themselves does not constitute history. Such a record (forming a chronicle or annals) is chronologically valuable; but to attain the dignity of history we must have social events and evolution detailed with considerable fulness, and the growth and movements of society, from one phase to another, distinctly traced and recorded.
The modern school of historians devote much attention to the social life of the people; their method being further characterized by the utmost accuracy of research, the extreme importance assigned to contemporary documentary evidence, and careful weighing of data. The field of history proper is so far restricted as to its subject, that only the doings of a community possessing something of an independent organic life can constitute it.
History may be conveniently divided into ancient, mediaeval, and modern; but these divisions have little scientific value. The first includes the Jewish history and that of the nations of antiquity, reaching down to the destruction of the Roman Empire in 476 AD; the second begins with 476 and comes down to the discovery of America in 1492, or to the Reformation; the third section extends from either of these eras to our own times. The earliest written history is found graven on the monuments of Egypt, Assyria, etc. These, though of the barest description, have the value of contemporary chronicles. Next come the histories found in the canonical books of the Old Testament; but the real inventors of the artistic form of history were the Greeks. Research History
Pony girls is a form of adult sexual entertainment role play or fantasy in which women pretend to be a horse or pony (a pet for their master) while their sexual partner pretends to be the horse or pony's master (known as the top). Pony girls are, therefore, a branch of the bondage and domination, the animal training group of sexgames and frequently the sex play involves sado-masochism also.
The pony girl participant (also known as the bottom) takes her role play very seriously. Prancing on her legs, with her arms held close to her sides, the elbows extended forwards, and the wrists allowed to droop, in a fashion not dissimilar to a pony raised on its hind legs and prancing.
Elaborate attire is often employed to enhance the effect. A plume in imitation of the type of plume that is sometimes seen adorning a pony's head may be worn upon the head. Other participants prefer a headdress which includes imitation horse's ears. A fake horse's tail is worn behind, either held by being tucked into a belt or strap around the waist, or sometimes fitted with an anal plug for insertion into the pony girl's anus.
Harness straps, similar to those one might find adorning a real pony or horse are worn around the body, as is a bridle comprising a headstall, bit inserted in the mouth and reins. Sometimes blinkers are also worn, depending upon the preference of the participants. These components provide a sense of bondage and heighten the sexual sensations immensely for both the pony girl and her master. Some pony girls also wear boots in imitation of horse's hooves upon their feet.
Some pony girl games involve humiliation, with the pony girl being the master's pet, or pony slave, being forcibly trained and abused by the master from which both participants derive great sexual excitement.
Pony girl sexgames properly require to be played in the open air. The very nature of a horse demands a field or largish area of open space at least in which to conduct the fantasy. A typical session may include training, in which the pony girl properly attired is attached to a long lead, just like a pony when it is being trained, and trots around the master at some little distance in response to suitable commands such as trot and walk, etc.
Following training, a pony girl may be hitched to a small trap which she is then required to pull while the master sits in the trap and encourages the pony with the use of a whip, again, just like with a real pony. Other participants may attach a horse's saddle to the pony girl, who having adopted a posture on all-fours is then ridden by the master like he would ride a real pony. A variation of this is when the pony is a man and the master is a woman - a dominatrix. In this instance, sometimes the dominatrix, attired perhaps in full riding regalia, will ride upon the pony's shoulders with her feet resting in stirrups suspended by suitable harnesses from the man's shoulders or attached to his wrists which are in turn attached to a harness or belt passing around his waist.
By the very nature of the pony girl fantasy sex game, it is usual for the participants, and the pony in particular, to be in some degree of undress. Often the pony girl will be naked except for the leather straps - usually of black leather studded with silver metal coloured discs, rings and chains - and plumes, or at least with her breasts exposed. If the pony girl has pierced nipples, these nipple rings are frequently attached by chains to the headstall, providing her with further stimulation of the nipples during the fantasy. The feet are sometimes bare, but most often adorned with high-heeled platform shoes or custom ankle boots adorned to represent a horse's hooves. Rarely the pony girl will also wear imitation horses hooves gloves. But most frequently the hands are left natural.
Other participants may dress the pony girl in tight latex, or leather wear. In order to enhance the fantasy costume and attire are very important. The fantasy would be lacking realism if the pony girl wore simply street clothes and had a simple rope for reins. Instead, appropriate bondage wear is utilised to enhance the sexuality of the game. The master also is usually dressed up. Riding wear, such as jodhpurs, a riding hat and boots being popular, or else more common bondage master wear, such as tight latex or leather with high stiletto heeled boots enhancing the degree of menace and authority of the master.
During training the pony girl may choose the level of obedience she wishes to portray. A disobedient pony may be whipped, or shouted at. A well behaved pony girl may be fed a sugar cube as a reward, taking the sugar from the master's hand with just her mouth, just as one might reward a real pony. Appropriate pony-like noises are expressed by the pony girl, such as snorting like a pony which further add realism to the fantasy.
The pony girl fantasy may be played by two or more participants, and is often played by three with a single master and two ponies. Pony boys are a variation in which a man or men play the role of the submissive pony, and the master may be another man or more often a dominant female partner - a dominatrix. Research Pony Girl
The adjutant-bird (Leptoptilus argala) is a large grallatorial or wading bird of the stork family. It is native to the warmer parts of India where it is called Hurgila or Argala. The adjutant-bird stands about 150 cm high, has an enormous bill, nearly bare head and neck, and a pouch hanging from the under part of the neck. It is one of the most voraciouscarnivorous birds known, and in India, from its devouring all sorts of carrion and noxious animals, is protected by law. From underneath the wings are obtained those light downy feathers known as marabou feathers, from the name of an allied species of bird (Leptoptilus marabou) inhabiting Western Africa, and also producing them. Research Adjutant-bird
The American jabiru (Mycertia Americana) is a white, stork-like bird with a black head, neck, bill and feet. The head and neck are both bare of feathers Research American Jabiru
Arapaima is a genus of South American fresh-water fishes, of the order Physostomi, family Osteogiossidae, one species of which (Aeapaima gigas) grows to the length of five meters, and forms a valuable article of food in Brazil and Guiana. It is covered with large bony scales, and has a bare and bony head. Research Arapaima
The Bedlington Terrier is a British breed of dog first developed in the 1820s when Joseph Ainsley developed them crossing with Whippets to produce an active, playful huntingdog which is fast enough to hunt rabbits and hares as well as rabbits, and with a willingness to swim became a favourite with poachers. Their tenacious nature has also been utilized in dog- fighting circles.
The Bedlington Terrier derived its name from Bedlington, in Northumberland, having first become well known as a favourite among the miners of that place. It is a dog of moderate size, head rather long, with a light, silky tuft on top, ears hanging close to the cheeks, legs moderately long and strong, tail tapering to the point, which is almost bare; colour, dark blue, blue and tan, liver, liver and tan, sandy, or sandy and tan; courageous, intelligent and generally useful. Research Bedlington Terrier
The Probert Encyclopaedia was designed, edited and programed by
Matt and Leela Probert
Abbreviations
Research Badlands
