the moving panorama was a relative , more in concept than design , to panoramic painting , but proved to be more durable than its fixed and immense cousin .

in the mid-nineteenth century , the moving panorama was among the most popular forms of entertainment in the world , with hundreds of panoramas constantly on tour in the united kingdom , the united states , and many european countries .

the word “ panorama ” is derived from the greek words “ to see ” and “ all . ” robert barker , an irish-born scene painter , coined the term with his first panorama of edinburgh , displayed in a specially built rotunda in leicester square in 1791 .

this attraction was extremely popular amongst the middle and lower classes for the way it was able to offer the illusion of transport for the viewer to a completely different location that they had most likely never seen .

panoramic paintings and the various offshoots had become so in demand across europe and america by the early nineteenth century that the enormous paintings had begun to be displayed in less specialized settings , like community halls , churches , and eventually theaters where they evolved into moving panoramas and became essential to theatrical set design .

moving panoramas were achieved by taking the long , continuous painted canvas scene and rolling each end around two large spool-type mechanisms that could be turned , causing the canvas to scroll across the back of a stage , often behind a stationary scenic piece or object like a boat , horse , or vehicle , to create the illusion of movement and travelling through space .

the immense spools were scrolled past the audience behind a cut-out drop-scene or proscenium which hid the mechanism from public view .

robert fulton obtained a patent for the panorama in 1799 in france ; he is credited with helping create the spool mechanisms that allowed for the moving panorama to take hold in theatrical set design , combining the technology of the industrial revolution and art for profit , very much a nineteenth century idea .

unlike panoramic painting , the moving panorama almost always had a narrator , styled as its " delineator " or " professor " , who described the scenes as they passed and added to the drama of the events depicted .

one of the most successful of these delineators was john banvard , whose panorama of a trip up ( and down ) the mississippi river had such a successful world tour that the profits enabled him to build an immense mansion , lampooned as " banvard 's folly " , built on long island in imitation of windsor castle .

in britain , showmen such as the durable moses gompertz toured the provinces with a variety of such panoramas from the 1850s until well into the 1880s .

these moving panoramas were readily accepted in new york , where americans loved the melodramatic genre of plays , which made use of the newest technologies and relied on spectacle .

william dunlap , america ’s first theatre historian , professional playwright , and a painter himself , was commissioned by the bowery theatre in new york in 1827 to write , somewhat reluctantly , a trip to niagara : or travellers in america : a farce , a satirical social comedy , specifically for an already existing painting of a steamboat journey up the hudson river to the base of niagara falls , named the “ eidophusikon . ” the production was extremely popular , not for the play , but for the spectacular moving scenery .

the concept of early cinema , “ moving pictures , ” is a direct evolution of the concept of a moving panorama .

the first use of the scrolling background concept early on in film was rear projection .

this technique , for example , was used when stationary actors were filming in a car that was n’t actually moving , but instead had a projection of changing locales behind on the rear window to create the illusion that the car was moving , a trope often used in hitchcock movies .

today , we have much more realistic computer technology to create this illusion of movement , but the image of a stationary object or actor in front of a changing background harkens back to the moving panorama scroll .

moving projections of clouds or passing objects on cycloramas at the back of a stage sometimes seen in modern live theater productions also utilize the illusion of seamless movement behind a stationary object that was popularized by the moving panorama of the nineteenth century .

moving panorama

or , small moving panoramas were given as souvenirs at large moving panorama performances . look at the collection of
john banvard , one of the most successful moving panorama showman of the 19th century .
an engraving from scientific american , 1848 , of john banvard ' s moving panorama apparatus .
,
a painter ' s panorama : narrative , art , and faith in the moving panorama of pilgrim ' s progress 2015 .
the moving panorama was commissioned by the amateur archaeologist wilson dickeson ( 1810–1882 ) . it is the only surviving panorama of the mississippi river .
movies for manifest destiny : the moving panorama phenomenon in america , essay by kevin j . avery
the moving panorama is housed at the st . louis art museum who restored and filmed the scroll .
the most well known image of a moving panorama . this illustration appeared in the article
john banvard and his panorama
in the magazine scientific american . 1848
13 . for the origins of the moving panorama in britain , see altick , pp . 198 - 204 .
,
illusions in motion , media archaeology of the moving panorama and related spectacles
mit press , 2013 .
image of a moving panorama from scientific american , vol . 4 , issue 13 ( december 16 , 1848 ) , page 100
the moving panorama—or spring garden rout .
london pubd , june 1823 by s . w . fores , 41 piccadily .
,
magic lantern , panorama and moving picture shows in ireland , 1786 - 1909
, four courts press , 2011 .
original grand new peristrephic or moving panorama 1823 , depicting coronation of george iv , containing 100 , 000 faces . very little known about it…
in reality , a moving panorama is nothing of the kind , but rests somewhere between painting and illustration ( even by my definition above ) .
this page is a collection of historical information about 19th century moving panoramas of the mississippi river and the modern day musical georama which tells the story of john banvard , the first artist to create a moving panorama of the mississippi river .
surviving moving panoramas include : the moving panorama of pilgrim’s progress , saco museum , saco , me , with the 33 minute video here . a panorama of mormon life , museum of church history and art , salt lake city , ut . the garibaldi panorama , brown university library , providence , ri . grand panorama of a whaling voyage around the world , new bedford whaling museum , new bedford , ma . the panorama of the monumental grandeur of the mississippi valley , saint louis art museum , st louis , mo .
extensive information on the moving panorama can be found in the masterwork
illusions in motion
written by dr . erkki huhtamo ( mit press , 2013 ) .
the st . louis rep crew painted a 600 foot long moving panorama for the show . this humongous effort was lead by scott c . neal . hats off to georama director , west hyler , who took the way more difficult road in creating a real moving panorama for the show instead of digitally projecting the image .
the original dickeson - egan moving panorama was last cranked in the 1950s . the only surviving mechanism parts were one roller and some spokes . the rest had to be recreated . you can see the man is turning the scroll by moving the spokes .
routhier , js , avery kj & hardiman , jr , t ( 2015 ) the painters’ panorama , narrative , art , and faith in the moving panorama of pilgrim’s progress , up of new england . isbn 978 1 61168 663 0 .
for more information about this truly incredible moving panorama showman , and the book written by jeffrey ruggles , visit the crankie factory ' s page on henry box brown .
the saco museum’s moving panorama of pilgrim’s progress is one of the few moving panoramas to have survived to this day , and it is a standout due to its size , subject matter , and excellent condition . click here for examples of other surviving panoramas .
provided a new stimulus to the artists who laboriously created the moving panoramas . as tales of
another name for a moving panorama , or spooled painting .
poole ' s myriorama
was well - known and is even mentioned in james joyce ' s ulysses .
moving canvas 900 square meters opened in london in 1834 . several carriages for spectators , presenting the moving scenes of the most interesting sections of the new manchester - to - liverpool railway .
please also see our illustrated article on the grand moving panorama of pilgrim ' s progress ( 8 / 16 / 99 ) , which appeared at the portland museum of art .
; and the gateway foundation . creation of the panorama’s performance replica was expressly supported by a humanities infrastructure grant from the maine humanities council . presentation of the moving panorama exhibition is made possible by an additional grant from saco & biddeford savings institution and with the support of the
31 . joseph earl arrington ,
godfrey n . frankenstein ' s moving panorama of niagara falls ,
new york history , 49 ( april 1968 ) , pp . 169 - 199 .
coming from the perspective of one who creates and performs crankies ( moving panoramas ) i delight in reading passages about moving panorama performances of the 19th century . especially the trials and tribulations . i am going through my library again and will be posting some examples from these books . hope you enjoy !
take a small number of stereo views , as for a regular panorama , and hide the errors by careful composition and masking . moving subjects can be handled by masking , as in normal panography .
35 . arrington ,
banvard ' s panorama ,
pp . 233 - 237 .
,
the panorama in the old world and the new , deutsche nationalbibliothek , 2010 .
melissa wolfe , curator of american art at the st . louis art museum , points out some details of the mississippi panorama to members of the international panorama council , jan . 2015 .
in the first history of this phenomenon , huhtamo analyzes the moving panorama in all its complexity , investigating its relationship to other media and its role in the culture of its time . in his telling , the panorama becomes a window for observing media in operation . huhtamo explores such topics as cultural forms that anticipated the moving panorama ; theatrical panoramas ; the diorama ; the
panoramania
of the 1850s and the career of albert smith , the most successful showman of that era ; competition with magic lantern shows ; the final flowering of the panorama in the late nineteenth century ; and the panorama ' s afterlife as a topos , traced through its evocation in literature , journalism , science , philosophy , and propaganda .
few moving panoramas have survived to this day , and conservation issues frequently prevent them from being shown in their original format . the most notable rediscovered moving panorama in the united states is the grand moving panorama of pilgrim ' s progress , which was discovered after having been forgotten in storage after nearly a century at the york institute in saco , maine by tom hardiman . it was found to incorporate designs by many of the leading painters of its day , including jasper francis cropsey , frederic edwin church , and henry courtney selous ( selous was the in - house painter for the original barker panorama in london for many years ) . the peabody - essex museum in salem , massachusetts has thomas f . davidson ' s moving panorama of a whaling voyage ( 1860 ) , and the new bedford whaling museum in new bedford , massachusetts owns russell & purrington ' s panorama of a whaling voyage round the world , though it is currently ( 2007 ) no longer on display . a mormon panorama also survives at brigham young university ' s art museum .
“so few panoramas survived , even though they were incredibly popular , ” briggs said . “the significance of this moving panorama is that it’s an extant example of an influential mass medium that is now virtually lost . ”
the tradition of picture scrolls dates back thousands of years , to cultural traditions in asia , india and elsewhere . in late 17th - century europe , rolls of pictures appeared in different forms in showboxes and handheld viewers , and in the early 19th century there were even ladies ' fans with miniature scrolled pictures incorporated into the designs . the moving panorama show , first popularized in england in the early 1800s , found its origins in such traditions , and expanded into two main forms : moving panoramas for the traditional theatrical realm , where moving painted scenery was used as a background in staged plays , and
peristrephic
panoramas , early independent moving panorama shows . soon , moving panoramas also began incorporating elements of other popular media forms , including dioramas and magic lantern projections into their performances .
briggs believes the panorama was painted by marcus mote , an indiana quaker and self - taught painter . mote painted portraits and landscapes , and he made moving panoramas in lebanon , ohio , where he was born , until relocating to indiana . kam’s panorama was found in the richmond , indiana , area , where mote lived .
although none of mote’s other moving panoramas survived for comparison purposes , briggs has compared the museum’s painting to his smaller paintings .
i would like to make an important precision here . the fact that the moving panorama was very widely known and popular in the nineteenth century definitely provided models for film culture . the paintings were moving , and elements of the apparatus , such as the audience sitting in front of a screen - like surface , and the combination of pictures , lecture and music , influenced later developments . in a way the success of film explains the disappearance of the moving panorama . there was no need for it anymore , because film learned to do – little by little , not immediately – everything that the moving panorama had done , and more . however , i am not really thinking about the moving panorama in terms of ‘pre - cinema’ . the idea of pre - cinema is a bit dangerous , because it implies a deterministic approach , focusing on only those aspects of history that anticipated ‘important’ future developments . i am trying to get away from that , and other media archaeologists are doing so as well . i investigate the moving panorama as a phenomenon of its time in all its complexity . i spent a lot of time exploring its interconnections with other simultaneous phenomena . i am interested in making comparisons with other cultural moments , but not in terms of positing linear continuities pointing to a ‘future’ .
another spectacular media - cultural form related to the grand circular panoramas , the moving panorama proved to be one of the most popular versions of the phenomenon . very simply , it was a large and very long strip of painted fabric wound between two vertical cylinders and unrolled before an audience , accompanied by a narrator describing each scene . the moving panorama quickly established itself as an extremely popular entertainment , as a travelogue and a visually transporting way of telling a story .
to give a lecture at the vertical cinema event at the international film festival rotterdam . huhtamo is a leading expert in forgotten 19th - century media such as the moving panorama and magic lantern shows . after ten years of work his book
a rare moving panorama portrays the annunciation , in which the angel gabriel tells the virgin mary that she will become the mother of jesus . a portion of the painting , in krannert art museum’s collection , will be unveiled march 9 .
3 . the invention of the panorama is most recently described in oettermann , pp . 99 - 115 .
30 . kevin j . avery ,
whaling voyage round the world : russell and purrington ' s moving panorama and herman melville ' s ' mighty book , '
american art journal , 22 ( 1990 ) , p . 78 .
john banvard ( 1815 - 1891 ) was one of the most successful moving panorama showman of the 19th century . a self - taught artist , he spent two years sketching the mississippi river before painting the moving panorama . the scroll did not survive to this day . it was described as being a bit
rough
or
folk artish
but the size of it ( advertised as three miles long ) together with his masterful story telling made the show a instant success .
the moving panoramas were smaller , cheaper and more portable than the round panoramas , and thus could be viewed by a wider audience .
in the early nineteenth century , the term
moving panorama
could refer to an optical entertainment ( both the apparatus itself and the sequence of virtual prospects that it conjured ) ; an unfolding view of an actual scene , whether of landscape , pageant , or streetscape ; and
a series of images passing before the mind ' s eye
( oed ) . each of these
types
of moving - panorama are directly or indirectly represented in the design we are considering : the first category is represented by the
panorama of the . . . coronation
and
tour . . . along the banks of the clyde
; the crowd outside the great room at n° 5 spring gardens and the ( actual ) coronation of george iv belong to the second ; and the ales and
spirits
sold by the public house allude to a giddy version of the third . this list introduces a fourth type of moving - panorama represented by the design—one that provides a comprehensive survey of a subject . as this catalogue of types suggests , although the primary subject of
the moving panorama—or spring garden rout
is the public - reception of marshall ' s
ceremony of the coronation ,
it is also concerned with the moving - panorama itself , and with the popular visual - culture of which it is part .
this moving panorama survives and is housed at the saco museum in saco , maine . a reproduction was made because the original is too fragile to crank . i had the great fortune to be able to see one of the performances in 2015 .
33 . see joseph earl arrington ,
william burr ' s moving panorama of the great lakes , the niagara , st . lawrence , and saguenay rivers ,
ontario history , 51 ( summer 1959 ) , pp . 141 - 162 . a
the moving panorama was a relative , more in concept than design , to such circular panoramas . moving panoramas instead created an illusion of a progressive narrative unfolding before their viewers’ eyes . consisting of immense lengths of painted canvas and installed on large spools , they were scrolled past the audience behind a cut - out drop - scene or proscenium which hid the mechanism from public view . moving panoramas almost always had a narrator , styled as its “delineator” or “professor , ” who described the scenes as they passed and added to the drama of the events depicted . one of the most successful of these delineators was john banvard , whose panorama of a trip up ( and down ) the mississippi river had a successful world tour . from the 1850s into the 1880s , the moving panorama was among the most popular forms of entertainment in the world , with hundreds of panoramas constantly on tour in the united kingdom , the united states , and many european countries .
,
poole’s myriorama ! a story of traveling panorama showmen
, elsp , bradford on avon , wiltshire , 2002 .
benjamin russell & caleb purrington , grand panorama of a whaling voyage around the world ( detail ) ( 1848 ) , painted panorama on cotton , approx 260 x 38900 cm , new bedford whaling museum , new bedford , ma . wikimedia commons .
colored print showing the marshalls ' panorama on buchanan - street in glasgow , circa 1828 . glasgow university library , special collections
ralph was one of the most knowledgable moving panorama historians . sadly , he passed away in june , 2015 and is greatly missed . he leaves behind a mountain of valuable research . for more information about his works , visit the crankie factory ' s page on ralph hyde .
it is housed at the st . louis art museum . they have restored and filmed the panorama . watch the video below !
the moving panorama was a relative , more in concept than design , to panoramic painting . however , these paintings were not true panoramas , but rather contiguous views of passing scenery , as if seen from a boat or a train window . installed on immense spools , they were scrolled past the audience behind a cut - out drop - scene or proscenium which hid the mechanism from public view . unlike panoramic painting , the moving panorama almost always had a narrator , styled as its
delineator
or
professor
, who described the scenes as they passed and added to the drama of the events depicted . in the mid - nineteenth century , the moving panorama was among the most popular forms of entertainment in the world , with hundreds of panoramas constantly on tour in the united kingdom , the united states , australia and many european countries .
take a large number of closely spaced stereo views . then the panorama contains just a narrow vertical strip from each photo . if they are narrow enough , the errors between adjacent strips will be too small to see . this method is very reliable but has problems with moving subjects .
at about the same time , the moving panorama was invented in the uk . rather than display a very long painting statically , moving panoramas put the painting on a flexible fabric support , and moved the image past the spectators . although these became popular in europe , they were most successful in the us , where a scene painter named john banvard made them spectacles for the broadway theatres in new york , and grew rich as a result .
find out about the history of this forgotten art form . in the 19th century , they were called moving panoramas as well as many other names . this is a collection of moving panoramas and related hand - cranked , scrolling art forms . big and small , from all over the world . have fun exploring !
there were mid - sized moving panoramas , roughly the size as many of the crankies of today , having scrolls around 18 inches high . those were sometimes called
parlor panoramas
and were used for smaller performances in the home or on the street . you will find examples of these moving panoramas at these pages :
it is a great feature that allows viewers to navigate from one stereoscopic panorama to another without having to take off their vr headset .
the panorama of bunyan ' s pilgrim ' s progress was , like most of its contemporaries , painted in distemper , the transient , water - based medium of the theatrical scene - painter . very few of its kind have survived . though they were never intended to be seen stationary or at close hand , moving panoramas are virtually impossible today to exhibit as they originally were - - in motion . unavoidably , we can perceive the panorama only as an object , an historical artifact . understanding its former appeal begs some description of the panorama ' s history and its audience .
though banvard ' s moving panorama scoll did not survive , there are descriptions of it and additional information from reviews and other writings . you can download a booklet to read a description of the panorama and of banvard ' s two year sketching trip . it is entitled ( get ready ) description of banvard ' s panorama of the mississippi river painted on three miles of canvas exhiting a view of country 1200 miles in length , extending from the mouth of the missouri river to the city of new orleans ; being by far the largest picture ever executed by man . 1847 .
this page is a collection of all things polar and panoramic : from 19th century arctic panoramas and modern day interpretations to moving panoramas and stationary panoramas . read about it
17 .
lewis ' s panorama of the mississippi river ,
western journal , 3 ( october 1849 ) , p . 70 .
spread , eastern audiences flocked to find out more about the west and life in the gold mines . in 1849 a panorama featuring a voyage around
who made much of the ambitious project happen . the panorama is not on view , but for more information visit the museum ' s website .
24 . john c . fremont , report of the exploring expedition to the rocky mountains in the year 1842 , and to oregon and north california in the years 1843 - 44 ( washington , d . c . : gales and seaton , 1845 ) . for the panorama , see joseph earl arrington ,
skirving moving panorama : colonel fremont ' s western expedition pictorialized ,
oregon historical quarterly , 45 ( june 1864 ) , pp . 139 - 143 .
by 1910 , panoramas , moving or static , had faded into history as the western world was swept by movies . it looked as if narrative painting was also dead and gone .
the newly rediscovered panorama of bunyan ' s pilgrim ' s progress ( 1850 - 1851 ) is , in fact , a kind of director ' s cut - - a slightly altered replica - - of an original
motion picture
painted on cloth . both versions of the panorama were but two among the hundreds , perhaps more than a thousand , of such productions that toured the english - speaking world from about 1845 until nearly the end of the century .
moving panoramas ,
or
moving dioramas ,
as these entertainments were also called , flourished in england ' s age of empire and america ' s frontier era of manifest destiny . [ l ] panoramas perfectly accommodated that age . most of them were portraits of vast territories , represented in linear sequence giving the viewer the impression of traveling over the landscape , often by boat or train . today , the nearest equivalent of the moving panorama is the travel or historical documentary . in length , moving panoramas typically reached a thousand or more feet and stood eight to twelve feet high . [ 2 ] they were generally presented in successive sections framed by a proscenium , which concealed the rollers around which the panorama was wound . usually , a lecturer stood by the picture as a tour guide , describing the peculiar features and the history of the scenery as it passed .
the sacco account of the pilgrim’s progress is , like blake’s printed version , also a work of art in its own right , though . john banvard may have been a second - rate amateur painter , but those who created the moving panorama of bunyan’s book included some of the leading landscape painters in the us , such as frederic church .
round panoramas were displaced by moving panoramas in the 1830s . they showed the same type of subject matter , as well as scenes from popular literature , such as “uncle tom’s cabin . ”
favorite passage : anything could happen at a myriorama ( moving panorama ) show . it was not unknown for the scenery to be accidentally set alight . one one occasion when too much gunpowder was used for the
bombardment of alexandria
at the colston hall , bristol , parts of the plaster ceiling came down ! fortunately there were never any fatalities .
an advertisement for the panorama , leicester square , london : showing the battle of trafalgar . coloured engraving by lane , after h . a . barker , 1806
banvard and his moving panorama seemed so fresh that many britons erroneously thought he had invented the form . [ 12 ] having learned from p . t . barnum that what the public believed was money in the bank , banvard never contradicted anyone who so credited him . in fact , the moving panorama , like most of the other
- oramas
except the diorama , had originated in britain around 1820 almost simultaneously as a feature of dramatic stage presentations and as an independent showpiece . [ 13 ] it arrived in the former guise at the park theater on broadway in 1828 as a scenic interlude to a play about a trip to london and paris , and cast the illusion of the actors ' voyage across the english channel , with the watery scenery passing behind their stationary ferry . new york impresarios lost no time producing a yankee response in the same house later that year : a play entitled a trip to niagara ; or , travellers in america , featuring a 200 - foot moving canvas of the hudson river from new york to catskill landing , as seen from the deck of a steamboat . dioramic effects - - transitions from day to night and oncoming storms , painted on the canvas and enhanced by modifying the theater lights - - were integral to the moving panorama from its inception , and augmented such scenes in the hudson river panorama as the cliffs of the palisades and the highlands at west point . [ 14 ]
12 . a blurb attributed to the american statesman edward everett , that banvard was
the first projector of this highly instructive class of paintings ,
was printed on the london editions of the panorama program , and was reprinted as fact in a review of the panorama from an unidentified newspaper in bath , england . this and other reviews of his panorama were clipped and saved by banvard in a scrapbook now in the minnesota historical society . see kevin j . avery ,
the panorama and its manifestation in american landscape painting , 1795 - 1870 ,
( ph . d . diss . , columbia university , 1995 ) , p . 121 .
the saco museum in saco , maine , houses one of the world ' s few surviving large , moving panoramas from the 19th century , the moving panorama of pilgrim ' s progress . this is an amazing story from beginning to end . the 8 ' x 800 ' painting on muslin was rediscovered after being in storage for over 100 years . it took many hands , many years and lots of grant money to restore it . in order to perform it , a beautiful , full size photographic replica was made because the original was too fragile to crank .
in 1848 , banvard crossed the atlantic to take his moving panorama to london where he opened at the egyptian hall . with the combination of his yankee delivery , joke telling and artwork , he was able to
transport
the audience across the waters to the mississippi . the show was so successful he was invited to perform for queen victoria at windsor castle .
across the late 18th and 19th centuries , the public embraced the magic of the panorama - a clamour which owed a lot to the popularity of hot air ballooning .
21 .
banvard ' s panorama of the mississippi and missouri rivers ,
illustrated london news , 9 december 1848 , quoted in mcdermott , p . 43 .
rufus c . somerby , as
dr . judd ,
the old panorama
, the billboard , december 5 1903 , pp . 25 , 26 .
’ . it attempts to demonstrate a particular way of doing media studies that i hope can be applied to very different subjects as well – and not just to historical subjects . but it is also a big book about one subject – the moving panorama – as a cultural phenomenon . the moving panorama was a long roll painting that was unscrolled in a kind of ‘window’ by means of a mechanical cranking system ; it was accompanied by a lecture and music , as well as sound and light effects . i investigate it on three basic levels . the first is the painted panorama itself : the pigments on canvas that form figures , tell stories , and so on . except for the painter , almost nobody saw moving panoramas at this stage , and not even the painter could see more than a small segment of the huge long painted roll at the time ( some were hundreds of meters long ) . the second level is the performed panorama – the roll is activated in front of an audience . this aspect concerns the media apparatus : the combinations of all possible elements and effects that become part of the experience , including the temperature of the auditorium , the constitution of the audience , and incidents that may happen ; it also includes the ways the panorama is presented , whether it is cranked fast or slow , or whether it is stopped from time to time , and so forth . sound effects and the music also affect the ways the images are received by the audience . the moving panorama experience is a combination of such elements . the third level is what i call the discursive panorama . it concerns the discursive echoes of the panorama phenomenon , from discourses that are close to the spectacle itself – like promotional posters and leaflets – to ideas that can be found from texts that seemingly have nothing to do with that spectacle – i mean scientific , religious , political and philosophical texts where moving panoramas have left traces . it is important to understand this ‘transfigured’ aspect of the medium as well . still , although there is no such thing as the total meaning of a medium in a certain period , analysing the interplay between these three levels , their very complex configurations , we can provide a certain understanding about how a medium functions within a cultural setting . in that sense the book demonstrates an integral way of researching media culture .
11 . the career of banvard ( and of other mississippi river panoramists ) is described at length in mcdermott , esp . pp . 19 - 46 ; see also joseph earl arrington ,
john barvard ' s moving panorama of the mississippi , missouri , and ohio rivers ,
filson club historical quarterly , 32 ( july 1958 ) , pp . 207 - 240 .
1 . moving panoramas are generally treated in the context of the larger panorama phenomenon of the nineteenth century , which has been seriously addressed in several publications in recent years . probably the most comprehensive and analytical of those is stefan oettermann , the panorama ; history of a mass medium rpt . and translated ( new york : zone books , 1997 ) , esp . pp . 323 - 344 . see also ralph hyde , panoramania ! ( exhibition catalogue , london : barbican art gallery , 1988 ) , esp . pp . 131 - 168 . perhaps the most entertaining account of moving panoramas is in richard d . altick , the shows of london ( cambridge , ma . : belknap press of harvard university press , 1978 ) , pp . 198 - 210 .
the most obvious way to make a stereo panorama is to stitch together a series of stereo photos , taken by turning a pair of cameras . but such photos will not easily stitch to two seamless spheres , because each series was taken from a moving viewpoint , not from a single fixed point as assumed by standard stitching software . there are two basic ways to handle this problem :
[ anonymous ] .
great room . spring - gardens—novelty . marshall ' s grand historical peristrephic panorama of the ceremony of the banquet . . .
[ advertisement ] .
but many of those entering the rotunda to admire the view found themselves disoriented , and it was not unusual for a first - time visitor to a panorama to be sick .
is a group committed to supporting the heritage and conservation of 19th and early 20th century panoramas ( both stationay and moving panoramas ) . this organization also supports awareness of current art forms ( such as crankies ) !
the west . a technological innovation and the opening of the west provided just the right combination to lure eastern audiences . british landscape painters had moved from stationary panoramas to moving panoramas : landscape scenes that , instead of enveloping the viewer , scrolled by on tremendous rollers . moving panoramas had the advantage of unfolding over time ; they could portray dramatic stories and changes in scenery . soon american artists began to adopt this new stage device .
the moving panorama was a popular form of visual entertainment in the nineteenth century . a relative more in concept than design to the panoramic painting , it proved to be more durable than its fixed and immense cousin . unlike 360 degree paintings that coralled their audiences into a constrained space , the moving panorama allowed a sense of limitless travel , and made the audience , rather than the image , seem to move . such paintings were not panoramas in the truest sense , but rather contiguous views of passing scenery , as if seen from a boat or a train window . installed on immense spools , they were scrolled past the audience behind a cut - out drop - scene or proscenium which hid the mechanism from public view . in contrast to fixed panoramas , the moving panorama almost always had a narrator , styled as its
delineator
or
professor
, who described the scenes as they passed and added to the drama of the events depicted . one of the most successful of these delineators was john banvard , whose panorama of a trip up ( and down ) the mississippi river had such a successful world tour that the profits enabled him to build an immense mansion , lampooned as
banvard ' s folly
, built in imitation of windsor castle in the hinterlands of new jersey . [ 1 ] the earliest moving panoramas were shown in the united kingdom by the edinburgh firm of
messrs . marshall
in the 1820s ; by mid - century , dozens of showmen criss - crossed the provinces , and the form had spread to the united states and even to australia .
the most prominent exception to that is the moving panorama of pilgrim’s progress ( 1851 ) , recently restored and on show at the sacco museum . in over 240 metres ( 800 feet ) of fabric painted using distemper – as would have been used for theatrical scenery , for instance – it shows the complete narrative of john bunyan’s book the pilgrim’s progress , in a very different way from blake’s illustrations .
the first sentence suggests that by the middle of the century balloon views were often described as “panoramic” . his references to a diorama and a moving panorama show these contemporary entertainment technologies providing a shorthand for the expansive scope and numerous points of interest available in a balloon view . they also presage the comparison between the aeroplane view and the cinema in the twentieth century . both the balloon and the panorama educated observers in techniques of engaging with the image that anticipated cinematographic techniques such as tracking , where the camera moves through space , and panning , where the camera swivels on a stationary point .
each time a moving - panorama show begins , the real world is eclipsed and , in its place , scenes appear which , despite the absence of their apparent objects , are experienced as if they were real . miming these contrary events , albeit in a different key , in
the moving panorama—or spring garden rout
nature can be seen only on the margins of the design , in the small flowerpots found in the top left - hand corner , and in the blinkered horses glimpsed in the lower right - hand corner . and the panorama ' s phantom reality is echoed by the public house found immediately beneath the half - open window of the great room , which is offering
burton ' s ale
and
spirits
rather than a
tour
and
coronation .
in this case , though , it is the second rather than the first pair that have intoxicated the crowd , leaving the pub ' s empty interior to represent the fate of all panoramic entertainments when they are no longer the latest thing .
in the mid 1800s , john banvard created the first , really successful moving panorama , a three - mile long scrolled painting celebrating the mighty mississippi river . ( read more about banvard in the section below ) . fast forward to the 21st century . west hyler and matt schatz created the musical georama , with music written by jack herrick , to celebrate the life of this largely - forgotten artist . it premiered in january 2015 .
paul dominique philippoteaux ( 1846–1923 ) , gettysburg cyclorama ( 1863 ) , oil on canvas panorama , overall 820 x 10940 cm . gettysburg museum and visitor center , gettysburg , pa . wikimedia commons .
the panorama of the monumental grandeur of the mississippi valley was painted by john egan ( irish born ) around 1850 . he used distemper on cotton muslin and it measures 90 in . x 348 ft .
the rout of the nazi troops in the stalingrad battle ( detail ) , volgograd panorama museum , volgograd , russia . photo by edmund gall ( 2013 - 08 russia 102 ) , via wikimedia commons .
2 . the length of moving panoramas is addressed with reference to those of the mississippi river in john francis mcdermott , the lost panoramas of the mississippi ( chicago : the university of chicago press , 1958 ) , pp . 165 - 167 .
i encourage you to visit the st . louis art museum . there are only about twenty 19th century , large moving panoramas that survived . of those , only a handful are exhibited for the public to see . check out their website . urltoken
the significance of this engraving derives from its multi - faceted exploration of the impact of moving panoramas on their audiences , the social interactions they promoted , and the cultural and political environment of which they were part . by exploring the exchanges between new optical - technologies , the virtual realities produced by popular entertainments , and the apparent realities that govern social relations , the image provides a revealing graphic - satire of a key phase in the history of the panorama , moving pictures , and the emergence of modern forms of virtual reality . at the same time , this multi - faceted image also allows us to glimpse some of the roles played by graphic satire in the third decade of the nineteenth century .
barker’s insistence on the “fair” ( twice ) , “proper” and artistic character of his panorama painting was a counterweight to the startling sense of hyperreality that must have been experienced by visitors . barker and subsequent proprietors ( after his patent lapsed in 1802 ) emphasised the verisimilitude of the scenes they presented , whether of cities or battles , and invited verification from figures who had visited the places or witnessed the events . panoramas began not only to serve as a means of satisfying curiosity about the wider world when travel was difficult or impossible , but also to represent current affairs – the battle of the nile , the coronation of george iv – in a time before illustrated newspapers had made up - to - date imagery cheap and accessible . modifications of the viewer - scene relationship established by the panorama were also essayed . the moving panorama — a long painting revealed horizontally or vertically on rollers — became popular in the 1820s . here the audience stayed in their seats and the image moved . theatregoers in 1824 at the theatre royal watched grimaldi the clown “ascend” in a balloon against a scrolling vertical panorama backdrop designed by thomas grieve . a different kind of movement was achieved by the “diorama” , invented in 1823 , which worked by moving audiences between two different “sets” showing scenes from nature in changing time and seasons , the transitions effected by lighting .
the fact that the balloon and the panorama were invented within five years of one another , and the similarity of the 360 - degree views they offered , is remarkable . in his the panorama : history of a mass medium , stephan oettermann argued that the new visual experience gained in the balloon led to the development of a format for recreating the immersive view . he qualifies this claim with the suggestion that the panorama responded indirectly to more sophisticated demands on vision and representation , by no means all to do with the balloon . it is not , i think , a simple case of cause and effect , with the balloon coming first , nor did both devices emerge from the same set of circumstances , for example , the balloon’s uptake depended on the availability of hydrogen that had only just been successfully combined . but the panorama undoubtedly schooled its visitors in a mode of viewing that was compatible with ballooning . and though the balloon was five years older than the panorama , far fewer people directly experienced balloon travel than the tens of thousands who visited a panorama . before 1836 , a total of 313 people had ascended in a balloon in england by one contemporary compiler’s reckoning ; in contrast , as an example , the colosseum’s panorama of london received more than that number in a single day during its 1829 season . in the first fifty years of these two technologies , the idea of the “panoramic” view was far more widely disseminated than the idea of the balloon view .
by contrast , in the first half of the nineteenth century , the heyday of the panorama , balloonists did not need to look far for an appropriate analogy . “we found ourselves… the motionless spectators of a vast panorama” wrote dr . forster of his first ascent . henry mayhew , the journalist and social reformer who wrote about his first balloon experience for the illustrated london news in 1852 , drew heavily on this new vocabulary :
moving panoramas were often seen in melodramatic plays . it became a new visual element to theatre and helped incorporate a more realistic quality . not only was it a special effect on stage , but it also served as an ancestor and platform to early cinema .
mind , sense , all seemed wrapped up in the great panorama before us ; and anyone with a little imagination , would actually believe that he was on his way to california , instead of viewing the route .
the following essay was written by kevin j . avery , ph . d . , as a catalogue essay for the catalogue the grand moving panorama of pilgrim ' s progress ( isbn 0 - 936489 - 57 - x ) which accompanied the exhibition of the same title which premiered january 31 , 1999 at the montclair art museum and toured to two other venues . the exhibition was organized by the montclair art museum . the essay is reprinted with permission of the montclair art museum .
his immense fame inspired others to follow suit . at one time there were seven touring mississippi panoramas . only one survived to this day . known as the
dickinson / egan
panorama . read about it below .
, and about verticality in film . erkki huhtamo’s lecture and interview provide many examples of the use of verticality in the history of the moving image , and suggest various entrances for further research . film may have emphasised horizontality , but a rich counterculture of ‘vertical cinema’ seems to lie hidden within the history of cinema , awaiting discovery . huhtamo also gave a humorous overview of the current interest in vertical smartphone movies and vertical screens , referring amongst others to the satirical youtube hit ‘vertical video syndrome’ ( 2012 ) and the ‘vertical cinema manifesto’ ( also on youtube ) , which was made in reaction to it . to round off we point you to an earlier lecture of erkki huhtamo : in 2008 he spoke about the moving panorama at the conference of sonic acts
was finally published in 2013 by mit press , the perfect moment to ask him to talk about verticality in the history of the moving image . prior to his lecture , arie altena interviewed him on behalf of sonic acts and asked him about his approach to media archaeology , his book
the painting – which dates to the 1870s and comprises three rolls of muslin , which are 525 feet long in total and seven feet high – is one of fewer than two dozen surviving examples in the world of moving panoramas , said molly briggs , a university of illinois doctoral student in landscape architecture who is writing her dissertation on panoramic media in chicago . briggs , a painter and an instructor in the school of art and design , has been researching krannert art museum’s painting and will serve as a guest curator for a future exhibition at the museum on moving panoramas .
at the peak of its success in the mid - nineteenth century , the moving panorama was quite possibly the most popular entertainment in the world , with hundreds of panoramas constantly touring major cities as well as the countryside , all around the world . the smaller panoramas could be hauled by horse and wagon , and the expansion of railway service in countries such as the united kingdom and the united states opened new markets to traveling panoramists . the larger firms , such as george k . goodwin ' s of boston , managed many simultaneous shows , which travelled separately under subsidiary showman , while smaller firms managed only one panorama at a time . the trade was so extensive that both new york and philadelphia had two firms each which specialized in painting panoramas to order . careers could be made in the field by anyone who had a talent for dramatizing the moving scenery as it passed , and well - known public figures with a gift for stentorian speech - - among them actors , lawyers , and state legislators - - often spent some time in this employment .
árpád feszty ( 1856–1914 ) , arrival of the hungarians ( feszty panorama ) ( detail ) ( 1892 - 4 ) , oil on canvas cyclorama , 1500 x 12000 cm , ópusztaszer national heritage park , ópusztaszer , hungary . wikimedia commons .
aa : … but there are interesting moments in the history of the moving image , when the image has been vertically oriented . there are vertical experimental films , there’s for instance an interesting essay by eisenstein on vertical film , and there are the balloon panoramas you have written about . . .
15 . banvard ' s exploits on the mississippi are amusingly retold by him in
adventures of an artist ,
description of banvard ' s panorama of the mississippi river ( boston : putnam , 1847 ) , pp . 4 - 5 .
19 . quoted from a caption to a broadside illustration of banvard exhibiting his panorama to queen victoria and her entourage at windsor castle , printed for a performance in north shields , leeds , england about 1851 , banvard scrapbook , minnesota historical society .
the word “panorama” is derived from the greek words “to see” and “all . ” the word was coined in 1792 by irish painter robert barker to describe his monumental painting of edinburgh , which was exhibited to much acclaim in london’s leicester square . as barker’s achievement became popular and much - imitated , the word “panorama” soon came to refer broadly to this type of enormous , 360 - degree painting meant to surround the viewer and create an all - encompassing , illusionistic effect when viewed from the inside .
most stereo panoramas will need some manual masking - - often a great deal . as with any panorama , if there are moving subjects , you will need masks to select what is to be included and excluded . however even with static subjects , stereo panoramas typically have stitching errors . in most cases these errors can be hidden adequately by appropriate masking . all the techniques used for hiding errors in hand - held panoramas are applicable . however there is one new and very important rule . seams must follow exactly the same paths , on the subject , in both left and right spheres .
6 . the history of vanderlyn ' s panorama is described in detail in kevin j . avery and peter m . fodera , john vanderlyn ' s panoramic view of the palace and gardens of versailles ( new york : the metropolitan museum of art , 1988 ) .
a local auctioneer purchased the panorama in indiana in the mid - 1980s . he was unable to sell it at auction , so he stored it until two folk art collectors bought it from him , briggs said . it was donated to krannert art museum in 1991 .
by the early 1800s , the panorama had spread to countries all over europe , but it came to america even earlier . in 1795 , a copy of barker ' s london panorama was exhibited in new york city . the medium ' s most renowned american projector - - and author of the second - oldest surviving panorama - - was the paris - trained , neoclassical painter john vanderlyn ( 1775 - 1852 ) . [ 6 ] foreseeing the american public ' s wariness and ignorance of the historical art he had been taught to paint , vanderlyn looked to the new popular art of the panorama as a way of introducing european culture to new yorkers . in paris , he had known the inventor robert fulton , who had taken the panorama idea to france in 1798 . in 1814 , vanderlyn made drawings of the palace and gardens of versailles , which he took to his hometown of kingston , new york . in a barn there he transferred the drawings to a canvas measuring eighteen feet high by one hundred sixty feet in circumference . vanderlyn completed the panorama in 1819 , and installed it in a handsome , domed rotunda of brick he built with municipal blessing on the northeast corner of city hall park . on the second floor of the rotunda , nearest the light source in the roof , vanderlyn arranged the panorama , and in galleries on the first floor exhibited his portraits and historical subjects . all of it - - high art and low - - was available for twenty - five cents admission . it was an idealistic enterprise , really new york ' s first art museum . during the ten years of vanderlyn ' s stewardship , panoramas from london were also shown in the rotunda and even toured in other cities of america and in canada . vanderlyn died in 1852 , and the rotunda was torn down in 1870 , but the panoramic view of the palace and gardens of versailles may still be seen at the metropolitan museum of art .


paristiopterus labiosus , the giant boarfish , is a species of armorhead native to the coastal waters of southern australia , and new zealand .

it occurs over the continental shelf at depths from 20 to 170 m ( 66 to 558 ft ) .

it is a commercially important species .

paristiopterus labiosus

froese , rainer and pauly , daniel , eds . ( 2014 ) .
paristiopterus labiosus
in fishbase . february 2014 version .
a giant boarfish , paristiopterus labiosus , in nelson bay , port stephens , new south wales . source : dave harasti / urltoken license : all rights reserved
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paristiopterus labiosus
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( of histiopterus labiosus günther , 1872 ) froese , r . & d . pauly ( editors ) . ( 2018 ) . fishbase . world wide web electronic publication . , available online at urltoken [ details ]
günther , a . 1872 . report on several collections of fishes recently obtained for the british museum . proceedings of the zoological society of london 1871 ( 3 ) : 652 - 675 pls 53 - 70 [ 658 , pl . 59 , as histiopterus labiosus ]
a large boarfish with a moderately deep , compressed body , exposed striated head bones , a low knob on the nape and a very long concave snout , that becomes longer and deeper with age . anal fin with two spines .
greenish brown above , paler below , with 3 broad indistinct oblique stripes across body . adult males are sometimes peppered with yellow spots .
known from temperate waters of australia and new zealand . in australia , the giant boarfish has been recorded from hervey bay , queensland . to port phillip bay , victoria , and to southeastern tasmania , in depths of 20–130 m
meristic features : dorsal fin vii - viii , 16 - 18 ; anal fin ii , 8 - 10 ; caudal fin 17 ; pectoral fin 16 - 18 ; pelvic fin i , 5 ; lateral line 85 - 96 . body moderately deep , compressed , with exposed striated head bones , a low knob on the nape and a very long concave snout , becoming longer and deeper with age .
dorsal fin spines long an dslender in juveniles , proportionally shorter and more stout in adults ; soft fin rays only slightly taller anteriorly , not forming a pointed lobe . anal fin with 2 spines , pectoral - fin base in front of pelvic - fin bas , tail slightly concave .
greenish brown above , underside paler , with 3 broad indistinct oblique stripes across body . adult males sometimes peppered with yellow spots .
bray , d . j . , hoese , d . f . & paxton , j . r . 2006 . pentacerotidae ( pp . 1312–1316 ) . in beesley , p . l . & wells , a . ( eds ) . zoological catalogue of australia . vol . 35 abrs & csiro publishing , australia
castelnau , f . l . de 1872 . contribution to the ichthyology of australia . 1 . the melbourne fish market . proceedings of the zoological and acclimatisation society of victoria 1 : 29 - 242 1 pl ( 112 , as richardsonia insignis )
gomon , m . f . 2008 . family pentacerotidae ( pp . 611–617 ) . in gomon , m . f . , bray , d . j . & kuiter , r . h . the fishes of australia’s southern coast . new holland publishers , chatswood , australia .
hardy , g . s . 1983 . a revision of the fishes of the family pentacerotidae ( perciformes ) . new zealand journal of zoology 10 : 177 - 220 figs 1 - 13
hardy , g . s . 1994 . pentacerotidae . pp . 629 - 636 , figs 553 - 559 in gomon , m . f . , glover , c . j . m . & kuiter , r . h ( eds ) . the fishes of australia ' s south coast . adelaide : state printer 992 pp . 810 figs
johnson , j . w . 1999 . annotated checklist of the fishes of moreton bay , queensland , australia . memoirs of the queensland museum 43 ( 2 ) : 709 - 762 .
kim , s - y . 2012 . phylogenetic systematics of the family pentacerotidae ( actinopterygii : order perciformes ) . zootaxa 3366 : 1–111 .
kuiter , r . h . 1993 . coastal fishes of south - eastern australia . bathurst : crawford house press 437 pp .
last , p . r . , scott , e . o . g . & talbot , f . h . 1983 . fishes of tasmania . hobart : tasmanian fisheries development authority 563 pp . figs
russell , b . c . 1983 . the food and feeding habits of rocky reef fish of north - eastern new zealand . n . z . j . mar . freshwat . res . 17 ( 2 ) : 121 - 145 .
waite , e . r . 1898 . report upon trawling operations off the coast of new south wales between the manning river and jervis bay , carried on by h . m . c . s . thetis . scientific report on the fishes . pp . 23–62 pls 1–12 [ 33 , pl . 4 , as histiopterus farnelli ]
the webpage text is licensed under a creative commons attribution - noncommercial 4 . 0 license
froese , r . & d . pauly ( editors ) . ( 2018 ) . fishbase . world wide web electronic publication . , available online at urltoken [ details ]
king , c . m . ; roberts , c . d . ; bell , b . d . ; fordyce , r . e . ; nicoll , r . s . ; worthy , t . h . ; paulin , c . d . ; hitchmough , r . a . ; keyes , i . w . ; baker , a . n . ; stewart , a . l . ; hiller , n . ; mcdowall , r . m . ; holdaway , r . n . ; mcphee , r . p . ; schwarzhans , w . w . ; tennyson , a . j . d . ; rust , s . ; macadie , i . ( 2009 ) . phylum chordata : lancelets , fishes , amphibians , reptiles , birds , mammals , in : gordon , d . p . ( ed . ) ( 2009 ) . new zealand inventory of biodiversity : 1 . kingdom animalia : radiata , lophotrochozoa , deuterostomia . pp . 431 - 554 . [ details ]
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disclaimer : itis taxonomy is based on the latest scientific consensus available , and is provided as a general reference source for interested parties . however , it is not a legal authority for statutory or regulatory purposes . while every effort has been made to provide the most reliable and up - to - date information available , ultimate legal requirements with respect to species are contained in provisions of treaties to which the united states is a party , wildlife statutes , regulations , and any applicable notices that have been published in the federal register . for further information on u . s . legal requirements with respect to protected taxa , please contact the u . s . fish and wildlife service .
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ng , p . k . l . & wang , c . h . 1994 ,
notes on the enigmatic genus pseudozius dana , 1851 ( crustacea , decapoda , brachyura )
, journal of the taiwan museum , vol . 47 , no . 1 , pp . 83 - 99
waite , e . r . 1898 ,
report upon trawling operations off the coast of new south wales between the manning river and jervis bay , carried on by h . m . c . s . thetis
günther , a . 1872 ,
report on several collections of fishes recently obtained for the british museum
, proceedings of the zoological society of london , vol . 1871 , no . 3 , pp . 652 - 675 pls 53 - 70
compiled by roberts , c . d . ; paulin , c . d . ; stewart , a . l . ; mcphee , r . p . ; mcdowall , r . m . , king , c . m . ; roberts , c . d . ; bell , b . d . ; fordyce , r . e . ; nicol , r . s . ; worthy , t . h . ; paulin , c . d . ; hitchmough , r . a . ; keyes , i . w . ; baker , a . n . ; stewart , a . l . ; hiller , n . ; mcdowall , r . m . ; holdaway , r . n . ; mcphee , r . p . ; schwarzhans , w . w . ; tennyson , a . j . d . ; rust , r . ; macadie , i . 24 : phylum chordata : lancelets , fishes , amphibians , reptiles , birds , mammals , checklist of new zealand chordata . living lancelets , jawless fishes , cartilaginous fishes , and bony fishes . in : new zealand inventory of biodiversity volume 1 .
urn : lsid : biodiversity . org . au : afd . taxon : c456a9ab - aa7b - 4daf - a2b0 - 591fa97cd516
urn : lsid : biodiversity . org . au : afd . taxon : b721403f - 4fe3 - 4dc2 - 8b8a - b7fdf9f57888
urn : lsid : biodiversity . org . au : afd . name : 427248
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recorded from the continental shelf ( ref . 9563 ) . feeds mainly on benthic organisms ( ref . 26966 ) .
eastern indian ocean : southern australia , from south australia to new south wales . southwest pacific : new zealand ( ref . 5755 ) .
southwestern pacific : australia ( southern queensland , new south wales , victoria and tasmania ) and new zealand .
100 . 0 cm tl ( male / unsexed ; ( ref . 4537 ) )
depth range based on 69 specimens in 1 taxon . water temperature and chemistry ranges based on 40 samples . environmental ranges depth range ( m ) : 15 - 202 . 5 temperature range ( °c ) : 13 . 657 - 17 . 920 nitrate ( umol / l ) : 0 . 224 - 11 . 713 salinity ( pps ) : 35 . 264 - 35 . 993 oxygen ( ml / l ) : 4 . 934 - 5 . 557 phosphate ( umol / l ) : 0 . 133 - 0 . 724 silicate ( umol / l ) : 1 . 128 - 5 . 900 graphical representation depth range ( m ) : 15 - 202 . 5 temperature range ( °c ) : 13 . 657 - 17 . 920 nitrate ( umol / l ) : 0 . 224 - 11 . 713 salinity ( pps ) : 35 . 264 - 35 . 993 oxygen ( ml / l ) : 4 . 934 - 5 . 557 phosphate ( umol / l ) : 0 . 133 - 0 . 724 silicate ( umol / l ) : 1 . 128 - 5 . 900 note : this information has not been validated . check this * note * . your feedback is most welcome .
demersal ; marine ; depth range 20 - 170 m ( ref . 9563 )
depth : 20 - 170m . from 20 to 170 meters . habitat : demersal .
at depths from 20 to 170 m ( 66 to 558 ft ) . this species can reach a length of 100 cm ( 39 in ) . it is a
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neotelphusa querciella is a moth of the family gelechiidae .

it is found in north america , where it has been recorded from alabama , kentucky , maine , mississippi , north carolina and tennessee .

the forewings are dark iron grey , with a distinct small blackish spot on the costa at about the basal fourth , and two other smaller ones on the costa , one about the middle , and the other at the beginning of the apical ciliae .

there are three or four similar small ones on the disc .

the hindwings are pale slate colour .

the larvae feed on quercus obtusiloba .

they have a whitish body and dark purplish-brown head .

neotelphusa querciella

depressaria querciella chambers , 1872 ; can . ent . 4 ( 7 ) : 127
neotelphusa anisogrisea janse , 1958 ; moths s . afr . 6 ( 1 ) : 80
neotelphusa bimaculata janse , 1958 ; moths s . afr . 6 ( 1 ) : 81
neotelphusa cirrhomacula janse , 1958 ; moths s . afr . 6 ( 1 ) : 83
neotelphusa ferrugilinea janse , 1958 ; moths s . afr . 6 ( 1 ) : 84
neotelphusa flavinotata janse , 1958 ; moths s . afr . 6 ( 1 ) : 85
neotelphusa fuscisparsa janse , 1958 ; moths s . afr . 6 ( 1 ) : 86
neotelphusa obliquifascia janse , 1960 ; moths s . afr . 6 ( 2 ) : 215
neotelphusa pallidistola janse , 1958 ; moths s . afr . 6 ( 1 ) : 90
neotelphusa phaeomacula janse , 1958 ; moths s . afr . 6 ( 1 ) : 91
neotelphusa similella janse , 1958 ; moths s . afr . 6 ( 1 ) : 92
neotelphusa tapinota janse , 1958 ; moths s . afr . 6 ( 1 ) : 93
neotelphusa janse , 1958 ; moths s . afr . 6 ( 1 ) : 77 ; ts : telphusa castrigera meyrick
figures 1 – 6 . characters of the head and thorax . 1 , lateral ocellus ( arrow ) of exoteleia anomala . 2 , forewing of telphusa sedulitella with scale tufts . 3 , male hindwing of coleotechnites florae with hair pencil on anal area . 4 – 5 , clypeus . 4 , istrianis myricariella . 5 , neotelphusa querciella . 6 , posterior area of sitophore with four campaniform sensilla ( arrows ) in stenolechiodes macrolepiellus .
neotelphusa flaviterminella agassiz & bidzilya , 2016 ; ann . ditsong nat . mus . nat . hist . 6 ( 7 ) : ( 116 - 145 )
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telphusa castrigera meyrick , 1913 ; ann . transv . mus . 3 ( 4 ) : 287 ; tl : barberton
gelechia cisti stainton , 1869 ; tineina south . europe : 211 ; tl : cannes
larva on cistus salvifolius stainton , 1869 , tineina south . europe : 211 , cistus salvifolius , c . albidus , c . monspeliensis , halimium alyssoides [ me3 ] , 64
telphusa craterota meyrick , 1913 ; ann . transv . mus . 3 ( 4 ) : 287 ; tl : barberton
larva on cistus salvifolius , c . laurifolius , c . monspeliensis , c . psilosepalus [ me3 ] , 63
telphusa limenaea meyrick , 1920 ; ann . s . afr . mus . 17 ( 4 ) : 282 ; tl : cape colony , capetown
gelechia melicentra meyrick , 1921 ; ann . transv . mus . 8 ( 2 ) : 71 ; tl : portuguese east africa , magude
telphusa ochlerodes meyrick , 1926 ; ann . s . afr . mus . 23 : 329 ; tl : sw . africa , nuragas
telphusa ochrophthalma meyrick , 1927 ; exot . microlep . 3 ( 11 ) : 344 ; tl : transvaal , blauwkop
telphusa praefixa braun , 1921 ; proc . acad . nat . sci . philad . 73 : 6 ; tl : glacier park station , montana
teleiodes traugotti huemer & karsholt , 2001 ; nota lepid . 24 ( 3 ) : 47 , f . 6 , 23 , 28 ; tl : spain , andalucia , sierra de marbella , el mirandor , 700m
[ afromoths ] de prins , j . & de prins , w . , 2013
[ spl ] varis , v . ( ed ) , ahola , m . , albrecht , a . , jalava , j . , kaila , l . , kerppola , s . , kullberg , j . , 1995
sangmi lee , richard brown & sibyl bucheli . gelechioidea - a global framework ;
[ maps ] warning ! the maps are automatically generated from the textual information , and the process does not always produce acceptable result ; see about maps for more info .
histoire naturelle des lépidoptèrs ou papillons de france - supplement . nocturnes ( cont . ) in godart ,
lepidoptera britannica , sistens digestimen novam lepidopterorum quae in magna britannica reperiunter . . . adjunguntur dissertationes variae ad historiam naturalam spectantes
stainton , 1869 the tineina of southern europe tineina south . europe : viii , : 1 - 370
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after trying various powers and types of lights , including a blacklight , to lure nocturnal moths to my urban garden surrounded by concrete and competing street lights , i find i get the best results with a 9w compact fluorescent next to my white aluminum siding ; the low power keeps the edge of the garden in darkness which seems to work better than having the entire yard lit up .
: this sphinx moth arrived just as aquilegia came into bloom . its larvae feed on virginia creeper and wild grapes , both of which are plentiful locally . body length 23 mm .
: it ' s larvae are leaf miners in solidago . length 3 mm .
: the larva of this moth make a leaf tent for protection ; it grows in most eastern canadian deciduous trees . wing span 16 mm .
: this seed - eating moth now is spread world wide through grain shipments . length 8 mm .
: peppered moths rest in the upper portion of trees and mimic crustose lichens in insect - visible uv as well as rgb . wing span 53 mm
: it ' s larvae feed on several deciduous tree leaves . wing span 22 mm
: the larvae of this moth feed on vitis and parthenocissus species . wing span 24 mm .
: the geometridae ( earth measurer or inchworm ) moths are named for their larval locomotion . length 30 mm .
: horned spanworm moth larvae can feed on most trees and shrubs . wing span 26 mm .
: this moth is at the northern part of its range here . its larvae feed mostly on asteridae . wing span 14 mm .
: larvae of the green pug moth feed on fruit tree blossoms . wing span 21 mm .
: these moths rest with the wings as shown , flattened against a leaf . wing span 30 mm .
: the larvae of this moth feed on impatiens . wing span 18 mm .
: dna evidence is that this moth and x . urticaria are the same species ; sospeta has priority . a diurnal moth . wing span 35 mm .
: hobomok skippers are common in the nearby meadow . wing span 30 mm .
: forest tent caterpillars don ' t build tents , instead they form tight swarms on trunks of trees . their numbers fluctuate on a decade time scale , unlike their tent - spinning cousins . this one was offered a variety of local leaves and chose basswood .
: eight - spotted foresters are found in spring wherever there is parthenocissus quinquefolia for their larvae . wing span 30 mm
: clover looper larvae feed on grasses and clovers . wing span 28 mm .
: native to europe , was first introduced to canada in the early 1960s as an agent of biological pest control against linaria vulgaris in areas where they are considered noxious weeds . those of us who call the flowers butter & eggs pick them off when we find them in our gardens . length 16 mm .
: woody underwing larvae feed on crataegus , prunus and malus . wing span 45 mm .
: larvae feed on grasses , adults take nectar . wing span 32 mm .
: splitters insist that by dissecting this moth they can discern 3 species ; it ' s larvae feed on juniperus virginiana and thuja occidentalis , both of which are common here . the species overwinters in the pupal stage in soil or amongst debris ; wing span 20 mm .
: a diurnal moth whose larvae feed on grasses and clovers . wing span 28 mm .
: this moth overwinters as an egg ; nothing is known of the larvae . wing span 32 mm .
: the green cloverworm moth migrates from the southern usa each year and produces two generations here . wing span 35 mm .
: bristly cutworm larvae feed on almost any herbaceous plant . wing span 27 mm .
: the furry legs of these moths really stands out . wing span 40 mm .
: green owlet larvae feed on solidago and aster . wing span 31 mm .
: hickory tussock moths feed primarily on hickory , pecan and walnuts . length 25 mm .
: the larva of this moth feed on polygonum and grasses . wing span 18 mm .
: this moth is a migrant here ; its larvae love huge monoculture fields of lettuce . wing span 40 mm .
: armyworm moths are common at porch lights throughout north america , the larvae feed on most plants . body length 20 mm .
: a nocturnal moth , the feathery parts are the labial palps . wing span 24 mm . ( the pin is 200 µm , the smallest i can find . )
: banded woollybear caterpillars eat a wide variety of grasses and leaves and overwinter as caterpillars , when they survive by producing ice - structuring proteins in their tissues that prevent ice crystals from forming within their cell walls . in the spring they thaw out , then look for a place to pupate , as this one is doing . adults live only a few days so are rarely seen . length 35 mm .
: little is known about the yellow woollybear moth . wing span 50 mm .
: larvae of this moth feed on corylus cornuta and c . americana . wing span 37 mm .
: a nocturnal moth that flies from may through august . the larvae feed on dead leaves . wing span 28 mm .
: common wood nymphs are common in the nearby meadow . wing span 50 mm .
: common ringlets are found wherever healthy grass grows . wing span 35 mm .
: common sulphurs fly here from mid - may to late september . wing span 44 mm .
and continue to visit throughout the summer . they work their way north from winter hibernation sites in mexico in three generations ; the 4th generation flies all the way back to hibernate . silphium perfoliatum is their favourite in my garden . wing span 100 mm .
: baltimores are rare visitors late june and early july ; their larval preference chelone glabra isn ' t found nearby . wing span 60 mm .
: harvesters are unique in north america in that the adults feed mostly on woolly aphid sugar excretions while the larvae are carnivorous on woolly aphids themselves . it ' s believed that they smell like aphids to deter attacks by ants that normally protect aphids from predators . they appear late may , then mid - july to mid - august . wing span 25 mm .
: silvery blues visit mid - may to late june , and are usually seen settled on the ground to sun themselves . their larvae grow on fabaceae , common in the nearby
: white admirals are rare visitors mid - june through july . their larvae grow on betula which is not common locally due to unsightly defoliation by fenusa pusilla . wing span 90 mm .
: mourning cloaks are the earliest butterfly to appear here , sometimes as early as the first week of april since they overwinter as adults by producing glycerol antifreeze that allows them to survive - 34 c . their larvae feed on salix and related genera . the bright yellow of their wings fades , as in this example , since they have one of the longest adult life spans of any butterfly - up to 12 months . wing span 70 mm .
: tiger swallowtails overwinter here as pupae , then fly by during june ; their larvae mostly grow on rosaceae , common in non - yellow gardens here . wing span 120 mm .
: cabbage whites are native to europe , first appeared in north america in quebec in the 1860s and are now ubiquitous across the continent . they appear here early may and are common well into september . wing span 50 mm .
: the leading edge of the earliest and largest migration of red admirals on record : 17 april 2012 . several dozen stayed in the garden for almost a month feeding on ribes nigra and r . aurea blooms . wing span 45 mm .
: part of a large migration of painted ladies , 19 september 2017 . wing span 55 mm .
: the larvae of this pterophorinae eat solidago , which are plentiful locally . wingspan 12 mm .
: larvae of this moth feed on clematis and houstonia . wing span 12 mm .
: crowned phlyctaenia larvae feed on viburnum , syringa and commercial sunflower . wing span 22 mm
: small magpie larvae feed on stachys and mentha , the adults mostly on urtica . wing span 27 mm
: it ' s larvae feed on the larvae of polistes wasps . wing span 19 mm .
: snout - nosed moths are nocturnal . this one is easily recognized when resting by the reflective silver streak on its forewing and its long palps . wing span 20 mm .
: it ' s larvae feed on grasses and their seeds . wing span 20 mm .
: elegant grass - veneer moth larvae live on poaceae . body length 7 mm .
: the larvae of this moth hatch in april on red oaks , make a shelter by tying leaves together with silk and , after eating their fill of buds and leaves , descend on a silk thread to the forest floor to pupate in may , emerging in june to lay more eggs for the next year ' s population . wing span 20 mm
: redbanded leafroller larvae feed primarily on prunus and picea , but also some vegetables , overwintering as a pupa in folded leaves on the ground . wing span 13 mm .
: a major food source of this moth ' s larvae is basswood ; i ' m surrounded by it . length 14 mm .
: its larvae roll up and eat leaves of apples and rosacea . length 9 mm .
: larvae of the codling moth are the most common ' worms ' in apples . wingspan 16 mm .
: the goldenrod gall moth overwinters as a final stage larva within a gall . it survives - 37 c by producing antifreeze proteins and glycerol in its tissues . wing span 17 mm .
: larvae of this moth feed on conifers , birches and willows . wing span 20 mm .
: the larvae of these moths feed on fruits . wing span 15 mm .
: sweet potato leaf miners are now cosmopolitan . the abdomen constriction at the base and high attachment on the thorax is common in the more slender microleps , but not usually seen . length 4 . 5 mm
: plutellidae are uniquely identified by the long forward tufts on the second segment of the labial palps . diamondback moth originated from the mediterranean but has now spread world wide to wherever glucosinolate - containing cruciferae grow , especially brassica oleracea ( cabbage , broccoli , cauliflower , kale , brussels sprouts ) . wing span 14 mm .
i find the cjai matrix key so unreliable that i ' ve stopped using it . as opposed to a binary key , there is no feedback with it from inappropriate following key terms that can alert a user to errors ; the only feedback is that the final conclusion can ' t be right .
lee , sangmi , brown , richard l . ( 2008 ) : revision of holarctic teleiodini ( lepidoptera : gelechiidae ) . zootaxa 1818 : 1 - 55 , doi : 10 . 5281 / zenodo . 182949
figures 49 – 50 . arcutelphusa talladega , sp . nov . 77 , male genitalia . a , tegumen ( t ) . b , phallus ( p ) and valva , costal part ( vc ) , saccular part ( vs ) . c , vinculum ( vi ) . 78 , female genitalia , corpus bursae ( cb ) , ductus bursae ( db ) , ostium bursae ( ob ) , and signum ( s ) . scale bar : 0 . 5 mm .
figures 34 – 39 . male genitalia , cucullus ( c ) , phallus ( p ) , ventral part of gnathos ( vg ) , saccus ( s ) , and uncus ( u ) . 34 , parachronistis albiceps ( modified from huemer and karsholt , 1999 ) . 35 , stenolechia bathrodyas ( modified from huemer and karsholt , 1999 ) . 36 , istrianis myricariella . 37 , schistophila laurocistella . 38 , coleotechnites florae . 39 , parachronistis albiceps ( modified from huemer and karsholt , 1999 ) .
figures 30 – 33 . male genitalia , internal duct ( id ) , costal part of valva ( vc ) , and saccular part of valva ( vs ) . 30 , exoteleia dodecella . a , tegumen . b , vinculum and valva . c , phallus . 31 , pseudotelphusa basifasciella . a , tegumen . b , vinculum , valva , and phallus . 32 , xenolechia ontariensis . 33 , argyrolacia bifida .
figures 25 – 29 . male genitalia , basal articulation ( ba ) , dorsal gnathos ( dg ) , ventral gnathos ( vg ) , and uncus ( u ) . 25 , agnippe sp . 1 . 26 , glauce sp . 1 . 27 , arogalea cristifasciella . 28 , telphusa sedulitella . a , tegumen . b , vinculum and phallus . 29 , sinoe robiniella . a , tegumen . b , phallus . c , vinculum .
figures 19 – 24 . characters of the labial palpi and abdomen . 19 – 20 , third segment of labial palpus . 19 , recurvaria leucatella . 20 , istrianis myricariella . 21 - 22 , male sternum viii . telphusa perspicua . 21 , arcutelphusa talladega sp . nov . , 22 . coleotechnites sp . 1 , 23 – 24 . male tergum viii . 23 , teleiopsis diffinis . ahp = anterolateral hair pencil . 24 , arogalea cristifasciella .
figures 7 – 18 . wing venation . 7 – 14 , forewing . 7 , sinoe robiniella . ps = pterostigma . 8 , carpatolechia sp . 1 . 9 , arogalea cristifasciella . 10 , agnippe sp . 1 . 11 , stenolechia gemmella . 12 , parastenolechia nigrinotella . 13 , parachronistis albiceps . 14 , arcutelphusa talladega , sp . nov . , 15 – 18 , hindwing . 15 , agnippe sp . 1 . 16 , sinoe robiniella . 17 , arogalea cristifasciella . 18 , arcutelphusa talladega , sp . nov .
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the smoothnose wedgefish ( rhynchobatus laevis ) is a species of fish in the rhinidae family .

it is found in northern indian ocean and northwestern pacific ocean , ranging from the arabian sea and persian gulf east to bangladesh , and south china sea to southern japan .

populations elsewhere are now recognized as separate species .

its natural habitat is shallow coastal seas and off the mouths of rivers .

it is threatened by habitat loss and overfishing .

due to confusion with relatives it is poorly known , but it likely reaches at least 2 m ( 6.6 ft ) in length .

its upperparts are greyish or brownish with 4 – 5 rows of white spots along each side ; above each pectoral fin there is a dark spot surrounded by several smaller white spots .

except for its denser white spotting , it closely resembles the eyebrow wedgefish ( r. palpebratus ) , but their ranges do not overlap .

smoothnose wedgefish

information on the smoothnose wedgefish is currently being researched and written and will appear here shortly .
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a very large wedgefish found off river mouths and in coastal bays in australia .
a smoothnose wedgefish , rhynchobatus laevis , at lizard island , queensland . source : simon s . gingins / lizard island research station . license : cc by attribution 3 . 0
the smoothnose wedgefish is a wide - ranging species first described from india that was widely confused with the western indian ocean r . djiddensis across its range from the arabian sea to the western pacific . the species needs to be taxonomically assessed from adequate samples from various parts of its range in order to accurately determine its distribution . recent taxonomic study of rhynchobatus species have resulted in improved understanding of the distribution of the smoothnose wedgefish and it is no longer considered to occur in east africa and australian waters ( p . last , csiro , pers . comm . , 2015 ) .
the smoothnose wedgefish is threatened by overfishing and habitat destruction in many parts of its range . the use of turtle exclusion devices ( teds ) in some australian trawl fisheries and various elasmobranch - finning prohibitions , has probably led to a reduction in captures - hence the near threatened classification in australian waters ( mcauley & compagno 2003 ) .
further investigation into the taxonomy , population and range , biology and ecology of the smoothnose wedgefish is required . recent catch data for this species across its range is required to assess to what extent the population decline is occurring . improved species composition data from all fisheries that take shovelnose rays and guitarfish is necessary . management measures for this species are either limited or none existent for this species across a large part of its range .
justification : the smoothnose wedgefish occurs off river mouths and shallow bays and is taken by multiple artisanal and commercial fisheries throughout its range both as a target species and as bycatch . flesh is sold for human consumption and the fins from large animals fetch exceptionally high prices , creating a significant incentive for bycatch to be retained . little is known about the population status of smoothnose wedgefish , because of its fragmented and poorly understood distribution . given its susceptibility to capture by multiple fishing gear types , including trawl nets , gillnets and hooks and its high value fins , it is inferred that numbers have been locally reduced by generally unregulated fishing throughout its range . local population depletion of rhynchobatids can be inferred from indonesia where the target gillnet fishery fleet for rhinids and rhynchobatids has declined significantly , reportedly due to declining catch rates . therefore , globally this species is considered vulnerable a2bd + 3bd + 4bd due to the past and ongoing population reduction and continued very high level of exploitation . habitat destruction may also pose a significant threat to this species throughout much of its range .
the smoothnose wedgefish is subject to capture in a variety of fisheries throughout its range ( compagno and last 1999 , w . white , pers . comm . ) . it is fished heavily by gillnet fisheries , for example , in india . due to its similarity in both habitat and habits with the white - spotted guitarfish ( r . australiae ) , it is probably also vulnerable to other gear types , including trawl nets and hooks . elasmobranch fisheries throughout this species ' range are generally unregulated ( chen 1996 ) , catches are poorly recorded ( bonfil 1994 ) and finning is widespread . given this species ' use of semi - enclosed and nearshore habitats , habitat destruction and pollution are thought to pose a significant threat , particularly in southeast asia .
last , p . r . , ho , h . - c . & chen , r . - r . ( 2013 ) : a new species of wedgefish , rhynchobatus immaculatus ( chondrichthyes , rhynchobatidae ) , from taiwan . pp . 185 - 198 in : de carvalho , m . r . , ebert , d . a . , ho , h . - c . & white , w . t . ( eds . )
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gland , switzerland , 5 july 2018 ( iucn ) – australia’s unique reptiles – including lizards and snakes – face severe threats from invasive species and climate change , with 7 % of th . . .
the value of medicinal and aromatic plant trade has increased three - fold in the past 20 years , but traditional harvesting practices are being replaced by less sustainable alternatives . . . .
a recently released iucn technical brief recommends increasing investments in sustainable land management practices , as well as better cooperation between agriculturalists and conservationists to conse . . .
bloch , m . e . and schneider , j . g . 1801 . m . e . blochii , systema ichthyologiae iconibus cx illustratum . post obitum auctoris opus inchoatum absolvit , correxit , interpolavit jo . gottlob schneider , saxo . berolini . sumtibus austoris impressum et bibliopolio sanderiano commissum , berolini .
has been mistaken for rhynchobatus djiddensis ( forsskael , 1775 ) and r . australiae whitley , 1939 .
flesh is sold for human consumption in asia and the fins from large animals fetch exceptionally high prices .
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greek , rhingchos = snout + greek , batis , - idos = a sting ray ( raja sp . ) ( ref . 45335 )
marine ; demersal ; depth range 0 - 60 m ( ref . 106604 ) . subtropical ; 35°n - 4°n , 49°e - 142°e ( ref . 114953 )
maturity : l m ? range ? - 130 cm max length : 270 cm tl male / unsexed ; ( ref . 106604 ) ; max . published weight : 240 . 0 kg ( ref . 114953 )
a benthic species mainly found near the coast in shallow bays and off river mouths . it is poorly known but probably feeds on bottom - dwelling crustaceans and fishes ( ref . 114953 ) . ovoviviparous ( ref . 50449 ) .
exhibit ovoviparity ( aplacental viviparity ) , with embryos feeding initially on yolk , then receiving additional nourishment from the mother by indirect absorption of uterine fluid enriched with mucus , fat or protein through specialised structures ( ref . 50449 ) .
compagno , l . j . v . , 1999 . checklist of living elasmobranchs . p . 471 - 498 . in w . c . hamlett ( ed . ) sharks , skates , and rays : the biology of elasmobranch fishes . johns hopkins university press , maryland . ( ref . 35766 )
phylogenetic diversity index ( ref . 82805 ) : pd 50 = 0 . 5049 [ uniqueness , from 0 . 5 = low to 2 . 0 = high ] .
bayesian length - weight : a = 0 . 00389 ( 0 . 00145 - 0 . 01041 ) , b = 3 . 12 ( 2 . 88 - 3 . 36 ) , in cm total length , based on lwr estimates for this ( sub ) family - body shape ( ref . 93245 ) .
trophic level ( ref . 69278 ) : 3 . 6 ±0 . 6 se ; based on size and trophs of closest relatives
resilience ( ref . 69278 ) : low , minimum population doubling time 4 . 5 - 14 years ( fec assumed to be < 100 ) .
vulnerability ( ref . 59153 ) : very high vulnerability ( 80 of 100 ) .
classified as vulnerable ( vu ) on the iucn red list ( 1 ) .
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urn : lsid : biodiversity . org . au : afd . taxon : 354cb33d - 8132 - 4c22 - 8451 - 0c7d52e06678
urn : lsid : biodiversity . org . au : afd . taxon : 398bbb8f - 198a - 4c1d - ad05 - 50443f60e116
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recorded in australia from fremantle , western australia , around the north to brunswick heads , new south wales . inhabits coastal waters in shallow bays and off river mouths . elsewhere , widespread in the indo - west - central pacific .
taken as by - catch in various demersal inshore fisheries throughout its range , and retained for its fins which fetch a high price . the flesh is also marketed in se asia . due to their large and powerful fighting abilities , the species is also targeted by sports fishers .
confused with rhynchobatus djiddensis throughout its range , and with r . australiae in australian waters .
brewer , d . t . , rawlinson , n . , eayrs , s . & burrige , c . 1998 . an assessment of bycatch reduction devices in a tropical australian prawn trawl fishery .
compagno , l . j . v . & last , p . r . 1999 . rhinidae ( = rhynchobatidae ) wedgefishes pp . 1418 - 1422 .
fao species identification guide for fishery purposes . fao species identification guide for fishery purposes . the living marine resources of the western central pacific .
volume 3 . batoid fishes , chimaeras and bony fishes part 1 ( elopidae to linophrynidae ) . fao , rome , 1466 pp .
sp . nov . ( rhynchobatoidei : rhynchobatidae ) , from the indo - west pacific . in : p . r . last , w . t . white & j . j . pogonoski ( eds ) . descriptions of new australian chondrichthyans .
sp . nov . with a redefinition of the family - level classification in the order rhinopristiformes ( chondrichthyes : batoidea ) .
last , p . r . & stevens , j . d . 1994 . sharks and rays of australia . canberra : csiro australia 513 pp . 84 pls . ( as
last , p . r . , white , w . t . & séret , b . 2016 . 9 . wedgefishes . family rhinidae . in : last , p . r . , white , w . t . , carvalho , m . r . de , séret , b . , stehmann , m . f . w . & naylor , g . j . p . ( eds )
mcauley , r . & compagno , l . j . v . ( ssg australia & oceania regional workshop , march 2003 ) 2003 .
. in : iucn 2013 . iucn red list of threatened species . version 2013 . 2 .
naylor , g . j . p . , caira , j . n . , jensen , k . , rodsana , k . a . m . , white , w . t . & last , p . r . 2012 . a dna sequence - based approach to the identification of shark and ray species and its implications for global elasmobranch diversity and parasitology .
. final report to the fisheries resources research fund . bureau of rural sciences , canberra
weigmann , s . 2016 . annotated checklist of the living sharks , batoids and chimaeras ( chondrichthyes ) of the world , with a focus on biogeographical diversity .
no one has contributed data records for rhynchobatus laevis yet . learn how to contribute .
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: systematics and biodiversity of sharks , rays , and chimaeras ( chondrichthyes ) of taiwan . zootaxa , 3752 ( 1 ) : 1–386 .
mcauley , r . & compagno , l . j . v . 2003 . rhynchobatus laevis . 2006 iucn red list of threatened species . downloaded on 3 august 2007 .
this article is issued from wikipedia - version of the 7 / 30 / 2016 . the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .
the fish in the video below is most likely a giant guitarfish . they are sometimes very difficult to identify underwater . thank you to dr peter last for his identification .
the map below shows the australian distribution of the species based on public sightings and specimens in australian museums . click on the map for detailed information . source : atlas of living australia .
last , p . r . & j . d . stevens . 2009 . sharks and rays of australia . edition 2 . csiro . pp . 644 , pl . 1 - 91 .


scrobipalpa heretica is a moth of the gelechiidae family .

it is in southern china ( xinjiang ) , russia ( the southern ural , volga region ) , turkey , iran , afghanistan , kazakhstan and the altai .

the length of the forewings is 4.6-4.8 mm .

there are mixed light and dark ash-grey scales with black tips on the forewings .

the hindwings are dark ash-grey .

scrobipalpa heretica

scrobipalpa is a genus of moth in the family gelechiidae . euscrobipalpa has sometimes been treated as a distinct subgenus , or even as a full genus , but is generally no longer recognised as valid , following ponomarenko & park ( 2007 ) .
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a new species of fish , pseudoliparis swirei , published in zootaxa ( 4358 : 161 - 177 ) by gerringer , m . e et al . was voted among top 10 new species described in 2017 .
a new species of madagascan crickets described by mustafa ünal and george beccaloni in zootaxa was featured in a national geographic story . well done mustafa and george !
a new species of wolf spider , lycosa aragogi , is named after aragog—the famous fictional spider from “harry potter” book series by j . k . rowling . the new species is similar to the animatronic puppet version of the character used in the film “harry potter and the chamber of secrets” , which is actually based on a wolf spider . the naming of the new species is dedicated to the 20th anniversary of harry potter book series .
mariah o . pfleger , r . dean grubbs , charles f . cotton , toby s . daly - engel
identification of nipaecoccus ( hemiptera : coccomorpha : pseudococcidae ) species in the united states , with descriptions of nipaecoccus bromelicola sp . n . and the male of n . floridensis beardsley
encyclo . co . uk , online since 2007 , is a search engine for english meanings and definitions . the website aims to publish all wordlists , big and small , on the internet , making it much easier to find the word you need . follow us on facebook
2011 - 01 - 26 by & van nieukerken , dr erik j . karsholt , dr ole & by dr ole karsholt
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pesi is funded by the european union 7th framework programme within the research infrastructures programme . contract no . ri - 223806 . activity area : capacities . period 2008 - 2011 - website hosted & developed by vliz banner picture : gannet ( morus bassanus ( linnaeus , 1758 ) ) by karl van ginderdeuren - contact pesi
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