View allAll Photos Tagged Complexion
Alondra totovía
(Lullula arborea)
Aláudido rechoncho, de distribución restringida a Europa, Oriente Próximo y el noroeste de África. Está ampliamente repartido por toda la Península Ibérica, aunque escasea o falta en algunas zonas cantábricas, la depresión del Ebro y el sureste. Ocupa medios abiertos con árboles o arbustos dispersos, y posee buenas densidades en dehesas y bosques aclarados.
Descripción y Clasificación
Orden Passeriformes; familia Alaudidae
Longitud 15 cm. Envergadura 27-30 cm.
Identificación
Presenta un aspecto similar al de otros aláudidos, con una coloración de tonos pardos crípticos. De complexión rechoncha, tiene moño pequeño, cola corta y oscura, y rectrices externas blancas. Su diseño facial es muy contrastado (dibujo 1), y posee una característica mancha blanquinegra en el borde anterior del ala. Exhibe un vuelo rápido de fuertes batidos, con pronunciadas ascensiones y descensos.
Canto
Resulta muy característico y está constituido por una estrofa larga, que comienza de manera relativamente lenta, pero avanza con rapidez, acelerándose y haciéndose progresivamente más grave.
Todos los derechos reservados - All rights reserved
Para mi amiga Mónica, que ama a su mascota Nicanor.
Los Schnauzer miniatura son muy particulares en su apariencia. Compactos y musculosos, presentan una complexión cuadrada (su anchura y longitud miden casi lo mismo). Tienen barba larga, cejas pobladas y pelo largo en los pies. Las orejas y la cola, comúnmente, se les corta. En algunos países se ha prohibido el corte de estas extremediades pues se considera que los canes utilizan el movimiento de estas partes para expresar estados de ánimo y otras complicadas interacciones dentro de la manada.
Sus características son similares a las de su "pariente" gigante. Su tamaño más pequeño, le confiere mayor apariencia de compacto y solidez. La cabeza es bastante larga, el tronco muy recogido, las extremidades son fuertes y potentes, tiene un aspecto general de gran vitalidad que denota inteligencia y atención. El pelo durísimo, que puede definirse como de "alambre", necesita de un adecuado stripping que consiste en arrancarlo a mano (en las épocas del año en que el pelo "está muerto") con la ayuda de un cuchillo especial. El esquilado efectuado con máquina, no sólo no está permitido en lo concerniente a las exposiciones, sino que provoca una degradación del pelo que con el pasar del tiempo pierde su dureza y aspereza.[1]
Su pelaje debe ser cortado cada mes, puesto que no lo mudan. Por eso, hay quienes recomiendan esta raza y otras razas como los caniches para las personas con asma y las que sufren de alguna alergia respiratoria porque no sueltan la cantidad de pelaje como otras razas.
A skin with intense, natural beauty, featuring a luminous complexion and realistic textures that enhance every facial detail. Soft skin highlights, a deep gaze, and delicate lips create a perfect balance between elegance and character, ideal for sophisticated, contemporary looks.
Marina Skin by [OTHER FACES] is available in Velour and Boataom tones. Worn on LeLUTKA Avalon Head, it works on all LeLUTKA Heads.
Inworld Store: maps.secondlife.com/.../Pleasant%20Harbor/60/214/872
Other outfit details on my BLOG:
www.suggestions-by-tilly-opaline.com/blog/2906739_other-f...
Created with ChatGPT
Prompt - 16:9, 64K. CAS3 STYLE, full-bleed edge-to-edge detailed photographic realism fused with traditional mixed media. Charly4 and Adrian sit closely together within a lush riverside prairie garden in autumn, naturally framed through foreground foliage. MANDATORY IDENTITY LOCKS: reproduce Charly4 and Adrian exactly from their supplied four-perspective avatar guides; no facial blending or generic substitution. Charly4: hazel-green almond eyes, warm freckled complexion, full natural lips, extremely long tousled dark chestnut-brown waves. Adrian: strong rectangular-oval masculine face, broad forehead, deep-set almond brown eyes, thick dark brows, straight defined nose, angular jaw, subtle cleft chin, warm olive-tan complexion, natural stubble, dense shoulder-length almost-black wavy hair. Both wear sophisticated rustic autumn clothing in cream, brown, rust and muted burgundy—textured knitwear, weathered leather, denim and woven layers. Surround them with white echinacea, yellow yarrow, green ornamental grasses, tall perennials, seed heads and spent blooms. Reflective river and mature crimson, russet and golden trees behind them, with distant atmospheric countryside. CAS3 rendering: photographic faces and anatomy integrated with graphite, dark-sepia pencil, fine cross-hatching, stippling, directional linework, transparent watercolor, coloured pencil and restrained dry-brush gouache; warm archival-paper texture, visible grain and pigment granulation, intricate botanical detail, earthy desaturated autumn palette, golden natural light and realistic atmospheric perspective. FULL BLEED: scene, pigment, foliage and detail continue naturally to all four edges; absolutely no border, blank margin, feathered fade, vignette or exposed paper perimeter.
Pic and Prompt by Adrian
Stranger Portrait #13 Meet Robbyn
Robbyn was walking on the street with #12 Teagan when I met her. This is the first time that I have photographed more than 1 person from a group before (I prefer just to pick my target and stick to it) but in this case I got two for one!
Robyn stood out a mile in the late Sunday afternoon sun as I walked along Murray St. Her dark eyes and complexion set off a very sultry look that meant I had to photograph her. I approached her and Teagan and they both seemed quite chuffed at the idea of having their portrait taken.
She was very quiet when I was photographing her. We chatted a little but did't really get in to much. She works with Teagan in the same pathology lab and has recently "come out of" a 5 year marriage. Which was "very freeing".
I asked her not to smile "unless she had one coming" but upon reviewing the pics I took of her, she was smiling in nearly all of them!! The only way I could get her to stop was not to talk AT ALL while I was photographing her. Silence like that always makes me nervous!
We talked a little about her background as I was fascinated in her ethnicity. Sometimes I feel a little self conscious asking about such things but my interest is genuine, so I quickly snap out if it. Her family came to Australia from South Africa when she was 9.
Robbyn then spoke excitedly about a trip they were planning at the end of the year starting in Germany. "And then down to Prague" she said with a twinkle in her eye. I could tell that she was dying to get away and lose herself in some travel.
With that we all exchanged details and headed our separate ways. Maybe in future I will consider shooting more than one person from a group.... then again I think I just got lucky this time : - )
Hey glam guys! It’s been a while! Back with another bomb release for you guys
3 new lelutka male skins are avaliable @ Glamocracy Mainstore
Includes -
-eyebrow / no eyebrow
“TAE” Lelutka Skin is compatible to complexion body appliers avaliable in mocha & espresso
Includes
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“ZAK” Lelutka Skin is compatible to complexion body appliers avaliable in mocha & espresso
“ROD” Lelutka Skin is compatible to complexion body appliers avaliable in mocha & espresso
Includes
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(After Taste Venue Pictured)
On a serene Friday evening with not much happening in the real world, I decided to immerse myself in Second Life for some fashion-forward exploration. White often poses a challenge for me in photos, tending to blend a bit too much with my complexion. Yet, the latest outfit from Hilly Haalan was a splendid exception. This chic pant suit, tailored to accentuate my curves precisely, delivered a look that was both enticing and elegantly sophisticated. The fabric's graceful flow and the outfit's thoughtful design transformed it from mere attire into a bold fashion statement.
I decided to pair it with my favorite piece from Kunglers and this elegant cuff set from Yummy because there is no greater crime than failing to accessorize.
What's worse is that I was all dolled up with no place to go. Fortunately, a friend recommended a house music venue called After-Taste Spa. The place exudes chic sophistication, and the vibe shifts depending on the time you visit. Its decor brings to mind the stylish venues I've experienced in Miami, adorned with tropical foliage, brass accents, and eclectic pieces. The residents tend toward the naughtier side, so be forewarned—it's a space where private chats blend with spicy areas for random encounters. While that's not my usual scene, I found the people-watching absolutely enthralling.
Read more on my blog: deepdishdivasofsl.blogspot.com/
✨🌿 Details 🌿✨
White Pant Suit: (Hilly Haalan - Didi Set)
maps.secondlife.com/secondlife/Hillywood/125/157/26
Necklace: (Kunglers - Stella Necklace )
maps.secondlife.com/secondlife/Accidentally%20Inlove/165/...
Bracelet and Cuff Set: (Yummy - Evelyn set)
maps.secondlife.com/secondlife/Tableau/165/108/23
Check out After-Taste Spa:
As the camera was playing nicely yesterday I thought I would post a close up just so as you know how unperfect the old complexion is although considering age lifestyle and all its not too bad :-)
so enjoying this look because it feels so real but then it is I suppose. so where will the tumble down the rabbit take me next? only time knows the answer but you are welcome to hazard a guess.
Fabes 3.0! She's my #40 custom from last year. I invited Fabes back for a redo. She's already been redone twice due to problems with MSC. I used the wrong kind of MSC before (I was using flat instead of UV cut) UV cut is much better for tanned girls btw, much better in general actually. now it's all I use! Her complexion is perfect now :)
William Shakespeare
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
Soll ich denn einen Sommertag dich nennen,
dich, der an Herrlichkeit ihn überglänzt?
Dem Mai will Sturm die Blütenpracht nicht gönnen,
und Sommers Herrschaft ist so eng begrenzt.
Oft leuchten seines Blickes Feuerfarben,
doch bald auch hört das goldne Glänzen auf,
bis seine allerletzten Spuren starben
in Wechsel und natürlichem Verlauf.
Dir aber soll der Sommer niemals scheiden,
die Zeit sei fern, daß Schönheit dir verdirbt.
Des Todes gier’ger Blick weiß dich zu meiden:
mein Wort verhütet, daß dein Wesen stirbt.
Solange Ohren hören, Augen sehn,
besteht mein Lied, wirst du im Lied bestehn!
I found this young woman absolutely elegant with a complexion like bone china. So much so that without a tad of processing she was so pale in comparison to her surroundings she looked ill.
I took several pix of her in her group, and she will pop up again in my photostream. In this shot, which was my last of 3, the fellow off to the right gave me the evil eye. He had yelled, and I told him not to flatter himself.
He was quite befuddled . . . that was just fine.
After I had the shots up on the monitor, I had wished I got her name. I would like to do a location series with her, and I'm hoping my LGBTQ go-to guru might be able to find someone who knows her.
Minneapolis/St. Paul are the biggest smalltowns I've ever lived in. I'm always running into people I know, met, or have photographed.
I think she's enchanting.
Peter Paul Rubens’ painting depicts the scene when the Christ is lowered into his tomb prior to his later Resurrection. Ruben seems to draw contrast between the dead and the living; the lifeless pallor of the Body of Christ and the ruddy complexion of the two men lowering him.
At the Courtauld Gallery, Somerset House.
London, July 2005
en.wikipedia.org/wiki/Liverpool_Cathedral
Liverpool Cathedral is the Church of England Cathedral of the Diocese of Liverpool, built on St James's Mount in Liverpool and is the seat of the Bishop of Liverpool. It may be referred to as the Cathedral Church of Christ in Liverpool (as recorded in the Document of Consecration) or the Cathedral Church of the Risen Christ, Liverpool, being dedicated to Christ 'in especial remembrance of his most glorious Resurrection'.[1]
The cathedral is based on a design by Sir Giles Gilbert Scott. The total external length of the building, including the Lady Chapel (dedicated to the Blessed Virgin), is 207 yards (189 m) making it the longest cathedral in the world;[n 1] its internal length is 160 yards (150 m). In terms of overall volume, Liverpool Cathedral ranks as the fifth-largest cathedral in the world[2] and contests with the incomplete Cathedral of Saint John the Divine in New York City for the title of largest Anglican church building.[3] With a height of 331 feet (101 m) it is also one of the world's tallest non-spired church buildings and the third-tallest structure in the city of Liverpool. The cathedral is recorded in the National Heritage List for England as a designated Grade I listed building.[4]
The Anglican cathedral is one of two in the city. The other, the Roman Catholic Metropolitan Cathedral of Liverpool, is situated approximately half a mile to the north. The cathedrals are linked by Hope Street, which takes its name from William Hope, a local merchant whose house stood on the site now occupied by the Philharmonic Hall, and was named long before either cathedral was built.
Background
John Charles Ryle was installed as the first Bishop of Liverpool in 1880, but the new diocese had no cathedral, merely a "pro-cathedral", the parish church of St Peter's, Church Street. St Peter's was unsatisfactory; it was too small for major church events, and moreover was, in the words of the Rector of Liverpool, "ugly & hideous".[5] In 1885 an Act of Parliament authorised the building of a cathedral on the site of the existing St John's Church, adjacent to St George's Hall.[6] A competition was held for the design, and won by Sir William Emerson. The site proved unsuitable for the erection of a building on the scale proposed, and the scheme was abandoned.[6]
In 1900 Francis Chavasse succeeded Ryle as Bishop, and immediately revived the project to build a cathedral.[7] There was some opposition from among members of Chavasse's diocesan clergy, who maintained that there was no need for an expensive new cathedral. The architectural historian John Thomas argues that this reflected "a measure of factional strife between Liverpool Anglicanism's very Evangelical or Low Church tradition, and other forces detectable within the religious complexion of the new diocese."[8] Chavasse, though himself an Evangelical, regarded the building of a great church as "a visible witness to God in the midst of a great city".[8] He pressed ahead, and appointed a committee under Sir William Forwood to consider all possible sites. The St John's site being ruled out, Forwood's committee identified four locations: St Peter's and St Luke's, which were, like St John's, found to be too restricted; a triangular site at the junction of London Road and Monument Place;[n 2] and St James's Mount.[9] There was considerable debate about the competing merits of the two possible sites, and Forwood's committee was inclined to favour the London Road triangle. However, the cost of acquiring it was too great, and the St James's Mount site was recommended.[9] An historian of the cathedral, Vere Cotton, wrote in 1964:
Looking back after an interval of sixty years, it is difficult to realise that any other decision was even possible. With the exception of Durham, no English cathedral is so well placed to be seen to advantage both from a distance and from its immediate vicinity. That such a site, convenient to yet withdrawn from the centre of the city … dominating the city and clearly visible from the river, should have been available is not the least of the many strokes of good fortune which have marked the history of the cathedral.[9]
Fund-raising began, and new enabling legislation was passed by Parliament. The Liverpool Cathedral Act 1902 authorised the purchase of the site and the building of a cathedral, with the proviso that as soon as any part of it opened for public worship, St Peter's Church should be demolished and its site sold to provide the endowment of the new cathedral's chapter. St Peter's place as Parish Church of Liverpool would be taken by the existing church of St Nicholas near the Pier Head.[9] St Peter's Church closed in 1919, and was finally demolished in 1922.[10]
1901 competition
In late 1901, two well-known architects were appointed as assessors for an open competition for architects wishing to be considered for the design of the cathedral.[11] G. F. Bodley was a leading exponent of the Gothic revival style, and a former pupil and relative by marriage of Sir George Gilbert Scott.[12] R. Norman Shaw was an eclectic architect, having begun in the Gothic style, and later favouring what his biographer Andrew Saint calls "full-blooded classical or imperial architecture".[13]
Architects were invited by public advertisement to submit portfolios of their work for consideration by Bodley and Shaw. From these, the two assessors selected a first shortlist of architects to be invited to prepare drawings for the new building. It was stipulated that the designs were to be in the Gothic style.[14] Robert Gladstone, a member of the committee to which the assessors were to report said, "There could be no question that Gothic architecture produced a more devotional effect upon the mind than any other which human skill had invented."[15] This condition caused controversy. Reginald Blomfield and others protested at the insistence on a Gothic style, a "worn-out flirtation in antiquarianism, now relegated to the limbo of art delusions."[16] An editorial in The Times observed, "To impose a preliminary restriction is unwise and impolitic … the committee must not hamper itself at starting with a condition which is certain to exclude many of the best men."[17] Eventually it was agreed that the assessors would also consider "designs of a Renaissance or Classical character".[18]
For architects, the competition was an important event; not only was it for one of the largest building projects of its time, but it was only the third opportunity to build an Anglican cathedral in England since the Reformation in the 16th century (St Paul's Cathedral being the first, rebuilt from scratch after the Great Fire of London in 1666, and Truro Cathedral being the second, begun in the 19th century).[18] The competition attracted 103 entries,[18] from architects including Temple Moore, Charles Rennie Mackintosh,[19] Charles Reilly,[20] and Austin and Paley.[21]
In 1903, the assessors recommended a proposal submitted by the 22-year-old Giles Gilbert Scott, who was still an articled pupil working in Temple Moore's practice,[22] and had no existing buildings to his credit. He told the assessors that so far his only major work had been to design a pipe-rack.[23] The choice of winner was even more contentious with the Cathedral Committee when it was discovered that Scott was a Roman Catholic,[n 3] but the decision stood.[22]
Scott's first design
Although young, Scott was steeped in ecclesiastical design and well versed in the Gothic revival style, his grandfather, George Gilbert Scott, and father George Gilbert Scott, Jr. having designed numerous churches.[24] George Bradbury, the surveyor to the Cathedral Committee, reported, "Mr. Scott seems to have inherited the architectural genius so marked in the Scott family for the last three or four generations ... He is very pleasant, agreeable, enthusiastic, tall and looks considerably older than he actually is."[8] Appearances notwithstanding, Scott's inexperience prompted the Cathedral Committee to appoint Bodley to oversee the detailed architectural design and building work. Work began without delay. The foundation stone was laid by King Edward VII in 1904.[5]
Cotton observes that it was generous of Bodley to enter into a working relationship with a young and untried student.[25] Bodley had been a close friend of Scott's father, but his collaboration with the young Scott was fractious, especially after Bodley accepted commissions to design two cathedrals in the US,[n 4] necessitating frequent absences from Liverpool.[22] Scott complained that this "has made the working partnership agreement more of a farce than ever, and to tell the truth my patience with the existing state of affairs is about exhausted".[22] Scott was on the point of resigning when Bodley died suddenly in 1907, leaving him in charge.[26] The Cathedral Committee appointed Scott sole architect, and though it reserved the right to appoint another co-architect, it never seriously considered doing so.[8]
Scott's 1910 redesign
In 1909, free of Bodley and growing in confidence, Scott submitted an entirely new design for the main body of the cathedral.[27] His original design had two towers at the west end[n 5] and a single transept; the revised plan called for a single central tower 85.344 metres (280.00 ft) high, topped with a lantern and flanked by twin transepts.[29][n 6] The Cathedral Committee, shaken by such radical changes to the design they had approved, asked Scott to work his ideas out in fine detail and submit them for consideration.[27] He worked on the plans for more than a year, and in November 1910, the committee approved them.[27] In addition to the change in the exterior, Scott's new plans provided more interior space.[31] At the same time Scott modified the decorative style, losing much of the Gothic detailing and introducing a more modern, monumental style.[32]
The Lady Chapel (originally intended to be called the Morning Chapel),[8] the first part of the building to be completed, was consecrated in 1910 by Bishop Chavasse in the presence of two Archbishops and 24 other Bishops.[33] The date, 29 June – St Peter's Day, was chosen to honour the pro-cathedral, now due to be demolished.[34] The Manchester Guardian described the ceremony:
The Bishop of Liverpool knocked on the door with his pastoral staff, saying in a loud voice, "Open ye the gates." The doors having been flung open, the Earl of Derby, resplendent in the golden robes of the Chancellor of Liverpool University, presented Dr. Chavasse with the petition for consecration. … The Archbishop of York, whose cross was carried before him and who was followed by two train-bearers clad in scarlet cassocks, was conducted to the sedilla and the rest of the Bishops, with the exception of Dr. Chavasse, who knelt before his episcopal chair in the sanctuary, found accommodation in the choir stalls.[35]
The richness of the décor of the Lady Chapel may have dismayed some of Liverpool's Evangelical clergy. Thomas suggests that they were confronted with "a feminised building which lacked reference to the 'manly' and 'muscular Christian' thinking which had emerged in reaction to the earlier feminisation of religion."[8] He adds that the building would have seemed to many to be designed for Anglo-Catholic worship.[8]
Second phase
Work was severely limited during the First World War, with a shortage of manpower, materials and donations.[36] By 1920, the workforce had been brought back up to strength and the stone quarries at Woolton, source of the pinkish-red sandstone for most of the building, reopened.[36] The first section of the main body of the cathedral was complete by 1924. It comprised the chancel, an ambulatory, chapter house and vestries.[37] The section was closed with a temporary wall, and on 19 July 1924, the 20th anniversary of the laying of the foundation stone, the cathedral was consecrated in the presence of King George V and Queen Mary, and Bishops and Archbishops from around the globe.[36] Major works ceased for a year while Scott once again revised his plans for the next section of the building: the tower, the under-tower and the central transept.[38] The tower in his final design was higher and narrower than his 1910 conception.[39]
From July 1925 work continued steadily, and it was hoped to complete the whole section by 1940.[40] The outbreak of the Second World War in 1939 caused similar problems to those of the earlier war. The workforce dwindled from 266 to 35; moreover, the building was damaged by German bombs.[41] Despite these vicissitudes, the central section was complete enough by July 1941 to be handed over to the Dean and Chapter. Scott laid the last stone of the last pinnacle on the tower on 20 February 1942.[42] No further major works were undertaken during the rest of the war. Scott produced his plans for the nave in 1942, but work on it did not begin until 1948.[43] The bomb damage, particularly to the Lady Chapel, was not fully repaired until 1955.[44]
Completion
Scott died in 1960. The first bay of the nave was then nearly complete, and was handed over to the Dean and Chapter in April 1961. Scott was succeeded as architect by Frederick Thomas.[45] Thomas, who had worked with Scott for many years, drew up a new design for the west front of the cathedral. The Guardian commented, "It was an inflation beater, but totally in keeping with the spirit of the earlier work, and its crowning glory is the Benedicite Window designed by Carl Edwards and covering 1,600 sq. ft."[46]
The version recorded in Gavin Stamp`s obituary of Richard Gilbert Scott, which appeared in The Guardian 15 July 2017, differs slightly: " When his father died the following year (1960), Richard inherited the practice and was left to complete several jobs. He continued with the great work of building Liverpool Cathedral but, after adding two bays of the nave (using cheaper materials: concrete and fibreglass), he resigned when it was proposed drastically to alter his father’s design. The cathedral was eventually completed with a much simplified and diminished west end drawn out by his father’s former assistant, Roger Pinckney".[47]
The completion of the building was marked by a service of thanksgiving and dedication in October 1978, attended by Queen Elizabeth II. In the spirit of ecumenism that had been fostered in Liverpool, the Roman Catholic Archbishop Derek Worlock played a major part in the ceremony.
Dean and chapter
Dean – Vacant
Vice Dean and Canon Precentor – The Revd Canon Myles Davies (Canon since 2006; Precentor since 2008; Acting Dean, 2011–2012, then 2017-)
Canon for Mission and Evangelism – The Revd Canon Richard White (since 2009 installation)
Canon Chancellor – The Revd Canon Ellen Loudon (since 2016 installation)
Canon for Discipleship – The Revd Canon Paul Rattigan (since 2013 installation)
Completed building
The cathedral's west window by Carl Johannes Edwards.[49] The uppermost window is the Benedicite window. The pink neon sign by Tracey Emin reads "I felt you and I knew you loved me“ and was installed 2008 when Liverpool became European Capital of Culture.
The cathedral's official website gives the dimensions of the building as
Length: 188.7 metres (619 ft)
Area: 9,687.4 square metres (104,274 sq ft)
Height of tower: 100.8 metres (331 ft)
Choir vault: 35.3 metres (116 ft)
Nave vault: 36.5 metres (120 ft)
Under tower vault: 53.3 metres (175 ft)
Tower arches: 32.6 metres (107 ft)
The cathedral was built mainly of local sandstone quarried from the South Liverpool suburb of Woolton. The last sections (The Well of the Cathedral at the west end in the 1960s and 1970s) used the closest matching sandstone that could be found from other NW quarries once the supply from Woolton had been exhausted.
The belltower is the largest, and also one of the tallest, in the world (see List of tallest churches in the world). It houses the world's highest (67 m (220 ft)) and heaviest (16.5 long tons (16.8 tonnes)) ringing peal of bells, and the third-heaviest bourdon bell (14.5 long tons (14.7 tonnes)) in the United Kingdom.[50]
Services and other uses
The cathedral is open daily all year round from 8:00 am to 6:00 pm (except Christmas Day when it closes to the public at 3 pm), and regular services are held every day of the week at 8:30 am: Morning Prayer (Holy Communion on Sundays). 12:05 pm Monday-Saturday (Communion) and Monday–Friday at 5:30pm (Evensong or said Evening Prayer according to day and time of year). At the weekend, there is also a 3pm Evensong service on Saturdays and Sundays with a main Cathedral Eucharist at 10:30 am, which attracts a large core congregation each week. It also has a more intimate Communion on Sundays at 4 pm. Since early 2011, the cathedral has also offered a regular, more informal form of cafe-style worship called "Zone 2", running parallel to its main Sunday Eucharist each week and held in the lower rooms in the Sir Giles Gilbert Scott Function Suite (formerly the Western Rooms). The core services at 5:30pm on Mondays, Tuesdays, Thursdays and Fridays, 10:30am on Sundays and 3pm Saturdays and Sundays are supported on each occasion during term time by the cathedral choir.[51]
Following the closure of their building in Rodney Street in 1975, the Liverpool St. Andrew's congregation of the Church of Scotland used the Radcliffe Room of the cathedral for Sunday services. The congregation finally disbanded in November 2016.[citation needed]
Admission to the cathedral is free, but with a suggested donation of £3.[n 7] Car parking is available on site on a pay-on-exit basis. Parking is free for attendance at all services. Access to the main floor of the cathedral is restricted during services and some of the major events.[52]
The building also plays host to a wide range of events and special services including concerts, academic events involving local schools, graduations, exhibitions, family activities, seminars, conferences, corporate events, commemorative services, anniversary services and many more. Its maximum capacity for any major event including special services is 3,500 standing, or about 2,300 fully seated. The ground floor of the cathedral is fully accessible.
Liverpool Cathedral has its own specialist constabulary to keep watch on an all-year 24-hour basis. The Liverpool Cathedral Constables together with the York Minster Police and several other cathedrals' constable units are members of the Cathedral Constables' Association.[53]
Bells
At 67 m (220 ft) above floor level, the bells of Liverpool Cathedral are the highest and heaviest ringing peal in the world. [n 8] Two lifts are provided for the use of the bellringers and other visitors to the tower. The peal proper (hung for full-circle change ringing) consists of thirteen bells weighing a total of 16.5 long tons (16.8 tonnes), which are named the Bartlett Bells after Thomas Bartlett (died 4 September 1912), a native of Liverpool who bequeathed the funding.[54] The bells vary in size and note from the comparatively light 10 long cwt (510 kilograms) treble to the tenor weighing 4 long tons (4.1 tonnes). The 13th bell (sharp 2nd) is extra to the main 12-bell peal, and its purpose is to make possible ringing in a correct octave on lighter bells.[55] All thirteen bells were cast by Mears & Stainbank of Whitechapel in London.[56] The initial letters of the inscriptions on the thirteen bells spell out the name "Thomas Bartlett" (from tenor to treble).[57]
The Bartlett bells are hung in a circle around the bourdon bell "Great George".[n 9] At 14.5 long tons (14.7 tonnes), Great George is the third most massive bell in the British Isles. (Only the 16.5 long tons (16.8 tonnes) "Great Paul" of St Paul's Cathedral in London, and the 2012 Olympic Bell (22.91 tonnes) are heavier.) Great George, cast by Taylors of Loughborough and named in memory of King George V, is hung in a pendant position and is sounded by means of a counterbalanced clapper.[59]
Music
Organ
The organ, built by Henry Willis & Sons, is the largest pipe organ in the UK with two five-manual consoles, 10,268 pipes and a trompette militaire.[60] There is an annual anniversary recital on the Saturday nearest to 18 October, the date of the organ's consecration. There is a two-manual Willis organ in the Lady Chapel.[61][62]
Organists and directors of music
1880- 1916 – Frederick Hampton Burstall (died 1916)
1915–1955 – Walter Henry Goss-Custard
1931–1982 – Ronald Woan (director of music)
1955–1980 – Noel Rawsthorne
1980 – Ian Tracey (later organist titulaire)
2008 – David Poulter (director of music)
Assistant organists
This list is incomplete; you can help by expanding it.
Noel Rawsthorne 1949–1955 (afterwards organist)
Lewis Rust (part-time) student at Liverpool Institute and ex-chorister
Ian Tracey 1976–1980 (afterwards organist)
Ian Wells 1980–2007
Daniel Bishop 2010–present
Organ scholars
Lewis Rust (approx dates 1960–70)
Ian Tracey (organist) (later organiste titulaire)
Ian Wells (later, Holy Trinity, Southport)
Geoff Williams 1983-85 (now Director of Music, St Anne's Stanley)
Stephen Disley (now assistant organist and director of the girls' choir, Southwark Cathedral)
Paul Daggett
Martin Payne 1994–95
David Leahey 1995–97
Keith Hearnshaw 1997–98
Michael Wynne
Gerrard Callacher
Daniel Bishop (later associate organist)
Shean Bowers 2004–06 (later assistant director of music at Bath Abbey)
Samuel Austin 2007–08 (later assistant director of music at Aldenham School)
Martyn Noble (2009–11)
James Speakman (2011-12)
Daniel Mansfield (2014 - 17)
Artists and sculptors
The high altar
In 1931, Scott asked Edward Carter Preston to produce a series of sculptures for Liverpool Cathedral. The project was an immense undertaking which occupied the artist for the next thirty years. The work for the cathedral included fifty sculptures, ten memorials and several reliefs. Many inscriptions in the cathedral were jointly written by Dean Dwelly and the sculptor who subsequently carved them.
In 1993 "The Welcoming Christ", a large bronze sculpture by Dame Elisabeth Frink, was installed over the outside of the west door of the cathedral.[63] This was one of her last completed works, installed within days of her death.[64]
In 2003 the Liverpool artist, Don McKinlay, who knew Carter Preston from his youth, was commissioned by the cathedral to model an infant Christ to accompany the 15th century Madonna by Giovanni della Robbia Madonna now situated in the Lady Chapel.[65]
In 2008 a work entitled "For You" by Tracey Emin was installed at the west end of cathedral the below the Benedicite window. The pink neon sign reads "I felt you and I knew you loved me", and was installed when Liverpool became European Capital of Culture. The work was originally intended to be a temporary installation for one month as part of the Capital of Culture programme, but is now a permanent feature.[63]
Another work by Emin, "The Roman Standard" takes the form of a small bronze sparrow on a metal pole, and was installed in 2005 outside the Oratory Chapel close to the west end of the cathedral.[66] The sparrow was stolen (twice) in 2008, but on both occasions was returned and replaced.[67]
Stained glass
The firm of James Powell and Sons (Whitefriars), Ltd., of London, provided most of the stained glass designs. John William Brown (1842–1928) designed the Te Deum window in the east end of the cathedral, as well as the original windows for the Lady Chapel, which was heavily damaged during German bombing raids in 1940. The glass in the Lady Chapel was replaced with designs, based on the originals, by James Humphries Hogan (1883–1948). He was one of the most prolific of the Powell and Sons designers; his designs can also be seen in the large north and south windows in the central space of the cathedral (each 100 feet tall). Later artists include William Wilson (1905–1972), who began his work at Liverpool Cathedral after the death of Hogan, Herbert Hendrie (1887–1946), and Carl Edwards (1914–1985), who designed the Benedicite window in the west front. The cathedral has approximately 1,700 m² of stained glass.[68]
Burials
Chavasse and Scott are buried in the precinct of the cathedral, the former in Founder's Plot, and the latter at the west end of the site.[69] Clergy buried within the cathedral include the bishops Albert David and David Sheppard. Among the benefactors whose remains are buried in the cathedral are William and Edmund Vestey and Frederick Radcliffe. The ashes of the donor of the cathedral bells, Thomas Bartlett are interred in a casket in the ringing room.[69] At the rear of the memorial to the 55th (West Lancashire) Infantry Division rest the ashes of Lieutenant-General Sir Hugh Jeudwine, who commanded the division from its formation in 1916 until the end of the First World War.[70]
All original. She was found in a closet in New England still in her Barbie box and had never been played with. Her hair is very shiny with her original ponytail curl still intact. These are her original earrings. Her body is numbered 44. She still has retained her peachy complexion.
Halle was my #6 custom way back from 2009. I gave her complete new makeover.
She's modeling a beautiful gift her mum gave mee!! <333
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Can anyone guess what this photo is inspired by? :)
Hello friends! Today I only have the time to upload the new series but I will return soon on your photo stream to see all the news! She is Ariel,a former ae Kogumaza Princess Queen of Cat and Deer. I like her crazy original hairstyle, but I think the golden blonde does not suit his complexion too much. Her face is amazing and i wanted to enhance her palette as much as possible,so i bought a wonderful wig for her from Margarita and I'm so happy about the result!! Thank you a lot again,Ri!!! <3<3<3
It is said that long ago the Greeks associated a green complexion with sickness, fear, jealousy and an overproduction of bile in stomach, which gives a clear image of the origination of the idiom "green with envy."
It is believed that William Shakespeare made this association popular in Othello: "Beware, my lord, of jealousy; it is the green-eyed monster which doth mock the meat it feeds on ..."
(Source: theidioms.com)
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All Rights Reserved © 2020 Frederick Roll ~ fjroll.com
Please do not use this image without prior permission
for Robyn
Request for peachy complexion, eyeshadow that goes well with blue eyes and not to emphasize her teeth.
Theme: www.youtube.com/watch?v=P2PvzbFj2A8&index=15&list...
'Dottinous Foul, unlike previous years, donned an iridescent hair wave, and her complexion was fair, in her own gaunt way. She had grown in height, and learned a thing or two about life, it seemed, over those warm summer weeks, and in true loyal form stood the anxious and familiar mouse upon her shoulder, who all knew as Mold. It was Creepy Dot's last year at Hogwarts, where all things were going to change'
I thought I'd do a look of the day, so here's what Dot is wearing:
Blouse & Skirt: Mikunch
Cloak: Fateplay
Tie: Fateplay
Tights: *318*
Cases: Meli Imako
Hair: AD (Gardenia)
Eyebrows: Bossie. & Fruk Face Fuzz
Eyes: AG. (Blissful Sapphire)
A close-up look...The light blue color of this dress seemed to bring out my blue eyes and worked well with my complexion.
Shakespeare's sonnet 18
This dandelion shot is a reverse free lens capture taken on my old EOS M camera with a 15-45mm kit lens. Reversing it gives a macro capability.
My sonnet 18 album: flic.kr/s/aHsmWh2P5u
Like many before him Mr Panda as I call him hails from East London in the Eastern Cape province of South Africa.Many others from that area continue to arrive in Cape Town in a mostly futile search for work.
He lives under a bridge not far from the center of town.
This is what he told me.
The animals own the earth and god made him a beast.
When the bird comes to me he said,"I am a bird.
When the cat comes to me I am a cat and when the dog comes to me I am a dog.'
He also told me that he used to bathe in and drink the water in the moat around the old castle in the city center.All this time he didn't know that there was a fish who lived in the water.
He said he used to be much lighter of complexion but the fish made him a lot darker.
All in all a very interesting man.
model is Beth.
VIEW ALL SIZES!
stuff heroes are made of..seriously, check this guy out, he doesn't get nearly enough credit for the photos he creates.
I absolutely love dressing Jade for fall. Her warm complexion pulls it off so well. Fired up the sewing machine and cranked out this cute little cozy flannel shirt for her, getting in the mood for the season.
I had awful luck with most of my photos today. So many were blurry or out-of-focus, and I am now great at capturing Uhura's dark complexion. Admitedly, I have this trouble with my other dolls that have deeper tones. There's also a sheen to her face, like a coating of hair gel. I haven't attempted to clean her up, because she is going to John.
I finished up this long friendship bracelet around the time Uhura arrived, so she has claimed it. It's not long enough to go around her neck twice, so I just tucked in the end and spun it to the back.
This picture is #24 in the 100 Strangers Project - Round 2
Meet Christina
Last weekend was a good day on the 100 Strangers project front although it took a little bit to take off. Few minutes after I photographed Fiona I met Christina - walking in my opposite direction with her friend Devon. Undoubtedly an extremely beautiful lady, with a lovely complexion, and her golden hair complementing her gorgeous eyes, Christina was a definite standout. Her simple elegant dressing with the blue she was wearing with a stylish earrings just further accentuated her appeal. Honestly even from quite a distance I knew I had my next stranger - and was really hoping Christina was open to the idea.
When we eventually were within speaking distance I made my request. Christina though caught a little by surprise couldn't stop smiling and then accepted (after a quick check with her friend). Since she had a few minutes to spare I requested them to cross the street to a background that could complement Christina's look and the couple were happy to help out.
We used the opportunity for a quick chat to help me know a little more about Christina. She works as a nurse in a Trauma center at Baltimore with Devon and loves her job. When I asked her about her happiest memory she said it would have to be when her sister was born - she had older brothers so to have a younger sister made her very happy; and her sister also happens to be her best friend.
The next question was her favorite quality about herself and she thought it was her kindness and humility. I have to say that although I connected with Christina for only a few minutes she has to be one of the friendliest people I have met on this journey (and I have met a few). She was a compulsive smiler with a infectious happy energy (a smile never really left her face) and perfectly complemented by her calm chilled friend. Something that caught me by surprise is that neither Christina or Devon are on Facebook which is pretty rare in today's day and age.
Christina was very generous with her time as I tried various poses and looks (a good subject does make me greedy and it would be fair to say the young lady looked like a doll) and extremely confident - though the only challenge she had was to stop the giggles which she managed very sportingly. I like quite a few of Christina's pictures and learned a lot during this random shoot.
As part of the post processing this is first time I have attempted frequency separation (and some minor cleaning of blemishes and increased contrast) and am quite happy with how the pictures turned out with a little touch up. Feedback welcome.
Thanks a lot Christina (and Devon) for your time and your participation - it was great making your acquaintance and was a lot of fun clicking your pictures. Wish you all the very best for your future.
Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
For my other pictures on this project: 100 Strangers - Round 2.
For pictures from my prior attempt at 100 Strangers: 100 Strangers - Round 1.
Main upload in comments -
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This picture is #16 in the 100 Strangers Project - Round 3
Meet Mavae
As amazing as it is to find strangers to pose for you on the street, its even more so when your stranger has great style, superb complexion and make-up like she stepped out for a photo shoot. And I was definitely in luck to find Mavae for my 100 Strangers project, just as I was grabbing lunch at a Lebanese restaurant when I saw her walk past outside. Needless to say, her sense of dressing as well as her make-up looked like she was out for a photoshoot. By the time I rushed out she was nowhere in sight - but then luckily I saw her waiting to pickup her order in a adjoining restaurant. Walking in, I made my request and to my relief Mavae agreed although she had only about 5 minutes before having to go for an appointment.
Mavae (I understand is a Irish name) works in the pharmaceutical industry specifically with mental health and hopes to someday run her own business. Her favorite quality of herself is her empathetic nature which somehow didn't surprise me much, given the soft spoken kindness she exuded. A memory she remembered- a few years when she had bought a one way ticket to El Salvador and the great time she had there.
We stepped out and tried a few spots to test the light before settling for a few pics. Mavae was a complete natural obviously photogenic and relaxed on camera. She even sportingly opened her hair based on my request which completely changed her personality I'd say.
Thank you Mavae for being such a sport and doing these pictures - it was great fun indeed. If you stop by and would like a copy of the pics please drop me a note. All the very best to you both for all that the future holds.
Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
For my other pictures on this project: 100 Strangers - Round 2.
For pictures from my prior attempt at 100 Strangers: 100 Strangers - Round 1.
Chemical Peels have been used for decades to revitalize and resurface the skin. They involve applying a chemical solution to remove the damaged outer layers of the skin and reveal a younger, clearer, more radiant complexion. www.tahacademy.ca/chemical-peels.html
All our actions take their hue from the complexion of the heart, as landscapes their variety from light.
~ Francis Bacon.
Listening to: My own happy little heart beat and humming, by; Me
Created with ChatGPT
Prompt - 16:9 ultra-photorealistic 64K 100% genuine cinematic photograph. Four elite Amazon warrior trainees rest on a vast obsidian crystal outcrop beside a luminous cobalt-blue underground river inside a colossal ancient cavern. Their physiques are naturally athletic, shaped by climbing mountains, hunting and wilderness survival—broad elegant shoulders, sculpted arms, powerful backs, defined waists, strong legs and functional feminine musculature without bodybuilder proportions. Each woman has a unique identity: AD5 (champagne-blonde waves, porcelain skin), AD3 (deep bronze complexion, voluminous natural curls), CHIARA (rich bronze complexion, elegant defined curls), and ROSA (warm caramel complexion, distinctive double-bun braids). Preserve each avatar's exact facial geometry, skin tone, eyes, lips and hairstyle. They wear unique combinations of black leather, turquoise silk wraps, carved bone ornaments, snake skull pendants, beadwork, arm wraps and tribal jewellery. A magnificent sleek black panther crouches alert at the edge of the obsidian, watching schools of tiny silver fish beneath the crystal-clear water. Massive cavern walls disappear into drifting turquoise mist, illuminated by distant shafts of mystical white-blue light filtering through unseen openings high above. Wet obsidian reflects subtle highlights while fine mist creates immense atmospheric depth. Captured using a Phase One XF IQ4 150MP medium-format camera, Schneider Kreuznach 55mm LS lens, f/8, ISO100, physically accurate HDR lighting, authentic optical depth, true photographic colour science, IMAX documentary realism, Netflix fantasy adventure live-action still, National Geographic quality, razor-sharp focus, ultra-realistic textures, absolutely no painting, no illustration, no CGI look, no text, no logos, no watermark.
Pic and Prompt by Adrian
Masai Mara (MMNR) | Kenya
Well they say a mud bath can be very therapeutic and relaxing, and can also improve your complexion! This old 'Dagga Boy' looks happy enough lazing there with his chin rested on the side of the mud pool, but just zoom in extra large for a minute and have a look at all those flies. Yuk.
Coco Vanderbalt
Rainbow High Series 4
She's absolutely amazing, that cobalt blue color is so vivid and vibrant and goes so well with her complexion.
The outfit, as always, is full of beautiful details that are ironic and refined at the same time and yes, perhaps if Andrenaline Rush Dominique had worn something similar to one of the two of Coco outfits, perhaps she would have been better received by collectors.
The only negative thing of this doll is the hair, they are stiff and hard because they are covered with that hard glue they used in Series 1
Einar was strolling with brisk confidence along the Bergen harbourside, casting a critical eye over the comings and goings of the various watercraft. Though at ease in the blue sky and sunshine, even from a distance you could tell in his poise and steel gaze that he was a man equally comfortable in less clement weathers. He had the implacable aura of a man who had threaded spinning seas choked with jigsaws of ice, tackled waves vast as paradigms as they turned fully on their heads to render gravity moot... and paused now on a sunny afternoon only briefly to reflect, before plunging again into another churning labyrinth of storm-worshipping water.
Meanwhile, searching for shade on the north side of the harbour, I had a background waiting a stranger in the lea of the vast Ocean Response vessel. The broad curve of the prow and slick marine paint were nicely distorting a reflection of the distant old town.
Sailor meets ship.
Einar was happy to pause for a moment, chatting affably about Bergen and equipping us with information that would provide the anchor for our weekend's exploration thereafter. He noted too the Tall Ships Race 2014, the event that had brought him back to his native Bergen from Croatia where he owns a yacht and sailing business. Definitely something I will return to Bergen for next year, inshallah.
Technically it's another two reflector set up - Einar holding one sunfire, with the gold one camera left in the hands of the "hooded accomplice". The only issue perhaps is the red of the ship. If you stand under the best part of 4,000 square metres of reflective red metal on a sunny day, you end up with lots and lots of red! However, for Einar I think it enhances his ruddy complexion and sailing credentials. It also offers a nice contrast with the shot before it in the series; Lina.
Thank you Einar - both for your time and for getting in touch. I'm glad you like your picture and might see you at next year's tall ships festival. Takk!
This is portrait #60 of my 100 Strangers Project - check out the group page and get involved.
I'm now back from my two months and catching up with contacts. Hope everyone is well!
Finally, I'm now tentatively live on Facebook; www.facebook.com/Flatworldsedge
Strobist Info:
1) Einstein in 27: Silver Beauty dish in front of subject 45 degree
2) Einstein behind the camera(slightly left) firing white V block as fill
3) 2 einsteins in strip box with grid behind the subject left right
4) another einstein in standard reflector with grid firing medium gray background.
www.facebook.com/TheMazePhotography
©2015 Levent Eryilmaz