View allAll Photos Tagged Colossal
This is the crew that does many of the Manhattan commercial hand painted murals.
Photo taken Nov. 2018
I heard that they executed the Banksy mural in SoHo on his first trip to the USA. They also do the Gucci murals on Lafayette Street in Lower Manhattan.
Based on the Colossus from the game Fractured Space. Couldn't think up any lore for this one but its been on my shelf for ages. I think the overall shape is somewhat accurate to the Colossus, but at this scale its hard (for me anyway) to do details. Might be worth revisiting.
So Colossal is a movie that I really wanted to see after seeing the first trailer. I guess this movie came out a few weeks ago, but hey, better now than never! Anyways, I don’t have much to say in his intro because I didn’t really know much about this film going into it! Now was that a benefit, or was this film a waste of my time? Let’s check it out!!
Good: If there’s one word I could describe this movie with, it’d be “creative.” This is such a cool and original idea for a low-budget science fiction movie! I don’t want to spoil anything of why it’s creative, because I believe it’d be better if some things in this movie come as a surprise. It’s always such a pleasant surprise when I see movies like this at my independent movie theater, it happened last year with Midnight Special! I was really surprised that the CGI was good with the monster in this movie because of what kind of movie this is. The performances in this movie were good. There was some great humor and some really well written dialogue, which made the more human parts of this film watchable. I could see this movie go bad if this movie wasn’t based in a real and somewhat relatable (not to me, but just in general) storyline. Anne Hathaway, the main character, is going through some tough stuff in life and makes the monster part of the movie a personified entity of her problems.
Bad: My biggest complaint of this movie is that there are some serious pacing issues. I feel like certain characters make these drastic turns without any explanation. It feels like at some point in the movie, they had to make this amazing and shocking reveal for a character, but it sacrifices the overall tone of the movie that was previously established in the film. Also I wasn’t so on board with Anne Hathaway’s performance as an alcoholic, she just doesn’t really fit that kind of character. It didn’t bother me too much, it just took me out of the film at times.
Overall, there’s not much to say about this film. It’s really creative and I had a fun time watching it, but I don’t really myself revisiting it due to the odd pacing of the second half of the film. For that reason, I’m giving Colossal a 7.5/10. You know, people complain these days that there aren't enough original films, but that's just because they haven't been looking hard enough! I’d say you should go check this film out because of how original it is and go support independent film!
Almost every single component of the Flavel mansion seen here came from a carpenter's shop.
It would be a colossal job to build a precise replica of this building today even with our power tools.
In 1885 carpenters did have access to a variety of treadle tools, particularly saws and scroll saws. One wonders how much effort it would have taken to cut the many scrollwork designs seen here. The operators of treadle saws must have developed powerful muscles in one leg and, quite possibly, repetitive motion injuries.
However, a power tool was of little use unless the carpenter knew how to apply it to achieve the desired result. The crisp, repeating, and symmetrical designs have little or no margin for error.
I wish I knew how many carpenters were employed in creating the fancy wooden trim for the Flavel mansion, and how the carpentry shop was organized and managed. I hope for their sake that the carpenters had a fair amount of variety in their work. Imagine being the person responsible for every turned ornamental ball finial on the entire mansion!
Now that I think of it, I wonder where the carpentry shop was located. There was ample room for one on the ample lot. If that is where it was, I wonder whether any archaeological remains still exist that would be worth investigating.
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Flavel House History
The Flavel House Museum was the home of Captain George Flavel (1823-1893), one of Astoria’s most influential citizens in the late 1800s. Captain Flavel was a noted bar pilot on the Columbia River and a prominent businessman.
His Queen Anne style house was designed by German-born architect Carl W. Leick and was completed in the spring of 1886 as his retirement home.
The Captain lived here for seven years with his wife Mary Christina Boelling (1839-1928) and his two grown daughters, Nellie and Katie. The couple’s son, George Conrad Flavel, never lived in his parent’s new residence as he was already married and living in a house of his own.
The house remained in the family until 1934 when George and Mary’s great-granddaughter, Patricia Jean Flavel, gave the property to the city as a memorial to her family.
In 1936 there was talk of tearing the house down and establishing an outdoor community park on the property. However, the city had financial difficulties and decided to return the property to Patricia Flavel. That same year the residence and grounds were deeded to Clatsop County with the understanding that both would be kept in good repair and used for public purposes.
From 1937 through World War II, the Public Health Department, the Red Cross, and the local Welfare Commission all had offices in the house.
In 1951, there was once again the talk of tearing the house down, this time to make way for a parking lot for the County Courthouse.
Concerned citizens organized to save the home, and the Flavel House was made into a local history museum managed by the Clatsop County Historical Society while still under the ownership of the County.
Eventually, the County transferred full ownership of the property to the Historical Society.
About the Interior
The Flavel House is approximately 11,600 square feet and consists of two and a half stories, a single story rear kitchen, a four-story tower, and a full basement.
The interior woodwork around the doors, windows, and stair-cases are Eastlake-influenced in design. The Douglas Fir doors, moldings, and wainscoting were faux wood-grained by a master craftsman to look like exotic hardwoods such as mahogany and burl rosewood. The wood likely came from a mill in Portland or San Francisco and was shipped to Astoria by steamer.
Six fireplaces grace the home and feature different imported tiles from around the world, elaborate hand-carved mantels, and a patterned metal firebox designed to burn coal.
The fourteen-foot high ceilings on the first floor and the twelve-foot high ceilings on the second floor are embellished with plaster medallions and plaster crown moldings.
The house was very modern with wall-to-wall carpet-ing, gaslighting, indoor plumbing, and a central heating system.
The First Floor is comprised of the public rooms such as the grand entrance hall, the formal parlor, the music room (the scene of musical recitals by the Flavel daughters), the library (the heart of the house), the dining room, and the conservatory. The butler’s pantry, the kitchen, and the mudroom make up the housekeeping area.
The Second Floor features the main bathroom, five bedchambers, and a small room used as a sewing room or storage room.
The Attic Floor is a large, unfinished area with two small plain bedrooms used by the Flavel’s domestic help.
The tower gave the Captain a broad view of Astoria and the Columbia River to keep an eye on the local ship traffic.
The Basement of the house originally had a dirt floor and contained a large wood-burning furnace.
About the Exterior
The Flavel House rests on park-like grounds covering an entire city block. It has been listed on the National Register of Historic Places since 1951.
The Queen Anne architectural style, popular from 1880 to 1910, can be seen in the house’s steeply pitched roof, patterned shingles, and cut-away bay windows.
Other characteristics of the Queen Anne style are the octagonal-shaped tower, the one-story wrap-around porch, and its asymmetrical facade.
Decorative elements of the Stick and Italianate styles are also apparent in the vertical stickwork, the bracketed eaves, and the hooded moldings above the windows and doors.
Outlining the roof and verandas of the house is the original wrought-iron cresting.
About the Carriage House
The Carriage House was built on the south-west corner of the property in 1887. It served as the place where the family kept their carriage, sleigh, and small buggies.
It also had three temporary holding stalls for their horses, a tack room, and a hayloft upstairs.
In the mid-1890s, the Carriage House was home to the family’s hired caretaker, Alex Murray.
In time, automobiles, including the Flavel’s Studebaker sedan, found a home in the Carriage House, and the family’s driver kept a room upstairs.
Today the Carriage House functions as the Visitor Center, museum store, and exhibit hall for the Flavel House Museum and the administrative offices of the Clatsop County Historical Society.
St Georges hall in Liverpool on a fine summers day, a jewel in the British crown of architecture.
If you arrive by train, this is the first glorious sight of many to be seen in this great city.
A mi y a mi hermana nos regalaron este para navidad pero una vez me lo compre y no nos sirvió a ninguna de las dos por ende estos 2 están cerrados con su cartoncito y todo esperando a que alguien los quiera.
La verdad no se a cuanto está pero supongo que 5500 o por ahí así que lo dejo a 4mil (si no es asi avísenme para bajarlo)
The fate that befell almost all ancient bronzes, melted down in the Middle Ages due to a shortage of raw materials, has spared one group of sculptures kept on the Capitoline since 1471. These are the bronzes donated to the Roman People by Pope Sixtus IV, who ordered their transfer from the Lateran Patriarchate, marking with this act the birth of the Capitoline Museums. Among them are the precious fragments of the head, hand and globe of a colossal statue of Constantine the Great (306-337 AD), the first Christian emperor.
The gilded bronze head (mounted on a modern neck) is surprising both for its size and for the quality of execution with a refined treatment of the metal surfaces. The face, worked in broad planes, has marked features. The large eyes weighed down by bags, the expression lines and the drooping cheeks indicate that we are dealing with an image of the emperor in his mature years, presumably executed soon after his death in 337 CE. The series of holes visible in the hair, treated as a compact cap, is explained by the original presence of a crown, which we know from a medieval source to have been made of gold and adorned with precious gems.
Height: 177 cm (5 ft 10 in.)
Musei Capitolini, Rome (inv. MC1072), Sixtus IV donation (1471), formerly at the Lateran
Taken and originally posted in 2015.
In the 10th and 8th centuries B.C., these colossal sculpted lions adorned a palace in the city-state of Sam'al in what is now Turkey. They are now in Berlin's Pergamon Museum.
These were by far the largest Columbine flowers I've ever seen... They were over 3 inches wide! The Colorado Blue Columbine is the State flower of Colorado - San Miguel Mountains, San Juan National Forest, Colorado
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Colossal Cave is a large cave system in southeastern Arizona, near the community of Vail, approximately 22 miles SE of Tucson. It contains about 3.5 miles (5.6 km) of mapped passageways, and was discovered by Soloman Lick in 1879. Temperatures inside average 70 degrees Fahrenheit (21 degrees Celsius) year-round.
The cave is an ancient karst cave, classified as "dry" by guides (though this is not a speleologic term). The meaning of this is that its formations are completely dry, or "dead", and do not grow. This is because the cave was formed by water depositing limestone, but this source has disappeared. It instead feeds the "active" nearby Arkenstone Cave that continues to grow formations.
Colossal Cave was used from 900 to 1450 AD by the Hohokam, Sobaipuri, and Apache Indians. The cave was rediscovered in 1879 by Solomon Lick, the owner of the nearby Mountain Springs Hotel. He was searching for stray cattle when he discovered the entrance to the cave. The cave was then used as a guano source, and a tunnel, 25 metres (82 ft) long, was built in 1905, and a total of seven train cars of guano were filled. The deposit was soon exhausted, and the tunnel was abandoned.
Entry to Colossal Cave Park
Today the cave is a popular tourist destination as part of Colossal Cave Mountain Park. The park also features two other caves, named Arkenstone and La Tetera, which are protected and are being studied by researchers.
It took close to 20 minutes before this Great Blue Heron was able to successfully swallow this enormous catfish.
Location: Morikami Japanese Gardens, Delray Beach, Florida, United States of America
I have to say this was a sunset for the ages. I'm so very grateful I was in the right place at the right time.
Villahermosa, Parque-Museo La Venta, Colossal Head, Monument 1
The Olmec colossal heads are at least seventeen monumental stone representations of human heads sculpted from large basalt boulders. The heads are a distinctive feature of the Olmec civilization of ancient Mesoamerica. All portray mature men with fleshy cheeks, flat noses, and slightly crossed eyes; their physical characteristics correspond to a type that is still common among the inhabitants of Tabasco and Veracruz. The backs of the monuments often are flat. The boulders were brought from the Sierra de los Tuxtlas mountains of Veracruz. Given that the extremely large slabs of stone used in their production were transported over large distances, requiring a great deal of human effort and resources, it is thought that the monuments represent portraits of powerful individual Olmec rulers. Each of the known examples has a distinctive headdress. The heads were variously arranged in lines or groups at major Olmec centres, but the method and logistics used to transport the stone to these sites remain unclear.
Dating the monuments remains difficult because of the movement of many from their original contexts prior to archaeological investigation. Most have been dated to the Early Preclassic period (1500–1000 BC) with some to the Middle Preclassic (1000–400 BC) period. The smallest weigh 6 tons, while the largest is variously estimated to weigh 40 to 50 tons, although it was abandoned and left unfinished close to the source of its stone.
The Olmec civilization developed in the lowlands of southeastern Mexico between 1500 and 400 BC. The Olmec heartland lies on the Gulf Coast of Mexico within the states of Veracruz and Tabasco, an area measuring approximately 275 kilometres east to west and extending about 100 kilometres inland from the coast. The Olmecs are regarded as the first civilization to develop in Mesoamerica.
The Olmecs were the first inhabitants of the Americas to construct monumental architecture and to settle in towns and cities. They were also the first people in the Americas to develop a sophisticated style of stone sculpture. In the first decade of the 21st century evidence emerged of Olmec writing, with the earliest examples of Olmec hieroglyphs dating to around 650 BC. Examples of script have been found on roller stamps and stone artefacts; the texts are short and have been partially deciphered based on their similarity to other Mesoamerican scripts. The evidence of complex society developing in the Olmec heartland has led to the Olmecs being regarded as the "Mother Culture" of Mesoamerica, although this concept remains controversial.
The seventeen confirmed examples of Olmec colossal heads are known from four sites within the Olmec heartland on the Gulf Coast of Mexico, namely San Lorenzo Tenochtitlán, La Venta, Tres Zapotes, and La Cobata.
La Venta Monument 1 is speculated to have been the portrait of La Venta's final ruler. Monument 1 measures 2.41 metres high by 2.08 metres wide by 1.95 metres deep; it weighs 24 tons. The front of the headdress is decorated with three motifs that apparently represent the claws or fangs of an animal. Above these symbols is an angular U-shaped decoration descending from the scalp. On each side of the monument a strap descends from the headdress, passing in front of the ear. Each ear has a prominent ear ornament that descends from the earlobe to the base of the monument. The features are those of a mature man, with wrinkles around the mouth, eyes and nose. Monument 1 is the best preserved head at La Venta but has suffered from erosion, particularly at the back. The head was first described by Franz Blom and Oliver La Farge who investigated the La Venta remains on behalf of Tulane University in 1925. When discovered it was half-buried; its massive size meant that the discoverers were unable to excavate it completely. Matthew Stirling fully excavated the monument in 1940, after clearing the thick vegetation that had covered it in the intervening years. Monument 1 has been moved to the Parque-Museo La Venta in Villahermosa. The head was found in its original context; associated finds have been radiocarbon dated to between 1000 and 600 BC.
A colossal marble head of a deified Antonia Minor, daughter of Mark Antony and mother to the emperor Claudius. Made of Parian marble, it was once part of an acrolithic cult statue - which would have had a head, hands and feet of sculpted stone, but a body of wood or limestone, covered with garments of cloth or gilded bronze.
Some historians feel that may instead represent the empress Livia, wife of emperor Augustus.
It was probably discovered in Rome, and was known to be in the Ludovisi collection by the 1530s.
1st century CE.
Palazzo Altemps, Rome
A MASSIVE front pushed out the fog and low pressure we have been experiencing here in PDX over the last few weeks. It stampeded in and caused one hell of a windshear.
Hot Lobster Roll with Quinoa Salad.
Lobster, marbled cheddar, parsley & butter on a toasted ciabatta olive rye loaf.
Quinoa, feta, avocado, kalamata olives, red pepper, celery, green onion, cucumber, black beans, cilantro, olive oil, lime juice.
Made at home.
San Lorenzo Colossal Head 2, before 900 B.C.E. (Olmec), basalt, 2.69 x 1.83 x 1.05 m (Museo Nacional de Antropología, Mexico City)
Revisiting the TOU/Five Star MC 28mm f/2.8 wide angle. Took it along during Magic Hour, following another Monsoon storm.
Like to see the pictures as Large as your screen? Than why not take the Slideshow : www.flickr.com/photos/reurinkjan/sets/72157622436074363/s...
The sacred glacial lake Yilhun Lhatso, on its shores bedecked with colossal carved mani stones, many of which are the work of a local stone carver named Trador.
footprintbooks.com/guidebooks/SouthAsia.cfm?ccs=76&cs...
Tibetan: ཨོཾ་མ་ཎི་པ་དྨེ་ཧཱུྃ། Om Mani Peme Hung or Om Mani Beh Meh Hung .
H.H. the 14th Dalai Lama's definition
"It is very good to recite the mantra Om mani padme hum, but while you are doing it, you should be thinking on its meaning, for the meaning of the six syllables is great and vast... The first, Om [...] symbolizes the practitioner's impure body, speech, and mind; it also symbolizes the pure exalted body, speech, and mind of a Buddha "
"The path is indicated by the next four syllables. Mani, meaning jewel, symbolizes the factors of method: (the) altruistic intention to become enlightened, compassion, and love . "
"The two syllables, padme, meaning lotus, symbolize wisdom "
"Purity must be achieved by an indivisible unity of method and wisdom, symbolized by the final syllable hum, which indicates indivisibility "
"Thus the six syllables, om mani padme hum, mean that in dependence on the practice of a path which is an indivisible union of method and wisdom, you can transform your impure body, speech, and mind into the pure exalted body, speech, and mind of a Buddha[...]"
Colossal seas today at Boddam - this photo really doesn't do it justice. Waves were easily 50 foot and it hasn't relented all day. I'd need an underwater housing for the camera for days like this!
Quartzite.
Thebes, Funerary Temple of Ay and Horemheb.
New Kingdom, 18th Dynasty, Reigns of Tutankhamun, Ay, and Horemheb (1355 - 1315 BCE).
One of a pair, this colossal figure with features of a young man may have stood in Tutankhamun's mortuary temple. After his early death, Ay appropriated the statue and carved his name on the front belt. Horemheb, in turn, took it over for his use and reinscribed the belt with his name. The large amount of surviving paint provides a hint of its original vivid colors.
Colossal Boy: Gim Allon, member of the Legion of Super-Heroes in the 30th century who can increase his size to many times the height of a human, with proportionate increases in strength and mass.
Colossus: Piotr Nikolaievitch Rasputin, a Russian mutant who is able to transform into a metallic form of "organic steel" and is the physically strongest member of the X-Men team.
If they had to fight, who would win?
#313 in the Duel 365 series.
Head of a colossal statue of Amenophis III
Egyptian Antiquities
The New Kingdom (circa 1550 to circa 1069 BC)
This head represents Amenophis III as the king of Upper Egypt. It belonged to one of the granite colossi erected by the king in his temple at Kom el-Hettan, whose entrance was flanked by the Colossi of Memnon. This temple, now in ruins, was once adorned with a great wealth of statuary.
Amenophis III as king of Upper Egypt
The king is represented wearing the crown of Upper Egypt, or "white crown" - a sort of miter with a bulbous top. The highly polished stone, huge almond eyes (designed to be seen from below), and thick-lipped mouth are all characteristic of monumental statuary from the reign of Amenophis III. The left side of this head literally melted away under the effect of the humid ground on which it lay for centuries after the fall of the stone giant.
The great courtyard of the temple of the royal cult at Kom el-Hettan was adorned with a row of statues of this kind - in pink granite, wearing the white crown of Upper Egypt (on the east side), and in quartzite, wearing the red crown of Lower Egypt (on the west side). They were all at least eight meters high. The temple of Amenophis III at Kom el-Hettan was indisputably one of the most extraordinary edifices ever built by the Egyptians, both as regards its size (about 560 meters from east to west) and the splendid statuary that was made for it. Many of the hundreds of statues of the lioness goddess Sekhmet that were commissioned by Amenophis III definitely came from here.
Unfortunately, the temple was constructed rather carelesssly, too quickly, and on humid ground. It is now almost totally ruined, the only remaining elements being the Colossi of Memnon (16 meters high), a monumental stele, and the bases of a few columns. However, the archaeological excavations currently being undertaken at the site by the German Institute in Cairo are unearthing precious evidence of its gigantic statuary.