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Decorative ceramic relief on the facade of Nørregade 1 in Copenhagen, by Olaf Stæhr-Nielsen (1896-1969). Set up in 1942, it was placed above the entrance of what was then the Alexandra cinema and it showed Pegasus riding a piece of celluloid fim above a stylized Copenhagen skyline.
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
two abstract compositions – printed scarfs on canvas
Second Hand
Maurycy Gomulicki, Leto Gallery, Mińska 25, Warsaw
27.IX - 31.X. 2013
Geometric fever, echoes of modernity, flirting with the Op art. Arrangements, repetitions, counterfeits. Settlements and distillates, specters and afterimages: the supermarket avant-garde and bazaar modernism. Large is a small, small is huge. What there isn't yet there is. Modernity at home and in the field, in cafes and at the dance floor. Trinkets and attire. Rhythms and patterns. In the claws of art? No kidding! The contraband of culture. The discreet charm of abstraction, nonchalance of forms, an antidote for color. Black and white panopticon. Bows to Henry Berlewi. Osmosis.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made ​​of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
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"The meeting of two personalities is like the contact of two chemical substances: if there is any reaction, both are transformed." - Carl Jung
Made in Abobe Photoshop
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Balade sur Le GR34 autour de Telgruc dans la presqu'île de Crozon en Bretagne. Algues à marée basse.
Oud/ Lute
The Oud is a pear-shaped stringed instrument commonly used in Arabic, Hebrew/Jewish, Greek, Turkish, Byzantine, Armenian, North African (Chaabi, Classical, and Andalusian), Somali and Middle Eastern music. Construction of the Oud is similar to that of the lute. The modern Oud and the European lute both descend from a common ancestor via diverging paths. The Oud is readily distinguished by its lack of frets and smaller neck. It is considered an ancestor of the guitar.
According to Farabi, the oud was invented by Lamech, the sixth grandson of Adam. The legend tells that the grieving Lamech hung the body of his dead son from a tree. The first oud was inspired by the shape of his son's bleached skeleton.
The oldest pictorial record of a lute dates back to the Uruk period in Southern Mesopotamia (modern Nasiriyah city), over 5000 years ago on a cylinder seal acquired by Dr. Dominique Collon and currently housed at the British Museum.
The Turkic peoples had a similar instrument called the kopuz. This instrument was thought to have magical powers and was brought to wars and used in military bands. This is noted in the Göktürkmonument inscriptions, the military band was later used by other Turkic state's armies and later by Europeans.[9] According to the musicologist Çinuçen Tanrıkorur, today's oud was derived from the kopuz by Turks near Central Asia and additional strings were added by them.
The oud has a particularly long tradition in Iraq, where a saying goes that in its music lies the country’s soul. A ninth-century Baghdad jurist praised the healing powers of the instrument, and the 19th-century writer Muhammad Shihab al-Din related that it "places the temperament in equilibrium" and "calms and revives hearts." Following the invasion of Iraq and the overthrow of the secular Ba'athist regime in 2003, however, the increasing fervor of Islamic militants who consider secular music to be haraam (sinful) forced many oud players and teachers into hiding or exile
Mark Alexander Biography
Mark was born in Bayonne, NJ. An only child of Egyptian immigrants to the United States in the late 70s. His work often reflects his view of the world, the things that matter to him. Much of his work incorporates Middle Eastern culture with Western culture that has yielded a unique visualization of art. He works mainly within the landscape, still life and impressionist fields. Most of his work is using a photographic technique known as High Dynamic Range (HDR). All of his HDR work is printed on the highest quality Canvas. All his photographs are signed on the back.
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1. Femmes Hmongs, marché de Bac Ha (Vietnam), 1999
2. Bibliothèque, Stongde Gompa, Zanskar (Inde), 1998
3. Carcasse à l'étal d'un boucher, Songpan, Sichuan (Chine), 1999
4. Puja solitaire, Lamayuru Gompa, Ladakh (Inde), 2004
5 Pélerins au temple de Tiruvannamalai, Tamil Nadu (Inde), 2003
6. Fresques, Alchi Gompa, Ladakh (Inde), 1999
7. Moines assistant à un enseignement du Dalai Lama, Choglamsar, Ladakh (Inde), 1998
8. Roses, marché de Mysore, Karnataka (Inde), 1998
9. Corbillards à Cholon , le quartier chinois de Saigon (Vietnam), 1999
10. Masques, Hanoi (Vietnam), 1999
11. Etal d'un dentiste, Ayodhya, Uttar Pradesh (Inde), 1997
12. Montagne de piments , Madurai, Tamil Nadu (Inde), 2003
13. Fleurs, Kampung Naga, Java (Indonésie)
14. Affiche pour le spectacle d'un magicien, Bénarès, Uttar Pradesh (Inde), 1999
15. Puja au Jokhang, principal lieu saint du Tibet, Lhassa (Tibet), 1994
16. Fagot de rats séchés, environs de Muang Xai (Laos), 1995
17. Sculptures érotiques, temple de Jagannath, Kathmandu (Népal), 2004
18. Lentilles d'eau dans la rizière, pays Dong, Guangxi (Chine), 1999
19. Préposé aux offrandes, pagode Nghia Au Hoi Quan, Saigon (Vietnam), 1998
20. Bouddha, Wat Chai Wattanaram, Ayutthaya (Thailande), 1998
21. Salle de prière, Jokhang, Lhassa (Tibet), 1994
22. Ganesh, Bénarès, Uttar Pradesh (Inde), 2003
23. Teinturerie, Dhamanka, Gujarat (Inde), 1998
24. Autel et bibliothèque, Alchi Gompa, Ladakh (Inde), 1997
25. Ganesh, Kathmandu (Népal), 2004
"Composition: You already know what the rule of thirds is, now is the time to use it. Use Rule of Thirds to show motion in your picture."
We stumbled upon All Saints en route to a different church, and as all those seen thus far on this day had been small and plain, not much was expected. But I saw the tower from along the main street, and looked impressive. and once parked we found it unlocked and welcoming.
Star of the show is the northern chapel, given over to the Culpepper family, with a fabulous tomb in the centre. On the walls, dozens of blank shields show what had been planned to be the family mausoleum for centuries, but things changed, the family moved away and the chapel has just three shields decorated.
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There was considerable damage caused to this church in an earthquake of 1382. The medieval accounts survive so we know that 48s 2d was spent on the rebuilding. Little can have changed to the structure since that time, except for the construction of a north chapel in 1638. This chapel has a charming pattern of flint flushwork triangles in a horizontal course below the battlements. It contains one of the most interesting seventeenth-century monuments in Kent - to commemorate Lady Elizabeth Culpepper (d. 1638), carved and signed by the Court Sculptor Edward Marshall. The detail is amazing and the cord that connects her ring and wrist is always pointed out to visitors. The rest of the church was restored early in the career of George Gilbert Scott Jr in 1876 (see also Frinsted) and retains its patina of age unimaginable in a restoration by Scott Sr. The pulpit is early seventeenth century and dates from a few years after the much crocketed font cover. There are three signed monuments by Rysbrack and a tall crownpost roof of good construction in the nave.
www.kentchurches.info/church.asp?p=Hollingbourne
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HOLLINGBORNE.
THE next parish north-westward from Harrietsham is Hollingborne, called in Domesday, Hoilingeborde, and in later records, Holingburnan and Holingeburne. It probably took its name from the spring which rises in the vale underneath the hill, in this parish.
THE PARISH of Hollingborne is situated much the same as that of Harrietsham last described, close to the great ridge of chalk hills, at the foot of which is the village called Hollingborne-street, in which at the south end of it stands the church and vicarage, and near them a well-looking brick mansion, of the time of queen Elizabeth, which by its appearance must have had owners of good condition in former times, but what is remarkable the rector of Hollingborne claims some rooms in this house in right of his rectory at this time. The road through Newnhambottom from Ospringe and Canterbury passes through Hollingborne-street, and thence through Eyhorne, commonly called Iron-street, in this parish, where there are two good houses, one belonging to Robert Salmon, esq. who resides in it, and the other built not many years since by Mr. John Weeks, who died possessed of it in 1785. Hence the road leads on, and joins the Ashford high road through Bersted to Maidstone. The southern part of this parish consists mostly of a deep sand, the whole of it below the hill is well watered by some small streams, which running southward join the Lenham rivulet in its way to Maidstone. Nearer the street the soil becomes a chalk, which continues to the summit of the hill, at the edge of which stands Mr. Duppa's house, whence the remaining part of this parish northward, situated on high ground, and exposed to the cold bleak winds, is but a wild and dreary country, with thick hedgerows, and frequent coppices of wood, mostly of hazel and oak, and small unthriving trees of the latter dispersed among them; the soil a deep tillage land, wet and very poor, being a red cludgy earth, covered with quantities of flint stones. On Eyhorne green, or as it is commonly called Broad-street, in this parish, in October yearly, two constables are chosen, one for the upper, the other for the lower half hundred of Eyhorne, each of which district consists of the twelve adjoining parishes, the borsholders in which, and the several boroughs in them, except such as are chosen at the different court leets, are chosen here likewise.
This parish, with the manor of Elnothington in it, together with the rest of the hundred of Eyhorne, was antiently bound to contribute to the repair of the sixth pier of Rochester bridge.
ÆTHELSTAN ETHELING, son of Ethelred II. gave by his will in 1015, to Christ-church, in Canterbury, his lands at Hollingborne, with their appurtenances, excepting one plough-land, which he had given to Siserth. In the MSS. in Bennet college library, Cambridge, of the evidences of Christ-church, Canterbury, intitled Thorn, printed in Decim. Script. f. 2221, this gift is said to have been made in 980; a very improbable circumstance, the king, his elder brother, at that time being but fourteen years of age.
These lands he had bought of his father, and gave them, with his consent, to Christ-church, L. S. A. that is, free from all secular service, excepting the trinoda necessitas, in like manner as Adisham had been given to it.
The manor of Hollingborne remained part of the possessions of the church of Canterbury at the time of the conquest, when the revenues of it were enjoyed as one common estate by the archbishop and his convent; but archbishop Lanfranc, after the example of foreign churches, separating them, in the partition Hollingborne fell to the share of the monks, and was allotted for their subsistence, (or ad Cibum, as it was usually termed) and it is accordingly thus entered in the book of Domesday, under the general title of Terra Monachorum Archiepi, i. e. the land of the monks of the archbishop.
The archbishop himself holds Hoilingeborde. It was taxed at six sulings. The arable land is twenty-four carucates. In demesne there are two, and sixty-one villeins, with sixteen borderers, having twenty-three carucates. There is a church, twelve servants, and two mills, and eight acres of meadow. Wood for the pannage of forty hogs. In the whole, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, and now it is worth thirty pounds. To this manor there adjoins half a suling, which never paid scot, this the bishop of Baieux rents of the archbishop.
At this time, the whole of the above premises seems to have been valued at thirty pounds.
King Henry II. granted to the monks of Christchurch a charter for their lands at Hollingborne upon the Hills. In the 10th year of king Edward II. the prior obtained a charter of free-warren for his manor of Hollingborne, among others; about which time it was, with its appurtenances, valued at 46l. 9s. 8d. King Henry VI. by his letters patent, in his 25th and 26th year, granted to the prior a market, to be held at this place weekly on a Wednesday, and a fair yearly on the feast of St. Anne. (fn. 1)
William Selling, who was elected prior in the next reign of king Edward IV. anno 1472, during the time of his holding that dignity, greatly improved the prior's apartments here. After which, it seems to have undergone no material alteration till the dissolution of the priory, which was surrendered into the hands of king Henry VIII. in the 31st year of his reign.
The manor of Hollingborne did not remain long in the hands of the crown; for the king settled it, by his dotation charter, in his 33d year, on his newerected dean and chapter of Canterbury, part of whose possessions it now remains.
There is a court-leet and court baron regularly held by the dean and chapter for this manor, which extends likewise into the adjoining parishes of Hucking, Bredhurst, and Harrietsham, the quit-rents of it called Beadle-rents, being about forty-two pounds per annum.
¶BUT THE DEMESNE LANDS of this manor have been from time to time leased out by the dean and chapter at a reserved rent of 10l. 9s. The year after the grant of it to them, they demised them by lease to I. Reynolde, as they did anno 19 Elizabeth to William Puresoy, in whose family they remained till the beginning of king James I.'s reign. After which the Fludds held them in lease, and continued so to do, till their interest in them was passed away to W. Alabaster, D. D. After which these premises were held in succession by Bargrave, Boys, Farewell, and Gookin, till the year 1684, when Sir Thomas Culpeper, had a lease of them, in whose family they continued till John Spencer Colepeper, of the Charterhouse, passed away his interest in them to the Hon. Robert Fairfax, who held them in 1758, and then alienated his lease to Francis Child, esq. banker in London, whose brother Robert Child, esq. of London, banker, dying in 1782, the trustees of his will, Robert Dent and John Keysel, esqrs. are now in the possession of his interest in the lease of these demesnes, under the dean and chapter, besides which the dean and chapter have several other lands and woods here leased out by them to different persons.
HOLLINGBORNE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deaury of Sutton; and is exempt from the jurisdiction of the archdeacon.
The church, which is dedicated to All Saints, is a handsome building, consisting of three large isles, with a chancel at the end of the middle one, and a square tower at the west end. The chancel is much enriched with the monuments of the family of Culpeper, of Greenway-court, and for two of the lords Culpeper, one of them by Rysbrack; on the north side is one for Sir Martin Barnham and his two wives, in 1610, their three figures kneeling at a desk, and underneath their children. At the east end of the north isle there is a small neat chapel, raised up several steps to give room for a vault underneath, in which lie the remains of all this branch of the Culpeper family. The sides of the chapel are filled with black escutcheons, and square tablets of black marble alternately, only two of these among the numbers of them are filled up, and those with younger branches of the family settled elsewhere, a proof of the disappointment of the vain endeavours of the builder to transmit the memory of his descendants to posterity. On the middle of the pavement is a beautiful raised monument of white marble, and the figure of a lady, lying at full length, in the habit of the times, of exceeding good sculpture, in memory of Elizabeth, lady of Sir Thomas Culpeper, daughter of John Cheney, esq. of Sussex, obt. 1638. In the isle a monument for Nich. Chaloner, esq. obt. 1706. Against the north wall of the north isle for two of the family of Duppa, and at the lower end of the church, for the Plummers, Collins's and Dykes. In the middle isle a stone, on which have been the figures of a man and woman in brass, but two shields of arms remain, being quarterly, first and fourth, A chevron, engrailed on a chief, three sleurs de lis; second and third, Three fishes, wavy, sessways, in pale.
There is belonging to this church, a most superb altar-cloth, and a pulpit-cloth and cushion, of purple velvet, ornamented with different figures of fruits of pomegranets and grapes, wrought in gold, the needlework of the daughters of Sir John Colepeper, afterwards created lord Colepeper, who employed themselves for almost the space of twelve years in the working of them, during their father's absence abroad with king Charles II.
The communion plate is very handsome, and an swerable to the above-mentioned furniture, being mostly the gift of the family of Colepeper, and some of it of Baldwin Duppa, esq.
John Eweyn, by his will proved in 1527, gave a table of alabaster, to stand upon the altar of St. John the Baptist in this church; and money to the repair of St. John's chapel in it. John Aleff, parson of Hollingborne, as appears by his will in 1537, was buried in the way beside the porch-door, on the right hand, and that there was set in the wall, nigh his grave, a stone with a plate of sculpture, mentioning where and when he was buried. He had before been vicar of Little Chart, and of St. Laurence Wolton, as he was then of St. John's Sherburne, in Hampshire.
The church of Hollingborne, to which the chapels of Hucking and Bredhurst were antiently annexed, is a sinecure rectory, with a vicarage endowed. The rector of Hollingborne is at this time patron of the perpetual curacy of the chapel of Bredhurst. The archbishop is patron both of the rectory and of the vicarage of Hollingborne, the vicar of which is collated to this vicarage, with the chapel of Hucking annexed.
The vicarage was endowed before the year 1407, in which year Arthur Sentleger, the rector, granted to William Maunby, vicar of this church, a messuage, with its appurtenances in this parish, for the habitation of himself and his successors for ever. (fn. 5) In archbishop Chichele's register, at Lambeth, there is an unauthenticated writing of a composition, made about the year 1441, for it is without date, between William Lyeff, then rector here, and John Fsylde, vicar, upon the assignation of a proper portion for the endowment of this vicarage in future times.
The rectory of Hollingborne is valued in the king's books at 28l. 15s. 5d. and the tenths at 2l. 17s. 6 1/7d. The vicarage is valued in them at 7l. 6s. 8d. and the yearly tenths at 14s. 8d. The vicarage in 1640 was valued at eighty-six pounds, and the communicants were then 271. It is now of the yearly certified value of 70l. 16s. 8d.
The vicarage was augmented twenty pounds per annum, by lease between Ralph Staunton, rector, and Sir Thomas Culpeper, of this parish.
¶The name of Culpeper, or Colepeper, is so variously spelt in different deeds and records, that it is impossible to keep with any rule to either spelling; on all the monuments, and in the parish register, (excepting in two instances in the last) it is spelt Culpeper.
Vivitar Ultra Wide & Slim + Redscaled Konica Minolta VX Super 200 + Double Exposure.
I have no idea what the second exposure on this was - nor indeed, where it went!
Experimenting with Redscale again - moving from the blunt application of that banging colour, to explore other possibilities beyond that...The first roll was shot almost exclusively along the environs of Stokes Croft, Cheltenham Road & Gloucester Road and mostly graffiti. The intention of the second roll was to find mainstream advertising or images from more affluent areas of the city, or more pastoral/non urban environments. I did not line up the film, nor take notes, nor plan beyond striving for the principle of contrasting subjects. The negatives were returned uncut as requested, but I did get lab scans - any overlaps of one frame over another, are a result of this. I have cropped where I feel it is most helpful to do so, so any inclusion of frame overlap is these uploaded images has been an active choice. I will almost certainly return to the negs with a home scanner to search for alternative compositions to complement these.
In some cases I have found the results quite 'dark' and unsettling in mood - quite a refreshing departure for my stream. I plan to explore this some more.
Redscaling.
Basically it involves taking a roll of ordinary 'bog standard' print film, reversing it and respooling it into another film cannister (all done in a dark bag) so that the light is exposed on 'the wrong side of the film' when you take a shot. You then lose two 'stops' on the optimal exposure conditions from the original. It gets developed in exactly the same way as print film, but be prepared for the technician to be a little startled (at best) or a little irritated (at worst) when they realise that something very odd has happened to the film. :)
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