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The station of Pickering, North-Yorkshire...
I ran alongside, as the steam train was leaving the station... photographing on the run...it made the driver smile,
Most of the passengers may not realise how reliant upon volunteers the North Yorkshire Moors Railway is.
With the magnificent steam engines, beautiful rural stations and smartly uniformed staff, a visit to the North Yorkshire Moors Railway is like taking a step back in time.
From the smoke and steam pouring from the engines to the cosy wood-panelled carriages and friendly conductor service, the railway is both lovingly preserved and charmingly authentic.
It’s also the perfect starting point for a day out, whether you’re travelling between the rugged Yorkshire villages, hiking on the wind swept moors or spending a day by the seaside in Whitby.
You know by now that I am a 'purist? Prefer proper pure photography with the, nowadays, often forgotten important ingredient: EMOTION!
With love to you and thank you for ALL your faves and comments, M, (* _ *)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Station, metal, portrait, man, steam, train, transport, driver, Pickering, Yorkshire, colour, HORIZONTAL, "Nikon F4", "Magda Indigo"
Portret dame Govert (or Govaert) Teuniszoon Flinck (Kleve 25 January 1615 – Amsterdam 2 February 1660) Dutch painter of the Dutch Golden Age. 20150724 6279 MuzCROMimara_008 9756 MuzCROMimara
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BornGovert Teuniszoon Flinck
25 January 1615
Kleve, Dutch Republic
Died2 February 1660 (aged 45)
Amsterdam, Dutch Republic
Nationality Dutch
Education Rembrandt van Rijn
Known for Painting
Movement Dutch Golden Age
Baroque
Govert (or Govaert) Teuniszoon Flinck (25 January 1615 – 2 February 1660) was a Dutch painter of the Dutch Golden Age.
Born at Kleve, capital of the Duchy of Cleves, which was occupied at the time by the United Provinces, he was apprenticed by his father to a silk mercer, but having secretly acquired a passion for etching and drawing, was sent to Leeuwarden, where he boarded in the house of Lambert Jacobszoon, a Mennonite, better known as an itinerant preacher than as a painter.
Here Flinck was joined by Jacob Backer, and the companionship of a youth determined like himself to be an artist only confirmed his passion for painting. Amongst the neighbours of Jacobszon at Leeuwarden were the sons and relations of Rombertus van Uylenburgh, whose daughter Saskia married Rembrandt in 1634. Other members of the same family lived at Amsterdam, cultivating the arts either professionally or as amateurs. The pupils of Lambert probably gained some knowledge of Rembrandt by intercourse with the Ulenburgs. Certainly Joachim von Sandrart, who visited Holland in 1637, found Flinck acknowledged as one of Rembrandt's best pupils, and living habitually in the house of the dealer Hendrick van Uylenburgh at Amsterdam.
For many years Flinck laboured on the lines of Rembrandt, following that master's style in all the works which he executed between 1636 and 1648. With aspirations as a history painter, however, he looked to the swelling forms and grand action of Peter Paul Rubens, which led to many commissions for official and diplomatic painting. Flinck's relations with Cleves became in time very important. He was introduced to the court of the Great Elector, Friedrich Wilhelm I of Brandenburg, who possessed the Duchy and who married in 1646 Louisa of Orange. He obtained the patronage of John Maurice of Nassau, who was made stadtholder of Cleves in 1649.
In 1652 a citizen of Amsterdam, Flinck married in 1656 an heiress, Sophie van der Houven, daughter of a director of the Dutch East India Company. Flinck was already well known in the patrician circles over which the brothers Cornelis and Andries de Graeff and the alderman Jan Six presided; he was on terms of intimacy with the poet Joost van den Vondel and the treasurer Johannes Uitenbogaard. In his house, adorned with casts after the Antique, costumes, and a noble collection of prints, he often received the stadtholder John Maurice, whose portrait is still preserved in the work of the learned Caspar Barlaeus. Flinck died in Amsterdam on 2 February 1660.
The earliest of Flinck's authentic pieces is a portrait of a lady, dated 1636, in the gallery of Brunswick. His first subject picture is the Blessing of Jacob (1638), in the Rijksmuseum Amsterdam. Both are thoroughly Rembrandtesque in effect as well as in vigour of touch and warmth of flesh tints. The four civic guards of 1642, and the twelve musketeers with their president in an arm-chair (1648); in the Stadhuis, Amsterdam, are fine specimens of composed portrait groups. But the best of Flinck's productions in this style is the peace of Münster in the Rijksmuseum, a canvas with 19 life-size figures full of animation in the faces, "radiant with Rembrandtesque colour," and admirably distributed. Flinck here painted his own likeness to the left in a doorway. The mannered period of Flinck is amply illustrated in the Marcus Curius Dentatus refuses the gifts of the Samnites, and Solomon receiving Wisdom, in the Palace on the Dam at Amsterdam. Here it is that Flinck shows most defects, being faulty in arrangement, gaudy in tint, flat and shallow in execution, that looks as if it had been smeared with violet powder and rouge.
The chronology of Flinck's works, so far as they are seen in public galleries, comprises, in addition to the foregoing, the Grey Beard of 1639 at Dresden, A Young Archer from 1640 in the Wallace Collection, the Girl of 1641 at the Louvre, a portrait group of a male and female (1646) at Rotterdam, a lady (1651) at Berlin.
In November 1659 the burgomaster of Amsterdam contracted with Flinck for 12 canvases to represent four heroic figures of David and Samson and Manius Curius Dentatus and Horatius Cocles, and scenes from the Batavians and Romans. Flinck was unable to finish more than the sketches. After his death Rembrandt was asked to fill one of the commissions, and produced his last great history picture, the Conspriracy of Claudius Civilis, which the authorities rejected.
In the same year he received a flattering acknowledgment from the town council of Cleves and the completion of a picture of Solomon which was a counterpart of the composition at Amsterdam. This and other pictures and portraits, such as those of Friedrich Wilhelm and John Maurice, and the allegory of Louisa of Orange attended by Victory and Fame and other figures at the cradle of the first-born son of the elector, have disappeared.[citation needed] Of several pictures which were painted for the Great Elector, none are preserved except the Expulsion of Hagar in the Berlin museum.
Historic and picturesque Hereford Inlet Lighthouse, a beacon of safety and assurance to the 19th century mariners, has become a cherished landmark for residents and visitors of this seashore resort community.
The Lighthouse is situated on the south side of the Hereford Inlet, which leads from the Atlantic Ocean to the famed Intra-Coastal Waterway linking Maine to Florida. First used by the 17th century whalers to haul in and butcher their catches, the Inlets use as a haven to mariners greatly increased as travel and shipping along the coast became more prevalent.
Strong currents and shifting sandbars near the entrance to the Inlet caused frequent groundings and shipwrecks. Because of this, in 1849, a Life Saving Station was constructed along the south bank of the Hereford Inlet. A second, larger station replaced this in 1871, the time of the creation of the United States Life Saving Service. As the use of the Inlet and coastal shipping continued to increase, so did the number of shipwrecks. It became obvious that a Lighthouse was needed to mark the mouth of the Inlet.
On June 10, 1872 Congress enacted legislation to finance the purchase of land and the construction of a fourth order Lighthouse. The site chosen held a prominent position on the dune area overlooking the approach to the Inlet.
Construction began on the uninhabited barrier island on Nov. 8, 1873 and was completed on March 30, 1874. This wood frame residential style Lighthouse was designed by the Lighthouse Boards Chief Draftsman, Paul J. Pelz. His Victorian era design is referred to as Swiss Carpenter Gothic and also Stick Style
Hereford is the only Lighthouse like it on the East Coast although it had five sister lights on the West. Pelz designed Point Fermin, East Brother, Mare Island and Point Hueneme in California and Point Adams in Washington State. All of these were almost identical to Hereford and were built about the same time. Only Point Fermin and East Brother still exist.
Paul Pelz would later garner world wide fame as the designer of the Library of Congress in Washington D.C.
On May 11, 1874 a Notice to Mariners formally announced the start of operation of the Light. The fixed white light was located at latitude 39 degrees and longitude 74 degrees, 47 minutes. The tower height is 49 1/2 feet with the light elevation rising to 57 feet above sea level. The light is visible at a distance of 13 nautical miles.
John Marche was the first Lighthouse Keeper. He was in the post less than three months when he drowned when his boat capsized while returning from the mainland. He was replaced by a young man from Cape May Court House, Freeling Hysen Hewitt.
Freeling was a civil war veteran and a former merchant seaman. He would stay on as the keeper of the Light for the next 45 years . Freeling was considered a Pioneer of the island and among his many contributions, held the first formal religious services to occur in the Wildwoods, in the Lighthouse parlor.
In 1888, a third larger Bibb #2 style Life Saving Station was constructed three hundred feet Northwest of the Lighthouse. The Lighthouse Service and the Life Saving Service were both run by the Department of the Treasury but were seperate organizations. They were, however, both in the business of saving lives. The Lighthouse by warning and the Life Saving Service by rescue.
Hereford stood firm against the onslaught of the winds, rains, and tides for 40 years at its original location. A severe storm in August of 1913 significantly damaged the foundation, requiring it to be moved westward 150 feet to where it sits today.
In 1915 the Coast Guard absorbed the duties of the U.S. Life Saving Service. A larger building was needed and in 1939 the modern Roosevelt Style Coast Guard Station was constructed. This Station also had a boathouse and a maintenance garage. These are the white buildings just north of the Lighthouse. 1939 was also the year that the Coast Guard took over control of the Lighthouse Service.
For the next 25 years the Hereford lighthouse continued in operation. By the early 1960s the Coast Guard began to automize many of its lighthouses. In 1964 this was the fate of Hereford when an automatic rotating modern optic was placed on an iron skeletal tower behind the Lighthouse. The Lighthouse was closed as was the Coast Guard Station next door. The entire property was transferred to the control of the New Jersey State Marine Police. The Police made use of the Coast Guard Buildings but the Lighthouse was boarded up and left to deteriorate for the next 18 years.
In 1982 through the long and painstaking efforts of Mayor Anthony Catanoso and his wife Phyllis a lease was signed Whereby the New Jersey Department of Environmental Protection turns over the stewardship of the Lighthouse to the City of North Wildwood.
Restoration of the neglected building was immediately begun. After only ten months of intense work, on July 1, 1983, a portion of the restored building was opened to the public. Hundreds of public spirited citizens who helped raise funds for the restoration and contributed time, talent, energy and materials were on hand to celebrate the official reopening of the historic landmark for public use.
In 1986 the modern automated light was removed from the iron tower and placed in the Lighthouse lantern room making it a fully functional aid to navigation once again.
Efforts were then begun to also create a museum in the Lighthouse. The interior of the building was furnished with period antiques, educational displays and lighthouse memorabilia. The 4th order Fresnel Lens was also restored and placed on display on the 2nd floor of the Lighthouse.
A project to improve the sandy, barren grounds into a park was undertaken by Superintendent of Parks Steve Murray, who designed the Park along with its many garden areas.
Finally an authentic restoration of the entire Lighthouse was begun in 1998 and as with many old, historic structures is always a work in progress. Grants awarded by the New Jersey Historic Trust and the N.J. Department of Transportation have helped finance this work.
The Hereford Lighthouse is listed on both the National and State Registers of Historic Places. It is also part of the New Jersey Coastal Heritage Trail. It is operated and maintained by The Friends of Hereford Inlet Lighthouse Inc with money generated by Lighthouse tours, the gift shop and various fund raising projects.
Barrio San Antonio, Cali, Colombia.
El barrio San Antonio, en Cali, es de eso lugares que se resisten al paso del tiempo para convertirse en pequeños tesoros de la arquitectura, la cultura y la historia. De hecho, en el 2000 fue declarado hito urbano, área de interés patrimonial y de preservación urbanística.
San Antonio se caracteriza por sus estrechas calles bordeadas de casas con arquitectura colonial, fachadas blancas o multicolores, aleros, ventanales y balcones en madera. Un auténtico rincón de la historia, en medio de una ciudad cada vez más moderna.
También es posible encontrar casas con arquitectura de influencia historicista ecléctica, propia de los años 20; o con diseños influenciados por el “art decó” de los 30. En todo caso, las fachadas y composición de las calles son un auténtico deleite para la vista.
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The San Antonio neighborhood, in Cali, is one of those places that resist the passage of time to become small treasures of architecture, culture and history. In fact, in 2000 it was declared an urban landmark, an area of heritage interest and urban preservation.
San Antonio is characterized by narrow streets lined with houses with colonial architecture, white or multi-colored facades, eaves, windows and balconies in wood. An authentic corner of history, in the middle of an increasingly modern city.
It is also possible to find houses with architecture of eclectic historicist influence, typical of the 20s; or with designs influenced by the "art deco" of the 30. In any case, the facades and composition of the streets are a real delight for the eye.
Rochester Cathedral has been transformed by ‘Peace Doves’ an artwork by Peter Walker Sculptor
Bringing a message of peace and hope, the Peace Doves artwork has been created from around fifteen thousand individually hand made paper doves, together they collectively form this beautiful artwork which as a whole reflects joining together in unity, peace and hope moving forward.
Peace Doves is an artwork that has been re-curated for different spaces as it tours the UK, adaptations have been seen in Liverpool, Lichfield, Derby, Sheffield and now at Rochester.
The Peace Doves project has incorporated educational engagement with many schools and community groups in the local area and each person has written individual messages of peace and hope onto each dove.
Throughout history the dove has been viewed as a symbol of peace in many different cultures. For example in Greek mythology the dove is a symbol of the renewal of life, and liturgically within the Bible the dove appears at the Baptism of Jesus in the river Jordan and in the teachings of Noah and the Ark as a symbol of the Holy Spirit.
www.rochestercathedral.org/peacedoves
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The church is the cathedral of the Diocese of Rochester in the Church of England and the seat (cathedra) of the Bishop of Rochester, the second oldest bishopric in England after that of the Archbishop of Canterbury. The edifice is a Grade I listed building (number 1086423)
The Rochester diocese was founded by Justus, one of the missionaries who accompanied Augustine of Canterbury to convert the pagan southern English to Christianity in the early 7th century. As the first Bishop of Rochester, Justus was granted permission by King Æthelberht of Kent to establish a church dedicated to Andrew the Apostle (like the monastery at Rome where Augustine and Justus had set out for England) on the site of the present cathedral, which was made the seat of a bishopric. The cathedral was to be served by a college of secular priests and was endowed with land near the city called Priestfields.[3][a][b]
Under the Roman system, a bishop was required to establish a school for the training of priests.[4] To provide the upper parts for music in the services a choir school was required.[5] Together these formed the genesis of the cathedral school which today is represented by the King's School, Rochester. The quality of chorister training was praised by Bede.
The original cathedral was 42 feet (13 m) high and 28 feet (8.5 m) wide. The apse is marked in the current cathedral on the floor and setts outside show the line of the walls. Credit for the construction of the building goes to King Æthelberht rather than St Justus. Bede describes St Paulinus' burial as "in the sanctuary of the Blessed Apostle Andrew which Æthelberht founded likewise he built the city of Rochester."[c][7]
Æthelberht died in 617 and his successor, Eadbald of Kent, was not a Christian. Justus fled to Francia and remained there for a year before he was recalled by the king.[8]
In 644 Ithamar, the first English-born bishop, was consecrated at the cathedral.[d] Ithamar consecrated Deusdedit as the first Saxon Archbishop of Canterbury on 26 March 655.[9]
The cathedral suffered much from the ravaging of Kent by King Æthelred of Mercia in 676. So great was the damage that Putta retired from the diocese and his appointed successor, Cwichelm, gave up the see "because of its poverty".[10]
In 762, the local overlord, Sigerd, granted land to the bishop, as did his successor Egbert.[e][11] The charter is notable as it is confirmed by Offa of Mercia as overlord of the local kingdom.
Following the invasion of 1066, William the Conqueror granted the cathedral and its estates to his half-brother, Odo of Bayeux. Odo misappropriated the resources and reduced the cathedral to near-destitution. The building itself was ancient and decayed. During the episcopate of Siward (1058–1075) it was served by four or five canons "living in squalor and poverty".[12] One of the canons became vicar of Chatham and raised sufficient money to make a gift to the cathedral for the soul and burial of his
Gundulf's church
Lanfranc, Archbishop of Canterbury, amongst others, brought Odo to account at the trial of Penenden Heath c. 1072. Following Odo's final fall, Gundulf was appointed as the first Norman bishop of Rochester in 1077. The cathedral and its lands were restored to the bishop.
Gundulf's first undertaking in the construction of the new cathedral seems to have been the construction of the tower which today bears his name. In about 1080 he began construction of a new cathedral to replace Justus' church. He was a talented architect who probably played a major part in the design or the works he commissioned. The original cathedral had a presbytery of six bays with aisles of the same length. The four easternmost bays stood over an undercroft which forms part of the present crypt. To the east was a small projection, probably for the silver shrine of Paulinus which was translated there from the old cathedral.[f] The transepts were 120 feet long, but only 14 feet wide. With such narrow transepts it is thought that the eastern arches of the nave abuted the quire arch.[14] To the south another tower (of which nothing visible remains) was built. There was no crossing tower.[15] The nave was not completed at first. Apparently designed to be nine bays long, most of the south side but only five bays to the north were completed by Gundulf. The quire was required by the priory and the south wall formed part of its buildings. It has been speculated that Gundulf simply left the citizens to complete the parochial part of the building.[16] Gundulf did not stop with the fabric, he also replaced the secular chaplains with Benedictine monks, obtained several royal grants of land and proved a great benefactor to his cathedral city.
In 1078 Gudulf founded St Bartholomew's Hospital just outside the city of Rochester. The Priory of St Andrew contributed daily and weekly provisions to the hospital which also received the offerings from the two altars of St James and of St Giles.[17]
During the episcopates of Ernulf (1115–1124) and John (I) (1125–1137) the cathedral was completed. The quire was rearranged, the nave partly rebuilt, Gundulf's nave piers were cased and the west end built. Ernulf is also credited with building the refectory, dormitory and chapter house, only portions of which remain. Finally John translated the body of Ithamar from the old Saxon cathedral to the new Norman one, the whole being dedicated in 1130 (or possibly 1133) by the Archbishop of Canterbury, assisted by 13 bishops in the presence of Henry I, but the occasion was marred by a great fire which nearly destroyed the whole city and damaged the new cathedral. It was badly damaged by fires again in 1137 and 1179. One or other of these fires was sufficiently severe to badly damage or destroy the eastern arm and the transepts. Ernulf's monastic buildings were also damaged.
Probably from about 1190, Gilbert de Glanville (bishop 1185–1214) commenced the rebuilding of the east end and the replacement on the monastic buildings. The north quire transept may have been sufficiently advanced to allow the burial of St William of Perth in 1201, alternatively the coffin may have lain in the north quire aisle until the transept was ready. It was then looted in 1215 by the forces of King John during siege of Rochester Castle. Edmund de Hadenham recounts that there was not a pyx left "in which the body of the Lord might rest upon the altar".[14] However, by 1227, the quire was again in use when the monks made their solemn entry into it. The cathedral was rededicated in 1240 by Richard Wendene (also known as Richard de Wendover) who had been translated from Bangor.[14][18]
The shrines of Ss Paulinus and William of Perth, along with the relics of St Ithamar, drew pilgrims to the cathedral. Their offerings were so great that both the work mentioned above and the ensuing work could be funded.
Unlike the abbeys of the period (which were led by an abbot) the monastic cathedrals were priories ruled over by a prior with further support from the bishop.[19] Rochester and Carlisle (the other impoverished see) were unusual in securing the promotion of a number of monks to be bishop. Seven bishops of Rochester were originally regular monks between 1215 and the Dissolution.[20] A consequence of the monastic attachment was a lack of patronage at the bishop's disposal. By the early 16th century only 4% of the bishop's patronage came from non-parochial sources.[21] The bishop was therefore chronically limited in funds to spend on the non-monastic part of the cathedral.
The next phase of the development was begun by Richard de Eastgate, the sacrist. The two eastern bays of the nave were cleared and the four large piers to support the tower were built. The north nave transept was then constructed. The work was nearly completed by Thomas de Mepeham who became sacrist in 1255. Not long after the south transept was completed and the two bays of the nave nearest the crossing rebuilt to their current form. The intention seems to have been to rebuild the whole nave, but probably lack of funds saved the late Norman work.
The cathedral was desecrated in 1264 by the troops of Simon de Montfort, during sieges of the city and castle. It is recorded that armed knights rode into the church and dragged away some refugees. Gold and silver were stolen and documents destroyed. Some of the monastic buildings were turned into stables.[22] Just over a year later De Montfort fell at the Battle of Evesham to the forces of Edward I. Later, in 1300, Edward passed through Rochester on his way to Canterbury and is recorded as having given seven shillings (35p) at the shrine of St William, and the same again the following day. During his return he again visited the cathedral and gave a further seven shillings at each of the shrines of Ss Paulinus and Ithamar.
The new century saw the completion of the new Decorated work with the original Norman architecture. The rebuilding of the nave being finally abandoned. Around 1320 the south transept was altered to accommodate the altar of the Virgin Mary.
There appears to have been a rood screen thrown between the two western piers of the crossing. A rood loft may have surmounted it.[23] Against this screen was placed the altar of St Nicholas, the parochial altar of the city. The citizens demanded the right of entrance by day or night to what was after all their altar. There were also crowds of strangers passing through the city. The friction broke out as a riot in 1327 after which the strong stone screens and doors which wall off the eastern end of the church from the nave were built.[24] The priory itself was walled off from the town at this period. An oratory was established in angulo navis ("in the corner of the nave") for the reserved sacrament; it is not clear which corner was being referred to, but Dr Palmer[25] argues that the buttress against the north-west tower pier is the most likely setting. He notes the arch filled in with rubble on the aisle side; and on nave side there is a scar line with lower quality stonework below. The buttress is about 4 feet (1.2 m) thick, enough for an oratory. Palmer notes that provision for reservation of consecrated hosts was often made to the north of the altar which would be the case here.
The central tower was at last raised by Hamo de Hythe in 1343, thus essentially completing the cathedral. Bells were placed in the central tower (see Bells section below). The chapter room doorway was constructed at around this time. The Black Death struck England in 1347–49. From then on there were probably considerably more than twenty monks in the priory.
The modern paintwork of the quire walls is modelled on artwork from the Middle Ages. Gilbert Scott found remains of painting behind the wooden stalls during his restoration work in the 1870s. The painting is therefore part original and part authentic. The alternate lions and fleurs-de-lis reflect Edward III's victories, and assumed sovereignty over the French. In 1356 the Black Prince had defeated John II of France at Poitiers and took him prisoner. On 2 July 1360 John passed through Rochester on his way home and made an offering of 60 crowns (£15) at the Church of St Andrew.[27]
The Oratory provided for the citizens of Rochester did not settle the differences between the monks and the city. The eventual solution was the construction of St Nicholas' Church by the north side of the cathedral. A doorway was knocked through the western end of the north aisle (since walled up) to allow processions to pass along the north aisle of the cathedral before leaving by the west door.[27][28]
In the mid-15th century the clerestory and vaulting of the north quire aisle was completed and new Perpendicular Period windows inserted into the nave aisles. Possible preparatory work for this is indicated in 1410–11 by the Bridge Wardens of Rochester who recorded a gift of lead from the Lord Prior. The lead was sold on for 41 shillings.[g][29] In 1470 the great west window at the cathedral was completed and finally, in around 1490, what is now the Lady Chapel was built.[27] Rochester Cathedral, although one of England's smaller cathedrals, thus demonstrates all styles of Romanesque and Gothic architecture.[30]
In 1504 John Fisher was appointed Bishop of Rochester. Although Rochester was by then an impoverished see, Fisher elected to remain as bishop for the remainder of his life. He had been tutor to the young Prince Henry and on the prince's accession as Henry VIII, Fisher remained his staunch supporter and mentor. He figured in the anti-Lutheran policies of Henry right up until the divorce issue and split from Rome in the early 1530s. Fisher remained true to Rome and for his defence of the Pope was elevated as a cardinal in May 1535. Henry was angered by these moves and, on 22 June 1535, Cardinal Fisher was beheaded on Tower Green.
Henry VIII visited Rochester on 1 January 1540 when he met Ann of Cleves for the first time and was "greatly disappointed".[31] Whether connected or not, the old Priory of St Andrew was dissolved by royal command later in the year, one of the last monasteries to be dissolved.
The west front is dominated by the central perpendicular great west window. Above the window the dripstone terminates in a small carved head at each side. The line of the nave roof is delineated by a string course above which rises the crenelated parapet. Below the window is a blind arcade interrupted by the top of the Great West Door. Some of the niches in the arcade are filled with statuary. Below the arcade the door is flanked with Norman recesses. The door itself is of Norman work with concentric patterned arches. The semicircular tympanum depicts Christ sitting in glory in the centre, with Saints Justus and Ethelbert flanking him on either side of the doorway. Supporting the saints are angels and surrounding them are the symbols of the Four Evangelists: Ss Matthew (a winged man), Mark (a lion), Luke (an ox) and John (an eagle).[52] On the lintel below are the Twelve Apostles and on the shafts supporting it King Soloman and the Queen of Sheba.[53] Within the Great West Door there is a glass porch which allows the doors themselves to be kept open throughout the day.
Either side of the nave end rises a tower which forms the junction of the front and the nave walls. The towers are decorated with blind arcading and are carried up a further two stories above the roof and surmounted with pyramidal spires. The aisle ends are Norman. Each has a large round headed arch containing a window and in the northern recess is a small door. Above each arch is plain wall surmounted by a blind arcade, string course at the roof line and plain parapet. The flanking towers are Norman in the lower part with the style being maintained in the later work. Above the plain bases there are four stories of blind arcading topped with an octagonal spire.[54]
The outside of the nave and its aisles is undistinguished, apart from the walled up north-west door which allowed access from the cathedral to the adjacent St Nicholas' Church.[28] The north transept is reached from the High Street via Black Boy Alley, a medieval pilgrimage route. The decoration is Early English, but reworked by Gilbert Scott. Scott rebuilt the gable ends to the original high pitch from the lower one adopted at the start of the 19th century. The gable itself is set back from the main wall behind a parapet with walkway. He also restored the pilgrim entrance and opened up the blind arcade in the northern end of the west wall.[55]
To the east of the north transept is the Sextry Gate. It dates from Edward III's reign and has wooden domestic premises above. The area beyond was originally enclosed, but is now open to the High Street through the memorial garden and gates. Beyond the Sextry Gate is the entrance to Gundulf's Tower, used as a private back door to the cathedral.
The north quire transept and east end are all executed in Early English style, the lower windows light the crypt which is earlier. Adjoining the east end of the cathedral is the east end of the Chapter Room which is in the same style. The exact form of the east end is more modern than it appears, being largely due to the work of Scott in the 19th century. Scott raised the gable ends to the original high pitch, but for lack of funds the roofs have not been raised; writing in 1897 Palmer noted: "they still require roofs of corresponding pitch, a need both great and conspicuous".[56]
On the south side of the cathedral the nave reaches the main transept and beyond a modern porch. The aisle between the transepts is itself a buttress to the older wall behind and supported by a flying buttress. The unusual position of this wall is best explained when considering the interior, below. The southern wall of the presbytery is hidden by the chapter room, an 18th-century structure.
he western part of the nave is substantially as Gundulf designed it. According to George H. Palmer (who substantially follows St John Hope) "Rochester and Peterborough possess probably the best examples of the Norman nave in the country".[60] The main arcade is topped by a string course below a triforium. The triforium is Norman with a further string course above. The clerestory above is of perpendicular style. From the capitals pilasters rise to the first string course but appear to have been removed from the triforium stage. Originally they might have supported the roof timbers, or even been the springing of a vault.[61]
The easternmost bay of the triforium appears to be Norman, but is the work of 14th-century masons. The final bay of the nave is Decorated in style and leads to the tower piers. Of note is the north pier which possibly contains the Oratory Chapel mentioned above.[62]
The aisles are plain with flat pilasters. The eastern two bays are Decorated with springing for vaulting. Whether the vault was ever constructed is unknown, the present wooden roof extends the full length of the aisles.
The crossing is bounded to the east by the quire screen with the organ above. This is of 19th-century work and shows figures associated with the early cathedral. Above the crossing is the central tower, housing the bells and above that the spire. The ceiling of the crossing is notable for the four Green Men carved on the bosses. Visible from the ground is the outline of the trapdoor through which bells can be raised and lowered when required. The floor is stepped up to the pulpitum and gives access to the quire through the organ screen.
The north transept is from 1235 in Early English style. The Victorian insertion of windows has been mentioned above in the external description. Dominating the transept is the baptistery fresco. The fresco by Russian artist Sergei Fyodorov is displayed on the eastern wall. It is located within an arched recess. The recess may have been a former site of the altar of St Nicholas from the time of its construction in 1235 until it was moved to the screen before the pulpitum in 1322. A will suggests that "an altar of Jesu" also stood here at some point, an altar of some sort must have existed as evidenced by the piscina to the right of the recess.[64] The vaulting is unusual in being octpartite, a development of the more common sexpartite. The Pilgrim Door is now the main visitor entrance and is level for disabled access.
he original Lady Chapel was formed in the south transept by screening it off from the crossing. The altar of the Blessed Virgin Mary was housed in the eastern arch of the transept. There are traces of painting both on the east wall and under the arch. The painting delineates the location of the mediaeval north screen of the Lady Chapel. Around 1490 this chapel was extended westwards by piercing the western wall with a large arch and building the chapel's nave against the existing south aisle of cathedral. From within the Lady Chapel the upper parts of two smaller clerestory windows may be seen above the chapel's chancel arch. Subsequently, a screen was placed under the arch and the modern Lady Chapel formed in the 1490 extension.
The south transept is of early Decorated style. The eastern wall of it is a single wide arch at the arcade level. There are two doorways in the arch, neither of which is used, the northern one being hidden by the memorial to Dr William Franklin. The south wall starts plain but part way up is a notable monument to Richard Watts, a "coloured bust, with long gray beard".[65] According to Palmer there used to be a brass plaque to Charles Dickens below this but only the outline exists, the plaque having been moved to the east wall of the quire transept.[66] The west wall is filled by the large arch mentioned above with the screen below dividing it from the present Lady Chapel.
The Lady Chapel as it now exists is of Decorated style with three lights along southern wall and two in the west wall. The style is a light and airy counterpart to the stolid Norman work of the nave. The altar has been placed against the southern wall resulting in a chapel where the congregation wraps around the altar. The window stained glass is modern and tells the gospel story.
The first, easternmost, window has the Annunciation in the upper light: Gabriel speaking to Mary (both crowned) with the Holy Spirit as a dove descending. The lower light shows the Nativity with the Holy Family, three angels and shepherds. The next window shows St Elizabeth in the upper light surrounded by stars and the sun in splendour device. The lower light shows the Adoration of the Magi with Mary enthroned with the Infant. The final window of the south wall has St Mary Magdelene with her ointment surrounded by Tudor roses and fleurs-de-lis in the upper light with the lower light showing the Presentation in the Temple. The west wall continues with St. Margaret of Scotland in the upper light surrounded by fouled anchor and thistle roundels. The reference is to the original dedication of the cathedral as the Priory of St Andrew. The lower light shows the Crucifixion with Mary and St Peter. The final window is unusual, the upper light is divided in three and shows King Arthur with the royal arms flanked by St George on the left and St Michael on the right. The lower light shows the Ascension: two disciples to the left, three women with unguents to the right and three bare crosses top right.
Advertising for the Nike Vintage Campaign was designed, like the footwear, to appear as though it had been unearthed from a 1970’s time capsule. The photography, headlines and body copy had to appear authentically 70’s, while also conveying a contemporary tone.
"There is no intellectual or emotional substitute for the authentic, the original, the unique masterpiece."
Paul Mellon
Buchanan's Wharf, Bristol, photographed from Welsh Back on Wednesday 23rd July 1975. The buildings had started life, in 1883, as the granary (left) and mill (right) of Messrs Procter and Baker. During the 90s the area was "regenerated" and "apartments" were inserted into these empty shells. Anything likely to offend the new tenants by its unsightliness had to be sanitized or removed. The corrugated iron conveyors soon went, as did the chimney and the projecting structures on the top storey, which must have housed hoists. A new block was inserted into the bomb site off right and the untidy quayside buildings to the left gave way to more flats.
Vans California Authentic Indigo Herringbone - Wear Test Day 1. I love the way Vans Authentics fade and change as you wear them. Day to day wear and sun take there toll in a distinctive way. I think these ones in particular are going to look amazing as they age. The indigo Herringbone fabric is a great switch up to my usual choice of core navy blue canvas. They have the contrast metal eye holes, upgraded inner sole and take off the foxing stripe and the deal is sealed.
Check out our selction of Vans shoes at : www.flatspot.com/store/vans-footwear-1708-0.html
The candy apple red shines brightly in the sun on SOO 2403 in Middle River, Minnesota along the Minnesota Northern.
In this series I've pushed the Sony a7R III to (and closely over) it's dynamic range limits during a sunset at the lake.
Developed with Capture One 21 (shadows +100 / highlights -100 / exposure has been lifted in most pictures as well).
Some pictures might therefore not be as sharp and detailed as if exposed normally, so please do not blame the camera or the lens. Both have done a good job under these extreme lighting conditions and the shadow recovery worked very good in most situations.
Goal was to get an authentic atmosphere without any flashlight, not to get the sharpest most detailed results. I'm not a fan of flash lights and unnatural light sources.
Anyway, you wouldn't even take note if I wouldn't have unlocked high resolution for my Flickr photos to show you my pictures at 100% :)
Winter walk. Hiking Pre Pirineus landscape with Andorra in focus. La Seu d'Urgell, Alt Urgell, Catalunya, Spain
More Alt Urgell, Catalunya photos by Lutz Meyer: www.flickr.com/photos/lutzmeyer/sets/72157623420995501
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About this image:
* Full frame 3x2 format quality image
* Usage: Large format prints optional
* Motive is suitable as symbol pic
* "Catalunya authentic" edition (10 years decade 2008-2018)
More Alt Urgell & Catalunya images: Follow the album links at right side.
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Sal Mastropolo III inside the barn at Authentic Antique Lumber in Chester on September 1, 2015.
ERIK GLIEDMAN/Times Herald-Record
See how these 6 simple ways can change your life.
Although some religions have introduced us as sinners and guilty, it doesn't and hasn't changed
our reality. We are love covered by the conditioned mind which has taken command of our whole existence. Nevertheless it has never and will never be able to change our being.
Inside all and every single one of us there is a reality untouched by any mind and thanks to yoga and meditation, it is starting to reveal itself in a way it never had. Below are the six secrets we have found will lead to Living Your Truth and also Loving Your Life in the quickest amount of time.
Key 1: Know Your Truth
Exactly how can we listen to the body's knowledge if we're constantly hurrying, reflecting concerning the past, projecting into the future, as well as mishandling time? Our authentic self realities existing in silence. In order to disclose that self, we should find stillness and also silence for a dedicated time frame every day. During this moment, show on exactly how you were educated "fact." Were you encouraged to reject your personal fact? As an example, did you want to be an artist, instead were informed to obtain a degree in company due to the fact that the job market is a lot better? Were you interested in learning a particular sport, instead a moms and dad pressed you to play a different one at which they stood out? Lots of might have been shown that talking the truth was impolite if it somehow angered one more person, so you established the "Disease to Please" in order to maintain the peace and not hurt feelings. Journal concerning exactly what your reflections expose from youth as well as attach the dots onward to problems you could have today.
Key 2: Speak Your Truth
Once you have systems in position to aid you identify your fact, the following action is to be able to properly honor as well as interact it. Ask on your own: How do I really feel? What do I require? Just what do I want? Express the solutions without have to validate or safeguard. You have to start every interaction with the hope that your demands will certainly be satisfied. Occasionally, our requirements can not be fulfilled nor do we have the need or storage capacity to fulfill another person's, so we must also learn how to with dignity, yet absolutely, say and also get "no." Along with spoken expression, revealing your authentic self through garments, embellishing your individual area, and developing something from absolutely nothing (art, creating, etc.) are all fun as well as liberating ways to mirror your credibility back to you.
Key 3: Lose Your Mafia (FEAR) Mind
Consider exactly how much of your day is worked on autopilot. This is your subconscious mind which is helpful in enabling you to keep in mind ways to reach work and tie your shoes, yet is detrimental in that it creates you to hang onto the same ol' ways of believing and the "this is the means it's consistently been so this is the method it will certainly continue to be" attitude. This is where the initial key is also vital due to the fact that all unfavorable inner voices have a beginning. Allow yourself to peel back the layers to subject when/ where/ by which the fear came from and also why you have actually transformed it right into scripture. If your auto-pilot worry mind runs your life's show, it additionally extorts pleasure from it. Understanding that many anxiety is a sensation not a fact releases you to transform your feedback. Worry belongs to the human condition and insightful, instead you do have control over exactly how much it controls you. To be genuine, you need to want to extend of your comfort zone. Have faith that you will make it through, grow, as well as learn just what it is you are indicated to know when you do exactly what you are called to do. Fear can be your largest instructor or the obstruction to where you intend to go. You determine.
Key 4: You = The Only ONE
"Comparison is the thief of delight."-- Dwight Edwards
When you cannot accept and also celebrate your originality, you adapt as well as pack on your own down, ultimately bring about those high qualities being lost. This "opposite side" of us becomes our shadow self-- the component of ourselves that we reject, dismiss, and think to be unwanted. The building of the shadow self returns to your upbringing as well as what high qualities were kept in esteem. Residing in your fact indicates allowing and embracing all aspects of YOU. Because you are the just you, now and also evermore, attempting to live another's life is just impossible. Concentrate on the high qualities that set you apart, honor your stability in all you do, and also accept your shadow self with kindness. Nobody else has your distinct presents and also abilities.
Key 5: Downloaded Blueprints
A belief is merely a thought you've had sometimes. Any type of area of your life that is not working is more than likely built on a malfunctioning plan (aka belief) designed by others. Disclosing your restricting, acquired ideas is the start of redrawing your plan to actually match the life you wish to develop. Identify you have control to flip the old downloaded and install blueprint from the past into a new, fresh version that matches your reality. (Check out the Daily Living tab on my site for assist with downloaded and install blueprints around love, cash, and health and wellness.).
Key 6: Revealing as well as Building Core Self with Balance.
When encountered with a decision, ask yourself two concerns to find your reality and live from your core self. What is my highest excellent in this moment? Exactly what is the following ideal action for me to take? When you attain this quality, you are in balance as well as can examine where you run out equilibrium. In those locations that are imbalanced, replying these concerns will certainly set you on course to creating concrete modifications to come back to center. Chump changes will certainly include up to big shifts, so ditch the all-or-nothing mentality and also begin today to know your truth and melt in joy.
With love by Yogasensing
Sokobanja, Serbia, Aug 19, 2021: A local man pushes a bicycle carrying a little girl and a heap of items bought at the village fair.
New/additional pictures from an old model.
With retro-camouflaged Valkyries popping up in official sourcebooks (like Su-27, U.S. Navy or Royal Navy derivates) and some national identity in mind, I wondered what a German Valkyrie would look like? Well, this here is the (quite flashy) result! The idea came when I recently got hands on the brand new WAVE Ma.K. 'Snake-Eye' kit - the box art shows the fighting suit with very special decorative markings: "tulip" wedges.
For those interested, here's an excursion about the story behind it:
The 'black tulip' markings have a real historic heritage from WWII. They had been the personal markings of German pilot ace Erich Hartmann on his Messerschmidt Bf-109 fighter machines. The characterstic markings were painted on the motor cowl, just behind the propeller spinner, which used to be black, too.
After the war (and 352 air combat victories!), when Germany began re-building its defensive forces under the pressure of the Cold War, Erich Hartmann returned from Russian imprisonment, joined German Luftwaffe's forces again and received in 1960 command over Germany's first jet fighter squadron, the JG 71 "Richthofen", which was initially equiped with CL-13 Mk. 6, Canadian-built F-86F-40 'Sabres'.
Consequently, besides the glamorous "Richthofen" name of the squadron, JG71's F-86 would sport the 'black tulip' trademark of their commander around their air intakes and on the fins, paired with bright red or yellow contrast fields. The tulips would, with the advent of the F-104G 'Starfighter' in the mid 60ies, disappear again, though.
But back to the little Valkyrie: The kit is actually a bastard. I did not have a single seater left in stock, so I bashed a VF-1D two-seater with the cockpit and wings of a single-seater Gerwalk kit. This caused little problem, since these kits have almost 100% matching 'interfaces'. The Gerwalk cockpit just differs slightly in proportions and lacks a landing gear compartment. The wings have no punches/adapters for weapons underneath, and the holes for the wings' sweeping mechanism are a bit larger than on the Fighter kits.
Beyond that, the Valkyrie was - as usual - built almost right out of the box, with typical minor details added to the exterior like some antennae, plus some interior things like a pilot figure and a HUD.
In oder to set this Valkyrie a bit apart from the anime versions, I gave it an "L" designation (for "Luftwaffe", the only plausible suffix I could find which was not occupied yet...). A scratch-built laser spot tracker (similar to the Pave Penny system) was mounted under the Valkyrie's front as part of a domestic KWS package ("Kampfwertsteigerung", a German term and abbreviation for military vehicle upgrades). This package also includes subtle details like passive radar sensors (fins, front, legs) and flare dispensers (legs), Small things, but they add some grit and differentiate it from standard anime models. The wings were left empty, in order not to compromise the wonderful lines and keep the kit's focus on its unique livery.
The basic paint scheme is typical for German jets like the F-4F, F-104G or Alpha Jet in the 1960-80 era. AFAIK, it was officially called "Norm '72", but it had the inofficial nickname of "Zitronenfalter" ("Brimstone Butterfly"). It already looks retro due to the angular design, but proves highly effective at medium heights over typical German countryside or over coast line areas. Today it would be sold as "fractal", but the design's origins reach back into the pre-WWII time.
The authentic colors of the Norm '72 scheme are RAL 6014 ("Gelboliv", a dark, brownish olive drab tone; Humbrol's 108 or Revell's 46 come close), RAL 7012 ("Basaltgrau", similar to the Bristish Dark Sea Grey or FS36118) for above and RAL 7001 for the undersides ("Silbergrau", a unique light grey with a metallic hue).
For the small Valkyrie kit , though, I settled for different, lighter shades, because the original tones are pretty murky and they'd rather conceal the wicked camouflage pattern. The Gelboliv became the much lighter 1711 from Testors (simple Olive drab, FS34087), and for the dark Basaltgrau, Humbrol's 27 (Matt Sea Grey) was used. The obscure undersides' RAL 7001 was simulated with a 1:1 mix of Humbrol's 11 and 34 (Silver and Flat White).
While the choice of tones was basically O.K., the olive drab turned out to be way too light after application. The contrast with Humbrol's 27 was weak, so Humbrol 108 would be recommended for a more authentic look, even though weathering would bleach the real colors. But, heck, we are doing anime here! Therefore, I left it as it was.
When the basic camouflage was done, though, I found that something was missing to round up the Valkyrie's look, due to the low contrast of the Zitronenfalter scheme's colors from above. As a visual trick, I simply added leading edges on the wings and fins in Humbrol 94 (Matt Brown Yellow) - this plausible detail clears up the machine's outlines but does not compromise the overall visual style.
The red squadron markings were painted with Humbrol 174 (Signal Red), a bright and yellowish red tone which came out almost orange in the proximity to the murky camouflage. The black tulip wedges were partly taken from a HobbyBoss Sabre's JG71 decal sheet in 1:72 and partly hand-painted in black, with white decal trims. I was surprised how these small details changed the total look of the machine!
A light wash with black ink in order to point out the surface engravings and a final coat of matt varnish (except for the nose, which is intentionally finished in high gloss like German F-4F Phantom's with the Norm '72 outfit) finished the job.
The typical German bort numbers in black with white outlines came from a spare decal set. The Valkyrie's shown registration 27+85 corresponds to German Luftwaffe's nomenklatura since 1968 (the Hartmann tulips are older, though), but is fictional. By current standards, numbers from 20+01 to 49+99 are reserved for front line fighters, with serials corresponding to types in service (and not to sqaudrons). 27+85 would have been a TF-104G Starfighter trainer at its time, but phased-out numbers have been knwon to be used again, so the bort number is plausible ;)
Overall I find this Valkyrie interpretation better than expected. At first I was afraid that the Zitronenfalter scheme would make it look boring. It IS retro, O.K., but the flashy, historic JG71 trims add that special touch and comic-likeness that make it IMO look plausible even for the Macross universe? It is amazing what you can make from these simple kits, and once more respect and awe for Kawamori Shoji's timeless design. So inspiring! ^^