View allAll Photos Tagged 21.B
The Belton Depot, located in Belton, Anderson County, South Carolina was constructed by the Southern Railway company around 1910 and was listed in the National Historic Register on August 13, 1979. Historically known as the Southern Railway Combined Depot, it replaced several small buildings used by the company.
Due to its location near the town square of Belton, South Carolina, it was an important focal point of the area. After the loss of passenger service in the 1960s and a slowdown in freight shipping, the depot was abandoned by the rail company and acquired by the city. Restoration efforts were completed in 1983 and a portion of the depot was used as a branch of the Anderson County Library.
The Belton Area Museum Association was granted ownership of the depot in 2001 and after the library moved to a new building in 2004, a three-year-long process of fundraising, rehabilitation and renovation of the building was undertaken. After the completion in 2006, the depot became the new home to the Ruth Drake Museum and the South Carolina Tennis Hall of Fame Museum.
This is a 2024 upload of a scanned image from my collection. Probably 95% come from slides, the remaining 5% are prints or negatives. They include my own Kodachrome slides, as well as other photographers, which are noted accordingly when the identity is known. All have been collected over the past 40+ years of shooting, exchanging, and purchasing. I was fortunate enough to trade with some of the best aircraft photographers in the world.
This archive was first created in 2017, to easily view my collection in an accessible venue.
REGISTRATION : N8008U
MFR TYPE & SERIES : Douglas DC-8-21
MSN : 45285
OPERATOR : United Airlines "R.L. Wagner"
AIRPORT (WHEN KNOWN) : Los Angeles LAX
DATE (WHEN KNOWN) :
PHOTOGRAPHER (WHEN KNOWN) :
REMARKS:
no rules, no limitations, no boundaries it's like an art™
© All Rights Reserved by ajpscs
小笑
KAWAGOE MATSURI 「川越まつり」
Held for two days every 3rd Saturday and Sunday of October
Oct. 20 to Oct. 21
Kawagoe Festival (Kawagoe Hikawa Festival Float Event) in Koedo-Kawagoe, Saitama is designated as one of the National Important Intangible Folk Cultural Assets.
kawagoematsuri.jp/English/index.html
Access:
(1) 1 hr. by the Seibu Shinjuku Line from Seibu Shinjuku Station to Hon-Kawagoe Sta.
(2) 40 min. by the Tobu Tojo Line from Ikebukuro Station to Kawagoe-shi Station, and then walk 10 min.
I did the calculations. I have 21 b&w pictures to date in my flickr account. That represents only 1.3% of my 1,655 photos (public and private). There are occasions that I would convert a colored photograph to b&w but again, that would be rare.
To me, a monochrome recreates the feeling of timelessness. And that this musician was playing a rebab, an ancient 2-string fiddle, only plays to this theme.
more on why I sometimes prefer black and white in colloidfarl.blogspot.com/
at the Bali Arts Festival opening parade, Denpasar, Bali, Indonesia
Local Accession Number: 2012.AAP.21
Title: Lippincott's, January
Date issued: 1896 (inferred)
Physical description: 1 print (poster) : lithograph, color ; 35 x 24 cm.
Summary: Two women hold issues of Lippincott's magazine. One stares at a child holding an issue of Lippincott's magazine and a scythe.
Genre: Book & magazine posters; Lithographs
Subjects: Women; Children; Periodicals
Notes: Title from item.
Date note: Date from: American Art Posters of the 1890s in the Metropolitan Museum of Art, Including the Leonard A. Lauder Collection.
Statement of responsibility: J. J. Gould, Jr.
Collection: American Art Posters 1890-1920
Location: Boston Public Library, Print Department
Rights: No known restrictions.
General Information
Aircraft Type: Airbus A400M Atlas
Air Force: Belgium-Air Force
---
Registration: CT-05
Cn: 116
Name: n/a
Location & Date
Location: Brussels Airport (BRU EBBR)
Date: 2021 12 21
Comments
Takeoff RWY 25R.
Copyright © 2021 Ivan Coninx
Website | Facebook | Twitter | Flickr | Instagram
E-mail: info[at]ivanconinx[dot]be
Staffordshire Police Mercedes Benz Sprinter Public Order Carrier.
Aerial No: 21
© Triple_Nine_Photos Copyright - No Unauthorized Use.
1988 former China Motor Bus 12m MCW Metrobus F69 SYE on its first day in service on CBNW's Seafront 12 at Little Bispham.
Hairband: Veritas
Glasses: Theo
Cardigan: Primark
Blouse: Forever 21
Skirt: made it myself
Petticoat: American Apparel
Tights: Insua
Boots: sacha
Copyright 2017 Bert Van den Wyngaert.
All rights reserved.
No unauthorized use, reproduction or distribution without prior permission.
Aircraft Type - Serial - (c/n) . . Agusta Westland EH101-413 Merlin - MM81636 - (50156)
Owner/Operator . . Italian Navy
Location & Date . . ITS San Marco Plymouth Devon England UK - 19th May 2023
Coded 2-21
Staffordshire Police BMW 330d Touring xDrive Advanced Response Vehicle.
Aerial No: 21
Now Decommissioned
© Triple_Nine_Photos Copyright - No Unauthorized Use.
10/21
Proyecto Mecanica Celeste
La fuerza no proviene de la capacidad física sino de la voluntad indomable.
Mahatma Gandhi
¿La Quieres ver más grande?
La versión de Carmen Moreno Aqui
The Spear Gun Incident - 21/21
Errmmm... a twenty-one page response to a single-panel comic?
flickr.com/photos/35531831@N02/53384783072/
Yeah, well, maybe it got a little bit out of hand.
Although to be fair, it's all a part of a longer story arc that started here:
flickr.com/photos/35531831@N02/53371088070/
... and can be found in its entirety at an online action figure discussion forum, here:
actionmanmobileops.forumotion.co.uk/t13196-six-action-fig...
French postcard by Editions P-C, Paris, no. 21. Raquel Meller sang the slow-fox 'Adieu, mon rêve' (Farewell, my dream). Text by Géo Koger and music by Vincent Scotto. Copyright: Editions Salabert, Paris, 1932.
Spanish actress, singer, and diva Raquel Meller (1888-1962) acted mainly in French silent films. She was already a highly popular singer before debuting as a film actress in 1919.
Raquel Meller was born Francisca Marqués López in Tarazona, Spain, in 1888. She studied in Tudela (Spain), and Montpellier (France), and started working as a dressmaker. It was a customer, Marta Oliver, a.k.a. the vaudeville star Mrs. Oliver, who introduced her to the music hall. She began using her stage name Raquel Meller in 1907. She moved to Madrid and there she became famous as a cuplé (couplet) singer. These torch songs were considered 'naughty' and beneath the dignity (and morals) of a decent, serious singer. Raquel, with her beauty and charismatic presence, raised the genre to high art and made it acceptable for the entire family (till then they were played in men-only bistros). Songs such as 'La Violetera', 'El Relicario', and 'Flor del Mal' became standards - thanks to her interpretations. She was the first Spanish popular singer to succeed in both Europe and the Americas, especially in the United States where her recordings enjoyed great popularity and her live concerts broke box office records. At one point she was under an exclusive contract with the famous Schuberts.
Raquel Meller was also a hit on the big screen. She made her film debut in the Spanish film Los arlequines de seda y oro/The Harlequins of Silk and Gold (Ricardo de Baños, 1919). In France, she starred in such major films as Les opprimés/The Oppressed (Henry Roussel, 1923), Carmen (Jacques Feyder, 1926) opposite Austrian star Fred Louis Lerch, and Nocturne (Marcel Silver, 1927) again opposite Lerch. Meller is best remembered for Violettes impériales/Imperial Violets (Henry Roussel, 1924), a historical romantic drama set during the reign of Napoleon III of France. Meller played a Spanish flower girl who saves an attack on the life of the French empress Eugenie de Montijo (played by Suzanne Blanchetti), by taking her place in her carriage. When the carriage is overthrown by the anarchist's bomb, the girl survives because of the masses of violets in the imperial carriage, the empress's favourite flowers. In 1932, Henry Roussel made a sound version, again with Meller, and in 1948 an operetta version was made of the film. A tinted copy of the silent film was beautifully restored by the BFI some years ago and a clip of the film is visible in Kevin Brownlow's Cinema Europe series. However, we are still waiting for the DVD.
Even if Sarah Bernhardt called her a 'genius', Raquel Meller could be impossible on the set. When Jacques Feyder directed her in Carmen (1926), based on the oft-filmed Prosper Merimée novel, and Meller refused a kissing scene, he shouted that this was just how writer Prosper Merimée had intended it. At which Meller shouted back: I don't care about this Mr. Merimee. Where does he live? I'll call him by phone! Hal Erickson writes at AllMovie: "Director Feyder manages to transform this timeworn story into a feast for the eyes, especially during the climactic bullfighting sequence. When released in America in 1928, Carmen did surprisingly well, considering that Fox Pictures had recently produced its own version of the same story, with Dolores Del Rio as the ill-fated heroine." Charles Chaplin, a big Meller fan, used her song 'La Violetera' for the score of his classic City Lights (1931). She filmed in Hollywood several musical shorts for Fox at the advent of talkies and was a big draw in the vaudeville circuits for many years.
The Spanish Civil War and the Second World War put an abrupt end to Raquel Meller's career. She first left for Argentina and later retired in Barcelona. She only surfaced again in 1957 in the wake of Sara Montiel's enormous success in the films El Ultimo Cuple/The Last Torch Song (Juan de Orduña, 1957) and La Violetera (Luis César Amadori, 1958) in which Montiel revived Raquel's greatest hits. Meller hated it and threatened legal action but couldn't do anything. She attempted several big comebacks, like in the vaudeville show Ha Salido Blanco y Negro! (1958), which were all both critical and commercial failures. Bitterly, she retired in Barcelona and died there in 1962. Meller's private life was always followed with great interest by the media and the public. She was imperious, ruthless (especially with the competition), lovable, funny, temperamental, witty, and totally egomaniac. Her love life was described as 'healthy-plus' and among her many lovers, there were royalty, heads of state, and assorted VIPs. Raquel Meller was married to Gomez Carillo and the French impresario Edmond Salac. She could never bear children so she adopted a boy and a girl. After her death in 1962, a book was published in France in which the author claimed that Raquel was instrumental in turning over Mata Hari to the French authorities since the famous spy-dancer was fooling around with one of her lovers. The whole Raquel Meller-Mata Hari publicity was exploited in the film La Reina del chantecler/The Queen of Chantecler (Rafael Gil, 1962), starring Sara Montiel. Most of Raquel Meller's recordings were considered lost for years, but lately, they have been showing up on CD.
Sources: M.O. Martinez (IMDb), Hal Erickson (AllMovie), Wikipedia (Spanish), and IMDb.
And, please check out our blog European Film Star Postcards.
Johnston, Frances Benjamin,, 1864-1952,, photographer.
["Rookwood," Evelyn Russell Sturgis house, Gloucester Road, Manchester, Massachusetts. View to Atlantic Ocean]
[1924 summer]
1 photograph : glass lantern slide, hand-colored ; 3.25 x 4 in.
Notes:
Site History. Associated Name: Evelyn Russell Sturgis was a daughter of Boston architect John Hubbard Sturgis.
Title, date, and subject information provided by Sam Watters, 2011.
Forms part of: Garden and historic house lecture series in the Frances Benjamin Johnston Collection (Library of Congress).
Published in Gardens for a Beautiful America / Sam Watters. New York: Acanthus Press, 2012. Plate 21.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ppmsca.16775
Call Number: LC-J717-X108- 48
Tram 21
from Karlsplatz/Stachus
bound for Borstei
(2016-2017): Westfriedhof - Borstei route was rendered inaccessible due to a renovation works at Westfriedhof. Therefore the existing bus lines which terminated at Westfriedhof were extended to Borstei.
Glasses: Theo
Shawl: my own design, made it myself
Cardigan: Primark
Blouse: Forever 21
Shorts: Mint & Berry
Tights: Ophanim
Shoe covers: R-series
Shoes: Sasha
Copyright 2014 Bert Van den Wyngaert.
All rights reserved.
No unauthorized use, reproduction or distribution without prior permission.
The St. Louis Gateway Arch in mono HDR- 3 frames, merged to HDR in photoshop and some minor adjustments in lightroom
100 pictures #21- b/w
US Disney Store
Released online and in stores July 29, 2013
Purchased in store July 29, 2013
First Look. Personal photos.
She is very pretty in her pink satin dress. Her face is updated from last year's Ariel plush, and looks prettier and more movie accurate, with a rounder face, as in the Classic Ariel posable doll. Her feet are angled more severely than is needed for the dark pink satin shoes that she is wearing. She is actually 20 1/2'' tall from the tips of toes to the top of her head. The only glitter on the doll is in her blue eyes, which sheds very little, if at all. There is very slender silver metallic thread in her satin dress, which gives the appearance of glitter. She is posed standing, supported by a Kaiser doll stand (not included with the doll).
Product Information from the US Disney Store website:
Ariel Plush Doll - 21''
$19.95
Item No. 1262000440035P
Part of your world
Our soft and huggable Ariel doll shimmers in her pink gown with glittering bodice and puff sleeves. Your own little princess will adore Ariel's pretty, embroidered features and plush design.
Magic in the details...
•Soft plush construction
•Embroidered features with glitter accents
•Satin gown and shoes
•Celebrating the return of Disney's The Little Mermaid on DVD and Blu-ray
•Part of the Disney Princess Plush Doll Collection
•Part of The Little Mermaid Plush Collection
•Also look for our Ariel Plush Doll - 21'' in mermaid form, sold separately
The bare necessities
•Polyester
•21'' H
•Imported
A good day for pictures by the lake - Lake Decatur. Looks like someone else had the same idea. (It was also a bit breezy.)
Ford Zodiac Mk.III (1962-66) Engine 2553cc S6 OHV Production 77,781
Body Abbott of Farnham
Registration Number ASX 21 B (Edinburgh)
FORD UK
www.flickr.com/photos/45676495@N05/sets/72157623665118181...
The Mark III Zephyr and Zodiac range was launched in 1966, completley restyled from the earlier generation though sharing some of its wmechanical components, as well as the basic chassis design, with the Mark II models. The exterior was designed by Canadian Roy Brown who also designed the Edsel and the Cortina, Rather than continue the Consul name, Ford UK decided to call its replacement Zephyr 4, the 4 indicating that it still used the four-cylinder 1,703 cc. The Zephyr Six and the Zodiac were powered by the Mark II Zephyr and Zodiacs 2,553 cc straight six engine but with a higher compression ratio and broader torque band. Unlike the Zephyr 4, the Zephyr 6 had a full width grille including the headlight surrounds: overall body length and width were the same for both Zephyr III versions.
The Zodiac was an upmarket version of the Zephyr 6, but differed considerably from that model by the limousine-type rear doors, sharper roofline (with narrower C-pillar) and tail, unique grille (four headlights instead of two), exclusive bumper bars, plusher seating, and up-market upholstery, dashboard and interior fittings. A choice of individual or bench front seat was available trimmed in leather or cloth. The front doors and bonnet panels were shared with the Zephyr 6. The Executive version had extra luxury fittings again. The 2553 cc single-carburettor six-cylinder engine was improved internally to increase the power output to 109 bhp and a new four-speed all synchromesh transmission with column change was fitted. The brakes, servo assisted, use discs at the front and drum at the rear.
Only Saloon were made by Ford, while the rarer Estate version were the work of Abbotts of Farnham. Large orders came from Ford for estate car versions of their Consul and Zephyr models which kept the firm in business during the late 1950s and early 1960s, after which Ford estate production (aside from the Corsair) was done by Ford themselves as the level of demand had shown mass production was viable.
Many Thanks for a fan'dabi'dozi 30,725,200 views
Shot 167.11.2014 at The National Exhibition Centre, Classic and Sportscar Show Ref 103-350
This window light is absolutely delicious.
Day 21
P.S.--Day 21 was inspired by Elsie Larson and Emma Chapman of A Beautiful Mess, the blog. I recently flipped through their photo idea book, and creativity just dawned upon me. It was osmosis, I guess. I love these two--check them out: A Beautiful Mess!
And after you finish browsing their blog, stop by mine: By Shari Alisha!
[NL]
Mattheus 16:21
"Wat heeft een mens eraan de hele wereld te winnen als hij er het leven bij inschiet? Wat zou een mens niet overhebben voor zijn leven?"
Vanavond na zonsondergang is het 14 nisan volgens de Joodse kalender. Een hele bijzondere datum, of de mensheid nou geïnteresseerd is of niet. Ik ben er achter gekomen dat eeuwig leven op aarde, zonder leed, ziekte en dood op deze dag mogelijk is geworden - 1982 jaar geleden. Daarom sta ik er bij stil.
Iedereen is - wereldwijd - van harte welkom! :-)
[EN]
Matthew 16:21
"For what will it profit a man if he gains the whole world and forfeits his soul? Or what will a man give in exchange for his soul?"
Tonight after sunset it's Nisan 14, according to the Jewish calendar. A very special day, whether humanity cares or not.
I found out that everlasting life on earth, without suffering, illness or death is made possible on this day - 1982 years ago.
Everyone is - worldwide - invited.
Footnote
This photostream is my own 'diary' and I advertise here what I feel like advertising. My opinion is not a family legacy, but formed on the basis of personal research and study. Of course we're all entitled to our own opinions. Enjoy your day! :)
Concierto de DOMANI SAPONE formado por Richard y Diana Majo, presentado su disco VOLUMEN I, que tuvo lugar en Espacio Vías, León, el 29 de mayo´21.
September 18, 2013: An SM-3 Block 1B interceptor is launched from the USS Lake Erie during a MDA test and successfully intercepted a complex short-range ballistic missile target off the coast of Kauai, Hawaii. Learn more at www.mda.mil/system/aegis_bmd.html.
360° Panorama München
Hooray - the Pavillon 21 is back!
The Pavillon 21 MINI Opera Space is a a new temporary performance venue on Marstallplatz.
Additional information here:
www.bayerische.staatsoper.de/978-ZG9tPWRvbTQmZmxhZz0xJmw9...
www.minispace.com/en_us/projects/pavillon-21/
Architects: COOP HIMMELB(L)AU
Interactive Version:
Pavillon 21 - 360x180 Panorama (Flash based - 4000x2000px - 6MB!)
---
Camera: Pentax K20D
Lens: 10-17mm fisheye @ 10mm
Shutter Speed: 10sec
Aperture: f/5.6
ISO: 100
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Pano-Maxx panoramic tripod head
6 shots on tripod (60º steps rotation)
1x zenith + 2x nadir
Gottlieb, William P., 1917-, photographer.
[Portrait of Sarah Vaughan, Café Society (Downtown), New York, N.Y., ca. Sept. 1946]
1 negative : b&w ; 3 1/4 x 4 1/4 in.
Notes:
Gottlieb Collection Assignment No. 484
Reference print available in Music Division, Library of Congress.
Purchase William P. Gottlieb
Forms part of: William P. Gottlieb Collection (Library of Congress).
In: The Record Changer, v. 5, no. 7 (Sept. 46, 1946), p. 21.
Subjects:
Vaughan, Sarah, 1924-
Women jazz musicians--1940-1950.
Jazz singers--1940-1950.
Café Society (Downtown)
Format: Portrait photographs--1940-1950.
Film negatives--1940-1950.
Rights Info: Mr. Gottlieb has dedicated these works to the public domain, but rights of privacy and publicity may apply. lcweb2.loc.gov/diglib/ihas/html/gottlieb/gottlieb-copyrig...
Repository: (negative) Library of Congress, Prints & Photographs Division, Washington D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
(contact print) Library of Congress, Prints & Photographs Division, Washington D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
(reference print) Library of Congress, Music Division, Washington D.C. 20540 USA, loc.gov/rr/perform/
Part Of: William P. Gottlieb Collection (DLC) 99-401005
General information about the Gottlieb Collection is available at lcweb2.loc.gov/diglib/ihas/html/gottlieb/gottlieb-home.html
Persistent URL: hdl.loc.gov/loc.music/gottlieb.08831
Call Number: LC-GLB13- 0883
The Temple of Dendur
•Period: Roman Period
•Reign: reign of Augustus Caesar
•Date: completed by 10 B.C.
•Geography: From Egypt, Nubia, Dendur, West bank of the Nile River, 50 miles South of Aswan
•Medium: Aeolian sandstone
•Dimensions:
oTemple Proper:
Height: 6.40 m (21 ft.)
Width: 6.40 m (21 ft.)
Length: 12.50 m (41 ft.)
oGate:
Height: 8.08 m (26.5 ft.)
Width: 3.66 m (12 ft.)
Depth: 3.35 m (11 ft.)
•Credit Line: Given to the United States by Egypt in 1965, awarded to The Metropolitan Museum of Art in 1967, and installed in The Sackler Wing in 1978
•Accession Number: 68.154
On view at The Met Fifth Avenue in Gallery 131.
Egyptian temples were not simply houses for a cult image but also represented, in their design and decoration, a variety of religious and mythological concepts. One important symbolic aspect was based on the understanding of the temple as an image of the natural world as the Egyptians knew it. Lining the temple base are carvings of papyrus and lotus plants that seem to grow from water, symbolized by figures of the Nile god Hapy. The two columns on the porch rise toward the sky like tall bundles of papyrus stalks with lotus blossoms bound with them. Above the gate and temple entrance are images of the sun disk flanked by the outspread wings of Horus, the sky god. The sky is also represented by the vultures, wings outspread, that appear on the ceiling of the entrance porch.
On the outer walls between earth and sky are carved scenes of the king making offerings to deities who hold scepters and the ankh, the symbol of life. The figures are carved in sunk relief. In the brilliant Egyptian sunlight, shadows cast along the figures’ edges would have emphasized their outlines. Isis, Osiris, their son Horus, and the other deities are identified by their crowns and the inscriptions beside their figures. These scenes are repeated in two horizontal registers. The king is identified by his regalia and by his names, which appear close to his head in elongated oval shapes called cartouches; many of the cartouches simply read “pharaoh.” This king was actually Caesar Augustus of Rome, who, as ruler of Egypt, had himself depicted in the traditional regalia of the pharaoh. Augustus had many temples erected in Egyptian style, honoring Egyptian deities. This small temple, built about 15 B.C., honored the goddess Isis and, beside her, Pedesi and Pihor, deified sons of a local Nubian chieftain.
In the first room of the temple, reliefs again show the “pharaoh” praying and offering to the gods, but the relief here is raised from the background so that the figures can be seen easily in the more indirect light. From this room one can look into the temple past the middle room used for offering ceremonies and into the sanctuary of the goddess Isis. The only carvings in these two rooms are around the door frame leading into the sanctuary and on the back wall of the sanctuary, where a relief depicts Pihor worshiping Isis, and below—partly destroyed—Pedesi worshiping Osiris.
Curatorial Interpretation
History
After the conquest of Egypt in 31 B.C., Augustus confiscated the property of Egyptian temples and centralized their administration. As a kind of compensation, he commissioned at least 17 building projects for local gods, including the small Isis-temple of Dendur (ancient Tutzis) in Lower Nubia. No date for the temple’s construction is recorded except that the cartouches include the name of the “Autokrator Kaisaros,” that is Augustus. But one assumes reasonably that it was built during the peaceful years following the Roman-Kushite wars of 25-22 B.C., which had ended with the treaty of Samos of the year 21 B.C.
The dates 20 or 15 B.C. are usually given. Since Augustus only died in 14 A.D., a later date can not be ruled out. There is also no evidence for the Roman prefect who may have commissioned the building. The three possible candidates are:
•Gaius Petronius or Publius Petronius: 24 B.C. - 21 B.C. (who destroyed Napata)
•Publius Rubrius Barbarus: to 12 B.C.
•Gaius Turranius: 7 B.C. - 4 B.C.
A detailed Coptic inscription states that in 577 (or 559?) A.D. the temple was converted into a Christian church. Since 1820, the temple has been a favorite travel destination for explorers and artists, who produced numerous depictions and early photographs of the temple. Graffiti on the pronaos walls recall their visits.
The first Aswan dam brought the water 3 m below the doorsill of the temple. In 1908, conservation work was carried out in preparation for a seasonal flooding of the building. The building was completely drowned annually by the two raisings of the first Aswan dam, in 1907-12 and 1929-33. Remains of the wall paint were washed away but the walls remained structurally unharmed. Lake Nasser, created in 1970 by the building of the Aswan High Dam, would have submerged the temple forever. In 1962, the gate and temple were therefore documented and taken down as part of the Nubian salvage campaign. In recognition of the American contribution to the campaign, the gate and temple were presented to the United States in 1965.
Thanks to the initiative of Henry Fischer and Thomas Hoving, the temple was awarded to the Metropolitan Museum and in 1974/75 rebuilt in the newly created Sackler wing designed by Kevin Roche (born 1922) and John Dinkeloo (1918-81). The architects were faced with the problem that the temple was not free standing but built into a sloping rock surface, a landscape that was not desired by the Museum. The temple therefore had to be squeezed into the shape of a freestanding building, presented on a granite stage. The material chosen (red granite and “mason granite”) reflects with its shiny, polished surfaces the architect’s imagination of imperial-style pharaonic architecture. The stepped planes in front and around the temple house are modern creations that do not follow the original arrangement. These alterations, implemented for practical reasons, are quite appealing for the visitor but not hold up against modern conservation standards. The opening was celebrated on September 27, 1978.
Description
a)Cult Terrace
The temple towered impressively over the water of the Nile, visually supported by a 3.5 m high, 15 m broad and 16 m deep terrace (much higher than the reconstruction in the Museum). The front of the terrace had no opening but a front curving inward, probably better to withstand the torrent of the Nile. Similar terraces are known at Elephantine, Philae, Qasr Ibrim, Kalabsha, Ajuala and Dabod (see Jaritz 1980, pls. 48-49). The waterfront and the sides were closed with low parapet walls, which were underpinned by a heavy, protruding ledge. The re-creation in the Museum is made of granite because the original sandstone would not have withstood the museum’s traffic. The granite parapet wall designed by Roche-Dinkeloo consisted originally of two courses of blocks. The upper course was removed in 1995 in order to improve the vista on the temple terrace.
b)Temple Enclosure and Gate
The temple enclosure (temenos) rose on top of a 90 cm high step above the rear (west) side of the terrace. A monumental gate in the center formed the east front of the temenos.
The gate was for unknown reasons not exactly aligned with the temple-house behind. The visible parts of the gate are decorated with relief. The gate is 6.50 m high (including the cavetto), the doorway is 1.60 m wide and 4.35 m (from the court level). A staircase of 5 steps leads from the gate down onto the cult terrace.
The rough outer sidewalls of the gate suggest that it was incorporated in a massive wall or pylon built of brick or stone, closing off the Nile front of the temenos. Apparently no traces of a pylon were noticed at the site and it could well be that it was never built. However, the existence of a pylon is implied in the Museum’s reconstruction by a layer of irregular stones.
One would expect that high walls running east-west from the pylon to the mountain slope behind would have enclosed the sides of the temenos. Blackman’s plan shows the remains of these walls, but they no longer appear on Ashiri’s plan of 1972. In the Museum reconstruction, the parapet walls flanking the front platform suggest a continuation backwards in the direction of the cliffs.
The interior floor of the temenos was never completely level and the rock surface began to slope up beginning at the pronaos. The irregular lower edge of the exterior reliefs of the temple walls indicate the inclination of the slope. The center of the east court was treated differently. There, the gate and temple were connected by a 7 m broad walkway, made of masonry and rising 50 cm above the rough court level. This walkway is clearly visible on an old photo of the site. However, the photo was taken after modern consolidation of the temple and how much of it was modern is not recorded.
A door in the lateral south wall is shown on Blackman’s plan. Perhaps another one opened in the north side. However, there was no processional approach from the riverside because the cult terrace blocked an axial approach.
c)Temple House
The temple was primarily dedicated to Isis, mistress of Philae, who was the patron saint of Lower Nubia, an area known as the Dodekaschoinos. Attached was the cult of two brothers, Pedesi and Pihor, the sons of a local Nubian chieftain Quper. They carry the title hesy, which is normally bestowed on people drowned in the Nile. One assumes that Quper and his sons had earned merit in the Meroitic wars of the Romans.
The actual temple house represents a distyle in antis, with two quatrefoil column capitals in the front opening. This temple type was common in Ptolemaic times (as seen for example in tomb chapels at Tuna el-Gebel and Dakka) with several larger variations that include a wider pronaos with more front columns. The temple house is ca. 13 m long, 6.5 m wide and 5 m high (to the roof) and includes 3 consecutive rooms: entrance hall or pronaos; offering hall; and sanctuary. Depictions from the 19th century suggest that the cavetto cornice of the temple house was still largely in place around 1839. Today, only one block is left.
The entrance hall or pronaos has an open front with two 3.95 m high columns (including the abacus) columns carrying the architraves. The columns have quatrefoil papyrus capitals with a four-story lily decoration. The lateral interspaces were closed with screen walls.
The pronaos has a small side door in the southwest corner. This door was part of the temple structure and is incorporated into the decoration of the walls. Another, smaller side door in the northeast corner was cut through the existing building, damaging the wall reliefs. Both doors suggest that the access from the front of the pronaos was not always possible.
A large room follows behind, assumed to have been the offering hall. Except for the door in the rear wall, the room is undecorated, and was apparently unfinished.
The walls of the sanctuary are also undecorated except for a stela-like panel in the center of the rear wall. Its decoration depicts Pihor worshiping Isis, and below – partly destroyed – Pedesi worshiping Osiris. The floor and lowermost part of the rear and sidewalls are carved from the rock.
All the rest of the interior and exterior is covered with relief, showing the “pharaoh” (“kaisaros autokrator”) praying and offering to the gods.
d)Rock Chamber
In the cliff behind the temple was a small rock chamber with a basin in the floor. In front was a court with a kind of tiny pylon. One assumes that this was the tomb of the two brothers and perhaps the predecessor of the temple. The entrance was behind the stela of Pedesi and Pihor.
The 1.65 m thick rear wall of the temple-house includes a built-in secret chamber accessed from the south end through a door closed with a thin, removable block. This crypt has been explained as the tomb of one of the brothers or as a hiding place for a priest giving oracles through a hole in the wall. The crypt could also have been a hiding place for liturgical equipment.
e)Evaluation
The Dendur temple is comparatively small but impressive and a major example of Roman architecture based on the Ptolemaic building tradition in Egypt. The temple demonstrates an important aspect of Egyptian architecture. The modern viewer is impressed by the monumental gate or pylon forming the front of the temple. However, the gate of temples like that of Dendur cannot be reached by a frontal, axial approach. The access is blocked by a cult terrace (for example the first pylon of Karnak or the pylon of Medinet Habu). These pylons/gates were not intended as entrances but as exits, monumental stages where the god (in the form of a cult figure) emerges from the interior and performs his/her appearance at the “gates of appearances.” From the gate of the Dendur temple, the divinity descended onto the cult terrace, were it reposed and viewed the Nile and the realm. Jaritz (1980, pp. 61-654) has shown that the cult terrace of the Khnum temple on Elephantine also was the gathering place for cult communities who celebrated repasts with the divinity.
Dieter Arnold 2016
Provenance
Given to the United States by the Egyptian Government, 1965. Awarded to the Museum by the U.S. Government, 1967.
Selected References
•Gau, Francois Chretien 1822. Antiquités de la Nubie : ou, Monumens inédits des bords du Nil, situés entre la première et la seconde cataracte, dessinés et mesurés en 1819. Stuttgart, pl. 23-5.
•Rifaud, Jean-Jacques 1830. Voyage en Égypte, en Nubie et lieux circonvoisins depuis 1805 jusqu’en 1827. Paris: Crapelet, pp. 27-8.
•Blackman, Aylward M. 1911. The temple of Dendûr. Cairo: Imprimerie de l’Institut Français d’Archeologie Orientale.
•Monnet-Saleh, Janine 1969. “Observations sur le temple de Dendour.” In Bulletin de l’Institut Français d’Archéologie Orientale, 68, pp. 1–13.
•El-Achiri, Hassan, M. Aly, F.-A. Hamid, and Ch. LeBlanc 1972. Le temple de Dandour, 1-3. Collection scientifique (Markaz Tasjīl al-Āthār al-Miṣrīyah), Cairo.
•Jaritz, Horst 1980. Elephantine III : Die Terrassen vor den Tempeln des Chnum und der Satet : Architektur und Deutung. Mainz am Rhein: Zabern.
•Bagnall, Roger 1985. “Publius Petronius, Augustan Prefect of Egypt.” In Papyrology. Cambridge and New York: Cambridge University Press, pp. 85-93.
•Bianchi, Robert Steven 1998. “The Oracle at the Temple of Dendur.” In Egyptian Religion. The Last Thousand Years. Studies Dedicated to the Memory of Jan Quaegebeur, 85, pp. 773-80.
•Arnold, Dieter 1999. Temples of the Last Pharaohs. New York and Oxford: Oxford University Press, pp. 244-46.
•Hill, Marsha 2000. “Roman Egypt.” In The Year One: Art of the Ancient World East and West, edited by Elizabeth J. Milleker. New Haven: Metropolitan Museum of Art, pp. 84-5, figs. 62-63, p. 207.
•Metropolitan Museum of Art 2012. The Metropolitan Museum of Art Guide. New Haven, CT: Yale University Press, p. 58.
•Metropolitan Museum of Art 2012. The Metropolitan Museum of Art Guide. New York and New Haven, Connecticut: Yale University Press, p. 58.
Timeline of Art History (2000-Present)
Timelines
•Egypt, 1-500A.D.
MetPublications
•The Art of Ancient Egypt: A Resource for Educators
•“Dendur: The Six-Hundred-Forty-Third Stone”: Metropolitan Museum Journal, v. 33 (1998)
•Masterpieces of The Metropolitan Museum of Art
•Masterpieces of The Metropolitan Museum of Art
•The Metropolitan Museum of Art Guide
•The Metropolitan Museum of Art Guide
•The Metropolitan Museum of Art Guide (Arabic)
•The Metropolitan Museum of Art Guide (Chinese)
•The Metropolitan Museum of Art Guide (French)
•The Metropolitan Museum of Art Guide (German)
•The Metropolitan Museum of Art Guide (Italian)
•The Metropolitan Museum of Art Guide (Japanese)
•The Metropolitan Museum of Art Guide (Korean)
•The Metropolitan Museum of Art Guide (Portuguese)
•The Metropolitan Museum of Art Guide (Russian)
•The Metropolitan Museum of Art Guide (Spanish)
•The Metropolitan Museum of Art. Vol. 1, Egypt and the Ancient Near East
•One Met. Many Worlds.
•“The Temple of Dendur”: The Metropolitan Museum of Art Bulletin, v. 36, no. 1 (Summer, 1978)
•The Year One: Art of the Ancient World East and West