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A barn find. Car has been sitting for a very long time.
At the 2018 Arlington car show.
Pentax K5IIs, Sigma 28mm f2.8 Mini Wide.
Civilian employers of Idaho Nation Guardsmen visit Gowen Field at the annual Boss Lift event, August 18, 2022, Gowen Field, Boise, Idaho. The event is designed to give civilian employers a day in the life experience of their employees who are guardsmen. (U.S. Air National Guard photo by Ryan White)
The series of carvings on Christ’s Passion is featured in the centre of the first five bays to the south of the Prior’s Door. It comprises Flagellation, the Carrying of the Cross, the Crucifixion the Resurrection, and the Harrowing of Hell. The foliate carving predominant in the earlier bosses of this walk is an ever present feature in this Passion sequence, but here the foliage takes on a subordinate but symbolic role. In the Flagellation, for instance, the vine leaves not only circle the main carving in which Christ is bound to the trunk of a vine, but bunches of grapes appear between the scourgers and Christ and vine leaves overlap the scourgers’ tunics. This gives a fresh connotation to 'I am the true vine’ (John 15. 1). In the carving of the Crucifixion foliage springs from all the extremities of the cross as though the body of Christ gives life to the dead wood. Analogies with contemporary manuscripts are not confined to foliage, hybrids, and grotesques. In this Passion sequence, for instance, the Carrying of the Cross can be compared with a similar image in the Luttrell Psalter where the torturer carrying the three spikes aloft pulls Christ after him.
The scene of the Crucifixion with Mary standing to the left of the cross and St John, holding a book, to the right is not only akin in style to such scenes in contemporary manuscripts but probably mirrors the figures on the rood screens erected across the west end of most chancels in cathedrals and parish churches throughout the country in the fourteenth and fifteenth centuries.
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