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Navarathri Celebrations 2015 .
Navaratri is a festival dedicated to the worship of the Hindu deity Durga. The word Navaratri means 'nine nights' in Sanskrit, nava meaning nine and ratri meaning nights.[2] During these nine nights and ten days, nine forms of Devi are worshipped. The tenth day is commonly referred to as Vijayadashami or "Dussehra" (also spelled Dasara). Navaratri is an important major festival and is celebrated all over India and Nepal.
The beginning of spring and the beginning of autumn are considered to be important junctions of climatic and solar influences. These two periods are taken as sacred opportunities for the worship of the Divine Mother Durga. The dates of the festival are determined according to the lunar calendar.
Navaratri is celebrated Four times a year. They are Vasanta Navaratri, Ashadha Navaratri, the Sharad Navaratri, and the Paush/Magha Navaratri. Of these, the Sharad Navaratri of the month of Puratashi and the Vasanta Navaratri of the Vasanta kala are the most important.Other two are observed only by shaktas only.
Sharad Navaratri: This is the most important of the Navaratris. It is simply called Maha Navaratri (the Great Navaratri) and is celebrated in the 'pratipada' (first day) of the bright fortnight of the lunar month of Ashvin. Also known as Sharad Navaratri, as it is celebrated during Sharad (beginning of winter, September–October). Ashwin is known as aipasi (ஐப்பசி ) in Tamil and begins when the sun enters Libra in October.
Dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. From the community, for the community.
There used to be two of these. The other one was torn down for some reason. These used to mark the entrance to the University.
Pics from the AuthentiCity Lounge, the dedicated space in NYC where the AuthentiCity exhibition took place.
“AuthentiCity” is a photography project conceived in cooperation with the School of Visual Arts (SVA), New York, aimed at young international artists who are SVA students or alumni.
The project theme – “Revealing purity and authenticity in urban life” – is an invitation to use the straightforward language of photography to explore signs of authenticity and purity in the urban setting.
The project began with more than 200 photographers, educated at SVA, who were charged with capturing their vision of urban life. The 19 works selected in the preliminary stage were presented last April in an open exhibition during the Milan Design Week. Five of the 19 photographers, Carlos Alvarez Montero, Igor Aronov, Matthew Baum, Giselle Behrens and Caroline Shepard, were then selected, through a series of juror selections, to continue their work and each received a cash prize of $3000.00. Project winners were then chosen to be featured in the dedicated exhibition at the illy issimo AuthentiCity Lounge in New York.
Pics from the AuthentiCity Lounge, the dedicated space in NYC where the AuthentiCity exhibition took place.
“AuthentiCity” is a photography project conceived in cooperation with the School of Visual Arts (SVA), New York, aimed at young international artists who are SVA students or alumni.
The project theme – “Revealing purity and authenticity in urban life” – is an invitation to use the straightforward language of photography to explore signs of authenticity and purity in the urban setting.
The project began with more than 200 photographers, educated at SVA, who were charged with capturing their vision of urban life. The 19 works selected in the preliminary stage were presented last April in an open exhibition during the Milan Design Week. Five of the 19 photographers, Carlos Alvarez Montero, Igor Aronov, Matthew Baum, Giselle Behrens and Caroline Shepard, were then selected, through a series of juror selections, to continue their work and each received a cash prize of $3000.00. Project winners were then chosen to be featured in the dedicated exhibition at the illy issimo AuthentiCity Lounge in New York.
More info about illy issimo and the AuthentiCity project @:
The Second Unique Jewel of the Collection Dedicated to Amy Winehouse designed and created by the Italian sculptor Emanuele Rubini is called BLACK SWALLOW. Il Secondo Gioiello Unico della collezione dedicata a Amy Winehouse disegnato e creato dallo scultore Italiano Emanuele Rubini si chiama RONDINE NERA. A marble swallow, light as a feather leans slightly like a caress on the neck of the woman who it wears. On the skin will be soft and enveloping, but especially ergonomic. The beauty and elegance of this Swallow lies in its apparent form sharp and pointed, from wings to the head, turned towards the sky as a sign of freedom. It is a true and its sculpture-jewel, designed for the woman who loves to be unique. Una Rondine di marmo leggera come una piuma, come una carezza si appoggia lieve sul collo della donna che la indosserà. Sulla pelle sarà morbida e avvolgente, ma soprattutto ergonomica. La bellezza e l’eleganza di questa Rondine sta nella sua apparente forma tagliente e acuminata dalle ali alla testa, volta verso il cielo in segno di libertà. E’una vera e propria scultura-gioiello, pensata per la donna che ama essere unica.
This is not a usual scene in Iran but unfortunately I could witness it once in the last summer when I was passing through a small city in Kurdestan province of Iran. The man (probably the woman's husband) was searching her purse for something ( money I guess) and he was not patient enough to wait for what he tried to get.It was really a sad scene and I decided to put it here and dedicate it to all underprivileged women in the world on Woman's day.Hoping for a better future.
Portsmouth's Anglican Cathedral, dedicated to St Thomas of Canterbury, dates back to the 1180s, but has been rebuilt or extended on several occasions - in 1693, 1938 and 1991. The former parish church became a cathedral only in 1927, when the diocese of Portsmouth was created. This photograph is of part of the pulpit, installed in 1693.
American Legion Post 368
Prospect, OH
-Gun, 57mm M1 No.593, Ord Dept USA, ATF Inc 1942, 752lbs Insp W.P.B.
- No.3080 Carriage, Gun, 57mm M2, Parish Pressed Steel Co, 1942
-Tube No.866, Amer. Type Founders Inc, Gun 57mm M1
dedicated to great Kurdish Muscian Arama Tigran .we lost that great singer, person and faithful to all human today...may God be with him and all of us..
All Hallows-by-the-Tower, also previously dedicated to St. Mary the Virgin[1] and sometimes known as All Hallows Barking, is an ancient Anglican church on Byward Street in the City of London, overlooking the Tower of London.
Founded in 675, it is one of the oldest churches in London, and contains inside a 7th-century Anglo-Saxon arch with recycled Roman tiles, the oldest surviving piece of church fabric in the city. (St. Pancras Parish Church in King's Cross has been a place of Christian worship since the sixth century.)
History
Reconstruction during 1955, after extensive damage in the Blitz.
All Hallows-by-the-Tower was first established in 675 by the Anglo-Saxon Abbey at Barking[2] and was for many years named after the abbey, as All Hallows Barking. The church was built on the site of a former Roman building, traces of which have been discovered in the crypt. It was expanded and rebuilt several times between the 11th and 15th centuries.[3] Its proximity to the Tower of London meant that it acquired royal connections, with Edward IV making one of its chapels a royal chantry and the beheaded victims of Tower executions being sent for temporary burial at All Hallows.
The church was badly damaged by an explosion in 1650[4] caused when some barrels of gunpowder being stored in the churchyard exploded; its west tower and some 50 nearby houses were destroyed, and there were many fatalities. The tower was rebuilt in 1658, the only example of work carried out on a church during the Commonwealth era of 1649-1660. It only narrowly survived the Great Fire of London in 1666 and owes its survival to Admiral William Penn, father of William Penn of Pennsylvania fame, who had his men from a nearby naval yard demolish the surrounding buildings to create firebreaks. During the Great Fire, Samuel Pepys climbed the church's spire to watch the progress of the blaze and what he described as "the saddest sight of desolation".
Restored in the late 19th century, All Hallows was gutted by German bombers during the Blitz in World War II and required extensive reconstruction, only being rededicated in 1957.
Many portions of the old church survived the War and have been sympathetically restored.[5] Its outer walls are 15th-century, with a 7th-century Saxon arch doorway surviving from the original church, which is the oldest piece of church material in London. Many brasses remain in the interior (where one of London's brass rubbing centres is now located). Three outstanding wooden statues of saints dating from the 15th and 16th centuries can also be found in the church, as can an exquisite Baptismal font cover which was carved in 1682 by Grinling Gibbons for ₤12, and which is regarded as one of the finest pieces of carving in London. In 1999 the AOC Archaeology Group excavated the cemetery and made many significant discoveries.[6]
The church has a museum called the Undercroft Museum, containing portions of a Roman pavement which together with many artefacts was discovered many feet below the church in 1926. The exhibits focus on the history of the church and the City of London, and include Saxon and religious artefacts. Also on display are the church's registers dating back to the 16th century, and notable entries include the baptism of William Penn, the marriage of John Quincy Adams, and the burial of Archbishop William Laud.[7] Laud remained buried in a vault in the chapel for over 20 years; it was moved during the Restoration to St. John's College, Oxford.
The altar in the crypt is of plain stone from the castle of Richard I at Athlit in The Holy Land.[8]
All Hallows-by-the-Tower has been the Guild church of Toc H since 1922. The church was designated a Grade I listed building on 4 January 1950.[9]
While working, I still think a lot about my father, who passed away recently. I make little drawings, when I am on the phone, and remade/used these drawings in this illustration
Dedicated to my friend, Rosey, who lost her husband, Clive, also a dear Flickr friend, recently. I wish this was as beautiful as she!
Pics from the AuthentiCity Lounge, the dedicated space in NYC where the AuthentiCity exhibition took place.
“AuthentiCity” is a photography project conceived in cooperation with the School of Visual Arts (SVA), New York, aimed at young international artists who are SVA students or alumni.
The project theme – “Revealing purity and authenticity in urban life” – is an invitation to use the straightforward language of photography to explore signs of authenticity and purity in the urban setting.
The project began with more than 200 photographers, educated at SVA, who were charged with capturing their vision of urban life. The 19 works selected in the preliminary stage were presented last April in an open exhibition during the Milan Design Week. Five of the 19 photographers, Carlos Alvarez Montero, Igor Aronov, Matthew Baum, Giselle Behrens and Caroline Shepard, were then selected, through a series of juror selections, to continue their work and each received a cash prize of $3000.00. Project winners were then chosen to be featured in the dedicated exhibition at the illy issimo AuthentiCity Lounge in New York.
Pics from the AuthentiCity Lounge, the dedicated space in NYC where the AuthentiCity exhibition took place.
“AuthentiCity” is a photography project conceived in cooperation with the School of Visual Arts (SVA), New York, aimed at young international artists who are SVA students or alumni.
The project theme – “Revealing purity and authenticity in urban life” – is an invitation to use the straightforward language of photography to explore signs of authenticity and purity in the urban setting.
The project began with more than 200 photographers, educated at SVA, who were charged with capturing their vision of urban life. The 19 works selected in the preliminary stage were presented last April in an open exhibition during the Milan Design Week. Five of the 19 photographers, Carlos Alvarez Montero, Igor Aronov, Matthew Baum, Giselle Behrens and Caroline Shepard, were then selected, through a series of juror selections, to continue their work and each received a cash prize of $3000.00. Project winners were then chosen to be featured in the dedicated exhibition at the illy issimo AuthentiCity Lounge in New York.
More info about illy issimo and the AuthentiCity project @:
Prambanan is a ninth century Hindu temple compound in Central Java, Indonesia, dedicated to the Trimurti, the expression of God as the Creator (Brahma), the Sustainer (Vishnu) and the Destroyer (Shiva). The temple compound is located approximately 18 km east of Yogyakarta city on the boundary between Yogyakarta and Central Java province; according to wiki. I believe it's a UNESCO World Heritage site too, but I'm not sure.
Java is the world's most densely populated regions (population: 136 million). It is home to 60% of Indonesia's population. Much of Indonesian history took place on Java; it was the centre of powerful Hindu-Buddhist empires, Islamic sultanates, the core of the colonial Dutch East Indies, and was at the centre of Indonesia's campaign for independence. The island dominates Indonesian social, political and economic life. More information on wikipedia.
This is a family dedicated channel to our beloved big lad Benji
We got Benji in 2007 when he was 4 years old as the owner was suffering from an illness and was no longer capable of looking after him
We got him on the 21st may 2007 so we used that date to celebrate his birthday
When Benji came to live with us he was a very independant lad and was always the boss especially over my two young sons and he stamped his authority quite quickly
He did test us at the beginning but soon knew that living here with us he was going to get nothing more than love and attention and he got that in abundance
He loved his home comforts as he would often take over the settee and would declare that space as his own
I myself have had health issues and Benji would always pop his head up to see if everything was alright with me and i would do the same with him everynight
We nearly lost Benji in 2013/2014 when we discovered a small lump on his groin and the vet at the time told us it was just a fatty lump and just ignore it
We knew something was not right and advised the vet that we wanted it removed and we would pay for the operation
We booked him in 2 weeks after that appointment and when we got him to the PDSA they told us that it was a good job that we ignored her colleagues advice and decided to go for the operation as it saved his life as this so called fatty lump was actually a growth that was cutting off his blood vessel, The operation was a success and it extended our time with Benji
There was times that we questioned some of the vets advice as for when we kept asking about all the lumps that was appearing on his body and again we were told that they were just fatty lumps
Over the past couple of years we were concerned of a few lumps under his chest and a few that would appear around his ribs etc and again we were told to ignore them as they were fatty lumps
Well those lumps turned out to be cancer and cost our baby boy his life as his liver had also became very enlarged and we had to make a decssion if we wanted to die in agony as we were informed or for the vet to give him that terrible injection
We took him home for a day so that he could say his goodbyes to my sons and we stayed awake with him all night
The following morning we gave him his favourite a tin of tuna and he had a good drink of water and at 10:15am on September 1st 2017 Benji was put to sleep
My wife held him in her arms as i cuddled his head and kept him from seeing the needles and he dropped into his deep sleep forever
The vet that dealt with Benji on his final moment was a wonderful and caring vet and we thank her from the bottom of our hearts for all she done
We love you Benji and we will walk together again one day soon
Forever your
Mammy, Daddy and Brothers
Khajuraho, a UNESCO World Heritage Site, is a famous tourist and archaeological site known for its sculptured temples dedicated to Shiva, Vishnu, Jain patriarchs, and others. Khajuraho was one of the capitals of the Chandela kings, who from the 9th to the 12th century CE developed a large realm, which at its height included almost all of what is now Madhya Pradesh state. Khajuraho extended over 21 sq. km and contained about 85 temples, built by multiple rulers mostly between 950 to 1050. In the 12th century the Chandelas, in a period of chaos and decline, abandoned Khajuraho and moved to hill forts elsewhere. Khajuraho puttered along until the 14th century (Ibn Batuta was impressed by its temples) but was afterwards largely forgotten and overtaken by jungles, which probably saved it from the desecration that Muslim conquerors sometimes inflicted on Hindu monuments. In 1838 a British army captain, TS Burt, employed by the Asiatic Society in Calcutta, came upon information that led him to the rediscovery of the complex of temples in the jungle in Khajuraho.
Of the 85 original temples—most constructed of sandstone—about 20 are still reasonably well preserved. Both internally and externally the temples are richly carved with excellent sculptures that are frequently sensual and often sexually explicit. The temples are divided into three complexes—the western is the largest and best known, containing the magnificent Shaivite temple Kandariya Mahadev, a 31m high agglomeration of porches and turrets culminating in a spire. Khajuraho's name derives from the prevalence of khajur, or date palms, in the area.
There are many theories explaining the real reason for incorporating erotic art with the temples. One of the most popular theories is that they were meant to provide education about earthly desires. During the medieval era, young boys were sent to hermitage and practice bramhacharya till reaching maturity. The sculptures were meant to educate them about grahasthahram.
Yet another theory states that they were meant to represent kama (desire) as the third purushartha (aim of life). The sculptures are also accredited to the rise of the Tantric cults during that time. However, several experts reject these theories.
However, the most credible explanations for the erotic sculptures at Khajuraho are as follows:
1. Sign of happiness, prosperity and auspiciousness: During the medieval era there was a common belief that having erotic sculptures were considered alankaras or decorative motifs, protective and auspicious. This hypothesis is based on the authoritative religious texts like the Shilpashastras and the Brihat Samhita. According to the Brihat Samhita, mithunas (couples), goblins, creepers and erotic sculptures were meant to be carved on the temple door to bring in good luck and as a sign of auspiciousness.
2. Mock the Ascetics: Yet another theory explaining the old erotic art at Khajuraho states that the coital couples represent ascetics as well as people from the royal class. It is also believed that the sculptures of couples participating in the orgies are scenes imagined by the artists. Also, it is also said that the artists used ascetics in sensuous and passionate moods as a way to mock the extreme Tantric sects that rose during that era.
3. Code Language: According to experts, the erotic figures were used as a code language to convey Tantric doctrines and non-communicable experiences. For e.g. A sculpture wherein a washerwoman clings to an ascetic may look erotic and sensuous for the layman. However, in the Tantric language, the washerwoman represents the Kundalini energy that has ascended up to the chakras i.e. the neck of the ascetic. Thus, the erotic sculptures have a deeper meaning related to the Tantric cult.
4. Conceal the Magico-Propitiory Yantra: According to the architectural text of the Shilpa Prakasha, every temple must have a Kamakala Yantra strategically placed to protect it from evil spirits and natural calamities. However, the Yantra, which is basically a set of lines drawn symmetrically, must not be visible to the lay man. Thus, a few erotic sculptures with the head down posture were made corresponding to the lines of the Yantra and superimposed on it.
5. Non-duality: It is possible that the erotic sculptures symbolically represent the union of two opposing forces or energies like, inhalation and exhalation, in a timeless state of non-duality.
The erotic art at Khajuraho is considered to be the pinnacle of love and passion. However, during the period between 900 – 1300 AD most Hindu, Jain and Buddhist temples across western and southern India comprised of erotic art.
However, at other temples, these sculptures were carved at the plinth level, below the eye level and thus did not get noticed. It is only at Khajuraho that these sculptures were so prominently displayed on the main wall of the temples
Dedicated to the Glory of Ukraine - 20 images - Canon EOS 40D with Legacy Super-Takumar 1:3.5 28mm Prime (M42 mount) & Fotodiox M42-EOS adapter & Polarizer - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
St. Salvator's Cathedral, dedicated to the Risen Savior and to St. Donatian and located in Bruges , is the main church of the Diocese of Bruges .
History
This church was not built to become the city's cathedral. She only assumed this status in 1834. Originally, Sint-Salvator was a Romanesque stone church founded in the 9th century . Then the Sint-Donaaskerk , in the heart of Bruges, on the Burgplein , was one of the most important religious buildings of the city. At the end of the 18th century, Bishop Felix Brenart went into exile. The diocese was abolished and St Donaa's Cathedral was sold as a national asset and demolished.
In 1834, the diocese of Bruges was re-established and the Ghent auxiliary bishop Frans René Boussen became the new bishop of Bruges. The St. Salvator's Church officially became the St. Salvators and St. Donaas Cathedral. However, the building did not quite resemble a cathedral. It was less impressive than the nearby Church of Our Lady . Sint-Salvator therefore had to be adapted to his new status. This was done, among other things, through the internal decoration, in which works of art from the former St. Donaas Cathedral were recovered.
The building
The Romanesque-Gothic west tower (79 m) still has the tuff and sandstone substructure of the Romanesque church from 1127-1166. This is the oldest part of the church. Three echo holes, traces of the Scheldt Gothic , were discovered during repairs in 1992-1993 and reopened.
The outside gives the impression of a sturdy castle. This tall Gothic building has no flying buttresses but heavy buttresses. The lateral pressure of the vaults is absorbed by the western tower, side aisles and transepts; sufficient for the relatively short church nave. The corner turrets of the transepts refer to the Scheldt Gothic.
Characteristic of the High Gothic period are the transepts, completely opened up by the large windows with rich tracery, divided into four parts, along which a gallery runs.
The expansion from 1480 to 1550 created an unusual relationship between the parts of the building. The choir, the transepts and the ambulatory with the five radiating chapels take up more than half of the surface. The Brabant late Gothic style is noticeable on the outside through the large windows with variously refined tracery and the elaborate cornice.
Overview of construction history
Like many other medieval buildings, St. Salvator's Cathedral has often undergone renovations and changes:
9th century: Romanesque chapel
According to tradition, Sint-Elooi built a chapel around 646. Historically, the church was founded in the 9th century by the older parish of Snellegem , which may trace its roots back to Sint-Eloi. The small chapel was elevated to a parish church in 1089.
1127: Romanesque church
After a fire in 1116, construction of a large Romanesque church began in 1127, which was destroyed by another fire in 1166. The lower structure of the tower has been preserved.
1250–1350: Gothic church
The main parts still have characteristics of the Scheldt Gothic, a transitional style between Romanesque and Gothic style. The choir, modeled on that of Tournai, was strongly influenced by French High Gothic.
1480-1550: ambulatory and radiating chapels
After a third fire in 1358, the church was expanded during the restoration. Jan van den Poele built the ambulatory with five radiating chapels in Brabant late Gothic from around 1480.
1834: cathedral
A new chapter building was built next to the south aisle from 1837 onwards. Karel Verschelde 's proposal to demolish the tower and extend the nave of the church by three bays and complete it with a new tower did not go ahead.
1839: fire and new tower
After the fire of 1839, the tower was restored and a higher superstructure built in the neo-Romanesque style (1843-1846), based on a design by the English architect Robert Chantrell , executed by the Bruges architect Pierre Buyck . In 1871 the tower was topped with a spire, designed by architect Eugène Carpentier .
Significant interior embellishment works were carried out, some of which were carried out on the advice of architect Jean Bethune and in neo-Gothic style (1874-1875).
1912-2010
In 1912, the chapter building from 1838 was demolished and new chapter and museum rooms were built according to a design by Adolf Duclos .
In 1935, Bishop Hendrik Lamiroy decided for liturgical reasons to move the rood loft and organ to the back of the church, thereby opening up the choir.
From 1976 onwards, thorough restoration and consolidation of the tower and the external church were carried out for a quarter of a century. Archaeological excavations also took place in the church.
In 2011, the thorough renovation of the church began, with extensive painting and restoration. In 2013, the repairs and refreshing of the nave and the aisles were completed. In 2014, similar work began on the choir, the transept, the ambulatory, the garland chapels and the sacristy, completed in 2017. This was followed by the controversial restoration and duplication of the organ into two organs.
Pulpit
The pulpit in rococo and Louis XVI style was built between 1777 and 1785, according to a design by Hendrik Pulinx . Opinions about the aesthetic quality in the 19th century were not unambiguously positive. For example, Karel Verschelde spoke about “the most precious yet most insignificant piece of art that the church council created in the course of the 18th century”, which has “neither life nor expression”, regretting that “the stiff and insensitive construction style of that time was preferred”. Medard Verkest is also not entirely convinced: “The pulpit is somewhat stiff; it lacks life and grace in conception and yet it is remarkable as a material embodiment. More craftsmen and artists worked on not one piece of furniture in this church; not one has cost more." The pulpit is made of acajou wood and the wood, from the Caribbean, for the tub was supplied by carpenter Andreas Lombaert .
Organs
In 2015, the file was approved for the restoration of the two organs in the cathedral. The file explained the restoration as follows:
The romantic Klais organ will be placed at the back of the rood loft and the baroque Van Eynde organ on a rood loft in front of the choir entrance of the southern transept. Because the pipework of the Van Eynde organ is located in the Klais organ, the restoration of both organs must be done simultaneously.
The restoration of the Van Eynde organ is complex, because the historic interior has suffered a lot of damage due to neglect: for example, the 18th century windchests of the main organ were left outside in the elements for a long time. The restoration of the organ case with its abundant ornamentation and numerous statues also requires intensive and specialized restoration work. The designers declare that Van Eynde's masterpiece will once again be heard in its full sound richness and at a suitable pitch.
A largely new cabinet will be made for the Klais organ in which a symphonic organ will sound: according to the designers, more powerful and mainly more differentiated than in its existing state. The existing Klais organ is one of the most monumental in Flanders, thanks to the imposing Van Eynde case, which forms the central part of it. The new organ case will be slightly larger than the existing case, and will mainly have more depth so that appropriate space is freed up for sounding out the pipes and for maintenance and tuning work. In its new state, the organ will also consist of a main work, a positive, a swell work and a pedal work, together accounting for 55 registers or games. The total number of pipes is 3562, the largest of which will be more than 8 meters long. The design of pipes and cabinet is contemporary.
Main works of art
St. Salvator's Cathedral has many works of art, some of which come from the destroyed predecessor St. Donatian. Most striking are the tapestries from Brussels, which were woven by Jasper van der Borcht in 1731, following the example of the paintings of the Brussels painter Jan van Orley . They were purchased by Bishop Hendrik Jozef van Susteren for Saint Donatianus. Sint-Salvator also owns the original paintings that were made as cardboards for the tapestries.
From the choir you can admire the original 17th century rood loft, which was moved in the twentieth century, and the cathedral organ is also worth mentioning. The image of God the Father in the center of the rood screen is by Artus Quellinus the Younger . The cathedral has 17 paintings by Jacob van Oost . In addition, there is also work by Rogier Van der Weyden , Dirk Bouts , Jan Garemijn , Lanceloot Blondeel , Pieter Pourbus and Hugo van der Goes .
In the church hangs a portrait of Count Charles the Good , murdered in 1127, from St. Donaas Cathedral .
The triptych with the Martyrdom of Saint Hippolytus by Dirk Bouts and his studio hangs in the museum (called treasury) of St. Salvator's Cathedral. Hugo van der Goes painted the founders on the left panel. There is also the Calvary from around 1520.
Art theft
In November 2009 , several masterpieces from the goldsmith's collection were stolen in a spectacular art theft . The thieves broke into the sacristy of the canons and destroyed the secure display cases. The alarm system did not work sufficiently. The stolen pieces are of a difficult to estimate value.
Among the looted pieces are:
the signet ring of Hendrik Lamiroy ;
the pectoral of Hendrik Jozef van Susteren ;
a tower monstrance by Jan (Baptist) Vandamme (1900);
an 18th-century chalice by Jan Baptist Walgrave;
a chalice by François Gheuns (1639 to 1640): inscription, inside the base: + DVDZEELE 16 [coat of arms] 40 PROC HIE;
a reliquary cross by François Gheuns, ca 1624-1625 made of rock crystal, marbled stone, semi-precious stones and enamel;
a chalice donated by the Van Zuylen van Nyevelt family ;
a rock crystal reliquary cross, 18th century (height 38.5 cm);
a relic monstrance of St. Elooi, 15th/16th century;
a ray monstrance, with crystals by Thomas Lyns, 17th century (70 cm);
a neo-Gothic chalice by Bourdon (1896) gilt and enamel, with inscription, engraved: Calicem salutaris accipiam et nomen Domini invocabo;
a ray monstrance by Adriaan Pierins senior, 17th century with precious stones;
a chalice by Antoon Kerckhove with the inscription DEKEN S ... IER + ... STRAETE + ... ROES + PIE ... VS + IA ... ... GREFFIER.
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Honest, passionate, dedicated and proud are but some of the words that describe the personality of Darren. We met while I waited for the bus to carry me back to Brooklyn from Manhattan. I had been watching as he meticulously and purposely swept up every piece of litter folks carelessly tossed about, driven it seemed by an inner desire to perfect what others chose to destroy.
After a minor altercation with a pedestrian over trash, Darren made his way over to me where he decided to vent. "I love my job", he bellowed, his words taking on a life of their own. "I do what I do because I love it. I clean this whole strip, with this broom and this bucket and I love it." Darren went on to talk about his life, his family and his desire to stay healthy. At nearly 50 he's had a stroke and severe kidney troubles. Through it all, he's managed to stay positive, focused and humble. "All I want is a thank you once in while...people don't realize how hard we work...New York City is a beast, and taming it ain't easy..."
With that, Darren extended his hand and thanked me for listening. As he walked away I couldn't help but marvel at the wonder of his spirit and think of Martin Luther King Jr., and his once profound declaration:
"If it falls your lot to be a street sweeper, sweep streets like Michelangelo painted pictures, sweep streets like Beethoven composed music, sweep streets like Leontyne Price sings before the Metropolitan Opera. Sweep streets like Shakespeare wrote poetry. Sweep streets so well that all the hosts of heaven and earth will have to pause and say: Here lived a great street sweeper who swept his job well."
Perhaps Darren had heard that too...
This 1866 memorial window is dedicated to the memory of Charles & Mary Boucher. Designed by William Wailes in a 13th century style. It contains 15 medallions depicting scenes from the life of Christ.
William Wailes (1808-81) was born in Northumberland and in 1838 established a business in Newcastle-upon-Tyne which developed to a considerable size and supplied glass by various designers to churches all over England, though the greatest quantity of their work is to be found in the North East. Wailes, by origin a grocer and also a landscape painter, was interested mainly in the business side and his new approach, which involved making glass on a scale previously unheard of, helped to ensure his success, for it meant he could undercut the prices of his rivals yet prosper. For a few years from 1841 he was A W N Pugin’s preferred glass maker and in the 1850s the expanding business supplied architects like W Butterfield, J L Pearson and H Woodyer. Its designs continued to be firmly gothic after Wailes in 1861 went into partnership with his son-in-law Thomas Rankine Strang (1835-99). Strang was also primarily a businessman, who took over the firm after Wailes died and was in turn followed by his son William Wailes Strang (1867-1942) until it closed in 1914. For much of this later period the main designer is thought to have been T R Strang’s wife, Margaret Janet Strang (1834-1901), who was the daughter of Wailes.