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The Cathedral of Christ's Nativity (Romanian: Catedrala Mitropolitană Nașterea Domnului) is the main cathedral of the Moldovan Orthodox Church in Central Chișinău, Moldova. It was commissioned by the governor of New Russia, Prince Mikhail Semyonovich Vorontsov, and Metropolitan Gavril Bănulescu-Bodoni in 1830.
The cathedral was built in the 1830s to a Neoclassical design by Abram Melnikov (who had designed a similar church in Bolhrad). The cathedral was bombed during World War II, and its bell tower was destroyed by the local Communists in 1962. The new bell tower was constructed in 1997. During the Soviet period, worship was prohibited and the cathedral was transformed into an exhibition center.
Melnikov's design is Neoclassical. The facade is very simple and clear with six Doric column for the entrance. Because of the numerous destructions which the cathedral suffered throughout time, the building has received several restorations and shifts in its shape. For instance, the current zinc dome and its cross at the top are both an addition from 1997 built over the previous structure. The inside was completely blank during the Soviet period but nowadays it has painted walls in pure orthodox style.
The Cathedral of Christ's Nativity (Romanian: Catedrala Mitropolitană Nașterea Domnului) is the main cathedral of the Moldovan Orthodox Church in Central Chișinău, Moldova. It was commissioned by the governor of New Russia, Prince Mikhail Semyonovich Vorontsov, and Metropolitan Gavril Bănulescu-Bodoni in 1830.
The cathedral was built in the 1830s to a Neoclassical design by Abram Melnikov (who had designed a similar church in Bolhrad). The cathedral was bombed during World War II, and its bell tower was destroyed by the local Communists in 1962. The new bell tower was constructed in 1997. During the Soviet period, worship was prohibited and the cathedral was transformed into an exhibition center.
Melnikov's design is Neoclassical. The facade is very simple and clear with six Doric column for the entrance. Because of the numerous destructions which the cathedral suffered throughout time, the building has received several restorations and shifts in its shape. For instance, the current zinc dome and its cross at the top are both an addition from 1997 built over the previous structure. The inside was completely blank during the Soviet period but nowadays it has painted walls in pure orthodox style.
Der Schutzmantel-Christus von Irene Dölling im Friedwald auf dem Schwanberg. Den Aspekt dieser Figurengruppe im tiefen Winter zeigt dieses Foto: Im Friedwald - In the Forest Cemetery - Cimetière dans les bois
Christ with a sheltering cloak, who takes under his coat all suffering people, is a monument, which is errected at the entrance of a forest, which serves as a forest natural burial park. The artist is Irene Dölling.
Somersham Town Band @ St Ives, Huntingdonshire - Good Friday Service
Filmed with Panasonic Lumix DMC-FZ10002
The week leading up to Easter is known as Holy Week, which begins after the end of the 40-day Lenten season. Good Friday takes place during this week annually two days before Easter.
While Christians celebrate the resurrection of Jesus Christ on Easter, Good Friday serves an important part in the story of Christ essentially to Easter celebrations.
Good Friday is the day in which Christian and Catholic churches commemorate the crucifixion and death of Jesus Christ.
"If Easter is the celebration of Christ's resurrection from the tomb, Good Friday is the day in which the church commemorates everything from his condemnation to his passion,"
Seen against the facade of Castel Sant'Angelo; it is the work of Ercole Ferrata. This is one of ten statues of angels carrying items related to the Passion of Christ lining the Ponte Sant’Angelo.
The bronze statue of the Archangel Michael on top of the building is partially visible.
Rome; July 2019
The Church of Santa Maria della Spina is a small Gothic jewel located along the Arno River in Pisa. Built in 1230, it was originally known as Santa Maria del Ponte Novo. The church's name was changed in 1333 after it became the custodian of a thorn from Christ's crown, a relic now housed in the Church of Santa Chiara.
Turismo Pisa
This architectural masterpiece is characterized by its intricate façade adorned with pointed arches, delicate spires, and detailed carvings. Inside, visitors can admire works by renowned artists such as Andrea and Nino Pisano.
Turismo Pisa
Over the centuries, the church has undergone various restorations, including a significant elevation in 1871 to protect it from flooding. Today, it stands as a testament to Pisa's rich Gothic heritage and continues to captivate visitors with its beauty and history.
Is this the man who leads our country? Boris, Biden, Trump, Macron, Putin, Xi ? Which is the wooden top we put our trust and faith in?
Which one knows the truth about the origins of Covid, or the Christmas party? Which one launched a biological attack on the freedoms of the people, which one will stop World War Three from happening by not attacking Ukraine or Taiwan? Which one will ensure world Peace?
As my son would say, we are at the stage now, like in 1930's Germany, when after WW2 people say, why didn't we stop them when all the terrible things first started? And they started stripping us of our freedoms?
My picture today, a carved 'signpost' at the divide in the road at Satran, Skye.. A Worzel Gummidge scarecrow, crucified on a wooden cross. Hmmmm. Symbolic? There was a man who gave his life, crucified on a cross for his beliefs. As Christmas nears (not 'Holidays'), perhaps we need to pause a moment just to remember what this whole thing is about. Shouldn't life be about being humane and showing goodwill to all others?
Do something good and give yourself the best Christmas ever! Which leader have you got faith in? Any of those above, for Christ's sake? Try the man who died on a wooden cross.,
Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Roman Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris and is the seat of the Diocese of Chartres. Mostly constructed between 1194 and 1220, it stands at the site of at least five cathedrals that have occupied the site since Chartres became a bishopric in the 4th century. It is in the Gothic and Romanesque styles.
It is designated a World Heritage Site by UNESCO, which calls it "the high point of French Gothic art" and a "masterpiece".[2]
The cathedral is well-preserved for its age: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.
Since at least the 12th century the cathedral has been an important destination for travellers. It remains so to the present, attracting large numbers of Christian pilgrims, many of whom come to venerate its famous relic, the Sancta Camisa, said to be the tunic worn by the Virgin Mary at Christ's birth, as well as large numbers of secular tourists who come to admire the cathedral's architecture and historical merit.
Again from summer 2012 taken on Skellig Micheal and looking back towards the mainland. This is a really special place, probably the nicest place I was ever in. I highly recommend visiting it if you ever get the chance!
por Warhol -
Keith Haring (Reading, 4 de maio de 1958 – Nova Iorque, 16 de fevereiro de 1990) foi um artista gráfico e activista estadunidense. Seu trabalho reflecte a cultura nova-iorquina dos anos 1980.
Nascido no estado de Pensilvânia, cedo mostrou interesse pelas artes plásticas. De 1976 até 1978 estudou design gráfico numa escola de arte em Pittsburgh. Antes de acabar o curso, transfere-se para Nova Iorque, onde seria grandemente influenciado pelos graffitis, inscrevendo-se na School of Visual Arts. Homossexual assumido, o seu trabalho reflecte também um conjunto de temas homo-eróticos.
Keith Haring começou a ganhar notoriedade ao desenhar a giz nas estações de metro de Nova Iorque. As suas primeiras exposições formam,michelleis acontele era gayecem a partir de 1980 no Club 57, que se torna um ponto de encontro da elite vanguardista.
Na mesma década, participou em diversas bienais e pintou diversos murais pelo mundo - de Sydney a Amsterdão e mesmo no Muro de Berlim. Amigo pessoal de Grace Jones, foi ele quem lhe pintou o corpo para o videoclip "I'm Not Perfect".
Em 1988, abre um Pop Shop em Tóquio. Na ocasião, afirma:
"Em minha vida fiz muitas coisa, ganhei muito dinheiro e me diverti muito. Mas também vivi em Nova Iorque nos anos do ápice da promiscuidade sexual. Se eu não pegar AIDS, ninguém mais pegará."
Meses depois declara em entrevista à revista Rolling Stone que tem o vírus HIV. Em seguida, cria a Keith Haring Foundation, em favor das crianças vítimas da AIDS.
Em 1989, perto da igreja de Sant'Antonio Abate, em Pisa, Itália, executa a sua última obra pública - o grande mural intitulado Tuttomondo[1], dedicado à paz universal.
Haring morreu aos 31 anos de idade, vítima de complicações de saúde relacionadas a AIDS, tendo sido um forte activista contra a doença, que abordou mais que uma vez em suas pinturas.
...
The Marriage of Heaven and Hell
David Galloway
As curator of the Keith Haring retrospective mounted by New York's Whitney Museum of American Art in 1997, Elisabeth Sussman composed a thoughtful catalogue text in which she tidily divided the artist's career into three "chapters." In the first of these, Sussmann suggested, Haring synthesized a street and club style into a bold form of overall decoration that often employed elements of kitsch. In the middle phase, lasting from approximately 1984 to 1988, when he developed the first symptoms of AIDS, Haring produced paintings that were essentially Pop versions of Neo-Expressionism. In these years he also used his cartoon-like graphic line to execute murals, many of them for (and even together with) children. "Finally," Sussman observed, "in the last years of his life, major works not only summed up his painting ambitions but were socially active and angry responses to his imminent death."1
There can be no doubt that the artist's battle with AIDS had a profound effect on his artistic vision. "To live with a fatal disease," he confided to his biographer John Gruen shortly before his death, "gives you a whole new perspective on life."2 The resulting pain and anguish are eloquently expressed in Haring's two collaborations with William Burroughs: Apocalypse (1988) and The Valley (1989). Sussmann's categories are nonetheless too neat and too emphatic, concealing both the humor that frequently enlivens the late works and the dark side that shadows even the earliest, cartoon-like compositions. And the artist was a social activist from the beginning of his career. At a demonstration in Central Park in 1982, he distributed 20,000 antinuclear posters. His "Anti-Litterpig" campaign was launched in 1984, the famous Crack is Wack mural painted in 1986. The true "horror of AIDS had come to light"3 for Haring in 1985, and he had for some time regarded himself as a prime AIDS "candidate" - even before discovering the first Karposi sarcoma on his leg during a trip to Japan in 1988. Not only numerous intimate acquaintances, including his ex-lover Juan Dubose, had already succumbed to the disease. Rumors of Haring's own infection were rife long before he himself learned that he was HIV-positive. More than a year before the diagnosis, Newsweek had tracked the artist down in Europe to ask if his protracted stay there was a cover-up for his affliction with AIDS.
Yet for all the traumatic implications of the onset of the disease itself, it is a mistake to overemphasize the event as a kind of watershed, as a moment in which the oeuvre itself underwent some seismic change. Such an oversimplification is tempting but ultimately misleading. And it is not unlike that simplistic approach to the work of Andy Warhol which suggests a fundamental shift in theme and point of view following the assassination attempt by Valerie Solanis. In fact, Warhol's own fascination with "Death and Disaster" was well established before the deranged feminist entered the Factory in 1969 with revolver blazing. 129 Die in Jet, the first of the works associated with violent death, dates to 1962. And it was soon followed by garishly tinted studies of suicides, car crashes, race riots and electric chairs.
Keith Haring, too, had explored a darker side of experience long before the dread diagnosis. The earliest works produced in his characteristic graphic style include serpents and monsters, nuclear radiation and falling angels, cannibals, omnivorous worms, bloody daggers and skeletons. The devil himself makes occasional appearances, as does the multi-headed beast of the Apocalypse. One can make out a sinister form that may well represent a virus, and an androgynous figure which wheels a sword-like crucifix over the heads of children, while scissors and chains are employed in sadomasochistic practices which often end in castration. In a Saint Sebastian, produced in 1984 and one of the few titled works by Haring, the martyr's body is pierced not by arrows but by airplanes - one of the numerous examples of the artist's critical view of technology, but also testimony to his deeply felt pacifism.
The figure of a hanged man, perhaps influenced by William Burroughs' Naked Lunch, makes it debut in 1981. So, too, do human figures writhing in the clutch of a nest of serpents. In 1982 a serpent pierces (and thereby joins like so many beads on a string) a row of human figures with holes in their abdomens. Indeed, human figures with holes gouged in their middles are a recurrent pictogram - one inspired, according to the artist himself, by the assassination of John Lennon in December of 1980. Yet even before that event, Haring was sounding the themes of violence and death in the cut-up headlines he posted around New York City, inspired both by his friend Jenny Holzer and by William Burroughs. In typical tabloid fashion, the headlines trumpeted such sensationalist assertions as "POPE KILLED FOR FREED HOSTAGE." "RONALD REAGAN ACCUSED OF TV STAR SEX DEATH; KillED AND ATE lOVER." and "REAGAN'S DEATH COPS HUNT POPE."
When Keith Haring undertook his first cross-country trip in 1977 with his girlfriend Susan, he financed the journey by silkscreening T-shirts and selling them along the way. One model showed Richard Nixon sniffing a kilo of marijuana; the other featured the logo of the Grateful Dead: a skull - the penultimate memento mori that also fascinated Warhol - split by a lightning bolt. One of Haring's early subway drawings includes a skeleton wearing wire-rimmed glasses as an encoded self-portrait. In a diary entry for March 18, 1982, the artist reflected on the significance of "Being born in1958, the first generation of the Space Age, born into a world of television technology and instant gratification, a child of the atomic age. Raised in American during the sixties and learning about war from Life magazines on Viet Nam. Watching riots on television..."4 Like the Beat poets he admired, the young artist was intensely aware of the dangers of nuclear war and the precedent his country had set in Hiroshima and Nagasaki. He was equally aware of the dangers inherent in "peacetime" uses of nuclear energy. The notorious near-meltdown at Three Mile Island in 1979 occurred a short distance from the Haring home in Kutztown, Pennsylvania. Spaceships projecting rays onto earthlings often hover over his works, and his famous "radiant" baby may suggest radioactive contamination as well as spiritual glow.
In short, the first "chapter" in Haring's career was neither so innocent nor so giddily affirmative as it is sometimes made out to be. His media-savvy generation, exposed at an early age to "sex, drugs and rock-'n'-roll," was quickly disabused of childhood's illusions. At the age of 19, he confided to his diary, "Through all the shit shines the small ray of hope that lives in the common sense of the few. The music, dance, theater, and the visual arts: the forms of expression, the arts of hope. This is where I think I fit in."5 Even amid the "shit," there was an element of hope, and the coexistence of these two entities defines the Haring universe. What one witnesses is literally The Marriage of Heaven and Hell, to cite the title of a Roland Petit choreography for the Ballet National de Marseilles, for which Haring created a huge front curtain in 1985. Whether Haring was familiar with William Blake's ironic poem of the same title is uncertain, though the English poet was a favorite of the psychedelic set to which Haring belonged for a time. Furthermore, there are occasional parallels between Haring's graphic style and the illustrations Blake prepared for his own works. The implications of a linked pair of Blake titles - Songs of Innocence and Songs of Experience - have clear relevance for Haring's oeuvre, as well.
The key to Haring's work is not to be found in "chapters" or in oppositions, but precisely in the mingling, the marriage of innocence and experience, good and evil, heaven and hell. This inherent but essential ambiguity is reinforced by an image he created in June of 1989, less than a year before his death. (He was in Paris at the time, executing a monumental painting intended to decorate a dirigible to be flown over the city in commemoration of the 200th anniversary of the French Revolution.) The starting point was a photograph of the artist sitting on a chair from the Vitra Collection, part of a series of celebrity portraits made for the German furniture company. With a felt pen, Haring fitted himself out with wings, floated a halo over his head, bound his feet with shackles and coiled a rope-like or snakelike form around his torso. (In fact, in other works the rope which binds a victim often turns into a snake in the hands of his tormentor). Haring remarked on his own creation: "Whoever understands this photograph understands what my work is all about."6 The essential theme sounded here - man bound into a "mortal coil," anchored to the earth, while his spirit strives to soar into the heavens - is as old as religion itself)
In his journal Haring described the events of June 16th as follows: Friday I had a "press lunch" with the airship people (boring and trivial). Then went to Futura's exhibit and bought a nice new painting. Met David Galloway there. He came to Paris to interview me for the book Hans Mayer is doing on my sculptures. Went with David to see the airship painting again and do photos. We talked a lot and by the same time we got to the hotel the conversation got deeper and continually off the "subject."
Did some photos for a German spaghetti book. (Portrait of me with a drawing made out of spaghetti we ordered from room service.) I talked with David till it was time for dinner at Marcel Fleiss's house with Yoko and Sam. Nice quiet dinner and then returned to hotel with David to talk till 1 :30.7
The "deeper" talk that quickly veered from the topic of sculpture and continued into the early hours of the morning ultimately found its focus in the fat roll of galley proofs resting on the mantelpiece of Haring's suite at the Ritz Hotel. This was the interview by David Scheff that would appear in Rolling Stone on August 10th, and in which Haring talked with painful frankness about his own illness. As a politically engaged artist who helped to organize the first" Art Against AIDS" exhibition and produced several AIDS-related posters, including more than one with the motto "Silence = Death," he felt morally obliged to speak out about his illness. (Later in the year, he would march in protest against New York City's "racist" policy with respect to the disease, which allegedly only afflicted perverts, junkies and Afro-Americans.) Nonetheless, when the time came to approve Sheff's uncompromising interview, the activist experienced a moment of hesitation. Quite simply, he feared he might not be permitted to work with children again, and this was one of his most cherished activities. Despite such misgivings, on June 17 he sent his approval of the text to the editors of Rolling Stone, and when it appeared the artist experienced an immense, deeply gratifying wave of sympathy. The sole sour note was a protest against his having been commissioned (by Princess Caroline) to execute a mural for the maternity ward of the Princess Grace Hospital in Monaco - allegedly a potential danger for future generations.
In transforming a photographic portrait into a self-portrait with a few brisk strokes, Haring made an emphatic statement about his artistic intentions. At the same time, he revealed the depth of his own religious sentiment. Though not a practicing Christian in the last years of his life, the artist had a profound sense of right and wrong, of good and evil, and he devoted a considerable part of his energy to social causes. Attending Sunday School and church had been a regular part of the Harings' family life, and in summer Keith attended the camp run by the United Church of Christ. As a teenager he joined the Jesus Saves movement, read the Bible voraciously and developed "an obsession with the concept of the Second Coming..."8 Above all, Haring was influenced by "Revelation," which later offered him a veritable storehouse of trenchant visual imagery. Even at the age of 12, according to Haring's mother, "he began making drawings in which there were Jesus symbols and other types of symbols, like a loop with two dots."9 Haring's phase as a "Jesus Freak" was short-lived, and the impact of religion (above all, of organized religion) on his work can be overestimated. Indeed, the artist once complained to his journal that "Most religions are so hopelessly outdated, and suited to fit the particular problems of earlier times, that they have no power to provide liberation and freedom, and no power to give 'meaning' beyond an empty metaphor or moral code."10
When he finally decided, while dancing at New York's Paradise Garage, to depict the Ten Commandments within the arches of Bordeaux's Musee d'Art Contemporain for his show there in 1985, Haring was at a loss to remember all the commandments: "So the minute I get to Bordeaux, I ask for a bible!"11 Yet for all the vagueness surrounding Haring's grasp of biblical fundamentals and his distrust of the church as a moral authority, Christian mythology clearly had a profound impact on his use of angels and devils and madonnas, bleeding hearts and crucifixions and transubstantiations. (Painting an angel along with a mother and child on the coffin of his friend Yves Arman, who died in a car crash, transcended mere decoration to become a ritual act of healing.) Haring's fundamental religiosity, on the other hand, was also influenced by his interest in so-called "primitive" cultures, their myths and rituals and totemic objects - interests that inform the artist's pseudo-African masks, for example. And the Michael Rockefeller Collection of Primitive Art at New York's Metropolitan Museum was one of his favorite haunts.
Haring's use of traditional Christian imagery is particularly explicit in Apocalypse (1988), his first collaboration with William Burroughs. Each composition is a reprise on a collaged image taken from advertising, art history or Catholic theology. In addition to a Christ with a bleeding heart, the series includes an advertisement from the 1950s (significantly, the period of Haring's own infancy) in which a mother tenderly - and, by implication, Madonna-like - leans over her baby to offer him a milk-bottle. The explicitly Catholic allusions continue in Haring's next collaboration with Burroughs - the suite of etchings entitled The Valley. Here the imagery includes the torso of a male figure inserting a knife beneath his ribs to duplicate one of Christ's stigmata. This belated "embrace" of Catholic symbology aligns Haring even more closely with other prominent creative rebels: with Robert Mapplethorpe, Andy Warhol and Haring's street-wise friend and sometime-collaborator Madonna. For those three taboo-breaking artists the Catholic religion offered an especially fertile field for rebellion.
There is a kind of poetic logic in the fact that Haring's collaborations with Burroughs mark the end of his career, since it began with the mock New York Post headlines inspired by the cut-up technique Burroughs employed in Naked Lunch. The artist, furthermore, seems to have felt an intuitive sympathy for a surrealistic juxtaposition of images - partly inspired by his own use of hallucinogenic drugs, but also by his acquaintance with the works of Burroughs and the Beat-generation poets. A sentence from Burroughs' Soft Machine, published in 1962, might almost describe a composition by Haring: "Carl walked a long row of living penis urns whose penis has absorbed the body with vestigial arms and legs breathing through purple fungoid gills..."12 Haring had known Burroughs' work long before the two first met in 1983. In 1986, the artist told an interviewer that the author was "very into a lot of the world I've depicted, especially in the recent things - sex, mutations, weird science fiction situations."13 Erotic grotesquerie mixed with Christian symbolism characterized the works of both men. Timothy Leary, self-proclaimed guru of the acid age, remarked of the first Haring-Burroughs collaboration, Apocalypse, that it was "like Dante and Titian getting together."14 Dante and Hieronymous Bosch, whom Haring greatly admired, might seem the more appropriate parallel for works redolent with a sense of doom.
On March 20, 1987, Haring made the following remark in his journal: "I always knew, since I was young, that I would die young. But I thought it would be fast (an accident, not a disease). In fact, a man-made disease like AIDS. Time will tell that I am not scared. I live everyday as if it were the last. I love life."15 That affirmative note is sounded throughout the artist's work, the numerous interviews he gave, the social activities he sponsored, the texts he composed. Yet in the same journal entry which included the vigorous assertion of his love for life, Haring composed the following reaction to the news that the policemen accused of killing Michael Stewart had all been acquitted:
I hope in their next life they are tortured like they tortured him. They should be birds captured early in life, put in cages, purchased by a fat, smelly, ugly lady who keeps them in a small dirty cage up near the ceiling while all day she cooks bloody sausages and the blood spatters their cage and the frying fat burns their matted feathers and they can never escape the horrible fumes of her burnt meat. One day the cage will fall to the ground and a big fat ugly cat will kick them about, play with them like a toy, and slowly kill them and leave their remains to be accidentally stepped on by the big fat pink lady who can't see her own feet because of her huge sagging tits. An eye for an eye... 16
Like a Bosch-Burroughs vision, the passage indicates the rage Haring could experience when confronted with social and political injustice. For an understanding of the artist's oeuvre as a whole, however, it is important to observe that in the journal entry for a single day, remarks of a tender, Christian-like nature - "I'm sure when I die, I won't really die, because I live in many people,"17 - are followed by fulminations of Old Testament rage. Yet this dichotomy in no sense represents a contradiction; far more, it is symptomatic of the complexity of the artist's vision. It is an underlying duality which make the early works more than naive cartoons, the late ones more than angry odes to man's mortality. Fitted out with the wings necessary to ascend into heaven and the shackles drawing him down into the fire and brimstone of hell, Keith Haring demonstrated an astonishingly precocious grasp of the inherent ambiguities of his generation, of his age. He was the loving, lusting, break-dancing, quintessential American boy, but also an untiring, uncompromising social critic, and he was doomed to die young of a disease that decimated his generation. "Nothing lasts forever," as he noted in one of his final journal entries. "And nobody can escape death."18
It's common for a walk into Cambridge town centre during summer to involve crossing a park with plenty of flowers. Christ's Pieces is particularly good with a multitude of plants that are great ammunition for a flick of the MX button. Shot the second layer in front of King's College.
Christian Music Video | "Thanks and Praise to Almighty God" | Live in the Light of God
www.holyspiritspeaks.org/videos/praise-to-Almighty-God-mv/
I
We have been brought before God. His words we eat and drink.
Holy Spirit enlightens, we understand truth God speaks.
Rituals of religion, we’ve cast them off, all those bonds.
Unrestrained by rules, our hearts released.
And we are happy as can be, living in God’s light,
happy as can be, living in God’s light.
Thanks and praise to Almighty God,
who expresses truth to all mankind.
Thanks and praise to Almighty God,
we have a way to change,
and our vague faith subsides.
We sing praise, oh.
II
We closely follow God, kingdom training we accept.
God’s judgments are like a sword,
disclosing thoughts that we have.
Arrogance, selfishness, and falseness are not concealed.
Only then I see my truth. Ashamed I fall to God, revealed.
Thanks and praise (oh, thanks to God) to Almighty God,
who expresses truth to all mankind.
Thanks and praise to Almighty God,
we’re face to face with God,
and in His joy we rejoice.
Thanks and praise (thanks and praise) to Almighty God.
You are holy, You are righteous, oh.
My desire is to practice truth (practice truth),
forsake the flesh, to be reborn (be reborn),
comfort Your heart.
Thanks and praise to Almighty God,
Your judgment has me truly saved.
Thanks and praise to Almighty God,
my disposition has changed.
Because of You, I am blessed, oh, I’m blessed.
from Follow the Lamb and Sing New Songs
Terms of Use en.godfootsteps.org/disclaimer.html
Christ's College, Canterbury is an independent Anglican secondary day and boarding school for boys, located in the city centre of Christchurch, New Zealand.
Founded in 1850 by Reverend Henry Jacobs in Lyttelton as a school for early settlers, college is the oldest independent school in the country. The college currently caters for approximately 647 students from Year 9 to Year 13.
Christ's College is an International Member of The Headmasters' and Headmistresses' Conference (HMC). The Headmasters' and Headmistresses' Conference (HMC) represents the Heads of the leading independent schools in Ireland and the United Kingdom and International schools mainly from the Commonwealth. Christ's College is one of only three member schools in New Zealand.
Christ's College (formerly Christ's College Grammar School) was established in 1850 and directly modelled on the pedagogic vernacular of English public schools, such as Eton College and Radley College. The school was most likely named Christ's College by James FitzGerald, Canterbury's first Superintendent, after his old College at Cambridge (Christ's College, Cambridge). At its foundation, the school was run from two rooms at the immigration barracks at Lyttelton, and the emphasis was on a classical education, including Greek and Latin, Modern languages, Mathematics, English, History and Geography. Students were also expected to conduct scientific experiments, to draw and sing. It used to be closely associated with the Lyttelton Collegiate Grammar School which was also located in the Lyttelton Immigration Barracks.
The school left Lyttelton in 1852 and moved over the hill to the St Michael's parsonage in Oxford Terrace with 16 students. Henry Jacobs, the first headmaster, ensured that his school enabled both boarders and day boys to attend.
Christ's College moved to its present site in 1856, with 35 pupils and a staff of three. This location, adjacent to the Government Domain (now Hagley Park), provided the college with room to expand, and the school gradually began to acquire additional buildings. The first of these building were wooden, providing homes for the staff and their families and an increasing number of boarders. By 1863, Big School, the first of the stone buildings, had been built on the west side of the quadrangle in which all classes were taught (in present-day it is the school's library with additions by Sir Miles Warren and currently the oldest educational building still in use in New Zealand), followed in 1867 by the Chapel. The school developed slowly around this central quadrangle, and today the 'quad' is treated with reverence, and therefore students are not permitted to walk on it, only staff members and permitted visitors. The Cathedral Grammar School used to be the Lower School of Christ's College when it struggled financially from 1895 to 1922.
In its early days, the college taught boys as young as six, with each boy arriving with a different level of education. Subsequently, there was a wide age range in many classes and, until the number of classrooms increased, they were all taught together.
The school motto, Bene Tradita, Bene Servanda in Latin translates to "good traditions, well maintained".
The Metropolitan Cathedral of Christ’s Nativity, located in Chișinău, Moldova, is the main Orthodox cathedral of the country and serves as a significant religious and cultural landmark. Built in 1830 under the direction of architect Avraam Melnikov, the cathedral was commissioned by Prince Mikhail Semyonovich Vorontsov, then Governor of Bessarabia. It was designed as part of a broader effort to establish Orthodox Christian influence in the region, which was then under the Russian Empire’s control. Over the years, the cathedral has witnessed various historical changes, including damage during World War II and suppression of religious activities during the Soviet era when it was repurposed as an exhibition hall. After Moldova’s independence in 1991, the cathedral was restored to its original purpose and remains a central place of worship for Orthodox Christians in the country.
Architecturally, the cathedral is a prime example of Neoclassical design, characterized by its symmetry, simplicity, and grandeur. Its exterior features a large central dome, symbolizing the heavens, supported by a rectangular base. The entrance is marked by a prominent portico with six Ionic columns, giving it a stately and elegant appearance. The cathedral's bell tower, originally built separately from the main structure, was destroyed during World War II but was reconstructed in the early 2000s to restore the integrity of the original layout. Inside, the cathedral is adorned with frescoes, chandeliers, and a richly decorated iconostasis, reflecting traditional Orthodox Christian artistic influences.
Gurry was kind enough to provide lots of information on this sculpure.
"This sculpture is by Steinunn Thorarinsdottir and the name of it is "Calling". The person in the image is making the sign of the cross on the chest, actually the cross is a slit through the sculpture filled with glass and in a certain light it shines through"
In the background you can see Landakotskirkja.
Supper at Emmaus is a 1525 oil on canvas painting by Pontormo and now in the Uffizi in Florence. It is one of the smallest works signed and dated by the artist, in this case on the abandoned scroll in the foreground.
The work's chiaroscuro, high light-source, realism and freeze-frame composition proved an important precedent for Caravaggio, Velázquez and Francisco de Zurbarán.
It was originally commissioned by prior Leonardo Buonafede for the forestry refectory or the dispensary at the Certosa del Galluzzo near Florence, both places intended for welcoming and feeding guests, hence its subject. Two years earlier the artist had taken refuge from the plague there. Several preparatory drawings survive in the Uffizi's Gabinetto dei Disegni e delle Stampe (n. 6656F r e v), the British Museum (1936-10-10-10) and the Staatliche Graphische Sammlung München (nn. 14043 r e v, 14042 r e v). Vasari's Lives of the Artists stated his admiration both for the paintings and for the "German manner" of the frescoes in the Certosa's cloisters (slightly earlier than Pontormo's painting).
The composition is based on a print from Albrecht Dürer 1511 Small Passion series, particularly in Christ's pose and the large tricorn hat worn by Cleophas, the right-hand disciple. Both works represent Christ blessing the bread, his last act before disappearing from the disciples according to the Gospel of Luke. At the top is an eye in a triangle, alluding to the Holy Trinity and the risen Christ's divine nature. It also appears in a copy of Pontormo's work by Empoli still at the Certosa and so it is thought to have been added to the original work by Empoli to mask its three-faced symbol of the Trinity, a symbol banned by the Counter Reformation. In the background are portraits of five of the Certosa's monks at the time the work was produced, including (far left) Buonafede himself, with his left hand raised in a gesture echoing Christ's. He is also shown in Rosso Fiorentino's Spedalingo Altarpiece, now in the same room at the Uffizi.
Its realism in showing everyday details such as the dog and two cats at bottom left, the shining metal plate, the linen tablecloth and the transparent glass bottle owes much to Northern European art of the same era. The high light-source also refers to paintings of the Ascension and the lamp of truth, whilst the tonality and treatment of colour is typical of Pontormo.
Copyright © Sir Cam 2009. All rights reserved. Email: camdiary [at] yahoo.co.uk
A set of six new Royal Mail stamps out today to mark Charles Darwin's bicentenary of birth and the 150th anniversary of the publication of "On the origin of Species". Darwin (12 February 1809 - 19 April 1882) studied at Christ's College, University of Cambridge from 1828 to 1831. Final in this Darwin series:-)
Trying out the Canon Macro 100mm f/2.8. Hence the excellent DoF:-)
Built 1852 - 1873 Architects - William Thomas & Henry Langley .... in English Gothic style .... The cathedral at 252 James Street North, known as Christ's Church Cathedral, is situated at James Street North and Barton Street in the City of Hamilton. The sandstone building was designed in the Decorated Gothic style by architects William Thomas and Henry Langley and was constructed in stages from 1852-1873 ....
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I am pleased to put my most recent design on sale for $99L at my BamPu Legacies Shop
Hurry before the sale ends sometime this week! There are lots of other items on sale, too, including new Lucky Letters!
Enjoy!
Bambi Chicque
Designer ~ BamPu Legacies
& SL Blogger
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2009 Review. The University's 800th Anniversary year included another big event: the 200th anniverary of Charles Darwin's birth. A new sculpture of the young Darwin was unveiled at Christ's College, Darwin's college, on February 12 (the day of his birth). Various Darwin events were held throughout the year (the 150th anniversary of his Origin of Species was also in 2009).
It's interesting how this photo has come out. It looks like a tilt and shift effect but it isn't. It's all life size here! One can go and sit on the bench right next to Darwin:-) One can also visit Darwin's student room in the college, which was opened to the public as a part of the bicentenary celebrations.
Alvise Vivarini (Venice, between 1442 and 1453 - Venice, between 1503 and 1505)) - crucifixion with Mary Magdalene and devotee (1473) - tempera on panel 47.8 x 29.3 cm. - Poldi Pezzoli Museum, Milan
La tavola era forse parte di un polittico o di un paliotto andato disperso. La monaca in ginocchio, che prega ai piedi della croce, è la committente dell'opera, ed è stata dubitativamente identificata con una donna della nobile famiglia veneziana dei Contarini, ritratta in un celebre dipinto di Jacometto Veneziano (oggi a New York, Metropolitan Museum of Art). Alvise Vivarini, alla cui attività giovanile è stata recentemente assegnata l'opera, databile intorno al 1475, fu l'ultimo rappresentante di una delle grandi botteghe familiari veneziane, fondata a Murano dal padre Antonio e condotta successivamente dallo zio Bartolomeo. Appare notevole in questa tavola, l'idea compositiva, con le croci in primo piano, su un terreno roccioso, e l'aprirsi, subito dietro, di un ampio paesaggio. La minuziosa descrizione dei colli alberati e dei sentieri che li percorrono, mostra una vena aneddotica, particolarmente nel gruppo di viandanti e cavalieri, sulla destra, condivisa da molti pittori veneziani in questi anni. Il disegno appare netto, quasi tagliente: si veda il profilo fortemente marcato del torso di Cristo, o la resa dell'anatomia dei ladroni. Sono tratti di stile che derivano ad Alvise dalla conoscenza della pittura padovana, e in particolare di Andrea Mantegna; dalla medesima tradizione deriva un'accentuazione dell'aspetto drammatico ed espressivo, nella rappresentazione del volto del cattivo ladrone, sulla destra, o del volto piangente della Maddalena. La gamma cromatica fredda e squillante è quella tipica della bottega dei Vivarini, che il giovane pittore mostra di aver assimilato dal padre e dallo zio; egli è però già fortemente influenzato, almeno nell'impianto della scena, dai modi del maggior maestro veneziano dell'epoca, Giovanni Bellini, la cui opera sarà determinante, soprattutto negli anni successivi, per il suo sviluppo stilistico
The panel was perhaps part of a polyptych or an antependium that has gone missing. The kneeling nun, praying at the foot of the cross, is the commissioner of the work, and has been dubiously identified with a woman of the noble Venetian Contarini family, portrayed in a famous painting by Jacometto Veneziano (now in New York, Metropolitan Museum of Art). Alvise Vivarini, to whose youthful activity this work, datable to around 1475, has recently been assigned, was the last representative of one of the great Venetian family workshops, founded in Murano by his father Antonio and later conducted by his uncle Bartolomeo. In this panel, the compositional idea is remarkable, with the crosses in the foreground, on a rocky ground, and the opening, immediately behind, of a wide landscape. The meticulous description of the tree-lined hills and the paths that run through them shows an anecdotal vein, particularly in the group of wayfarers and horsemen on the right, shared by many Venetian painters in those years. The drawing appears sharp, almost cutting: see the strongly marked profile of Christ's torso, or the rendering of the anatomy of the thieves. These are style traits that derive from Alvise's knowledge of Paduan painting, and in particular of Andrea Mantegna; from the same tradition comes an accentuation of the dramatic and expressive aspect, in the representation of the face of the bad thief, on the right, or the weeping face of Mary Magdalene. The range of cold, bright colors is typical of the Vivarini workshop, which the young painter shows he has assimilated from his father and uncle. However, he is already strongly influenced, at least in the layout of the scene, by the manner of the greatest Venetian master of the time, Giovanni Bellini, whose work will be decisive, especially in later years, for his stylistic development.