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St Laurence's Catholic Church on the corner of Ogilvy and Brumley Streets, Leongatha is named after Lorcán Ua Tuathail, also known as St Laurence O'Toole (1128 – 14 November 1180) the Archbishop of Dublin at the time of the Norman invasion of Ireland. He played a prominent role in the Irish Church Reform Movement of the 12th century and mediated between the parties during and after the invasion. St Laurence's Catholic Church was officially opened on 16 November 1913 after Bishop Patrick Phelan of the Sale Diocese had laid the foundation stone on the 26th of April. Dr Mannix, Coadjutor Archbishop of Melbourne preached the occasional sermon at the Pontifical High Mass, which was celebrated by Bishop Phelan who dedicated the Church to St. Laurence O'Toole.
The original plans for the Catholic Church prepared by Melbourne architect, Charles I. Rice, were for a brick building in the Romanesque Style including a belfry with an estimated cost of £7,000. It was decided to proceed with only part of the original plan, omitting the belfry, sanctuary and part of the nave, and the modified building was constructed by F. and E. Deague of Fitzroy for the sum of £3,200. In 1938, the present cream cement render was added to the exterior.
The construction of the church to replace the original wooden building of 1895 was the highlight of the ambitious building program initiated by Dean P. J. Coyne soon after he was appointed to the newly created Leongatha Parish in 1901, which began with the construction of the Presbytery in 1904. After the construction of the new Church, the old wooden church was moved to a site adjacent to the Presbytery and renovated to become the new Catholic School. The adjacent convent was completed in 1914 and was followed by the final building, the new Church Hall, in 1927. Dean P. J. Coyne was held in high regard by his Parishioners, and the title of Monsignor was conferred by the Pope in 1933. When he died in September of the following year, his remains were interred in the grounds of the Church and a memorial erected.
St Laurence's Catholic Church at Leongatha is a rendered brick structure with a gabled terra cotta shingle roof. It has a notable Spanish Baroque south front with a matching porch now under reconstruction in an extended form. Centrally on the ridge stands a tall louvered lantern capped by a cupola. The church is a simple gable with no aisles and the nave is lit by semi-circular arched windows with arched tracery in each bay which is defined externally by piers with capitals. At the front and side boundaries, the original cast iron fence with rendered piers, basalt base and wrought iron gates remain. A steel belfry behind the fence to the east has been removed. The building was originally in brick, with only the mouldings rendered, in which form it approaches the Romanesque “blood and bandages” style, but the south front is closer in form to a Dutch colonial or Spanish Baroque in form. In rendered form it has a strong impression of Spanish Mission style. The omitted belfry may have given further clues. The front facade is symmetrical with a full width projecting porch. It steps through two major levels, each defined by intersecting piers and scrolls. It is divided into three parts by piers at the side and piers flanking a central segmental three part window. The side piers have half round caps while the inner piers have scrolls against the raised pediment. The pediment is capped with a cross mounted on a projecting pedestal. The central window has a wide architrave and heavy hood mould with brackets above it. To either side are oculi windows. The porch front is divided into three parts with half round capped piers, the central panel containing the arched entry door and a triangular parapet with a central rendered arched panel containing a cross. The side panels have arched windows and semi-circular pediments.
The interior has a segmental barrel vault ceiling, paneled with strong arches at the caps of pilasters defining each window bay. The piers have ionic capitals below a string course defining a wide blocking course with a Baroque capital bearing a shield and flanked by elaborate scrolls. In the cove above, below the segmental arch, are further plaster decorations around a shell motif focused on the pilasters. Cast plaster stations of the cross are hung on either side of the pilasters. Across the south end of the nave, one bay deep is a balcony carried on a pair of cast iron columns on either side of the central aisle. This has a bulging ogee balustrade decorated with elaborate plaster swags, scrolls and shields and has a central projection over the aisle. The architrave below the balustrade is decorated with swags meeting at plaques with full relief babies faces. The ceiling panels have large suspended circular plaster panels concealing vents in each structural bay. The balance of the bay is decorated with scroll panels with a central motif and arched ends against the cove. The whole of the plaster decorations are picked out in elaborate paint work and gilding.
Leongatha is a town in the foothills of the Strzelecki Ranges, South Gippsland Shire, Victoria, Australia, located 135 kilometres south-east of Melbourne. The town is the civic, commercial, industrial, religious, educational and sporting centre of the region. The Murray Goulburn Co-operative Co. Limited, is a farmers' co-operative which trades in Australia under the Devondale label, and has a dairy processing plant just north of the town producing milk-based products for Australian and overseas markets. First settlement of the area by Europeans occurred in 1845. The Post Office opened as Koorooman on 1 October 1887 and renamed Leongatha in 1891 when a township was established on the arrival of the railway. The Daffodil Festival is held annually in September. Competitions are held and many daffodil varieties are on display. A garden competition is also held and there are many beautiful examples throughout the provincial town. The South Gippsland Railway runs historical diesel locomotives and railcars between the market and dairy towns of Nyora and Leongatha, passing through Korumburra.
A Hand Knitted Things Design - Free pattern available.
Blogged handknittedthings.blogspot.com/2010/11/indie-circular-sca...
Circular Quay is a harbour in Sydney, New South Wales, Australia on the northern edge of the Sydney central business district on Sydney Cove, between Bennelong Point and The Rocks.
Tonights project Circular Quay
Canon 5Dlll +
17-40mm 1.4 L
30” /F6.7/ ISO 200
Waymarker for the Chess Valley Walk, Chenies, Buckinghamshire.
Hertfordshire GOC's 9 May 2015 walk, of 10.3 miles, a circular route in Hertfordshire and Buckinghamshire, in and around Chorleywood, Sarratt Church End, Latimer, Chenies Bottom and Sarratt Bottom. David W was the walk leader and 12 people attended. Please check out the other photos from the walk here, or to see my collections, go here. For more information on the Gay Outdoor Club, see www.goc.org.uk.
The circular staircase at the WA museum.WA Museum Boola Bardip -Boola Bardip means many stories in Whadjuk Nyoongar; the Country on which the Museum sits.The new WA Museum Boola Bardip opened in the Perth Cultural Centre on Saturday 21 November 2020 with nine-days of celebration.
Silver with niello, 4th-5th century B.C.E.
D. 25 cm.
Enclosed within a roundel in the center of this plate is the image of a feline, perhaps a leopard, stalking his prey. The feline's head is lowered and tail slightly raised, its body is close to the ground, and the impression is one of considerable realism and tension. Inlaid into irregularly shaped cavities representing the body fur are the remains of niello. There are traces of gilding in the grooves of the central circular border, and it is likely that the animal figure was gilded as well, although no traces remain.
In form, the vessel is a deep plate with a sharply upturned and distinctively flattened rim. On the reverse a line is chased below the rim, and within the small foot ring is a single compass point surrounded by two concentric circles.
Allegedly found in Iran, the plate lacks a certain provenance, and the determination of the date and the original place of manufacture is difficult. Features common to this vessel and to central Sasanian silver vessels are such non-decorative tool marks as the exterior rim line and double concentric circles on the exterior center. The flattened rim of the plate and the decoration, a central medallion surrounded by a molding, are also characteristic of early Sasanian silver vessels decorated with images of noble and royal male and female personages.1 Some of these features, notably the central medallion decoration and modulated frame, are derived from the Hellenistic and Eastern Roman world and appear on vessels found in Anatolia and Syria as late as the seventh century A.D.2 Moreover, the realism of the feline's stance and irregularly depicted fur are more typical of artistic styles in the West and further east in Bactria than in the Sasanian world. The presence of niello inlay on silver vessels is common as early as the fourth century on Roman silver but occurs with some frequency in the Sasanian east only in the fifth to seventh centuries.
The medallion image as a type of decoration is rare on late Sasanian silver vessels (fifth-seventh century A.D.). A unique example in the Shumei Collection (cat. no. 49) has a central medallion in which the image of the Sasanian king Khosro I (A.D. 531-79) appears. The border of the medallion generally corresponds to the modulated frame surrounding the medallion on the plate with a feline; but the profile of the vessel, flat rather than bowl-like, is different. The plate decorated with the royal Sasanian image is a work influenced by the art of Late Antique Anatolia and Syria, where both the central medallion motif and the wavy-line pattern on the exterior are more commonly found on sixth- and seventh-century silver vessels than on those from Mesopotamia or Iran.
The significance of the image of the feline is difficult to assess without knowing the cultural context, Sasanian or East Roman. In an Iranian context the feline might have been intended simply to represent the hunt or game park, primary royal symbols of the Sasanian world.
Throughout the Sasanian period, but particularly in the third and early fourth centuries and again in the sixth and early seventh centuries, diplomacy and conquests led to intense interaction between Sasanian Iran and Mesopotamia and the neighboring lands to the west, Syria, Georgia (Caucasus), and Armenia. The craftsman who produced this plate decorated with a stalking feline was familiar with artistic styles current in both the western Sasanian and eastern Roman worlds. In western Mesopotamia, Syria, Anatolia, and the Caucasus Mountain region, the cultures of Rome and Persia met, and artisans familiar with both traditions produced prestigious works of art for their royal clients. The similarity of this plate decorated with a stalking feline to the Sasanian medallion bowls of the third and early fourth centuries, in form, decorative details, and techniques of manufacture, may point to a date as early as the fourth or fifth century for this vessel made in the tradition of the Eastern Roman and Sasanian worlds.
POH
1. Harper and Meyers 1981, pls. 1, 3, 4, 6, 7.
2. Strong 1966, p. 111, pls. 48b, 49; Mango 1986, pp. 273-74; Toynbee and Painter 1986, pl. XV, nos. 33, 34; pl. XVII, no. 38; pl. XX, nos. 48, 49; pl. XXI, no. 53.
Text and image from the website of the Miho Museum.
Insomnia in einer Neumondnacht
Im Zirkelschluss gefangen sein
In altbekannten Konfusionen
Ohne Nachschub an Konklusionen
Eingeloggt und eingelocht
Wiederholt wiedergekaut
Nicht schlafen können
Nicht aufhören können
In einer leeren Neumondnacht
Ist viel
Ist alles viel zu viel
Zum Schlafen viel zu viel
Insomnia at new moon
Imprisoned in circular reasoning
In long familiar confusions
No newly supplied conclusions
Logged in and locked up
Repeated and rehashed
Unable to sleep
Unable to stop
On an empty night of the new moon
So much,
It's all much too much
To sleep, much too much
- Insomnia, Einstürzende Neubauten
Graffiti, Belsize Road
(replaced with a fractionally tighter crop for the Squared Circle group)
Titicaca, Puno - Peru
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check out my albums: www.flickr.com/photos/98695215@N05/sets/
Grunge textured flag of Tennessee on vintage paper
EDIT 4/22/2013: This grunge flag is now released under a standard Creative Commons License - Attribution 3.0 Unported. It gives you a lot of freedom to use my work commercially as long as you credit and link back to the same free image from my website, www.freestock.ca
Vitellius Imperator, 2 January – 18 April 69
d=20 mm
Aureus, Tarraco 2 January – 18 April 69, AV 7.70 g. A VITELLIVS – IMP GERMAN Laureate bust of Vitellius l., with globe at point of bust. Rev. L VITELLI – COS III CENS Laureate and draped bust of Lucius Vitellius l., with eagle-tipped sceptre in front. C 1 var. (GERMANICVS) = BMC p. 386, note ‡ var. CBN –. RIC 7 var. (GEMANICVS and CENSOR). Calicó 567 ( T. C.).
An apparently unique variety of an extremely rare type. Marks on the edge,
good very fine
Lucius Vitellius, who is portrayed on the reverse of this aureus struck by his son, the emperor Vitellius, was the most successful politician of his age. However, that was a dubious distinction: during his lifetime it earned him praise and rewards, but afterward, Tacitus tells us, he was despised for his methods. He was principally concerned with personal gain, regardless of the expense to his pride. The fact that he was the one who instituted the practice of Caligula’s worship as a god, and was one of the leading proponents of Claudius’ final marriage to his niece Agrippina Junior tells us a great deal about his personality: no idea was too far-fetched if he benefited as a result. The elder Vitellius was a familiar figure at court during the reign of Claudius, and he virtually ran the government when that emperor was leading the invasion of Britain. When entering the Imperial presence he would uncover his head, prostrate himself and avert his gaze. He pursued and flattered Imperial ladies, including Antonia (who he apparently tried to marry) and Messalina, the third wife of Claudius, before whom he would grovel and request the honor of removing her shoes and kissing them. Despite the mixed legacy of his father, Vitellius the emperor did not hesitate to use him as proof of his own fitness to be emperor, as this aureus, struck before Vitellius even became emperor, attests. This speaks volumes of the ambitions that the younger Vitellius, for he hardly could have had fond memories of his father, who volunteered him for the troop of male prostitutes who served Tiberius during his self-exile on Capri. Lucius Vitellius’ career was varied: he helped lead the Roman armies in Armenia in 18, served as Legate of Syria from 35 to 37 (during which he deposed Pontius Pilate in Judaea), and he was consul in 34 under Tiberius and in 43 and 47 under Claudius. An attempt to prosecute Lucius Vitellius failed in 51, late in the reign of his greatest benefactor, Claudius, and it is believed that he died soon thereafter.
NAC33, 442
The world as pure object is something that is not there. It is not a reality outside us for which we exist. . . . It is a living and self-creating mystery of which I am myself a part, to which I am myself, my own unique door. When I find the world in my own ground, it is impossible for me to be alienated by it. (Contemplation, 154–55).
-Thomas Merton
South Bank, London
April 2018
Mamiya RZ67 Pro II, 110mm f/2.8
Ilford Delta 400
Home-developed with Jobo CPE-3 and Ilfosol-3 (1+14, 10'15")
and digitzed with Nikon D800E/60AF-S micro, 2 frames stitched.
I really dig this piece. I like the composition. I need to do more of these in the future. This is a test of my new Gothic typeface. More on the typeface later.
This was inked with a 6mm Pilot Parallel Calligraphy Pen. It was then computer processed to create the circular effect and add the centre S logo.
The repetition in design gives this piece some interest. And from a graphic design standpoint it is actually quite simple to create.
I have three different images to display this. Two are photographs of the printed work. This was a really fun piece to create.
If you are interested in Gothic Calligraphy, consider my three day LIVE course in Toronto at: torontocalligraphyguild.org/2014/04/18/learn-gothic-calli...
Sign up soon if you are interested, or pass this onto a friend. The courses are so much fun.
Cheers
Steve