View allAll Photos Tagged Development
A historic harbor warehouse from 1923, once this was the largest storage and transfer shed in the world, designed by architect Cornelis van Goor and built by order of the Holland-America Line. The warehouse is then still called Shed San Francisco and is 360 meters long.
Rotterdam, the Netherlands.
It coordinates with a quilt that does not yet exist.
knottygnome.blogspot.com/2011/07/its-as-ann-as-nose-on-pl...
Some places encourage quiet contemplation. The people in this photo scarcely moved during the six second exposure.
There are plans afoot to demolish this and replace it all with an exclusive five star hi-rise hotel. There are rumours afoot some on the Town Council are being paid a retainer by a rival seaside town to the east.
It was in the Pavilion shown here that Archie Christie first proposed to the young Agatha Miller. Two years later he was a Royal Flying Corps pilot home on a short leave and they married on Christmas eve 1914. Archie returned to France on Boxing Day.
La Cattedrale di Santa Maria Fiore - Duomo, Firenze (Florença)
www.google.com/maps?q=florença%20italia&layer=c&...
Following, a text, in english, from Wikipedia, the Free Encyclopedia:
The Basilica di Santa Maria del Fiore (English: Basilica of Saint Mary of the Flower) is the cathedral church of Florence, Italy. The Duomo, as it is ordinarily called, was begun in 1296 in the Gothic style to the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th century Gothic Revival façade by Emilio De Fabris.
The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. The three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major attraction to tourists visiting the region of Tuscany. The basilica is one of Italy's largest churches, and until development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.
The cathedral is the mother church of the Roman Catholic Archdiocese of Florence, whose archbishop is currently Giuseppe Betori.
he Basilica di Santa Maria del Fiore was built on the site of an earlier cathedral dedicated to Saint Reparata.[1] The ancient building, founded in the early 5th century and having undergone many repairs, was crumbling with age, as attested in the 14th century Nuova Cronica of Giovanni Villani,[2] and was no longer large enough to serve the growing population of the city.[2] Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, as seen at Pisa and particularly Siena where the enormous proposed extensions were never completed.
The new church was designed by Arnolfo di Cambio and approved by city council in 1294. Arnolfo di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio. He designed three wide naves ending under the octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on September 9, 1296 by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 170 years, the collective efforts of several generations; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.
After Arnolfo died in 1302, work on the cathedral slowed for the following thirty years. The project obtained new impetus, when the relics of Saint Zenobius were discovered in 1330 in Santa Reparata. In 1331, the Arte della Lana, the [=[Guilds of Florence|guild of wool merchants]], took over exclusive patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died in 1337, Andrea Pisano continued the building until work was again halted due to the Black PDeath in 1348.
In 1349 work resumed on the cathedral under a series of architects, commencing with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359 Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the center nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravante and Andrea Orcagna. By 1375 the old church Santa Reparata was pulled down. The nave was finished by 1380, and by 1418 only the dome remained incomplete.
On 19 August 1418, the Arte della Lana announced a structural design competition for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, who was supported by Cosimo de Medici. Ghiberti had been winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two remained acute. Brunelleschi won and received the commission.[3]
Ghiberti, appointed coadjutator, was drawing a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, would potentially earn equal credit, while spending most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423 Brunelleschi was back in charge and took over sole responsibility.[4]
Work started on the dome in 1420 and was completed in 1436. The cathedral was consecrated by Pope Eugene IV on March 25, 1436 (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame: the Roman Pantheon, a circular dome, was built in 117–128 AD with support structures. It was one of the most impressive projects of the Renaissance. During the consecration service in 1436, Guillaume Dufay's similarly unique motet Nuper rosarum flores was performed. The structure of this motet was strongly influenced by the structure of the dome.
The decoration of the exterior of the cathedral, begun in the 14th century, was not completed until 1887, when the polychrome marble façade was completed to the design of Emilio De Fabris. The floor of the church was relaid in marble tiles in the 16th century.
The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent baptistery the Battistero di San Giovanni and Giotto's Bell Tower. There are two lateral doors, the Doors of the Canonici (south side) and the Door of the Mandorla (north side) with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia. The six lateral windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common feature in Italian Gothic.
During its long history, this cathedral has been the seat of the Council of Florence (1439), heard the preachings of Girolamo Savonarola and witnessed the murder of Giuliano di Piero de' Medici on Sunday, 26 April 1478 (with Lorenzo Il Magnifico barely escaping death) in the Pazzi conspiracy.
Exterior
Plan and structure
The cathedral of Florence is built as a basilica, having a wide central nave of four square bays, with an aisle on either side. The chancel and transepts are of identical polygonal plan, separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and aisles are separated by wide pointed Gothic arches resting on composite piers.
The dimensions of the building are enormous: length 153 metres (502 ft), width 38 metres (124 ft), width at the crossing 90 metres (295 ft). The height of the arches in the aisles is 23 metres (75 ft). The height from pavement to the opening of the lantern in the dome is also 90 metres (295 ft).
Dome
By the beginning of the fifteenth century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15 ft) high 9.2 metres (30 ft) long, was standing in a side isle of the unfinished building, and had long ago become sacrosanct.[5] It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
The Duomo viewed from the heights of Piazzale Michelangelo
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravante's model was chosen over a competing one by Giovanni di Lapo Ghini.[6] That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts, in addition to being a style favored by central Italy's traditional enemies to the north.[7] Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. A wooden form had held the Pantheon dome aloft while its concrete set, but for the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[8] Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of bricks, due to its light weight compared to stone and easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco and still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one each at the top and bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. He was also able to accomplish this by setting vertical "ribs" on the corners of the octagon curving towards the center point. The ribs had slits, where platforms could be erected out of and work could progressively continue as they worked up,a system for scaffolding.[9]
A circular masonry dome, such as that of Hagia Sophia in Istanbul can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.[10]
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome at its base; it has no embedded chains.[11]
A modern understanding of physical laws and the mathematical tools for calculating stresses was centuries into the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design was for an octagonal lantern with eight radiating buttresses and eight high arched windows (now on display in the Museum Opera del Duomo). Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (375 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
The commission for this bronze ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.[12]
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".[13]
The decorations of the drum gallery by Baccio d'Agnolo were never finished after being disapproved by no one less than Michelangelo.
A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.[14]
The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the nineteenth century.
Façade
Façade of the cathedral
The original façade, designed by Arnolfo di Cambio and usually attributed to Giotto, was actually begun twenty years after Giotto's death.[citation needed] A mid-15th century pen-and-ink drawing of this so-called Giotto's façade is visible in the Codex Rustici, and in the drawing of Bernardino Poccetti in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them Andrea Orcagna and Taddeo Gaddi. This original façade was only completed in its lower portion and then left unfinished. It was dismantled in 1587-1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. Some of the original sculptures are on display in the Museum Opera del Duomo, behind the cathedral. Others are now in the Berlin Museum and in the Louvre. The competition for a new façade turned into a huge corruption scandal. The wooden model for the façade of Buontalenti is on display in the Museum Opera del Duomo. A few new designs had been proposed in later years but the models (of Giovanni Antonio Dosio, Giovanni de' Medici with Alessandro Pieroni and Giambologna) were not accepted. The façade was then left bare until the 19th century.
Main portal of the cathedral
In 1864, a competition was held to design a new façade and was won by Emilio De Fabris (1808–1883) in 1871. Work began in 1876 and completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's bell tower and the Baptistery, but some think it is excessively decorated.
The whole façade is dedicated to the Mother of Christ.
Main portal
The three huge bronze doors date from 1899 to 1903. They are adorned with scenes from the life of the Madonna. The mosaics in the lunettes above the doors were designed by Niccolò Barabino. They represent (from left to right): Charity among the founders of Florentine philanthropic institutions, Christ enthroned with Mary and John the Baptist, and Florentine artisans, merchants and humanists. The pediment above the central portal contains a half-relief by Tito Sarrocchi of Mary enthroned holding a flowered scepter. Giuseppe Cassioli sculpted the right hand door.
On top of the façade is a series of niches with the twelve Apostles with, in the middle, the Madonna with Child. Between the rose window and the tympanum, there is a gallery with busts of great Florentine artists.
Interior
The Gothic interior is vast and gives an empty impression. The relative bareness of the church corresponds with the austerity of religious life, as preached by Girolamo Savonarola.
Many decorations in the church have been lost in the course of time, or have been transferred to the Museum Opera del Duomo, such as the magnificent cantorial pulpits (the singing galleries for the choristers) of Luca della Robbia and Donatello.
As this cathedral was built with funds from the public, some important works of art in this church honour illustrious men and military leaders of Florence:
Dante Before the City of Florence by Domenico di Michelino (1465). This painting is especially interesting because it shows us, apart from scenes of the Divine Comedy, a view on Florence in 1465, a Florence such as Dante himself could not have seen in his time.
Funerary Monument to Sir John Hawkwood by Paolo Uccello (1436). This almost monochrome fresco, transferred on canvas in the 19th c., is painted in terra verde, a color closest to the patina of bronze.
Equestrian statue of Niccolò da Tolentino by Andrea del Castagno (1456). This fresco, transferred on canvas in the 19th c., in the same style as the previous one, is painted in a color resembling marble. However, it is more richly decorated and gives more the impression of movement. Both frescoes portray the condottieri as heroic figures riding triumphantly. Both painters had problems when applying in painting the new rules of perspective to foreshortening: they used two unifying points, one for the horse and one for the pedestal, instead a single unifying point.
Busts of Giotto (by Benedetto da Maiano), Brunelleschi (by Buggiano - 1447), Marsilio Ficino, and Antonio Squarcialupi (a most famous organist). These busts all date from the 15th and the 16th century.
Above the main door is the colossal clock face with fresco portraits of four Prophets or Evangelists by Paolo Uccello (1443). This one-handed liturgical clock shows the 24 hours of the hora italica (Italian time), a period of time ending with sunset at 24 hours. This timetable was used till the 18th century. This is one of the few clocks from that time that still exist and are in working order.
The church is particularly notable for its 44 stained glass windows, the largest undertaking of this kind in Italy in the 14th and 15th century. The windows in the aisles and in the transept depict saints from the Old and the New Testament, while the circular windows in the drum of the dome or above the entrance depict Christ and Mary. They are the work of the greatest Florentine artists of their times, such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno.
Christ crowning Mary as Queen, the stained-glass circular window above the clock, with a rich range of coloring, was designed by Gaddo Gaddi in the early 14th century.
Donatello designed the stained-glass window (Coronation of the Virgin) in the drum of the dome (the only one that can be seen from the nave).
The beautiful funeral monument of Antonio d'Orso (1323), bishop of Florence, was made by Tino da Camaino, the most important funeral sculptor of his time.
The monumental crucifix, behind the Bishop's Chair at the high altar, is by Benedetto da Maiano (1495–1497). The choir enclosure is the work of the famous Bartolommeo Bandinelli. The ten-paneled bronze doors of the sacristy were made by Luca della Robbia, who has also two glazed terracotta works inside the sacristy: Angel with Candlestick and Resurrection of Christ.
In the back of the middle of the three apses is the altar of Saint Zanobius, first bishop of Florence. Its silver shrine, a masterpiece of Ghiberti, contains the urn with his relics. The central compartment shows us one his miracles, the reviving of a dead child. Above this shrine is the painting Last Supper by the lesser-known Giovanni Balducci. There was also a glass-paste mosaic panel The Bust of Saint Zanobius by the 16th century miniaturist Monte di Giovanni, but it is now on display in the Museum Opera del Duomo.
Many decorations date from the 16th-century patronage of the Grand Dukes, such as the pavement in colored marble, attributed to Baccio d'Agnolo and Francesco da Sangallo (1520–26). Some pieces of marble from the façade were used, topside down, in the flooring (as was shown by the restoration of the floor after the 1966 flooding).
It was suggested that the interior of the 45 metre (147 ft) wide dome should be covered with a mosaic decoration to make the most of the available light coming through the circular windows of the drum and through the lantern. Brunelleschi had proposed the vault to glimmer with resplendent gold, but his death in 1446 put an end to this project, and the walls of the dome were whitewashed. Grand Duke Cosimo I de' Medici decided to have the dome painted with a representation of The Last Judgment. This enormous work, 3,600 metres² (38 750 ft²) of painted surface, was started in 1568 by Giorgio Vasari and Federico Zuccari and would last till 1579. The upper portion, near the lantern, representing The 24 Elders of Apoc. 4 was finished by Vasari before his death in 1574. Federico Zuccari and a number of collaborators, such as Domenico Cresti, finished the other portions: (from top to bottom) Choirs of Angels; Christ, Mary and Saints; Virtues, Gifts of the Holy Spirit and Beatitudes; and at the bottom of the cuppola: Capital Sins and Hell. These frescoes are considered Zuccari's greatest work. But the quality of the work is uneven because of the input of different artists and the different techniques. Vasari had used true fresco, while Zuccari had painted in secco. During the restoration work ended in 1995, the entire pictorial cycle of the The Last Judgment was photographed with specially designed equipment and all the information collected in a catalogue. All the restoration information along with reconstructed images of the frescos were stored and managed in the Thesaurus Florentinus computer system.
Crypt
The cathedral underwent difficult excavations between 1965 and 1974. The subterranean vaults were used for the burial of Florentine bishops throughout the centuries.
Recently[when?] the archaeological history of this huge area was reconstructed through the work of Dr Franklin Toker: remains of Roman houses, an early Christian pavement, ruins of the former cathedral of Santa Reparata and successive enlargements of this church. Close to the entrance, in the part of the crypt open to the public, is the tomb of Brunelleschi. While its location is prominent, the actual tomb is simple and humble. That the architect was permitted such a prestigious burial place is proof of the high esteem he was given by the Florentines.
Also buried in the former cathedral of Santa Reparata was Conrad II of Italy.
A seguir, um texto, em português, da Wikipédia a Enciclopédia Livre:
A Basílica di Santa Maria del Fiore é a catedral, ou Duomo[1], da Arquidiocese da Igreja Católica Romana de Florença. Notabilizada por sua monumental cúpula - obra do celebrado arquiteto renascentista Brunelleschi - e pelo campanário, de Giotto, é uma das obras da arte gótica e da primeira renascença italiana, considerada de fundamenal importância para a História da Arquitetura, registro da riqueza e do poder da capital da Toscana nos séculos XIII e XIV. Seu nome (cuja tradução é Santa Maria da Flor) parece referir-se ao lilium, símbolo de Florença, mas, documento [2] do Século XV, por outro lado, informa que “flor”, no caso, refere a Cristo.
História
O Duomo de Florença, como o vemos hoje, é o resultado de um trabalho que se estendeu por seis séculos. Seu projeto básico foi elaborado por Arnolfo di Cambio no final do século XIII, sua cúpula é obra de Filippo Brunelleschi, e sua fachada teve de esperar até o século XIX para ser concluída. Ao longo deste tempo uma série de intervenções estruturais e decorativas no exterior e interior enriqueceriam o monumento, dentre elas a construção de duas sacristias e a execução de esculturas e afrescos por Paolo Uccello, Andrea del Castagno, Giorgio Vasari e Federico Zuccari, autor do Juízo Final no interior da cúpula. Foi construída no lugar da antiga catedral dedicada a Santa Reparata, que funcionou durante nove séculos até ser demolida completamente em 1375.
Em 1293, durante a República Florentina, o notário Ser Mino de Cantoribus sugeriu a substituição de Santa Reparata por uma catedral ainda maior e mais magnificente, de tal forma que "a indústria e o poder do homem não pudessem inventar ou mesmo tentar nada maior ou mais belo", e estava preparado para finaciar a construção. Entretanto, esperava-se que a população contribuísse, e todos os testamentos passaram a incluir uma cláusula de doação para as obras. O projeto foi confiado a Arnolfo em 1294, e ele cerimoniosamente lançou a pedra fundamental em 8 de setembro de 1296.
Arnolfo trabalhou na construção até 1302, ano de sua morte, e embora o estilo dominante da época fosse o gótico, seu projeto foi concebido com uma grandiosiddade clássica. Arnolfo só pôde trabalhar em duas capelas e na fachada, que ele teve tempo de completar e decorar só em parte. Com a morte do arquiteto o trabalho de construção sofreu uma parada. Um novo impulso foi dado quando em 1330 foi descoberto o corpo de São Zenóbio em Santa Reparata, que ainda estava parcialmente de pé. Giotto di Bondone então foi indicado supervisor em 1334, e mesmo que não tivesse muito tempo de vida (morreu em 1337) ele decidiu concentrar suas energias na construção do campanário. Giotto foi sucedido por Andrea Pisano até 1348, quando a peste reduziu a população da cidade de 90 mil para 45 mil habitantes.
Sob Francesco Talenti, supervisor entre 1349 e 1359, o campanário foi concluído e preparou-se um novo projeto para o Duomo, com a colaboração de Giovanni di Lapo Ghini: a nave central foi dividida em quatro espaços quadrangulares com duas alas retangulares, reduzindo o número de janelas planejadas por Arnolfo. Em 1370 a construção já estava bem adiantada, o mesmo se dando com o novo projeto para a abside, que foi circundada por tribunas que amplificaram o trifólio de Arnolfo. Por fim Santa Reparata terminou de ser demolida em 1375. Ao mesmo tempo continuou-se o trabalho de revestimento externo com mármores e decoração em torno das entradas laterais, a Porta dei Canonici (sul) e a Porta della Mandorla (norte), esta coroada com um relevo da Assunção, última obra de Nanni di Banco.
Contudo, o problema da cúpula ainda não fora resolvido. Brunelleschi fez seu primeiro projeto em 1402, mas o manteve em segredo. Em 1418, a Opera del Duomo, a centenária empresa administradora dos trabalhos na Catedral, anunciou um concurso que Brunelleschi haveria de vencer, mas o trabalho não iniciaria senão dois anos mais tarde, continuando até 1434. A Catedral foi consagrada pelo Papa Eugênio IV em 25 de março (o Ano Novo florentino) de 1436, 140 anos depois do início da construção. Os arremates que ainda esperavam conclusão eram a lanterna da cúpula (colocada em 1461) e o revestimento externo com mármores brancos de Carrara, verdes de Prato, e vermelhos de Siena, de acordo com o projeto original de Arnolfo.
A fachada
A fachada original, desenhada por Arnolfo di Cambio, só foi começada em meados do século XV, realizada de fato por vários artistas em uma obra coletiva, mas de toda forma só foi terminada até o terço inferior. Esta parte foi desmantelada por ordem de Francesco I de Medici entre 1587 e 1588, pois era considerada totalmente fora de moda naquela altura. O concurso que foi aberto para a criação de uma nova fachada acabou em um escândalo, e os desenhos subseqüentes que foram apresentados não foram aceitos. A fachada ficou, então, despida até o século XIX, mas estatuária e ornamentos originais sobrevivem no Museu Opera del Duomo e em museus de Paris e Berlim.
Em 1864, Emilio de Fabris venceu um concurso para uma nova fachada, que é a que vemos hoje, um enorme e magistral trabalho de mosaico em mármores coloridos em estilo neogótico, com uma volumetria dinâmica e harmoniosa. Pronta em 1887, foi dedicada à Virgem Maria, e é ricamente adornada com estatuária de elegante e austero desenho. Em 1903 terminaram-se as monumentais portas de bronze, com várias cenas em relevo e outras decorações.
Interior
Sua planta é basilical, com três naves, divididas por grandes arcos suportados por colunas monumentais. Tem 153 metros de comprido por 38 metros de largo, e 90 metros no transepto. Seus arcos se elevam até 23 metros de altura, e o cume da cúpula, a 90 metros.
Suas decorações internas são austeras, e muitas se perderam no curso dos séculos. Alguns elementos acharam abrigo no Museu Opera del Duomo, como os coros de Luca della Robbia e Donatello. Subsistem também os monumentos a Dante, a John Hawkwood, a Niccolò da Tolentino, a Antonio d'Orso, e os bustos de Giotto (de Benedetto da Maiano), Brunelleschi (de Buggiano - 1447), Marsilio Ficino, e Antonio Squarcialupi.
Sobre a porta de entrada há um relógio colossal com decoração em pintura de Paolo Uccello, e acertado de acordo com a hora italica, uma divisão do tempo comumente empregada na Itália até o século XVIII, que dava o por-do-sol como o início do dia.
Os vitrais são os maiores em seu gênero na Itália entre os séculos XIV e XV, com imagens de santos do Velho e Novo Testamento. O crucifixo é obra de Benedetto da Maiano, a talha do coro de Bartolommeo Bandinelli, e as portas da sacristia são de Luca della Robbia.
Mamiya 6MF, Ektachrome 100SW, digitised by photographing the original 60mm transparency on a light pad; tethered capture and development in Lightroom.
"Coll [..] is an island located [about 10km NW of] the Isle of Mull in the Inner Hebrides of Scotland. [..] [It] is about 21km long by 5km wide and has a population of around 150. Coll's sandy beaches rise to form large sand dunes." (Wikipedia, edited)
Something weird happened while developing the last roll of film. Don'r really know what wnt wrong
Really not satisfied with the pictures I made yesterday. Some of the chemistry seems to be too old and partly ruined the negatives. Perhaps tomorrow I will find it an interesting effect and I will post them here :-)
Mamyia RZ67, Mamiya Sekor 50mm
Kodak TriX, one hour in Rodinal 1+100, stand development
Negative captured with a DSLR and developed in LR 4.2
Seen near Wisley Rally in 2003, is this development Dart. Very odd with a large roof pod and flared rear wheel arches.
What reads at first glance as repetition reveals itself, on closer inspection, as a carefully modulated composition. This mid-rise residential block in the Mission District deploys a curtain-wall logic more commonly associated with commercial office towers, transplanted here into the housing typology with mixed but visually compelling results. The façade is organized into four primary bays, each stepping slightly proud of the datum plane, creating shallow vertical fins that catch light differently throughout the day. The blue-grey color treatment — whether original or photographic — suits the building well, emphasizing the cool aluminum framing against the recessed spandrel panels. What distinguishes this elevation is the penthouse treatment: each bay terminates in a glazed volume that breaks the roofline with a modest flourish, a nod to articulation in a design that otherwise prizes discipline. The window grid within each bay is genuinely sophisticated — fixed lites paired with operable sash in an irregular but balanced Mondrian-esque arrangement that avoids the deadening uniformity of cheaper multifamily construction. The dark vertical slots separating the bays provide essential shadow relief, preventing the whole from flattening into wallpaper. In a neighborhood that has absorbed decades of development pressure, this building holds the street with a certain cold confidence.
Private residential development designed by Allford Hall Monaghan Morris, built by Redrow, around a pleasant "aboretum" forming part of a street design by Muf. A new library/learning centre is also incorporated. Completed 2010. Too many awards to list! London Borough of Barking and Dagenham.
©2011 All Rights Reserved
This is a massive development in Saanich, which is home to the Home Depot. The old Bank, restaurant, and grocery store has now been torn down. I'll get some more photos soon.
The gate was open and the red monitoring well posts have been installed.
Black drums can also be seen
Riverbend Business Park.
Burnaby, British Columbia, Canada.
From a Kodak TMax, 6x6 cm negative processed in HC110 (DR 0,67), to a 28X28 cm negative, (DR 1,52).
Reversal development over Rollei ATO 2.1 Litho film. Bleach in potassium dichromate, development in Dektol 1:2.
Reflecting in those puddle after the rain we should examined in the light of the Ageless Wisdom teachings, we are reminded of the great occult maxim "As Above So Below" The mural shows the right eye, the left eye and the middle eye. This tower is the symbol for not only all three schools, but also the meaning and purpose of life itself. Vertical rods/constructs are considered archetypal symbols of the phallus. As the dual serpents address the concept of gender, the staff serves as an emissary of transference between body and mind, physically and spiritually. The rod could also be viewed as a conduit between the mundane and ethereal.. The puddle is male, the tower is female and the horizontal line is the child, the source of both the other building, for we all begin life as a child. The upper side, the feminine pathway, explores the human nature of emotions and feeling, both positive and negative, sexual energy and birthing, death, certain psychic energy, and everything that is not logical.As guided from within, outwards. “As above, so below” and vice versa, Solar Systems are born, die and come to birth anew in cycles of activity and rest, as does wo-man. There is a constant flaming out and dying down of activity in every department of nature, corresponding to the alternations of ebb and flow, day and night, summer and winter, life and death. In the beginning of a Day of Manifestation it is taught that a certain Great Being (designated in the Western World by the name of God, but by other names in other parts of the earth) limits Himself to a certain portion of space, in which He elects to create a Solar System for the evolution of added self-consciousness. He includes in His own Being hosts of glorious Hierarchies of, to us, immeasurable spiritual power and splendor. They are the fruitage of past manifestations of this same Being and also other Intelligences, in descending degrees of development down to such as have not reached a stage of consciousness as high as our present humanity, and therefore these latter will not be able to finish their evolution in this System. In God — this great collective Being — there are contained lesser beings of every grade of intelligence and stage of consciousness, from omniscience to an unconsciousness deeper than that of the deepest trance condition. During the period of manifestation with which we are concerned, these various grades of beings are working to acquire more experience than they possessed at the beginning of this period of existence. Those who, in previous manifestations, have attained to the highest degree of development, work on those who have not yet evolved any consciousness. They induce in them a stage of self-consciousness from which they can take up further work themselves. Those who had started their evolution in a former Day of Manifestation, but had not progressed far at the close, now take up their task again, just as we take up our daily work in the morning where we left off the previous night. All the different Beings, however, do not take up their evolution at the early stages of a new manifestation. Some must wait until those who precede them have made the conditions which are necessary for their further development. There are no instantaneous processes in nature. All is an exceedingly slow unfolding, a development which, though so exceedingly slow, is yet absolutely certain to attain ultimate perfection. Just as there are progressive stages in the human life — childhood, youth, manhood or womanhood, and old age — so in the macrocosm there are different stages corresponding to these various periods of the microcosmic life. A child cannot take up the duties of fatherhood or motherhood. Its undeveloped mental and physical condition render it incapable of doing such work. The same is true of the less evolved beings in the beginning of manifestation. They must wait until the higher evolved have made the proper conditions for them. The lower the grade of the intelligence of the evolving being, the more it is dependent upon outside help. At the Beginning, then, the highest Beings — those who are the farthest evolved — work upon those who have the greatest degree of unconsciousness. Later, they turn them over to some of the less evolved entities, who are then able to carry the work a little further. At last self-consciousness is awakened. The evolving life has become Woman-Man. The right eye is controlled by the left brain; it’s male knowledge. Although the right eye “sees” directly to the right brain, this is not what the Egyptians were communicating. It is not the “seeing” but rather the interrupting of the “seeing” information that was important here. It is the left brain that makes this interruption of what is seen; it controls the right side of the body, and vice versa. In the same manner, the Left Eye of Horus, controlled by the right brain, is female knowledge.What happens on one level of reality also happens on every other level; the microcosm and macrocosm behave alike. A revolution occurred during the 20th century in our understanding of the nature of the physical universe. This change is extremely important to religion, for it eliminates a basic conflict between science and religious belief. Prior to this change, our scientific beliefs were based on an approach that was initiated in the 17th century: "We live in a mechanical universe, and we are simply complex machines." This scientific notion that man was purely a mechanical system contradicts what is probably the core of religious belief, namely the idea that mind-like or spirit-like factors can make a difference in human behavior. The religious outlook assumes that a human being, acting on basis of conscious choices, is NOT equivalent to a mechanical system, whose every action is completely determined by direct interaction between tiny neighboring bits of matter. 20th century science, however, has shown that the earlier mechanical concept of reality to be incompatible with empirical facts. To cope with this failure of earlier ideas, physicist made a breakthrough change. Physical theory was converted from a theory about the physical world itself into a theory of WHAT ONE COULD KNOW about the physical world. Human experience was introduced into the theory and made fundamental. This was to be later known as the Copenhagen interpretation. It had drawbacks.For example, while it brought human knowledge into physical theory, it also renounced the possibility of understanding the underlying physical reality. It set our limits of understanding. It was the eminent mathematician John von Neumann and Nobel laureate Eugene Wigner to reincorporate physical reality. They did this by casting the new physics into a theory of the interaction between our conscious thoughts and our physical brains. This was known as von Neumann-Wigner formation of quantum theory, and rationally incorporated conscious thoughts into the basic dynamics. Physics was not yet ready to tackle the problem of interaction between our thoughts and our brain. It was some time before this was scientifically feasible for this kind of proof. Now however, there is a huge and rapidly growing field of experimental data on this question of the connection between minds and brains.
This shift in science is important significance to religion. It removes the basic contradiction between the older scientific claim that human beings are essentially mechanical robots, while religion maintains than man is not ruled by matter alone. The new physics now dynamically entangles our conscious thoughts with the quantum representation of the physical world. There is a plethora of competing theories arising from many disciplines to account for the psychophysical expressions of consciousness in function and structure. The only comprehensive theory must be one that is based in nondualism, and accounts for such self-organizing mindbody manifestations as spontaneous healing or self-recovery, or even the placebo effect. The mind-matter connection is intimately linked to any speculations we can make about alleged mind-over-matter phenomena. In fact all psi phenomena, including such nonlocality demonstrations as the “simple connections” of telepathy, ESP, or synchronicity in general are related to this problem of an underlying or connecting field through which information exchange is instantaneous and unimpeded.The leading contender for such a field, vacuum fluctuation or quantum foam, was proposed by David Bohm. Turbulent motion in this highly excited, subquantal field leads to the emergence from virtuality into actuality of quantum entities which just as quickly dissolve back into the subquantal sea. This same ocean of virtual or metaphysical “stuff” has the property of containing, storing, and transmitting information about the nature of matter and even thought. The observables of nonlocality and psi cry out for some form of interconnection between phenomenon separated in space and/or time. The concept most generally used in physics to account for spatial and temporal interconnection is that of a field. Fields themselves cannot be observed, and so can be considered meta- or beyond physical. Yet the influences propagating through them are observable, eventually. Mind, memory, and consciousness may be such phenomena. Is there one massive holographic field that actually exists in nature in the sense of Bohm’s holomovement? And if so, how does this relate to our consciousness and our relationship to the cosmos. And what is the mechanism by which this universal force interfaces within our organism? When we recognize that we really are that, that nature lies within our deepest structure and function, we come to understand that we are not separate from the whole of creation. We recognize that “I AM THAT I AM.” Everything including ourselves, is deeply connected in one holy movement. The quantum vacuum, the energy-field that characterizes the ground state of the universe, possibly furnishes the indicated ‘fifth field,’ the hidden variables of chaotic yet deterministic micromotion that bootstraps all energy/matter into existence. This plenum could transmit as-yet-unknown effects. This quantum foam, which Wheeler called superspace, consists of a pure massless charge-flux.
We argue, along with Laszlo that, “The conclusion to be derived from the considerations presented here is that the four-demnsional manifold Einstein described as spacetime is likely to be more than a geometrical abstraction. As the energetically superdense quantum vacuum, it may be a physically real field, limiting the velocity of light and other matter-particles and transmittingg a variety of effects, including, but not limited to, gravitation and electromangetism. We may well ask, then, whether the field would also transmit the kind of effects associated with psi.”
Waves of this purely informational (scalar) force could create a potential gradient where quantal motion triggers scalar waves in the vacuum, and these propagate by alternately compressing and rarefying its virtual-particle gas. Scalars are neither ‘light’ nor ‘matter’, but longitudinally propoagating fluctuations below the energy-threshold of particle pair-creation.This produces a self-generating cosmological feedback cycle which translates into interference patterns created by the motion of charged particles modifying the local topology of the vacuum. The modified vacuum field modifies in turn the motion of the particles, (Laszlo, 1993, 1994).Fourier show that any three-dimensional pattern can be analyzed into a set of regular, periodic oscillations that differ only in frequency, amplitude, and phase. Specific waveforms can be exact representations of spatiotemporal objects--thus we have a “Holographic Universe.” Analysis shows that the signals transmitted through the vacuum field are precisely of the psi variety, because information in that field is holographic, and because the propagation of the holographic interference patterns is quasi-instantaneous. Therefore, this virttual field might provide a metaphysical foundation for a broad range of psi phenomena and psychophysical interaction, including self-organization and healing. The quantum vaccum is a highly anomlous universal energy realm of pure potential. It is both the source and destination of all matter in the universe, and thus of any form of consciousness which may emerge through its autopoeitic process. The human brain, with its pronounced and constant state of chaos, could receive and amplify such signals, expressed both consciously and unconsciously in our biophsyical self and our ephemeral thoughts and intuitions.The von-Neumann-Wigner formulation provides the basic logical principles that govern the interaction between thoughts and the brain. It provides prima facie evidence that human thoughts are linked to nature by nonlocal connections. What a person chooses to do in one region seems immediately to effect what is true elsewhere in the universe. This nonlocal aspect can be understood by conceiving the universe to be not a collection of tiny bits of matter, but rather a growing compendium of "bits of information." This profound shift about the nature of reality has not yet sunk in culturally. It will happen by the promotion of understanding of the radical shifts wrought by quantum theory. Most quantum physicists are interested more in applications of quantum theory than in its deep implications. Most now agree that a conception of physical reality is informational in character, not material. Our conscious thoughts ought eventually to be understood within science and that when properly understood, our thoughts will be seen to DO something; they will be efficacious. From what most quantum physicists now understand, certain ontological claims can now be made. 1. The "physical world," as understood in quantum theory, is a store of information, and this information is NOT imbedded in hordes of tiny particles (as they were in classical theory). The information is stored in a mathematically described structure that specifies propensities for certain events to occur. This events (paradigms) include the acquision of information by human agents.2. Conscious events should eventually be understood in science, and these events should be efficacious. They should have a real effect on our actions. The von Neumann-Wigner formulation of quantum theory achieves these ends. It has never been seriously broached in science, not because it was considered unimportant, but because it was deemed too difficult. Pertinent data seemed insufficient and restrictive. This has changed because science has changed.The six sided star in the structural support of the tower incorporates the Duality, Male and Female (Unity), the Blade (upward pointing triangle) and Chalice. The blade represents the Physical, and the Chalice represents the Spiritual realm. It is sometimes referenced as the fire and water triangle as well. Moloch, Chiun and Remphan are all names for the star god, Saturn, whose symbol is a six pointed star formed by two triangles. Saturn was the supreme god of the Chaldeans. The hexagram is referred to the talisman of Saturn. The hexagram was brought to the Jewish people by Solomon when he turned to witchcraft and idolatry after his marriage to Pharaoh’s daughter. It became known as the Seal of Solomon in Egyptian magic and witchcraft. The six pointed star was adopted as the family crest or shield by the Rothschild family during the 19th century,he helped to finance Eiffel. Heavily associated with alchemy, Leo, the Lion, the Double Lion, Routi, refers directly to the Sun as being a source of knowledge. Leo, is one of the constellations of the Zodiac. The Zodiac, is a direct reference to the Sun. The Sun’s position at midday during the time of the Egyptians coincided with the midsummer solstice. Leo was a constellation of the summer.
The theme of Illumination, Knowledge, or Secrets being kept “under the Lion’s Paw” is a recurring motif.There are lions on the first floor belly. The spiral effect the descending forces of the tower, that indicates an expansion of knowledge, and the undulating dance of cosmic forces. Such dualities include:
Asleep/Awake Illness/Health Separation/Unity Male/Female
Left/Right Binding/Loosing Wax/Wane Water/Fire Sun/Moon
Yin/Yang Light/Dark Good/Evil Upper/Lower. If you take it a step further, you notice the dual intertwined snakes form a double helix DNA strand; Serpent DNA specifically. If the serpent is a biological anthropomorphism of DNA, then we can attribute the Ouroboros to cycles of DNA change.Let us examine this slide which I feel holds many secrets. First you have the sun and moon in opposite positions which proves the world has been put on a purposeful pole shift done at the hands of man.
In the East where the sun is supposed to rise you now have the moon or crescent where there is a Brother with a sword with an eagle or falcon upon it where he is shielding his eyes from the light because it is either too bright or he cannot see because he is blinded by the darkness.
In the West where the sun is supposed to set, you now have the sun with a brother who can see clearly what is going on as he holds the staff and serpent.
In the middle is the LORD OR LORDS and KING OF KINGS who represent the union of both and has risen above the Abyss on the wings of destiny. The Phoenix or Rex Mundi who represents not only the union of East and West, but also AS ABOVE SO BELOW.
So what does it mean?
The microcosm is oneself, and the macrocosm is the universe. The macrocosm is as the microcosm, and vice versa; within each lies the other, and through understanding one you can understand the other. The primary idea behind this is that the “above” refers to what is visible in the sky. The below, refers to Earth. This creates an equality as it explains how the Earth is a microcosm of the configuration of the planets in the solar system. It draws the connection that the Earth is affected by planetary orbits. This concept also affects various levels of reality: physical, emotional, and mental What happens on any level happens on every other.
The concept has not only been a practice, but an attempt to replicate and do a better job then YHWH himself. This is why alchemy and astrology play such an important role in the Illuminati.
In Alchemy, there is a process which Mercury and Lead can supposedly turned to Gold. The Gold isn’t the main goal. It’s to understand the process of how mercury or lead changes into gold. Man wants to replicate and modify what is on the Earth into their standards.
The same goes for Astrology. The elite not only observe all of the astrological signs, but use them to construct the architecture of this tower.
There will come a time when it will have been in vain that Egyptians have honored the Godhead with heartfelt piety and service; and all our holy worship will be fruitless and ineffectual. The Elohim will return from earth to heaven; Egypt will be forsaken, and the land which was once the home of religion will be left desolate, bereft of the presence of its deities.
They will no longer love this world around us, this incomparable work of YHWH, this glorious structure which HE has built, this sum of good made up of many diverse forms, this instrument whereby the will of YHWH operates in that which he has made, ungrudgingly favoring man’s welfare.
Darkness will be preferred to light, and death will be thought more profitable than life; no one will raise his eyes to heaven; the pious will be deemed insane, the impious wise; the madman will be thought a brave man, and the wicked will be esteemed as good.
As for the soul, and the belief that it is immortal by nature, or may hope to attain to immortality, as I have taught you; all this they will mock, and even persuade themselves that it is false. No word of reverence or piety, no utterance worthy of heaven, will be heard or believed.
And so the Elohiym will depart from mankind – a grievous thing and only evil angels will remain, who will mingle with men, and drive the poor wretches into all manner of reckless crime, into wars, and robberies, and frauds, and all things hostile to the nature of the soul.
Then will the earth tremble, and the sea bear no ships; heaven will not support the stars in their orbits, all voices of the Elohiym will be forced into silence; the fruits of the Earth will rot; the soil will turn barren, and the very air will sicken with sullen stagnation; all things will be disordered and awry, all good will disappear.
But when all this has befallen, then YHWH the Creator of all things will look on that which has come to pass, and will stop the disorder by the counterforce of his will, which is the good. HE will call back to the right path those who have gone astray; he will cleanse the world of evil, washing it away with floods, burning it out with the fiercest fire, and expelling it with war and pestilence.The double tetrahedron visible in the structural's forms of the tower can be referred to as the interdimensional vehicle for travel, the Merkaba. It also incorporates the Duality, Male and Female, the Blade (upward pointing triangle) and Chalice. The blade represents the Physical, and the Chalice represents the Spiritual realm. The Star of Solomon can also represent Jerusalem.The Square and Compass is the Blade and Chalice, God and Goddess in the act of Creation, and within the Star we find the Heavenly Luminaries or the Eyes or Spirits of God (the Planets). The symbols on the star represent the astrological portion of the symbol, Jupiter, Venus, the Moon, Mercury, Mars and Saturn, with the Sun being at the center. Zoroaster’ teachings mentioned earlier in the thread as Thoth or Hermes, would be responsible for the seven petal flower depicted at the center.
One of my favorite clips showing a staged gag where Leaonard Nimoy in costume from Spock's Brain is handcuffed at gunpoint while reading the headline of the LA Times from July 11th 1968. On this day Benjamin Spock was sentenced to a two year jail term for supporting draft evaders and declaring the Vietnam war unconsitutional in the famous Boston Five trial. This is the exact same time as the thrid season episode Spock's Brain was filmed, hence the costume. A great reminder of the political climate of 1968 in addition to the production of Star Trek.
Progress with the Redrock Development in Stockport with the base for the Car Park Entrance in the foreground and Car Park itself behind, the A560 is on the left with the M60 beyond on the 23rd November 2016.
The Wild Animal Sanctuary is making a area for the Coyotes I thing they said. The trees are in the area where water will flow. The back section is for the Fox's which 7 are placed. Tree's, water flow, dirt mounds plus concret pip sections covcered with dirt, more than evough room for everyone.
The depressing sight of the small housing development in the village, which is creating a lot of mud, great heaps of the stuff and muddy, clay coloured water streaming down the road.
125 pictures in 2025 (63) muddy
Platinotype (right) from enlarged negative (28x28 cm) (bottom left) from medium format (6x6: Top left)) through reversal development over lith film. Pure palladium. Developer Potassium oxalate, arches platine.
I had an opportunity to explore the construction site for the future city centre and captured a few interesting perspectives.