The Saddle-billed stork DSC_5332

Whilst out on the Delta swamps of Botswana, this great big stork came flying overhead.

This is a huge bird that regularly attains a height of 150 cm (59 in), a length of 142 cm (56 in) and a 2.4–2.7 m (7.9–8.9 ft) wingspan. The male is larger and heavier than the female, with a range of 5.1–7.52 kg (11.2–16.6 lb), with a mean mass of 6.38 kg (14.1 lb). The female is usually between 5 and 6.84 kg (11.0 and 15.1 lb), with a mean mass of 5.95 kg (13.1 lb). It is probably the tallest of the storks (though not the heaviest), due in no small part to it extremely long legs (tarsus length is up to 36.5 cm (14.4 in)). The long bill measures from 27.3 to 36 cm (10.7 to 14.2 in). The sexes can be readily distinguished by the golden yellow of the female and the brown irises and dangling yellow wattles of the male.

It is spectacularly plumaged; both the female and male appear identical when perched but the female shows much more white in the primaries in flight. The head, neck, back, wings, and tail are iridescent black, with the rest of the body and the primary flight feathers being white. Juveniles are browner grey in plumage. The massive bill is red with a black band and a yellow frontal shield (the “saddle”). The legs and feet are black with pink hocks. On the chest is a bare red patch of skin, whose colour darkens during breeding season

They are silent except for bill-clattering at the nest. Like most storks, these fly with the neck outstretched, not retracted like a heron; in flight, the large heavy bill is kept drooping somewhat below belly height, giving these birds a very unusual appearance to those who see them for the first time. To experienced birdwatchers on the other hand, this makes them easily recognizable even if seen from a distance. It has been suggested that due to the large size and unusual appearance in flight, this species is the basis for the “big bird” and kongamato cryptids.

Sometimes called a ‘swamp’, the Okavango is anything but. Moving, mysterious, placid, gentle and beautiful, from a wide and winding channel it spreads through tiny, almost unnoticeable channels that creep away behind a wall of papyrus reed, into an ever expanding network of increasingly smaller passages.

The Okavango Delta is a vast inland river delta in northern Botswana. It’s known for its sprawling grassy plains, which flood seasonally, becoming a lush animal habitat. The Moremi Game Reserve occupies the east and central areas of the region. Here, dugout canoes are used to navigate past hippos, elephants and crocodiles. On dry land, wildlife includes lions, leopards, giraffes and rhinos. However, the bird life in these regions are equally rich in diversity.

I took this photo while on my first Botswana Delta photo safari trip. April 2019.


Warning - thread Drug dealer get brain blasted out of head after being executed at barbershop *GRAPHIC* might contain content that is not suitable for all ages.


Kuba rug

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Condition Report

Selvedges not original

Being sold on the behalf of a Connecticut collector

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Against a modulated golden ground, this charming Kuba rug draws alternating rows of colorful motifs in a manner more frequently seen in the neighboring Chichi group of Caucasian rugs. Here rows of stylized and geometricized leaves rotate with rows of various blossom and geometric forms. Smaller stylized leaves, or perhaps buds, extend from vertical linear elements creating a sort of pseudo-lattice throughout the field. Ornament is drawn in a larger scale than more typically seen and spacial relationships and proportions are perfect. The colorful diagonal lines and jagged geometric drawing of the borders give a powerful and distinctive sense of movement. Remarkably, the macrame and flatweaves of both ends are largely preserved.


Native Jewelry in Canada

Native jewelry in Canada comprises some of the most beautiful and unusual pieces available today. Each piece is carefully and lovingly crafted and imbued with symbolic meanings. The jewelry is made with a large variety of materials, such as gold, silver, gems or natural items found in the wild and on the sea shores.

Materials Used in Jewelry Crafting

Native jewelry is crafted by First Nation artists as well as those of Inuit and Métis heritage. Traditionally, materials used in jewelry making by the ancient peoples of Canada were those obtained by foraging in the areas where they lived. These included:

Wood and bark

Ivory and antler

Porcupine quills

Contemporary Native jewelry makers introduced additional raw material into their pieces, such as white gold, yellow gold and sterling silver, as well as a large variety of precious and semi-precious gems, glass beads and Swarovski crystals. Metalwork techniques, while previously consisting of etching and hammering, have evolved when modern equipment became available.

Imagery in Canadian First Nations, Inuit and Métis jewelry traditionally used nature as its source of inspiration and modern pieces tend to do the same. Animals, birds, marine creatures, insects, heavenly bodies and mythical beings are all portrayed in jewelry.

Authentic artists, while they are fashioning handcrafted jewelry, transfer good spirits into each piece and give thanks for the materials they use. Custom states that the positivity in the jewelry benefits the receiver of every item, whether it be a ring, bracelet, pendant, necklace or pair of earrings.

Meanings of Symbols

Each element depicted in native jewelry has a specific meaning and here are some of them for you to peruse. Check your own jewelry to see if you can spot any of them.

Bear: An animal deserving great respect and is also a symbol of family, motherhood, strength, and a protector. Grizzly bears, black bears, polar bears and bear paws are all depicted in native jewelry.

Butterfly: This insect is often shown in nature scenes and depicts all the positives of the natural environment. It symbolizes grace, balance in life and change.

Eagle: A noble bird that has a close connection to our creator, the eagle represents power and grace and is extremely wise.

Heron: The heron brings good fortune, embodying long life, patience, purity and grace. If a First Nations person saw a heron before setting off on a hunt, it was a good omen.

Inukshuk: These stone monuments built by the Inuit — Inukshuk means “in the likeness of a human” — are often shown on jewelry and denote that a person is on the correct path.

Moon and Sun: The moon is a guardian and protects all life at night, while the warmth of the sun provides the Earth with healing, peace and life. The story goes that the Raven liberated the moon and sun from captivity and placed them in the sky.

Raven: This bird has a sense of humour, is mischievous and creative. Many stories revolve around the Raven, teaching us right from wrong, and he is often unpredictable.

Salmon: A primary food source for the aboriginal people of Canada, the salmon epitomizes determination, persistence and instinct as well as abundance and wealth. A pair of salmon depicted on a piece of jewelry means good luck.

Whale: The mighty orca stands for compassion, intelligence and kindness and is the guardian of travel.

Visit Pinto Gold at our store front in Midtown Toronto, or by phone at 416.229.4653 for more information on how to sell or pawn your items.

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How Does a Person Write a Clemency Letter?

A clemency letter should be written in a respectful tone and include any important irregularities from the trial or appeals, what state the appellant is a member of and any instances of abuse or other mitigating factors. A clemency letter is written to request a pardon of a convict's sentence, usually for those on death row.

Clemency procedures vary from state to state. In 15 states, the governor has full authority to grant clemency in 15 states, while the governor needs the recommendation from a clemency board in seven states. In the remaining states, clemency is granted solely through the clemency board.

The clemency process begins with a clemency letter written by the convicted person. One of the most important things to remember when writing a clemency letter is to never downplay the crime or its effects on those involved. The letter should acknowledge that clemency does not excuse the crime. The tone should not be belligerent or angry, but it should instead be contrite and respectful.

The information in the body of the letter should be factual and to the point. The convict should state reasons why he or she should be granted clemency. The convict should discuss what he or she has done with his life while incarcerated and how he or she has improved. The convict should also discuss what his or her plans are upon his release if the clemency is granted. The convict should close the letter respectfully requesting consideration for clemency.


Origins of the Creed

All across the city, the churches and the believers were emerging from the only life they had ever known--fear of opposition--and enjoying the fresh air of freedom. Alexandria was famous for its rich tradition of Christian thinkers; now more than ever, men were considering and expressing their faith. And so even if you were the humblest disciple in the city, you'd know something of the debates that soon began to swirl around the believing community. A highly-respected Presbyter--a mature, seasoned man who was an able preacher and popular pastor--was beginning to have a serious conflict with the city's Bishop.

The disagreement was doctrinal, and had everything to do with the person and work of Jesus Christ. The presbyter, Arius, used his popularity and abilities to spread his doctrine through the Christian population. One of the methods used among the people was a series of short choruses, sung or chanted by young and old, expressing Arius's particular doctrine. It was a brilliant method! The Scripture says that we are to teach one another in Psalms, Hymns and Spiritual Songs--and this is what the followers of Arius did.

What does it mean? It's somewhat difficult to render exactly into English, but it goes something like this: "There was when he was not." Repeatedly, in church and in the city, the huge community of the followers of Arius chanted this and similar choruses to teach, promote and strengthen their view.

The "he" is Jesus Christ--"There was when Christ was not." This small change in wording makes the chorus a little more startling, and perhaps easier for us to understand. In the doctrinal system of Arius and his followers, Jesus Christ, as great as he may be, is a created being, brought into existence by the power of the one true God. He is the firstborn of all creation--greater than all the rest for sure, but still--a created being--not deity. At some point in eternity, God created Jesus Christ. The chorus was a teaching tool, a piece of propaganda for Arius's doctrine.

As this teaching grew and spread, it was opposed by the bishop of Alexandria--Alexander (!). He understood the seriousness of the teaching and its implications, and so he held a public inquiry into the matter. This resulted in the suspension of Arius from his ministry. But that was only the beginning of the trouble... a trouble which would last for another 70 years!

Arius had powerful friends outside of Alexandria. In 324, when Constantine became sole ruler of West and East, he sought to develop favorable relationships with Christian leaders from the east. Among them were Arius's greatest supporters, who appealed to the Emperor to intervene and restore Arius to his position in the Alexandrian church. Feelings throughout the empire ran high. There was great debate, political maneuvering, and ecclesiastical disorder.

Seeing this, Constantine called a council, which would held at Nicaea in 325 under his personal control. With about 220 bishops in attendance, this has been called the first great council of the church. Through much debate, 218 of the bishops adopted a thoroughly orthodox creed, and Arianism--at least for the time--seemed to have been defeated.

There are two versions of this creed, a shorter and a longer. The Nicene Creed (proper) comes from the Council of Nicea in AD 325 and is the shorter version; a revised and expanded version (which is the more common creed today) comes from the Council of Constantinople in 381. The original form of the creed was intended to guard the deity to Christ; the second and expanded version speaks more directly to the person and work of the Holy Spirit.

This creed is deeply rooted in the text of Scripture. The authors were committed to the authority of Scripture, and sought to mine its depths and express its doctrine carefully. Here is the revised Creed as found in Schaff, Creeds of Christendom:

The Nicene Creed is accepted by all branches of orthodox Christianity, and its doctrines are considered definitive. If any seemed to introduce a new doctrine, they were examined according to Scripture and the Nicene-Constantinopolitan creed, and urged to conform to it.

James Renihan (PhD, Trinity Evangelical Divinity School) is President and Professor of Historical Theology at IRBS Theological Seminary, Mansfield, TX. His academic work has focused on the Second London Baptist Confession and its broader Puritan theological context. He has been published in many journals, and is the author of multiple books including Edification and Beauty, A Toolkit for Confessions, True Love, and Faith and Life for Baptists.

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