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Quick one for the fun of it, right near the end of the "Blue hour".
F10 25s at 18:03 PM. I should have exposed for about 35s (not 25) but the longer you expose, the more light trails and I had the trails I wanted.
Still I think we can see how quickly the blue disappears from the sky. Don't think it's a blue hour in winter. Maybe half an hour.
Captured at 50mm. I haven't tested it 'wider' yet. Will get to that sometime soon.
completion dated 20.Mai 1424 ; from the Barfüßerkirche in Göttingen ; tempera on oak ; individual scenes about 1m square ; most recently restored 1999-2005
Governor Phil Murphy attends NJ TRANSIT’s engineer completion of formal training ceremony in Kearny on January 21, 2020.(Edwin J. Torres/ Governor’s Office)
Today, federal, state, and local leaders joined JAXPORT and the US Army Corps of Engineers (USACE) Jacksonville District to celebrate the completion of the Jacksonville Harbor Deepening Project through JAXPORT’s Blount Island Marine Terminal. The project deepened 11 miles of the federal shipping channel—from the sea buoy to Blount Island—to a depth of 47 feet from its previous depth of 40 feet.
The 47-foot harbor provides the channel depth needed for larger ships to call Blount Island to and from destinations worldwide and allows existing ships calling Jacksonville to carry more cargo on board. In addition, the project includes a new turning basin allowing larger vessels to turn around at Blount Island berths.
"Florida's seaports are economic drivers for our state and serve as gateways to domestic and international markets," said Florida Department of Transportation (FDOT) Secretary Jared W. Perdue, P.E. "Through FDOT's strategic investments, our seaports continue to expand and modernize to meet the needs of Florida's growing economy and communities. The JAXPORT Harbor Deepening Project communicates to the world that Florida is open for business and demonstrates Florida's unwavering commitment to strengthen and grow supply chains while providing a safe, resilient, competitive, and dynamic multimodal transportation system."
“When JAXPORT began this deepening journey nearly two decades ago, the goal was to build the port of the future,” said JAXPORT Board Chair Wendy Hamilton. “With today’s completion of deepening through Blount Island—the future is here, and JAXPORT is equipped to meet the needs of the nation’s supply chain for generations to come.”
In coordination with deepening, JAXPORT completed more than $100 million in berth enhancements this month to enable the SSA Jacksonville Container Terminal (JCT) at Blount Island to simultaneously accommodate two post-Panamax container ships. In early 2023, terminal operator SSA Atlantic will welcome three new eco-friendly 100-gauge container cranes, bringing the JCT’s total to six.
“Anchored by harbor deepening, well over half a billion dollars in infrastructure improvements have been recently completed or are currently underway to improve our container capabilities at Blount Island,” said JAXPORT CEO Eric Green. “With the support of our federal, state, and local partners, JAXPORT is open for business and ready to serve the needs of our customers while creating local jobs here in our community.”
Deepening through Blount Island was completed three years ahead of the original project schedule. The total funding to date is $420 million funded through a public-private partnership between the federal government, State of Florida, City of Jacksonville, JAXPORT, and SSA Atlantic.
“This truly is a great public-private partnership,” Congressman John Rutherford said at the event. “The potential is amazing, but what I really love the most is while we’re here for the deepening ribbon-cutting, the Board and Eric are already talking about how we are going to make port operations even better. This is not the end of anything, this is really the beginning.”
“This project solidifies Northeast Florida as a top destination for worldwide commerce and shipping, with the ability to accommodate larger ships,” said Congresswoman Kat Cammack. “Florida, with her 14 ports around the state, continues to lead the way for maritime transportation and I’m grateful for the hard work and investment in this project, which will only create more opportunities to strengthen our supply chain and make the Sunshine State a top gateway to domestic and international destinations.”
The Jacksonville Harbor Deepening Project creates or protects 15,000 jobs throughout the supply chain, including trucking, warehousing, and distribution. The initial feasibility study for the project began in 2005, and construction started in February 2018.
“As with all Corps projects, this mammoth civil works effort was undertaken to upgrade the nation’s waterways and ports, to strengthen supply chains and promote economic growth while protecting the environment,” said USACE Jacksonville District Commander Col. James Booth. “As a result of this team effort, we expect Jacksonville harbor will grow and prosper as a preferred destination and point of departure for the largest, most cost-effective commercial fleets of the mid-21st century.”
"Jacksonville's economy and livelihood has always centered around the St. Johns River. JAXPORT has been a crucial driver of economic growth and investments in our city," said Jacksonville Mayor Lenny Curry. "The completion of this leg of a decades-in-the-making Harbor Deepening Project has required the collaboration and effort of public, private, and nonprofit spheres. It is no small feat and will kickstart the next phase of growth in our job market and investments from regional, national, and global actors."
In addition to the deepening, berth improvements, and new cranes, more than $70 million in terminal enhancements—funded by SSA and a grant from the US Maritime Administration (MARAD)— are also underway to expand container capacity at the SSA JCT. By spring of 2023, SSA will complete the first three of seven construction phases, producing approximately 31 acres of newly paved and improved operating area. The total project of approximately 93 acres will be complete by the end of 2024, allowing the SSA JCT to accommodate 500,000 TEUs (containers) annually.
“SSA would like to thank JAXPORT, the Army Corps of Engineers, and all our state and local officials for their commitment to this historic event,” said SSA Vice President of Florida Operations Frank McBride. “Forty-seven feet of water positions Jacksonville among the deepest ports on the East Coast, further enhancing the capabilities of the SSA JCT as an international cargo gateway.”
The Jacksonville Harbor Deepening Project is a 13-mile federally authorized project. The current funding model covered the completion of the first 11 miles. The final two miles are authorized and under review.
JAXPORT is Florida’s largest container port and one of the nation’s top vehicle-handling ports. Jacksonville offers two-way ship traffic, no berth or terminal congestion, and same-day access to 98 million consumers.
Cargo activity through Jacksonville’s seaport supports 138,000 jobs in Florida and $31 billion in annual economic impact for the region and state. The port continues to make infrastructure improvements in support of JAXPORT’s mission to create jobs and economic opportunity for the citizens of Northeast Florida.
Photo by Ryan Johnson
The completion of improvements at Murray Hill Community Center has made a big impact on the surrounding neighborhood.
Last fall, work began on the construction of a new press box, concession stand, outfield scoreboard, and most importantly, restrooms at the community center’s adjoining athletic field.
Previously, neighborhood and recreational events either had to forego restroom facilities or have portable toilets brought in to meet the needs of the attendees, limiting participation from the community. In addition, prior to two years ago, there were no youth athletics held within the neighborhood or the Murray Hill facility.
Today, the City’s Recreation Department has 135 participants in its Murray Hill youth baseball and softball programs and approximately 90 participants in its youth football program. The improvements to the facility are assisting in meeting the needs of the growing involvement from the community.
Photo by Ryan Johnson
designed by Siza Vieira
Since its completion in 1966 the Leça Swimming Pool complex, by Portuguese architect Alvaro Siza, has been an internationally recognized building. Still almost half a century later, it has gracefully retained its architectural integrity and remained a popular retreat. The Leça Swimming Pools is one of Siza’s greatest early works, and an example of his careful reconciliation between nature and his design.
The Leça Swimming Pools were one of Alvaro Siza’s first solo projects. After graduating from the University of Porto in 1955, he worked briefly with architect Fernando Tavora before setting up a studio as an independent architect. He is still practicing and has received various awards and accolades for his work, including the Pritzker Architecture Prize in 1992.
The Leça de Palmeira beaches are on the northern coastline of Matosinhos, a small town to the north of Porto, as well as Siza’s birthplace. It is also the site of another early work of Siza’s, the Boa Nova Tea House. Both the Leça Swimming Pools and the Boa Nova Tea House were constructed and completed around the same time in the mid 1960s. They both use concrete and have a similar respect for the natural rocky coastline near Siza’s home.
This is why I haven't uploaded anything to flickr recently. I've been working on putting together a color darkroom. I'm super happy with what I ended up with. I really can't imagine a better setup. Almost all of it came from a very kind and generous man. Other bits and pieces I picked up here and there. As you can see it's located in my bedroom. I'll be officially up and running once I finish converting an Ilford Cap-40 to RA-4.
January 27, 2022 - Flushing - Governor Kathy Hochul, joined by New York City Council Speaker Adrienne Adams, seen here, announces the opening of the new Western Pedestrian Skybridge in the new Terminal B at LaGuardia Airport in Queens, Thursday January 27, 2022. The completion of the western skybridge means that every arriving and departing passenger at Terminal B will experience newly built, 21st Century architecture from gate to curb. With the completion of the second pedestrian skybridge, which will span an active aircraft taxiway, Terminal B also becomes the world’s first airport with dual pedestrian skybridges. The completion marks the end of a 5 1/2 year construction period for Terminal B. The project is on-time and on-budget. (Kevin P. Coughlin / Office of Governor Kathy Hochul )
designed by Siza Vieira
Since its completion in 1966 the Leça Swimming Pool complex, by Portuguese architect Alvaro Siza, has been an internationally recognized building. Still almost half a century later, it has gracefully retained its architectural integrity and remained a popular retreat. The Leça Swimming Pools is one of Siza’s greatest early works, and an example of his careful reconciliation between nature and his design.
The Leça Swimming Pools were one of Alvaro Siza’s first solo projects. After graduating from the University of Porto in 1955, he worked briefly with architect Fernando Tavora before setting up a studio as an independent architect. He is still practicing and has received various awards and accolades for his work, including the Pritzker Architecture Prize in 1992.
The Leça de Palmeira beaches are on the northern coastline of Matosinhos, a small town to the north of Porto, as well as Siza’s birthplace. It is also the site of another early work of Siza’s, the Boa Nova Tea House. Both the Leça Swimming Pools and the Boa Nova Tea House were constructed and completed around the same time in the mid 1960s. They both use concrete and have a similar respect for the natural rocky coastline near Siza’s home.
At Westgate Mall.
This location is slated to be closed soon, following the completion and opening of the new Safeway up the road in Campbell, in place of Mervyn's on Hamilton Avenue.
There was not always a Safeway at Westgate Mall, it used to be across the street in Westgate West Shopping Center, but moved to here in the 1990s, the old Safeway site is now home to a going out of business PW Market that opened in 2001 or 2002. After the closure of this Safeway and the closure of PW, there will only be Trader Joes and Lucky in the area as grocers, and of course the new Safeway further up Hamilton.
by Yoko Ono
“Fly” is the latest track of the record but it has been made the first just when my last album was finished and was out in the street. It was made in our bedroom in the Regency Hotel in New York on Xmas 1970 on a Nagra operated by John. I was thinking that I must make a soundtrack for my film FLY which was just near completion. The John suggested maybe we should knock it off before the 10 o’clock news that night. It was that casual. We did it in one take, as most of my things are done.
I don’t believe in doing things over. When I was painting one day it suddenly occurred to me that there is no line that you can go over. if you go over a line, the line that you went over is a totally new line.
When you use the correctocopy to correct typing mistakes, you don’t go over the wrong letters with the right letters. With the correctosheet you have to first go over the same line again with the exact wrong letter you typed before. Only then you can erase the mistakes and type over the correct letter. I’m always fascinated by this seemingly illogical fact.
It looks like there is some philosophical connection between these stories but I don’t seem to be able to find the word for it now. But the point is I don’t believe in doing things over, and unless it is a really bad take, I believe in the first take.
Another story: This is about a Japanese painter who was asked by his lord to do a painting. The lord waited a year and nothing has come of it. He sent a messenger to the painter. The painter came out and said “Oh, o.k., just a minute” or something and did a one stroke painting while the messenger was waiting in the next room. The messenger returned the painting and told the lord what had happened. The lord was very angry and arrested the painter. “You insulted me by making me wait for a whole year for the painting and on top of that, you used only a second to finish the painting. What was that!” something to that effect. The painter calmly replied, :Every day of the year that I was not painting, I was preparing for the painting, the painting may have been one stroke and it may have taken only a second to do it, but the whole year of pain and joy were in that stroke. The year was a necessary time.”
I used to do things like fast five days before a concert to prepare my mind for the performance-because the performance was not my skill but the state of mind I was in at the time. Whenever I pick up a mike, I’m aware that every minute if 38 years goes into it, whether I like it or not.
What I did in “Fly” was what I wanted to do for 10 years, so I was very satisfied when I did it. I thought of making an album around this piece. It took almost a whole year after that to finally complete the album, though. Another Xmas is coming very soon. The winter is cold and tough-and you have to crawl a long way before you fly. Winter is age. Cold makes you go slow. Fly I a monologue in three stages.
Section one- monologue
Section two- monologue in a dialogue form:
John played his guitar against the playback
of my voice from section one. The guitar
tape was then reversed and put together
with my voice tape, so that the voice and the
guitar ran in two opposite directions as sepa-
rate monologues.
Section three- monologue in a trialogue form: John played
his guitar against the reversed playback of
tape section two. John’s guitar tape made in
this process was reversed and played while I
did my voice. When the guitar tape was over
and when my voice was still going, John
played the radio against my voice.
Monologue is a reminiscence of my old days. I used to search for musi-
cians who had the same state as I to make musical dialogues with. But I had never met who can really do that with me on the level that I was thinking of. Female artists for some reason, didn’t have enough experience in expressing themselves with instruments-maybe they went for for usage of a more direct instrument which was one’s own body-and the male artists used to be caught in whatever brilliance they had possessed and were not free. So I ended up always in doing a dialogue. John is the first person I met who knows how to be free, and that is why he plays such a very important role in all my pieces. For instance, you see that section 3 of Fly is a guitar solo with voice accompaniment rather than the other way around.
Most of the pieces in this album are centred around a dialogue between my voice and John’s guitar. John and I crawl, roll, and fly together. John brought in musicians that are fine samurais. John, as a rhythm guitarist, leads the rhythm track, he pushes them to fly with me. Listen to Ringo and Jim Keltner’s drumming. Klaus Voormann’s bass, Chris Osborne’s guitar and listen to the intricate conversation that goes between all of us in “Mind Train”. Chris Osborne came from a guitar shop to sell a guitar to John. He stayed and played.
Thanks to John and the Plastic Ono Band. Thanks to Yoko’s wisdom for allowing it to happen-rather than controlling note by note, to push her ego. Maybe she is a bit too proud about it, but let’s not be too hard on her.
Note on Joe Jones Tone Deaf Music Co.
I was always fascinated by the idea of making special instruments for special emotions-instruments that lead us to emotions arrived by their own motions rather than my our control. With those instruments, I wanted to explore emotions and vibration which have not been explored as yet in music. I thought of building a house on the hill which makes different sounds by the wind that goes through different windows, doors and holes. (Re: Grapefruit: paperback edition out now!!!) Ten years ago I met Joe Jones who’s been making such instruments specially for this album which can play by themselves with minimum manipulation (Turning switches only.)
I’m very happy about what happened with “Airmale” and “You” as a result of my session with Tone Deaf Co. “Airmale” in Yang and “You” is Yin. “Don’t Count The Waves” is the water that connects the two Ying and Yang islands. “Airmale” expresses the delicateness of Male. “You” expresses the aggressiveness of female. “You” has all the feminine resentment, moan and animal satisfaction in it. Finally, there is just a wind blowing over a sand hill over white dried female bones, but still, with emotion. The wind created by tape feedback is what I always wanted to do a rock number with a tape loop of feedback as a riff. But this will do for now.
When I was in Sarah Lawrence, which was before I joined the avant-garde, and in London around 1967-8, which was when I was feeling very miserable, I composed many songs. “Mrs. Lennon” is that category of songs, but unlike “Remember Love” and “Who has seen the Wind”, I felt it was recorded very well. “Mrs Lennon” was meant to be a joke on me, and also an anti-war song. The lyrics were made in 1969 and the music was finished this month in New York during the recording sessions.
“Midsummer New York” is about the deep insecurity I have in me that I associate with my life in New York before I met John. The lyrics were made last year, though I always wanted to make a song that uses the word “shaking” with a double meaning, since I discovered the usage of the word in rock songs in 1968.
This album roughly turned out to be:
1st and 2nd sides: Songs to dance to-Rock and songs with physical
beat
3rd and 4th sides: Songs to listen to-mind music with mind beat
The Mind Music Section has number connectio0ns.
“Fly”-1,2 and 3
“Airmale”-5
“Don’t Count The Waves”-7
“You”-9
It is very important to know about numbers to understand the connections of the pieces, so I will quote the relevant lines form my writing called “On Number” and end this long introduction to the album.
ONE
One is an immobile number. One is found in our bodies often as fixed
parts. We count ourselves as one but it might be better to count as
half a pair or a half when you think of the fact that our reproductive
organs can only function by meeting the other half.
One step is only half a move. Since we have two legs we have to take
two steps or jump in order to move form one position to the next.
One is before the cell splits in tow. It is only mobile in the process of
becoming two. One as a force is a point-which does not extend like
a line. One constantly seeks for states of zero and two.
TWO
Two is a state that is mobile by nature. Like the footstep that goes
one, two. It moves from one position to the next. Two as a force is a
line. It extends and extends and unlike one, does not have to move to
become mobile. Two is a state after splitting of the cell. Two constant-
ly seeks for the state of one and three. We find two in our bodies
quite often as a pair. Two is our heartbeat. After one and two, all the
numbers are combinations of one and two. Therefore, there are actu-
ally only three basic states of numbers in the world: one, two and
three, which is a combination of one and two.
THREE
Three is a number we cannot find in our bodies but we find it in na-
ture around us. I call it a time number because we use it to divide time
and the days. When the heart beats in three, it is when the heart is
moving faster that what is natural. The heart beats one, two, one,
two. And one number out of these repetitions of two gets abbreviat-
ed because of the speed. That is three. That means we set the time to
the number which is one beat faster than our natural heartbeat. No
wonder the culture is suffering from accelerated speed. The world will
slow down if you dispense with clocks and watches and just follow
your heartbeat.
The natural rhythm, when you don’t check or control consciously,
always goes slower (towards four) or faster (towards two) than a
clock. Three is very fast and very mobile. It is running rhythm as op-
posed to the walking rhythm of two, four and eight. Three as a force
is a three dimensional point-an exclamation mark. Three will always
seek for state of two or state of four. In three, two (which is a mobile
number) and one (which is an immobile number) exist together equal-
ly. Paradox makes three extremely active towards inside, but not very
active outside. While two is a travelling number, three is a whirling
number (it moves forward spirally). After three, all numbers are com-
binations of states of one, two and three.
FIVE
Five is a number that very rarely exists on earth but exists very much in
the sky (such as points of stars-but you know that even the five
points of stars actually do not exist.) Unlike one (0 & 2), TWO (4 & 8)
and three (6 & 9), five has no corresponding numbers in the series. In
this sense it is very similar to 7
In our bodies, it exists only on our hands and feet-as if that is the
sign from the sky in us. The parts of our bodies where 5 exist are the
only parts that have something to do with our physical connections to
things outside our bodies. Our hands reach to other things and our
feet take us to other places with the help of a travelling number 2.
5 is a connection number-and just as the fingers do not work unless
the thumb moves in an opposite direction from the rest of the fingers,
five will be immobile unless it has different or opposite elements
(one, two, and three) in it.
SEVEN
Seven is a conceptual number. Seven, like five, is a number you cannot
find in our bodies (more so than five), or in the nature around us. I call
it a conceptual number or number of music because we divide the mu-
sical scale into seven. (In time we can only see it in the division of the
week), and like five, it has no corresponding numbers.
NINE
Nine is a corresponding number of 3 and 6. Nine is superactive.
Spatially, it is the closest of the numbers to circle. As a force it has a
spirally forward movement as does three.
But despite all the work, music itself exists somewhere else and was
made by pure instinct (that goes for me, too J.L) and nothing else.
Flashes of imagery and emotions.
Yoko Ono
Fall, ‘71
St. Regis Hotel, New York
For Crawdaddy
Santa Maria Novella
This church was called S. Maria Novella ('New')[1] because it was built on the site of the 9th-century oratory of Santa Maria delle Vigne. When the site was assigned to the Dominican Order in 1221, they decided to build a new church and adjoining cloister. The church was designed by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. Building began in the mid-13th century (about 1276), and lasted 80 years,[1] ending under the supervision of Friar Iacopo Talenti with the completion of the Romanesque-Gothic bell tower and sacristy. In 1360, a series of Gothic arcades were added to the façade; these were intended to contain sarcophagi.[1] The church was consecrated in 1420.
Side view from Piazza Unità d'Italia
On a commission from the wealthy Florentine wool merchant Giovanni di Paolo Rucellai, Leon Battista Alberti designed the upper part of the inlaid green marble of Prato, also called 'serpentino', and white marble façade of the church (1456–1470). He was already famous as the architect of the Tempio Malatestiano in Rimini, but even more for his seminal treatise on architecture De re aedificatoria. Alberti had also designed the façade for the Rucellai Palace in Florence.
Alberti attempted to bring the ideals of humanist architecture, proportion and classically inspired detailing to bear on the design, while also creating harmony with the already existing medieval part of the façade. The combined façade can be inscribed by a square; many other repetitions of squares can be found in the design.[2] His contribution consists of a broad frieze decorated with squares, and the full upper part, including the four white-green pilasters and a round window, crowned by a pediment with the Dominican solar emblem, and flanked on both sides by enormous S-curved volutes. The four columns with Corinthian capitals on the lower part of the façade were also added. The pediment and the frieze are clearly inspired by antiquity, but the S-curved scrolls in the upper part are new and without precedent in antiquity. Solving a longstanding architectural problem of how to transfer from wide to narrow storeys, the scrolls (or variations of them), found in churches all over Italy, all draw their origins from the design of this church.[2]
The frieze below the pediment carries the name of the patron: Iohan(n)es Oricellarius Pau(li) f(ilius) An(no) Sal(utis) MCCCCLXX ('Giovanni Rucellai son of Paolo in the year of salvation 1470').
Interior
The vast interior is based on a basilica plan, designed as a T-shaped Egyptian cross and is divided into a nave, two aisles set with windows and a short transept. The large nave is 100 metres long and gives an impression of austerity. The piers are of compound form and have Corinthian columns supporting pointed Gothic arches above which is a clerestory of ocular windows above which rises a ribbed, pointed quadrupartite vault. The ribs and arches are all black and white polychrome.
There is a trompe-l'œil effect by which towards the apse the nave seems longer than its actual length because the piers between the nave and the aisles are progressively closer, nearer to the chancel.
Many of the windows have stained glass dating from the 14th and 15th century, such as 15th century Madonna and Child and St. John and St. Philip (designed by Filippino Lippi), both in the Strozzi Chapel. Some stained glass windows have been damaged in the course of centuries and have been replaced. The one at the west end, a depiction of the Coronation of Mary, dates from the 14th century, and is based on a design of Andrea di Bonaiuto da Firenze.
The pulpit, commissioned by the Rucellai family in 1443, was designed by Filippo Brunelleschi and executed by his adopted son Andrea Cavalcanti. This pulpit has a particular historical significance, since it was the pulpit from which Father Tommaso Caccini denounced Galileo Galilei's defense of Copernican heliocentrism.[3]
The Holy Trinity by Masaccio
The Holy Trinity, situated almost halfway along the left aisle, is a pioneering early Renaissance work of Masaccio, showing his new ideas about perspective and mathematical proportions. Its meaning for the art of painting can easily be compared to the importance of Brunelleschi for architecture and Donatello for sculpture. The patrons were the judge and his wife, members of the Lenzi family, here depicted kneeling. The cadaver tomb below carries in Italian the epigram: "I was once what you are, and what I am you will become".
Of particular note in the right aisle is the Tomba della Beata Villana, a monument by Bernardo Rossellino executed in 1451. In the same aisle, are located tombs of bishops of Fiesole, one by Tino di Camaino and another by Nino Pisano.
Tornabuoni Chapel
See also: Tornabuoni Chapel
The chancel (or the Cappella Tornabuoni) contains series of famous frescoes painted from 1485 to 1490 by Domenico Ghirlandaio whose apprentice was the young Michelangelo. The frescoes represent themes from the lives of the Virgin and John the Baptist. They contain portrayals of several members of important Florentine families. The vaults have roundels with paintings of the Evangelists. On the rear wall are the paintings Saint Dominic Burns the Heretical Books and Saint Peter's Martyrdom, the Annunciation, and Saint John Goes into the Desert.
The stained-glass windows were made in 1492 by the Florentine artist Alessandro Agolanti, known also as Il Bidello, and were based on cartoons by Ghirlandaio.
The bronze crucifix on the main altar is by Giambologna (16th century).
Filippino Lippi, Filippo Strozzi Chapel (1486–1502)
Filippo Strozzi Chapel
The Filippo Strozzi Chapel is situated on the right side of the main altar. The series of frescoes by Filippino Lippi depict the lives of Apostle Philip and the Apostle Saint James the Great and were completed in 1502. On the right wall is the fresco St Philip Driving the Dragon from the Temple of Hieropolis and in the lunette above it, the Crucifixion of St Philip. On the left wall is the fresco St John the Evangelist Resuscitating Druisana and in the lunette above it The Torture of St John the Evangelist. Adam, Noah, Abraham and Jacob are represented on the ribbed vault. Behind the altar is the tomb of Strozzi with a sculpture by Benedetto da Maiano (1491).
Gondi Chapel with Brunelleschi's crucifix (c. 1410)
Gondi Chapel
This chapel is situated on the left side of the main altar and dates from the end of the 13th century. Here, on the rear wall, is the famous wooden Crucifix by Brunelleschi, one of his very few sculptures. The legend goes that he was so disgusted by the "primitive" Crucifix of Donatello in the Florence's church of Santa Croce that he made this one. The vault contains fragments of frescoes by 13th-century Greek painters. The polychrome marble decoration was applied by Giuliano da Sangallo (c. 1503). The stained-glass window and dates from the 20th century.
Cappella Strozzi di Mantova
The Cappella Strozzi di Mantova is situated at the end of the left transept. The frescoes were commissioned from Nardo di Cione (1350–1357) by Tommaso Strozzi, an ancestor of Filippo Strozzi. The frescoes are inspired by Dante's Divine Comedy: Last Judgment (on the back wall; including a portrait of Dante), Hell (on the right wall) and paradise (on the left wall). The main altarpiece of The Redeemer with the Madonna and Saints was done by Nardo di Cione's brother, Andrea di Cione, better known as Orcagna. The large stained-glass window on the back was made from a cartoon by the two brothers.
Della Pura Chapel
The Della Pura Chapel is situated north of the old cemetery. It dates from 1474 and was constructed with Renaissance columns. It was restored in 1841 by Gaetano Baccani. On the left side there is a lunette with a 14th-century fresco Madonna and Child with St Catherine. On the front altar there is a wooden crucifix by Baccio da Montelupo (1501).
Rucellai Chapel
The Rucellai Chapel, at the end of the right aisle, dates from the 14th century. Besides the tomb of Paolo Rucellai (15th century) and the marble statue of the Madonna and the Child by Nino Pisano, it houses several art treasures such as remains of frescoes by the Maestro di Santa Cecilia (end 13th – beginning 14th century). The panel on the left wall, the Martyrdom of St Catherine, was painted by Giuliano Bugiardini (possibly with assistance from Michelangelo). The bronze tomb, in the centre of the floor, was made by Lorenzo Ghiberti in 1425.
Bardi Chapel
The Bardi Chapel, the second chapel on the right of the apse, was founded by Riccardo Bardi and dates from early 14th century. The high-relief on a pillar on the right depicts St Gregory blessing Riccardo Bardi. The walls show us some early 14th-century frescoes attributed to Spinello Aretino. The Madonna del Rosario on the altar is by Giorgio Vasari (1568)
Lavabo in the former sacristy by Giovanni della Robbia (1498-99)
Sacristy
The sacristy, at the end of the left aisle, was built as the Chapel of the Annunciation by the Cavalcanti family in 1380. It houses, after a recent period of fourteen years of cleaning and renovation, the enormous painted Crucifix with the Madonna and John the Evangelist, an early work by Giotto. The sacristy is also embellished by a glazed terra cotta and a marble font, masterpieces by Giovanni della Robbia (1498). The cupboards were designed by Bernardo Buontalenti in 1593. The paintings on the wall are ascribed to Vasari and other contemporary Florentine painters. The large Gothic window with three mullions at the back wall dates from 1386 and was based on cartoons by Niccolò di Pietro Gerini.
Fresco by Andrea di Bonaiuto da Firenze in the Spanish Chapel: Allegory of the Active and Triumphant Church and of the Dominican order (c. 1365)
Spanish Chapel
The Spanish Chapel (or Cappellone degli Spagnoli) is the former chapter house of the convent. It is situated at the north side of the green Cloister (chiostro verde). It was commissioned by Buonamico (Mico) Guidalotti as a chapter house for the Dominican Order.[4] Construction started c. 1343 and was finished in 1355. The Guidalotti chapel was later called "Spanish Chapel", because Cosimo I assigned it to Eleonora of Toledo and her Spanish retinue. Within the Spanish Chapel there is a smaller Chapel of the Most Holy Sacrament.
The Spanish Chapel was decorated from 1365 to 1367 by Andrea di Bonaiuto, also known as Andrea da Firenze. As the chapel was built for the Dominicans, depictions of Saint Dominic are found in most of the frescos.[4] The large fresco on the right wall depicts an Allegory of the Active and Triumphant Church and of the Dominican order. It is especially interesting because in the background it shows a large pink building that some think may provide some insight into the original designs for Florence Cathedral by Arnolfo di Cambio (before Brunelleschi's dome was built). However, such an interpretation is fantasy since the Duomo was never intended to be pink, nor to have the bell tower at the rear. This fresco also contains portraits of pope Benedict IX, cardinal Friar Niccolò Albertini, count Guido di Poppi, Arnolfo di Cambio and the poet Petrarch.
The frescoes on the other walls represent scenes from the lives of Christ and St Peter on the entry wall (mostly ruined due to the later installation of a choir), The Triumph of St Thomas Aquinas and the Allegory of Christian Learning on the left wall, and the large Crucifixion with the Way to Calvary and the Descent into Limbo on the archway of the altar wall.
The four-part vault contains scenes of Christ walking on water (the navicella), his Resurrection, the Ascension, and Pentecost. The five-panelled Gothic polyptych that was probably originally made for the chapel's altar, depicting the Madonna Enthroned with Child and Four Saints by Bernardo Daddi dates from 1344 and is currently on display in a small museum area reached ed through glass doors from the far end of the cloister. Together, the complex iconography of the ceiling vault, walls, and altar combine to communicate the message of Dominicans as guides to salvation.
Rectangular in shape, towards the west it has a scarsella containing the altar and a marble crucifix by Domenico Pieratti from the early seventeenth century, donated in 1731 by Gian Gastone de' Medici.
Green Cloister frescos
Paolo Uccello — Flood and Waters Subsiding, Sacrifice and Drunkenness
Paolo Uccello — Flood and Waters Subsiding, Sacrifice and Drunkenness
Paolo Uccello — Creation and the Fall
Paolo Uccello — Creation and the Fall
Paolo Uccello — Lamech killing his Father, Announcement of the Flood and the Building of the Ark
Paolo Uccello — Lamech killing his Father, Announcement of the Flood and the Building of the Ark
Paolo Uccello and his circle — Adam and Eve, Cain and Abel
Paolo Uccello and his circle — Adam and Eve, Cain and Abel
Internal remodelling
Piazza Santa Maria Novella
Vasari was the architect, commissioned in 1567 by Grand Duke Cosimo I, for the first remodelling of the church, which included removing its original rood screen and loft, and adding six chapels between the columns. The second remodelling was designed by Enrico Romoli, and was carried out between 1858 and 1860.
The square in front the church was used by Cosimo I for the yearly chariot race (Palio dei Cocchi). This custom existed between 1563 and late in the 19th century. The two Obelisks of the Corsa dei Cocchi marked the start and the finish of the race. They were set up to imitate an antique Roman Circus Maximus. The obelisks rest on bronze tortoises, made in 1608 by the sculptor Giambologna.
Astronomical Instruments
The armillary sphere on the south front
The gnomon on the south front
An armillary sphere (on the left) and an astronomical quadrant with gnomon (on the right) were added to the end blind arches of the lower façade by Ignazio Danti, astronomer of Cosimo I, in 1572.[5] The armilliary sphere was intended to determine the vernal equinox and this was observed for the first time publicly in 1574. The gnomon threw shadows on the astronomical quadrant to tell the time according to the transalpine, Italian and Bohemian methods.[5]
Thanks to these instruments, the astronomer was able to calculate exactly the discrepancy between the true solar year and the Julian calendar, then still in use since its promulgation in 46 BC. By demonstrating his studies in Rome to Pope Gregory XIII, he helped obtain the realignment of the date of Easter and the promulgation of the new Gregorian calendar.[citation needed]
The nave from the south end showing the Meridian Line
Danti also placed a hole in the south facing circular window at a height of 21.35 metres (70 ft) and installed a meridian line on the floor of the church as a better method of determining the equinoxes than the armilliary sphere. However, the construction was not completed due to the death of his patron, the Grand Duke Cosimo I.[5]
from wikipedia
Yay! The combined efforts of everyone in the office over the last month finally paid off to reveal Brock in all his glory! :-)
No visit to York would be complete without a walk around the City Walls. At 3.4 kilometres long, the beautifully preserved walls are the longest medieval town walls in England. About 2.5 million people walk along all or part of the City walls each year, enjoying some amazing views. The completion of the entire circuit will take approximately 2 hours. There are five main bars or gateways, one Victorian gateway, one postern (a small gateway) and 45 towers.
York City Walls
The city or ‘bar’ walls of York are the most complete example of medieval city walls still standing in England today. Beneath the medieval stonework lie the remains of earlier walls dating as far back as the Roman period.
The Roman walls survived into the 9th century when, in AD 866, York was invaded by the Danish Vikings. The Vikings buried the existing Roman wall under an earth bank and topped with a palisade – a tall fence of pointed wooden stakes.
The wooden palisade was replaced in the 13th and 14th centuries with the stone wall we see today.
The medieval city walls originally included 4 main gates or ‘bars’ (Bootham Bar, Monk Bar, Walmgate Bar and Micklegate Bar), 6 postern or secondary gates and 44 intermediate towers. The defensive perimeter stretched over 2 miles encompassing the medieval city and castle.
By the late 18th century, however, the walls were no longer required as defences for the city and had fallen into disrepair. In 1800, the Corporation of York applied for an Act of Parliament to demolish them. In addition to the poor condition of the walls at the time, the narrow gateways of the bars were inconvenient and the walls themselves hindered the city’s expansion.
Many other cities, including London, were removing their outdated, medieval city walls at this time. In York, however, the city officials met with fierce and influential opposition and by the mid-nineteenth century the Corporation had been forced to back down.
Unfortunately, the call for preservation came too late for some parts of the walls – the barbicans at all but one of the gateways (Walmgate Bar) had been torn down along with 3 postern gates, 5 towers and 300 yards of the wall itself.
Since the mid-nineteenth century the walls have been restored and maintained for public access, including the planting of spring flowers on the old Viking embankment. Today the walls are a Scheduled Ancient Monument and a Grade 1 listed building.
Bootham Bar
There has been a gateway here for nearly 2000 years - Bootham Bar is on the site of one of the four main entrances to the Roman fortress.
The existing structure is not Roman but it has been around for quite a while. The archway itself dates from the 11th century and the rest of the structure is largely from the 14th century. In 1501 a door knocker was installed as Scots were required to knock first and seek permission from the Lord Mayor to enter the city.
The bar was damaged during the siege of York in 1644. Like Micklegate Bar, it was sometimes used to display the heads of traitors, the heads of three rebels opposing Charles II’s restoration were placed here in 1663.
Bootham Bar was the last of the gates to lose its barbican, demolished in 1835.
Fishergate Bar
1315AD - 1487AD
Fishergate Bar is one of six gateways in the city walls. It faces South towards Selby. Nearby used to be the large flooded area known as the King’s Fishpond.
‘Barram Fishergate’ is the first documented reference to the bar, in 1315. A central stone above the archway reveals the date of the current bar. It contains the York coat of arms and an inscription which reads:
‘A.doi m.cccc.lxxx.vii Sr Willm Tod knight mayre this wal was mayd in his days lx yadys’
This tells us that sixty yards of the wall, including the bar, was built in 1487 under Sir William Tod, mayor of York.
But just two years later, in 1489, Fishergate Bar suffered considerable damage in the Yorkshire peasants’ revolt against Henry VII. The rebels burned the gates of the bar after murdering the Earl of Northumberland. The gateway was bricked up soon after and wasn’t re-opened until 1834, to give better access for the cattle market.
Micklegate Bar
Micklegate Bar was the most important of York’s four main medieval gateways and the focus for grand events. The name comes from 'Micklelith', meaning great street.
It was the main entrance to the city for anyone arriving from the South. At least half a dozen reigning monarchs have passed through this gate and by tradition they stop here to ask the Lord Mayor's permission to enter the city.
The lower section of the bar dates from the 12th century, the top two storeys from the 14th. The building was inhabited from 1196. Like the other main gates, Micklegate Bar originally had a barbican built on the front, in this case demolished in 1826.
For centuries the severed heads of rebels and traitors were displayed above the gate, the many victims include Sir Henry Purcey (Hotspur) in 1403 and Richard, Duke of York in 1460. The last of the severed heads was removed in 1754.
Monk Bar
Monk Bar is the largest and most ornate of the bars, it dates from the early 14th century. It was a self-contained fortress, with each floor capable of being defended. On the front of the bar is an arch supporting a gallery, including 'murder-holes' through which missiles and boiling water could be rained down upon attackers.
Monk Bar has the city’s only working portcullis, in use until 1970. Like the other main gateways, Monk Bar originally had a barbican on the front. This was demolished in 1825.
The rooms above the gateway have had various uses over the years, including as a home and as a jail for rebellious Catholics in the 16th century.
The Red Tower
1490AD - 1491AD
The Red Tower, built in 1490, forms the only brick section of York’s famous city walls. Because it was built of brick its construction did not sit well with the local stone masons. So much so that it was the cause of dispute, and even murder.
The masons who worked on the majority of York’s walls and buildings were unhappy about the employment of tilers to build the Red Tower; their unhappiness led to them attempting to sabotage the building of the tower. The tilers had to ask for protection from the city council to stop the masons from threatening them and breaking their tools.
This protection made little difference, however. In 1491, the tiler John Patrik was murdered. Two leading masons, William Hindley and Christopher Homer, were charged with the murder but quickly acquitted.
The first recorded use of the name “The Red Tower” was in 1511, presumably in reference to its red brick colour rather than its bloody past.
Despite forming an important and unique part of the city walls, the Red Tower fell quickly into disrepair. It had to be repaired multiple times, notably in 1541 and 1545, and was in ruins by 1736. It was roughly restored in 1800 and became known as ‘Brimstone House’ – probably a reference to its former use as a manufactory for gunpowder. It has two storeys, and a garderobe. The way that the tower appears now is thanks to G F Jones’ restorations in 1857-8.
Walmgate Bar
Walmgate Bar is the most complete of the four main medieval gateways to the city, it is the only bar to retain its barbican, portcullis and inner doors.
Its oldest part is a 12th century stone archway, the walled barbican at the front dates from the 14th century, the wooden gates from the 15th century and the timber-framed building on the inside from the 16th century.
It was burned by rebels in 1489 and battered by cannon during the siege of 1644.
Baile Hill
William the Conqueror ordered two castles to be built in York, one on either side of the River Ouse.
They formed a defensive system in response to the recent violent unrest.
'York Castle' was later reinforced and eventually rebuilt in stone and so now appears much more substantial. But originally both castles were of a similar size and layout.
Baile Hill is the name given to all that remains of York's other castle. It was the man-made mound, or motte, of the castle.
Excavations in 1979 revealed remains of timber buildings and a strong fence at the summit of the mound, together with a staircase up one side. The surrounding bailey was defended by a bank of earth built on top of the original Roman city wall.
Barker Tower
This river-side tower was built in the 14th century. It was positioned at the boundary of the medieval city-centre and, in conjunction with Lendal Tower on the opposite bank, was used to control river traffic entering the city. A great iron chain was stretched across the river between the two towers and boatmen had to pay a toll to cross it. The chain also served as a defence for the city. As early as 1380 Thomas Smyth was named as the tower’s ‘keeper of the chain’.
For boats coming downstream it would be the second toll in quick succession; St Mary's Abbey had its own tower and toll collection system a little further up the river.
Barker tower was leased for long periods to various ferrymen (and at least one woman) who ran passengers across the Ouse until Lendal Bridge was built in 1863. The ferry ran 'in summer and winter, fair weather and foul, Sundays and weekdays'.
The ferry was put out of business when Lendal Bridge opened in 1863. The tower has had plenty of other uses over the years, including as a mortuary for a brief time in the 19th century.
The Metropolitan Transportation Authority announced the completion of new platforms and other transformative upgrades at the Long Island Rail Road’s Lynbrook station on Wednesday, Oct. 7, 2020. The four-track elevated station features two new island platforms, platform canopies and other customer-friendly amenities. The $17.9 million dollar enhancement initiative was funded through the 2015-19 MTA Capital Plan. Work on the station began May 2019 and has been completed one month ahead of schedule.
This picture shows where I-485 currently ends near N.C. 115 in northeast Charlotte. Contractor Blythe Construction is working to build the final 5.7 mile segment of the Outer Loop between N.C. 115 and I-85.
Our job today was to return to Danemoor to complete the assembly of the final rails. This was a completion job looking for an odd day to house it. As this track is laid on a curve and the rails are all 60ft long, you gain lead on the inside rail. To sort this, every few panels, the front set of holes has to be cut off to re-square the rail ends and a new back hole drilled. We then pushed up the rails to position them correctly. There was also a rail then to instal to fill a gap which was by now large enough for it.
Meanwhile, a team worked through fishplating the rails together and the rear guard were clipping it up.
Barry is seen here drilling the rail ends.
The underground hydro line is almost complete which runs to the Bon Echo Lake and Hardwood Hill campgrounds, a distance of over 5 km. The derecho storm in 2022 damaged the overhead hydro line to such a degree it was beyond repair. The tendered project is to be completed in 2023.
Part of the Bon Echo Provincial Park Album
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November 12, 2019 - Syracuse, NY - Governor Andrew M. Cuomo today announced the completion of the state supported 50-mile unmanned traffic management drone corridor, which runs from Central New York to the Mohawk Valley. The first-in-the-nation corridor is the most advanced drone testing corridor in the nation. With the needed infrastructure now in place, companies will be able to test both unmanned aerial systems platforms and UTM technologies in real world settings, generating data that will inform the industry and regulators and taking us one step closer towards the routine commercial use of drones. The completion of the corridor advances the regions' collective strategy to accelerate and support emerging uses of UAS in key industries, including agriculture and forest management, transportation and logistics, media and film development, utilities and infrastructure and public safety. At the Syracuse International Airport, the Governor today also announced that the home of the innovative GENIUS NY UAS competition, the Tech Garden in Downtown Syracuse, will undergo a major expansion project to include the addition of two floors to the existing facility. The increased visibility and street-scape will serve as the anchor of the Syracuse's City Center Innovation Hub, a core component of the Syracuse Surge strategy, and will serve as the gateway to the "Innovation Alley" on Warren Street in Syracuse. Empire State Development is assisting the expansion project with up to $12.5 million made available through the regionally designed CNY Rising Upstate Revitalization Initiative plan. (Mike Groll/Office of Governor Andrew M. Cuomo)
The completion of the Carrier Hall expansion is the newest addition to 'Science Row' on University Ave. Photo by Robert Jordan/Ole Miss Communications
December 2018: River Don bridge nearing completion for AWPR (Aberdeen Western Peripheral Route) Aberdeen bypass dual carriageway
November 12, 2019 - Syracuse, NY - Governor Andrew M. Cuomo today announced the completion of the state supported 50-mile unmanned traffic management drone corridor, which runs from Central New York to the Mohawk Valley. The first-in-the-nation corridor is the most advanced drone testing corridor in the nation. With the needed infrastructure now in place, companies will be able to test both unmanned aerial systems platforms and UTM technologies in real world settings, generating data that will inform the industry and regulators and taking us one step closer towards the routine commercial use of drones. The completion of the corridor advances the regions' collective strategy to accelerate and support emerging uses of UAS in key industries, including agriculture and forest management, transportation and logistics, media and film development, utilities and infrastructure and public safety. At the Syracuse International Airport, the Governor today also announced that the home of the innovative GENIUS NY UAS competition, the Tech Garden in Downtown Syracuse, will undergo a major expansion project to include the addition of two floors to the existing facility. The increased visibility and street-scape will serve as the anchor of the Syracuse's City Center Innovation Hub, a core component of the Syracuse Surge strategy, and will serve as the gateway to the "Innovation Alley" on Warren Street in Syracuse. Empire State Development is assisting the expansion project with up to $12.5 million made available through the regionally designed CNY Rising Upstate Revitalization Initiative plan. (Mike Groll/Office of Governor Andrew M. Cuomo)
ift.tt/1XjXdQA The Golden Spike Ceremony at Promontory Summit, Utah, celebrating the completion of the First Transcontinental Railroad. 10 May, 1869 [4514x3435] #HistoryPorn #history #retro ift.tt/21TYbDo via Histolines
The demolition of derilict housing and waterfront accomodation in the City of Wanzhou. This area of town is being demolished to allow the water level in the reservoir be brought to full height upon completion of the dam.
The Three Gorges Project has seen over 1.3 million people re-located, from conditions of poverty to relative levels of comfort. Not all Chinese citizens wanted to move, obviously, but many saw it as a way to escape the desperately poor living conditions they had. Almost entirely new cities had to be built higher up on the steep banks of the resevoir, including new bridges and erosion control. The entire project cost only $30b. This seems like a ludicrously low price given the scale of the project. However, Chinese building practises and environmental controls do not hamper projects the way they do in Europe and USA. Having seen the construction first hand, you have to worry about safety and environmental damage such a project costs. However, China will save huge sums of money - and in fact already has, by eliminating devastating flooding on the Yangzi with the Dam and by selling of the energy created by the hydro plant. The project submerges 13 cities, 140 towns, 1352 villages, 600 factories, and 1200 archeological projects. An engineering marvel, but fundamentally flawed project.
China 2008
even in the ever changing flow of life there are moments when we come to a point of completion..In these moments we are able to perceive the whole picture, the composite of all the small pieces that have occupied our attention for so long. In the finishing, we can either be in despair because we don't want the situation to come to an end, or we can be grateful and accepting of the fact that life is full of endings and new beginnings...
this was a osho zen tarot card that i pulled today for inspiration...and this is the image that i was inspired to create.. (perhaps a bit over-edited)
double inspiration-
"and all my instincts, they return
and the grand facade, so soon will burn
without a noise, without my pride
I reach out from the inside"