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Baltic Sea beach resorts are very crowded in the summertime. Depicted here is the beach in Ustronie Morskie (Henkenhagen) near Kołobrzeg (Kolberg) in Poland.
The Watchtower stands at the eastern end of the South Rim of the Grand Canyon. From a distance the building's silhouette looks like the Anasazi watchtower it was meant to mimic. The steel and concrete structure of this space is entirely plastered and all of the walls are covered with murals. The most distinct images, painted by Hopi artist Fred Kabotie depict various aspects of Hopi mythology and religious ceremonies.
# This relief shows Ramses the Great (Ramses II, at the center) being adorned by the Gods Set and Horus.
# On the left is Set (or Seth, or Sutek, or Seteh), depcited with a head that doesn't completely resemble any creature we know. This is why Egyptologists have refered it as the head of the "Set animal" which resembles an aardavak and a dog. To the ancient Egyptians, the animal that Set's head is, was actually associated with a canid, wild dog of Egypt, which is unknown today - or possibly extinct. The Egyptians called this animal "Sha".
# Set is known to have saved Ra - the Sun deity. At the sametime he is associated with deserts, storms, chaos and darkness.
# Set is also known for violent conflicts against other deities like the Gods Horus, Osiris and the Goddess Isis.
# On the right side is Horus, depicted with the head of Falcon, and with a pschent on his head. A Pschent is the double crown of ancient Egypt, commonly called "Sekhemti" (the two powerful ones).
# Horus is associated with being the saviour and sky God, the deity of hunting and as being the destroyer of Set. Horus was told by his mother, Isis, to protect the people of Egypt from Set, the god of the desert, who had killed his father Osiris.
# The depiction shows both the deities Set and Horus holding the "Was" (power sceptre) in their right and left hands respectively. It was a decorated staff, curved at the top end and depicted as a symbol of one's power.
This statue in the town of Olney, Buckinghamshire, depicts one of the "Pancake Runners", an all female race from the market square to the Peter and Paul Church (400 yards) that goes back to the 15th century and takes place on Shrove Tuesday, just before Lent. So, the tradition is old. But it had to be "revived" after World War II and, in the age of tourism and international competition, the statue was commissioned only in 2014, by the town. Olney has a rich history, and many things could have been remembered and memorialised by a statue, from the influx of Protestant refugees since the 16th century to the creation of wealth (and poverty) through the local lace industry and the slave trade and its abolition. When we remember, we have already made a choice.
The Calling of Saint Matthew is an oil painting by Caravaggio that depicts the moment Jesus Christ calls on the tax collector Matthew to follow him. It was completed in 1599–1600 for the Contarelli Chapel in the church of the French congregation, San Luigi dei Francesi in Rome, where it remains. It hangs alongside two other paintings of Matthew by Caravaggio, The Martyrdom of Saint Matthew (painted around the same time as the Calling) and The Inspiration of Saint Matthew (1602).
More than a decade earlier, Cardinal Matthieu Cointerel (in Italian, Matteo Contarelli) had left funds and specific instructions in his will for the decoration of a chapel based on themes related to his namesake, Saint Matthew. The dome of the chapel was decorated with frescoes by the late Mannerist artist Giuseppe Cesari, Caravaggio's former employer and one of the most popular painters in Rome at the time. But as Cesari became busy with royal and papal patronage, Cardinal Francesco Del Monte, Caravaggio's patron and also the prefect of the Fabbrica of St Peter's (the Vatican office for Church property), intervened to obtain for Caravaggio his first major church commission and his first painting with more than a handful of figures.
Caravaggio's Calling of Saint Matthew hangs opposite The Martyrdom of Saint Matthew. While the Martyrdom was probably the first to be started, the Calling was, by report, the first to be completed.[citation needed] The commission for these two lateral paintings — the Calling and the Martyrdom — is dated July 1599, and final payment was made in July 1600. Between the two, at the altar, is The Inspiration of Saint Matthew (1602).
The painting depicts the story from the Gospel of Matthew (Matthew 9:9): "Jesus saw a man named Matthew at his seat in the custom house, and said to him, "Follow me", and Matthew rose and followed Him." Caravaggio depicts Matthew the tax collector sitting at a table with four other men. Jesus Christ and Saint Peter have entered the room, and Jesus is pointing at Matthew. A beam of light illuminates the faces of the men at the table who are looking at Jesus Christ. This is a depiction of a moment of spiritual awakening and conversion, which was something many Baroque artists were interested in painting, especially Caravaggio.
There is some debate over which man in the picture is Saint Matthew, as the surprised gesture of the bearded man at the table can be read in two ways.
Most writers on the Calling assume Saint Matthew to be the bearded man, and see him to be pointing at himself, as if to ask "Me?" in response to Christ's summons. This theory is strengthened when one takes into consideration the other two works in this series, The Inspiration of Saint Matthew, and The Martyrdom of Saint Matthew. The bearded man who models as Saint Matthew appears in all three works, with him unequivocally playing the role of Saint Matthew in both the "Inspiration" and the "Martyrdom".
A more recent interpretation proposes that the bearded man is in fact pointing at the young man at the end of the table, whose head is slumped. In this reading, the bearded man is asking "Him?" in response to Christ's summons, and the painting is depicting the moment immediately before a young Matthew raises his head to see Christ. Other writers describe the painting as deliberately ambiguous.
Some scholars speculate that Jesus is portrayed as the Last Adam or Second Adam as titled in the New Testament. This is displayed in Christ's hand as it reaches out towards Matthew. It is almost a mirrored image of Adam's hand in The Creation of Adam by Michelangelo, the namesake of Caravaggio. Twice in the New Testament, an explicit comparison is made between Jesus and Adam. In Romans 5:12–21, Paul argues that "just as through the disobedience of the one man the many were made sinners, so also through the obedience of the one man the many will be made righteous" (Romans 5:19, NIV). In 1 Corinthians 15:22, Paul argues that "as in Adam all die, so in Christ, all will be made alive," while in verse 45 he calls Jesus the "last/ultimate/final Adam".
The artist's depiction of a lone astronaut on another planet depicts the huge vastness of space, the loneliness of exploration, the potential danger of being in a strange, unknown land and utterly alone in both time and distance from other human assistance, and that single astronaut just has to be concerned about every decision he will be called upon to make.
At the London Transport shop in Covent Garden London, a serious sweet shop for transport lovers, from cushions to cups.
A very arty ceiling depicting the London underground lines, classy.
Prompt
A whimsical and surreal painting depicts a central figure dressed as a jester, seated on a colorful patchwork fabric resembling a circular rock or mound in calm water. The jester wears a tall, flowing red jester hat adorned with a blue bow, a ruffled beige and red collar, and has striking white face paint with dramatic blue eye makeup, exaggerated black lines under the eyes, and bold red lips forming a slight smile. The figure's hands are clasped together in front of them. Flanking this central figure are two anthropomorphic ducks, one on each side. The duck on the left is blue-gray with a black head, white eye stripes, and an orange bill, while the one on the right has a teal-green head with a blue neck ring, black body with speckled gray and white patterns, and a green chest. Both ducks have intricate floral headdresses composed of delicate flowers and greenery on their heads. Small birds, including a vibrant blue butterfly-like bird with black spots on its wings perched on the left duck's head and a pink phoebe-like bird with blue wings flying above, add to the fantastical nature of the scene. The background features a serene body of water with reflections of the figures and soft, blurred grasses and reeds along the horizon under a light blue sky filled with soft, fluffy white clouds. The lighting is soft and diffused, creating an even illumination across the scene and enhancing the enchanting, surreal, and ethereal mood. The color palette includes sky blue, coral red, teal green, charcoal gray, pastel pink, and ivory white, contributing to the dreamlike quality of the composition. The overall scene is balanced and symmetrical, with a shallow depth of field that keeps the focus on the central characters while maintaining a sense of whimsy and otherworldliness.
This set of four Nyonya (or Malaysian Chinese/Peranakan) ceramic 'paintings' was on display at the Nyonya Colours restaurant at the Glo Damansara mall.
Each has three Phoenix surrounded by floral designs depicted. Traditional Chinese Malaysian Nyonya/Baba ceramics are slightly unusual in that while the Phoenix (associated with femininity) is often depicted, Dragons (the masculinity symbol), seldom appears.
October 2025
A processional tableau depicting "Simon of Cyrene Helps Jesus," from Poblacion, Makati City. Commissioned from a Paete sculptor for the Samahang "Likod Simbahan."
Photographed right before the 2009 Good Friday processions. Photo courtesy of the Francisco Vecin Photo Collection.
Antonio Canova depicting Orpheus and Eurydice.
Taken in the Museo Correr, Venice.http://correr.visitmuve.it/en/il-museo/layout-and-collections/neoclassical-rooms/
Another depiction of life continuing shortly after the storm passes and we go back to doing the things that need to be done. "When The Storm Leaves" our chores and duties await us and off we go on this early Saturday evening to visit friends or maybe just cruise in the vehicle of our choice and checking the aftermath and breathing the fresh rain washed air. Either way life goes on and we're part of the present enjoying the Sun or the Rain....Have a great weekend my friends.
Pls. view in Black
Ceiling of the Golden Room (1452) - Benedetto Bembo (1423-1489) -Castle of Torrechiara
Il Castello di Torrechiara (Emilia-Romagna) è uno degli esempi più belli di architettura feudale civile del XV secolo nel nord Italia. Fu eretto tra il 1448 e il 1460 sulle rovine di un precedente fortilizio. Il castello è famoso soprattutto per la storia d'amore poetica che qui è stata vissuta e immortalata nei dipinti nella sua Camera d'oro.
La Camera d'Oro è una delle poche camere risalenti al passaggio dal Medioevo al Rinascimento ancora conservata relativamente intatta. Il tema degli affreschi è basato su una storia d'amore vera e propria, quella di Pier Maria Rossi e Bianca Pellegrini.
Le pareti della camera d'Oro sono coperte fino ad un'altezza di circa 3 metri con piastrelle di terracotta. Il ciclo pittorico della Sala d'oro è il monumento di una storia d'amore. I quattro incontri tra Bianca Pellegrini e il suo amante, raffigurati nelle lunette, rappresentano quattro diverse fasi della loro relazione.
The Castello di Torrechiara (Emilia-Romagna) is one of the most beautiful examples of feudal, secular architecture from the fifteenth century in northern Italy. It was erected between 1448 and 1460 on the ruins of an earlier fort. The castle is most famous for the poetic love story that was played out here and is immortalized in the paintings in its Sala d'Oro (Golden Room).
The Golden Room is one of the few secular rooms dating from the transition from the Middle Ages to the Renaissance still preserved relatively intact. The subject matter of its paintings is based on an actual love affair, that of Pier Maria Rossi and Bianca Pellegrini.
The walls of the Golden Room are covered, up to a height of roughly 3 m to the springing of the vaulting ribs, with terracotta tiles. The pictorial program of the Golden Room is a monument to a love affair. The four encounters between Bianca Pellegrini and her lover depicted in the lunettes represent four different stages in their relationship.
The unusual architecture of the Wall for Peace, with its steel and glass designs depicting the word "Peace".
More photos to be seen at www.eutouring.com/images_wall_for_peace.html
This image depicts an aged yet charming façade in Citta Sant'Angelo, near Pescara, Italy, showcasing elements of historical and architectural significance. The façade consists of a staircase leading to a prominent wooden door framed by a classical arched design with Gothic influences. The upper part of the door is adorned with intricate carvings and a decorative fanlight grille featuring geometric patterns. This archway is flanked by columns and stone detailing, showing signs of wear, which lend the structure an authentic historical character.
Above the doorway, the building features two distinctive windows with bright yellow frames that contrast with the weathered plaster walls. The left window has a rounded top, evoking Romanesque inspiration, while the right one displays Gothic elements, as seen in the pointed arches and ornamental details. Both windows are fitted with textured glass, enhancing the play of light while maintaining privacy.
The weathered façade, with patches of exposed bricks and peeling plaster, narrates the passage of time. It reflects the architectural vernacular of central Italy, blending elements from different periods. This layering of styles might suggest a building constructed or modified during the transition from medieval to Renaissance influences, echoing the broader historical evolution of the Abruzzo region.
The staircase, flanked by iron railings and framed by potted plants, ties the aesthetic to the region's culture, where entrances often serve as transitional spaces between private and communal life. The small courtyard, with moss-covered paving stones, highlights the impact of the Mediterranean climate on building materials, further connecting the site to its coastal setting.
Pescara, a city in the Abruzzo region, has a rich history influenced by Roman, medieval, and Renaissance cultures. The architectural details visible in this façade reflect a mix of these traditions, embodying the enduring interplay between functionality, art, and historical transformation typical of the region.
RX_01101_20240424_Pescara
Detail from mid 20th century stained glass at St Martin's parish church, Caerphilly.
This depicts St Gwynllyw (in English rendered as St Woolos) and dates from 1953. According to Wikipedia "He was King of Gwynllwg in South Wales and is the legendary founder and patron saint of the City of Newport living around the 5th century. According to medieval tradition he was a feared warlord and raider who knew King Arthur, but later found religion and became a hermit founding St Woolos Cathedral in Newport. " en.wikipedia.org/wiki/Gwynllyw.
This is from a larger window including the images of Gwynllwg's queen Gwladys and son Catwg which you can see here: www.flickr.com/photos/robin_croft/3576869384/
Prompt: ( Mage)
The image depicts a vibrant, surreal scene of a clown emerging from a smartphone, accompanied by a splash of water and a red ball. The clown is dressed in a classic yellow and red outfit with oversized shoes, a ruffled collar, and bright blue hair. Their face is painted white with exaggerated features: large red lips, a red nose, and accentuated eyebrows and eye makeup. The clown's expression is one of surprised excitement or exhilaration.
The clown appears to be leaping out of the screen of a modern, silver smartphone, which lies flat on a wooden surface. The screen itself is covered with a dynamic splash of water, creating the illusion that the clown is bursting forth from this liquid layer. The water droplets are depicted in sharp detail, some suspended in mid-air, adding to the sense of motion and energy.
Above the clown, a bright red ball hovers as if it has just been tossed upwards. This contributes to the playful, circus-like atmosphere. The background is a muted teal or grayish-blue, which contrasts with the brighter colors of the clown, water, ball, and wooden surface. Additional water droplets are scattered around the phone on the wooden surface, suggesting the splash is overflowing from the screen. The overall image is highly dynamic and fantastical, suggesting a playful yet slightly bizarre narrative.
Prompt: #2
digital art of a creepy clown bursting out of a smartphone, surrealism, dynamic pose, vibrant color palette, chaotic atmosphere BREAK 3d render, hyperrealistic, octane render, trending on artstation BREAK professional artwork, detailed rendering BREAK 8k UHD, sharp focus, high quality, award-winning
I might've taken a little liberty with this theme, but I've been binge-watching a ton of Criminal Minds lately, and Penelope Garcia has become one of my favorite characters (despite the fact that I hate the cheesy depictions of technology in these kinds of shows). So here is Giselle doing some cyber-sleuthing in signature Penelope style. ;)
this statue, along W Confederate Avenue, depicts Color Sgt. William O'Brien of the 11th MS Infantry
gettysburg.stonesentinels.com/confederate-monuments/confe...
Cheesecake with cream and strawberries on a British Museum plate depicting Auguste Rodin's The Kiss.
This picture depicts the moated castle "Haus Kemnade" in Blankenstein, a borough of Hattingen. The castle is a rebuild in the art of Renaissance and Baroque after a conflagration in 1589. Since 1921 is the castel in the ownership of the city of Bochum. Today is "Haus Kemnade" a dynamic hub for gastronomy and excursions alongside the Ruhr-valley.
The church is depicted in the Bayeux Tapestry as it was here that Harold, Earl of Wessex and soon to be King prayed with his men before embarking on the ill fated trip to Normandy before the Norman Conquest of 1066.
The exact age of the arch is uncertain. It appears to be of Norman construction, but seems to be faithfully reproduced in the Bayeux Tapestry which is thought to have been embroidered, (not actually a tapestry and now widely accepted to have been made in England!) soon after the conquest, perhaps as a gift for William's coronation. If this is the arch in the tapestry it must have been constructed soon after 1066.
Looking from the chancel to the barn-like medieval body of the church.
The images depict a sunset view at a paddy field at the countryside of Selangor, Malaysia. The image is part of a time lapse sequence taken in August 2016, between breaks of haze attack to Malaysia due to forest fire from nearby country.
HAK Imageworks / © All rights reserved. Do not use or reproduce this image on websites, blogs or publications without expressed written permission from the photographer. The image and timelapse is available for licensing by contacting the photographer at peacezxp@gmail.com.
Bronzino (Agnolo di Cosimo Tori 1503-1572) - Descent of Christ into Limbo (1552) - Medici Chapel - Basilica of Santa Croce Florence
La Discesa di Cristo al Limbo, raffigura la liberazione delle anime oneste nate prima della Resurrezione di Cristo. Nell’opera si riconoscono molti ritratti, tra cui quelli di alcune donne note al tempo per la loro bellezza, alcune delle quali raffigurate seminude, e quindi particolarmente sensuali e perturbanti, ritenute, all'epoca, poco adatte a un luogo sacro.
The Descent of Christ into Limbo, depicts the release of honest souls who were born before the Resurrection of Christ. The work will recognize many portraits, including those of some women known at the time for their beauty, some of which depicted half-naked, and therefore particularly sensual and perturbing, considered at the time, poorly adapted to a sacred place
This picture depicts the windmill in Exter, a borough of Vlotho. The windmill constructed in 1850, in the Holland-Style, called in german a “Kappenwindmühle“.As working platform conduces a wooden balcony in the front, and behind the mill a earth wall. Today serves the mill as a museum.
The temple rested on a 30.31 x 14.03 m stylobate, with 6 columns on the short sides and 13 on the long ones. In the background, the island of Lesbos is visible.
The Flag Building also referred to as the Super Power Building is the largest building in Clearwater, Florida. It is owned by the Church of Scientology and was built principally to deliver the Super Power Rundown, a high-level Scientology training course intended to train Scientologists to use what Scientology describes as all of their 57 "perceptics" or senses. The interior of the building contains training suites, course rooms, theaters, and various devices intended to test these "perceptics," including a "time machine", an anti-gravity simulator, an "infinite" pit, and a pain station.
The complex occupies a city block at 215 South Fort Harrison Avenue. It includes a 15-story tower topped by a bronze Scientology cross visible from much of Clearwater. Construction began in 1998, was halted in 2003, and was ultimately resumed to reach substantial completion during 2011. The long delay in construction led to substantial fines being levied by the city authorities. The building is valued at $80 million and at least $145 million was raised by Church fundraising towards the project. The church denies accusations that the Flag Building's completion was deliberately delayed so that it could serve as a cash cow.[citation needed]
The Church of Scientology announced in August 2013 that the building would be opened to the public on October 6, 2013, with a dedication ceremony that the church estimated would attract approximately 10,000 Scientologists. However, a month later it emerged that the Church had canceled the ceremony and postponed the opening of the building. The building finally opened on November 17, 2013.
At 127,000 square feet (11,800 m2), the building is the largest property in Clearwater. It was originally budgeted to cost $24 million, but the cost has more than doubled to an estimated $50 million after repeated redesigns of the interior. According to the building plans, the Super Power Building will feature a grand lobby lined with sculptures depicting aspects of Scientology; theaters for training and introductory films; a museum honoring the Sea Org; and a separate museum honoring Scientology's founder, L. Ron Hubbard. The sixth floor will house an indoor running track for Scientologists undergoing the Purification Rundown detoxification program.
The Mediterranean Revival-style building will also contain a bookstore, a library, and hundreds of course and study rooms; with a total of 889 rooms, 447 windows, and 42 bathrooms, plus a 1,140-seat dining room and two kitchens. A 124-foot (38 m) bridge connects the Super Power Building to the Scientology-owned Fort Harrison Hotel on the other side of S. Fort Harrison Avenue.[1] In January 2012, Tony Ortega of the Village Voice published leaked blueprints of the Super Power Building that revealed architectural features including a recreation of a deck on the Apollo, L. Ron Hubbard's flagship in the 1960s.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Flag_Building
www.emporis.com/buildings/175007/flag-building-clearwater...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Banteay Srei or Banteay Srey is a 10th-century Cambodian temple dedicated to the Hindu god Shiva. Located in the area of Angkor, it lies near the hill of Phnom Dei, 25 km (16 mi) north-east of the main group of temples that once belonged to the medieval capitals of Yasodharapura and Angkor Thom. Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative wall carvings which are still observable today. The buildings themselves are miniature in scale, unusually so when measured by the standards of Angkorian construction. These factors have made the temple extremely popular with tourists, and have led to its being widely praised as a "precious gem", or the "jewel of Khmer art."
The temple's modern name, Bantãy Srĕi—citadel of the women, or citadel of beauty—is probably related to the intricacy of the bas relief carvings found on the walls and the tiny dimensions of the buildings themselves. Some have speculated that it relates to the many devatas carved into the walls of the buildings. Apsaras, divine nymphs or celestial dancing girls, are characters from Indian mythology. Apsaras and devatas are ubiquitous at Angkor, but are most common in the foundations of the 12th century. Depictions of true (dancing) apsaras are found, for example, in the Hall of Dancers at Preah Khan, in the pillars that line the passageways through the outer gallery of the Bayon, and in the famous bas-relief of Angkor Watdepicting the churning of the Ocean of Milk.
Dvarapalas are human or demonic temple guardians, generally armed with lances and clubs. They are presented either as a stone statues or as relief carvings in the walls of temples and other buildings, generally close to entrances or passageways. Their function is to protect the temples. Dvarapalas may be seen, for example, at Preah Ko, Lolei, Banteay Srei, Preah Khanand Banteay Kdei. (en.wikipedia.org/wiki/Banteay_Srei)
La Rocca Borromea di Angera è una costruzione fortificata situata nel comune di Angera (provincia di Varese), sulle sponde lombarde meridionali del Lago Maggiore. Si tratta di uno dei castelli meglio conservati del territorio lombardo.
Insieme con la Rocca di Arona era uno dei principali punti di controllo strategici del Lago Maggiore in epoca antica.
Da un punto di vista militare, trovandosi infatti su una collina calcarea alta 200 metri, domina non solo la parte meridionale del Lago Maggiore, ma ha anche una buona vista sulle Alpi, e questo permetteva un controllo anche in caso di invasioni dei nemici oltralpe. Il Lago Maggiore era un centro nevralgico per il trasporto dei materiali di costruzioni, quali il granito di Baveno e il marmo di Candoglia, per le grandi costruzioni di Milano, e dalle due fortezze si controllava che si pagassero le tasse dovute. Le uniche barche esenti dal pagamento delle imposte di circolazione erano quelle della Fabbrica del Duomo.
The Rocca Borromeo di Angera, or Rocca d'Angera, also called Borromeo Castle, is a castle that stands on a lakeside hilltop in the limits of the town of Angera in the Province of Varese on the Southern shores of Lago Maggiore. It is visible from across the lake from Arona, where originally stood another castle formerly owned by the Borromeo family.
Before 1227, the castle belonged to the Della Torre family, who lost the possession to the Visconti after the Battle of Desio (1277). In 1449, it passed into the ownership of the Borromeo family. It once belonged to the Visconti family, beginning with Bernabò Visconti and his wife, Beatrice della Scala. but it was purchased by the Borromeo family who expanded and refurbished the castle over the centuries. It still belongs to the Borromeo family. It is best known for it Hall of Justice (Sala di Giustizia) which still contains its original late 13th century depicting the victory of Ottone Visconti, archbishop of Milan, at the Battle of Desio. The castle suffered damage during bombardment in the second world war.
The castle also contains a Museo della Bambola (Doll Museum), founded in 1988 by the wish of Princess Bona Borromeo Arese, and displays over a thousand dolls made between the 18th century and the present day
These colourful swirls depict an unprecedented storm that played out in the northern hemisphere of the gas giant Saturn from December 2010 until June 2011.
The scene is shown in false colour and is created from 84 near-infrared images captured by the international Cassini spacecraft on 26 February 2011.
The image is processed such that blue colours indicate high, thin clouds, while yellow and white are relatively thick clouds also at high altitudes. Red and brown depict clouds at low altitude that are unobscured by the high clouds, and the deep blue is a thin haze with no clouds below. Green represents intermediate clouds.
The bright ‘head’ of the storm is towards the left; much lightning activity was recorded here. The roiling storm clouds raged through the atmosphere in a westward direction, eventually wrapping themselves around the entire planet.
At the tail-end (right) a vast swirling oval-shaped vortex is seen which is some 12 000 km wide, comparable to the diameter of Earth.
After many months, the head had caught up with the tail, and the storm began to subside.
Saturn’s storms are quite different from Earth’s, where stormy weather is rather frequent. On Saturn the atmosphere appears to be quite calm for 20–30 years at a time, and then erupts somewhat violently in months-long persistent storms like this one. Since it takes Saturn about 30 years to orbit the Sun, the repetitive nature of the giant storms may be linked, in part, to seasonal changes in the planet’s atmosphere.
The Cassini–Huygens mission is a cooperative project of NASA, ESA and ASI, the Italian space agency. More image details available in the original NASA image release.
Credit: NASA/JPL-Caltech/Space Science Institute
St. Nicholas Greek Orthodox Cathedral is a Greek Orthodox parish and center for Greek-American life in Tarpon Springs, Florida. Its noted Neo-Byzantine church is located at 36 North Pinellas Avenue.
St. Nicholas hosts an annual Epiphany celebration on January 6, in which Greek Orthodox boys aged 16 to 18 dive into Spring Bayou to retrieve a white wooden cross, said to bring the finder good luck for the year. It is the largest such event in the Western Hemisphere, with thousands in attendance. A statue of an epiphany diver is located in front of the church.
St. Nicholas hosts an annual Epiphany celebration on January 6, in which Greek Orthodox boys aged 16 to 18 dive into Spring Bayou to retrieve a white wooden cross, said to bring the finder good luck for the year. It is the largest such event in the Western
The domed main church building, designed by the Eugene Brothers of Chicago, was completed in 1943. Modeled in part after the Hagia Sophia in what is now Istanbul, it melds Byzantine and Gothic Revival styles. It is a local landmark that has been featured on postcards.
Noted features include 23 stained glass windows surrounding the dome depicting episodes in the life of Jesus and the saints, hand-painted by Joseph V. Llorens of Atlanta, and the sixty-ton altar, made of Pentelic marble. Within the dome are three large chandeliers imported from Czechoslovakia. The altar was originally part of the Greek exhibit at the 1939 New York World's Fair. It, along with the cathedra, choir stalls, and other components were obtained with help from George Frantzis. A new altar of Carrara marble was installed in 1965.
The interior is richly decorated with icons, many by Greek iconographer George Saklaridis. Forty-one icons, sponsored by various members of the parish, were delivered in 1952, with more added in subsequent years. On December 4, 1969, the icon of Saint Nicholas was observed to have drops of moisture, and some consider it a Weeping Icon.
The community traces its history to John Cocoris, a native of Leonidio in Arcadia, Greece, who settled in the area in 1896 and became a prosperous sponge diver and trader. The trade attracted Greek immigrants as well as Greeks from other parts of the U.S. By 1907, the population was large enough to support a Greek Orthodox church, a project put under the supervision of Nicholas Peppas, a native of Aegina. The first church, completed that year at a cost of $300 for the land and $3,500 for construction, was a wood frame structure painted white. Rev. Stamatis Koutouzis was appointed the first parish priest. The parish added a school in 1925.
By 1935, the parish had outgrown the first church and began raising funds toward the current structure. Construction began in 1941 and was completed in 1943 when it was consecrated by Archbishop Athenagoras (later Patriarch) at Epiphany. St. Nicholas was by then a significant center of community life as well, with major festivals surrounding Epiphany, Greek Independence Day, and Orthodox Easter. Honoring this, in 1975, the Tarpon Springs Board of Commissioners passed a resolution designating the city the "Epiphany City" of the United States.
St. Nicholas was elevated to cathedral status for West Florida on On January 6, 1976.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/St._Nicholas_Greek_Orthodox_Cathedral_(Tarpon_Springs,_Florida)
© All Rights Reserved - you may not use this image in any form without my prior permission.
The towering image depicts Cohen, sporting his signature fedora with his hand over his heart and, in the background, his highly symbolic Unified Heart icon.
This immense 10,000 square-foot mural rising 21 storeys above the city can easily be admired from the Mount Royal Observatory as well as from the Glass Court of the Montréal Museum of Fine Arts. In the evening, the mural lights up with a soft lighting, but no less spectacular, just like the great Leonard.
Commissioned by MU, a non-profit organization whose mission is to beautify the city of Montréal by creating murals that are anchored in local communities, the mural is a part of MU’s Tribute to Montréal’s Great Artists series.
The old Radio Corporation of America (better known worldwide as RCA) "Building 17" or "Number 17" (also affectionately called the "Nipper Building" by former RCA employees) with its distinctive lighthouse-like "Nipper Tower" which is today converted into residential loft apartments on the Camden, New Jersey riverfront across the Delaware River from Philadelphia, Pennsylvania looking east southeast.
["Nipper" refers to the name of the dog which was depicted as listening to a gramophone record in the corporate logo of RCA.]
Inset depicting the mountain detail. See the first of the this series here: www.flickr.com/photos/zencaptures/28978518160/in/datepost...
Part of an ongoing, carefully curated series of nature, wildlife and landscape shots in Wyoming and Montana.
The Singapore Botanic Gardens is a 160-year-old tropical garden located at the fringe of Singapore's Orchard Road shopping district. It is one of only three gardens, and the only tropical garden, to be honoured as a UNESCO World Heritage Site.
The Botanic Gardens has been ranked Asia's top park attraction since 2013, by TripAdvisor Travellers' Choice Awards. It was declared the inaugural Garden of the Year, International Garden Tourism Awards in 2012, and received Michelin's three-star rating in 2008.
The Botanic Gardens was founded at its present site in 1859 by an agri-horticultural society. It played a pivotal role in the region's rubber trade boom in the early twentieth century, when its first scientific director Henry Nicholas Ridley, headed research into the plant's cultivation. By perfecting the technique of rubber extraction, still in use today, and promoting its economic value to planters in the region, rubber output expanded rapidly. At its height in the 1920s, the Malayan peninsula cornered half of the global latex production.
The National Orchid Garden, within the main gardens, is at the forefront of orchid studies and a pioneer in the cultivation of hybrids, complementing the nation's status as a major exporter of cut orchids. Aided by the equatorial climate, it houses the largest orchid collection of 1,200 species and 2,000 hybrids.
Early in the nation's independence, Singapore Botanic Gardens' expertise helped to transform the island into a tropical Garden City, an image for which the nation is widely known. In 1981, the hybrid climbing orchid, Vanda Miss Joaquim, was chosen as the nation's national flower. Singapore's "orchid diplomacy" honours visiting head of states, dignitaries and celebrities, by naming its finest hybrids after them; these are displayed at its popular VIP Orchid Gardens.
The Singapore's Botanic Gardens is open from 5 a.m. to 12 midnight daily. There is no admission fee, except for the National Orchid Garden. More than 10,000 species of flora is spread over its 82-hectares area, which is stretched vertically; the longest distance between the northern and southern ends is 2.5 km (1.6 mi). The Botanic Gardens receives about 4.5 million visitors annually.
National Orchid Garden, Singapore
The National Orchid Garden, located within the Singapore Botanic Gardens, was opened on 20 October 1995 by Singapore's Minister Mentor Lee Kuan Yew.
The Singapore Botanic Gardens has been developed along a 3-Core Concept. The three Cores consist of Tanglin, which is the heritage core that retains the old favourites and rustic charms of the historic Gardens; Central, which is the tourist belt of the Gardens; and Bukit Timah, which is the educational and recreational zone. Each Core offers an array of attractions.
The National Orchid Garden is located in the Central Core of the gardens.
The Garden is located on the highest hill in the Singapore Botanic Gardens. Providing a place for 60,000 orchid plants - consisting of 1000 species and more than 2,000 hybrids - is the three hectares of carefully landscaped slopes.
The design concept presenting the display of plants in four separate colour zones: the spring zone with its prevailing colours of bright and lively shades of gold, yellow and creams; the summer zone with its major tones of strong reds and pinks; the autumn zone of matured shades; and the winter zone of whites and cool blues. A careful combination of selected trees, shrubs, herbs and orchids (mostly hybrids) with matching foliage and floral colours depicts the colour combination.