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Time: 07:35 GMT, 19:35 local
Date: 19th June
Wales tour
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The All Blacks will bring the curtain down at Carisbrook, Dunedin's evocatively nicknamed 'House of Pain', on Saturday as they aim to extend their long winning run over Wales.

Warren Gatland's tourists are in search of a first win over their hosts since 1953, but are unlikely to get a great deal of change out of an All Black side confident in their new combinations after routing an undisciplined Ireland last weekend.

Carisbrook, despite defeats on their last two visits, remains the All Blacks' favourite hunting ground and they have been keen to stress their desire to see the old girl off in style this weekend. They have won 30 of their 36 Tests there and with the odds already stacked against an injury-ravaged Wales side there is a fair chance that the hosts will erase memories of defeats to South Africa in 2008 and France in 2009.

Wales' record on New Zealand soil makes for grim reading. Their three victories over the All Blacks came in their first four meetings and since Gareth Edwards and Co. arrived for their first tour in 1969, the tale has been frighteningly similar. Scores of 19-0 and 33-12 were recorded on that occasion, 52-3 and 54-9 in 1988 and for good measure 55-3 in 2003, when current All Blacks assistant coach Steve Hansen was at the helm.

Wales' efforts under Gatland have been of the 'close but no cigar' variety and while his desire to prepare for the Rugby World Cup with the toughest possible itinerary is admirable, there could be a few scars left should they come unstuck. In an ideal world Gatland would be checking out his side's World Cup base with loose-head Gethin Jenkins, wing Shane Williams, centres Gavin Henson, James Hook and Tom Shanklin, flankers Martyn Williams, Andy Powell and Sam Warburton and scrum-half Dwayne Peel in tow.

Due to injury and rest periods, he can't. Wales' tour squads in recent seasons have rarely been so troubled by injury and there may well be a sting in the tail as a result. New Zealand trialled a new-look side against Ireland, with six new caps in the 22, and the overall results were positive.

Before they took the foot off the gas in the latter stages, Israel Dagg was excellent at fullback, Benson Stanley a threat at No.12 and Ben Franks settled in well up front. From the bench we saw a powerful turn by Victor Vito, who gets his starting chance this weekend in place of the injured Jerome Kaino.

One of Wales' main hopes for this tour, and the preceding 34-31 loss to a weakened South Africa, was to blood Warburton against the colossal Richie McCaw. A broken jaw has put paid to that plan, leaving Dragons flanker Gavin Thomas with a chance in the limelight three years after his last Test cap. Thomas is a nuggety, difficult presence but will freely admit to having underperformed in his 22 caps, something that won't do this weekend.

Shorn of Williams, Tom Prydie continues his education on one wing with Leigh Halfpenny named on the other. Andrew Bishop partners Jamie Roberts in midfield in place of Hook while there is a recall for Alun Wyn Jones in the second-row. The vital question is whether the tourists can trouble the New Zealand defence minus their most creative players and without their most effective breakdown tools, Jenkins and Williams.

Ireland skipper Brian O'Driscoll confessed in the aftermath of last weekend's defeat that they could not cope with the speed of the All Blacks' ruck ball, and a similar problem is likely to strike Wales this weekend. If there isn't parity at the breakdown then Wales, and no doubt Prydie, will be subjected to Dan Carter's full arsenal.

Another major worry will be at the lineout, where their pitiful effort against the Springboks cannot be repeated. With the pressure on Wales must guarantee every scrap of possession available. If the All Blacks dictate the flow of the game, it could be a long 80 minutes.

Gatland was his typical self this week and hoped to impart some of his knowledge of New Zealand rugby to his side, having been a mainstay with Waikato and a frequent All Blacks tourist. He also took his chance to stir the pot briefly upon announcing his side, the prudence of which will be tested come kick-off.

"That's always the question, getting that monkey off your back and getting that confidence and self-belief," Gatland said. "Winning against South Africa and the All Blacks is at that stage where it will give us that self-belief and confidence, for New Zealand it's winning the World Cup, the same thing isn't it?"

New Zealand: I Dagg (Highlanders); C Jane (Hurricanes), C Smith (Hurricanes), B Stanley (Blues), J Rokocoko (Blues); D Carter (Crusaders), J Cowan (Highlanders); B Franks (Crusaders), K Mealamu (Blues), O Franks (Crusaders), B Thorn (Crusaders), A Boric (Blues), V Vito (Hurricanes), R McCaw (Crusaders, capt), K Read (Crusaders).

Replacements: A de Malmanche (Chiefs), T Woodcock (Blues), S Whitelock (Crusaders), A Thomson (Highlanders), P Weepu (Hurricanes), A Cruden (Hurricanes), R Kahui (Chiefs)

Wales: L Byrne (Ospreys); L Halfpenny (Cardiff Blues), A Bishop (Ospreys), J Roberts (Cardiff Blues), T Prydie (Ospreys); S Jones (Scarlets), M Phillips (Ospreys); P James (Ospreys), M Rees (Scarlets), A Jones (Ospreys), B Davies (Cardiff Blues), AW Jones (Ospreys), J Thomas (Ospreys), G Thomas (Newport Gwent Dragons), R Jones (Ospreys, capt)

Replacements: H Bennett (Ospreys), J Yapp (Cardiff Blues), D Jones (Cardiff Blues), R McCusker (Scarlets), T Knoyle (Scarlets), D Biggar (Ospreys), J Davies (Scarlets)

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Halfpenny (British PreDecimal Coin) $70.1 The British halfpenny coin was worth 1/480th of a pound sterling. At first in its 700 year history it was made from silver but as the value of the pound declined, the coin was made from base metals. It was finally abandoned in 1969 as part of the process of decimalising the British currency. A halfpenny, colloquially written hapenny. It was long considered that the first halfpenny coins were produced in the reign of King Edward I (12721307), with earlier requirements for small change being provided by cut coinage ; that is, pennies cut into halves or quarters, usually along the cross which formed a prominent part of the reverse of the coin. However, in recent years metal detectors have discovered a few halfpennies of Kings Henry I (11001135) and Henry III (12161272) these are extremely rare and very little is known about them; they have all been found in the London area, where they circulated alongside the more common cut coinage, and while it is possible that these coins were patterns or trials, it is clear that they did see circulation. No documentary evidence of these coins is known to exist, and it is possible that there are other coins or issues still to be discovered. Author: Miller, Frederic P./ Vandome, Agnes F./ McBrewster, John Binding Type: Paperback Number of Pages: 76 Publication Date: 2010/07/27 Language: English Dimensions: 5.98 x 9.01 x 0.18 inches

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Jill Halfpenny $71.7 Jill Halfpenny is an English actress. Halfpenny is possibly best known for her role as Kate in the British TV drama EastEnders, from 200205. She has appeared on television regularly since the early 1990s in serials such as Byker Grove, Coronation Street, EastEnders and Waterloo Road. Author: Miller, Frederic P./ Vandome, Agnes F./ McBrewster, John Binding Type: Paperback Number of Pages: 92 Publication Date: 2010/04/30 Language: English Dimensions: 5.98 x 9.01 x 0.22 inches

Gothic Ornaments in the Cathedral Church of York Drawn and Etched by Joseph Halfpenny. $20.45 The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT145456With a list of subscribers. The titlepage is engraved. Introduction dated March 2, 1795. Description of plates dated April 19th, 1800. Printer's name taken from end of description of plates. York: Geo. Peacock, printer], 1795 i.e. 1800?]. 52]p.,105 plates; 4

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The Third Edition, with Four Additional Designs of Useful Architecture; Being the Last Work in This Kind of William Halfpenny, in $19.67 The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.Delve into what it was like to live during the eighteenth century by reading the first-hand accounts of everyday people, including city dwellers and farmers, businessmen and bankers, artisans and merchants, artists and their patrons, politicians and their constituents. Original texts make the American, French, and Industrial revolutions vividly contemporary.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++<sourceLibrary>British Library<ESTCID>T079272<Notes>Titlepage in red and black.<imprintFull>London: printed for and sold by Robert Sayer, 1760. <collation> 4],78p., plates; 8

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