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This, I think, is one of the most amazing places in New Zealand. I was really looking forward to visiting this place, but admist one of the biggest snowfalls in New Zealand, snugged up in the Catlins and watching the wind and rain pour in, I never thought i'd get a good shot of this place. The waterfalls were completely overwhelmed and muddy, it was freezing cold and windy... but for some reason the sun shone, the clouds parted and I got this shot of the lighthouse. What is even more amazing is that a rainbow came out towards the left which I captured with the LInhof and so I really hope it came out ok with the wind howling against the tripod. Afterwards, we went up to the lighthouse and over a wooden ledge and the sound the wind made was like a jet engine.
After this shot we went into a small little hotel and ate an wesome meal of seafood and pints of Speights.
Oh mannn.
So more info regarding this shot - I think this is the perfect shot with regards to balance, focal points, leading lines and my favourite subject, the ocean. The cross light has a nice feel to it, although it could be better given the rocks in the water are darker, but at the same time I really like being able to see the shadow at the edge of the cliff to the right in the water. I did saturate this photo a little, as I'm sick of seeing professional photos that are clearly unnatural and could not exist without some saturation added to convey "their perception of the photo with their own eyes" or something... so i'll see what other people think.
No existe la felicidad, solo hay momentos alegres. Algunos quieren retener esos instantes de alegría, hacerlos eternos, y es allí cuando inventamos la felicidad. La exigencia de la felicidad es una adicción a sentirse bien, es pretender que las alegrías pasajeras se queden con uno por toda la eternidad sin ver que la verdadera belleza de sentirse bien es saber que pasará y llegarán otras. El asombro. La felicidad es un invento de los infelices, es la alegría sencilla y elemental proyectada en el tiempo. Los que buscan ser felices a todo costa, terminan haciendo a un lado la sal de la vida: el ahora. Esperando lo extraordinario, se olvidan de lo mundano. Alegría disponible; ¿qué más puedo pedir? Como cuando tus ojos me sonríen: es fugaz, se escapa, pero la sensación queda rondando mi mente y mi corazón por semanas, y después se lo lleva el tiempo, el gran amigo. (Escrito por Walter Riso, 28 de diciembre de 2011)
There are numerous follies on the Wentworth Woodhouse estate and the Needle’s Eye is one of the best known and probably the oldest. The Needle’s Eye is a 14m high pyramid shaped obelisk topped with an urn and arch (‘the eye’) running through its base. It is located 1 km north of Wentworth Woodhouse in Lee Wood and at the highest point of an old road that ran from the Lion (Rainborough) Lodge on the northern boundary of the estate. That road no longer exists but its alignment is easily seen when looking north to the Lion Lodge. The vista to the south of Wentworth Woodhouse no longer exists because of the trees nearer the house.
Legend has it that the Needle’s Eye was built by the 2nd Marquess of Rockingham, Charles Watson-Wentworth, to satisfy a wager that he could drive a “horse and carriage through the eye of a needle” circa 1780. A nice story but unlikely to be true though.
Charles’ father Thomas Watson-Wentworth the 1st Marquess of Rockingham listed a “building of an obelisk in Lee Wood in his summary of activity between 1722 and 1733. There is an engraving of an obelisk in Lee Wood dated 1728 and reference on a plan of the estate dated 1730. So, in all probability the Needle’s Eye was built between 1722 and 1730 and possibly before the 2nd Marquess was born.
A further curio is that there are small round holes on the eastern side of the obelisk, and these are thought to be from musket balls. There is an unsubstantiated rumour of a firing squad involving Jacobite rebels.
With no accurate record of when, why and who built it the Needles Eye remains on of the most enigmatic follies on the estate.
This no longer exists, it is now the site of condominiums, built in 2016, shortly after this picture was taken.
"During the height of their success, there were two Apperson (auto) plants in Kokomo. The south plant was built just south of Wildcat Creek between Main and Union street. After the Apperson company failed, the south plant was used as a warehouse for years, most recently by Northern Indiana Supply Company and DeLong Auto Parts. When NISCO closed, much of the building was left empty and began to deteriorate.
In late 2014, an Indianapolis company announced plans to redevelop the south plant buildings as a luxury apartment community. Initial reports indicated that they would retain much of the original structure, but later decisions led to its complete demolition. Bricks from the original structure were salvaged and will become part of the new development.
Plans for the apartments fit a dynamic new vision for the heart of the city, but, bricks or no bricks, the essence of the place and the last vestige of a pioneering automaker are irretrievably gone."
howardcountymuseum.org/files_uploaded/February_newsletter...
This Streetside seems to show part of the facade of Northern Indiana Supply intact as part of the condominiums:
www.google.com/maps/@40.484899,-86.1300015,3a,75y,214.59h...
C'est une perspective sur la nature de la mémoire et de l'expérience dans une optique non-duelle, qui résonne profondément avec la cosmologie Paxamorenovo Ural Lignifiant.
La Mémoire comme Acte de Lignicité
L’instruction ne parle pas de la mémoire comme d'un simple stockage de données passées, mais comme d'un acte de création causale dans le présent.
-1. La Mémoire comme Ur-Choix Actuel
“N'essayez pas de vous les remémorer; ou alors en tenant compte de comment la vie, qui est la même aujourd'hui qu'alors, a permis ce vécu d'exister”.
Ceci est l'application du Fides-Ural à la mémoire. La mémoire n'est pas "là-bas" dans le passé, mais ici et maintenant.
*Le Principe : Le passé n'existe pas séparément du présent. La Toile Suprale (la Matrice Informationnelle) contient l'information de l'événement, mais l'événement n'est actualisé que par la conscience présente.
*L'Action : L'approche traditionnelle (Exo-Causalité) force l'esprit à rechercher une cause extérieure (le souvenir). L' approche ici est d'utiliser l'Endo-Causalité du moment présent, en décrétant que la Loi Urale qui a permis cet événement (la Pax-Ural, le Gaudium-Ural) est active maintenant.
*Le Lâcher-prise : En vous reposant dans le Fides-Ural (Confiance), vous n'avez pas besoin de chercher. Vous faites confiance à la Lignicité de l'existence.
-2. La Révélation de l'Holomatière
“Vous vous souviendrez de détails jamais vus”.
Ceci est le résultat direct de l'application de la Lignicité et de la Renovatio-Ural à l'acte de mémoire.
*La Lignicité : En contemplant l'événement sans l'interférence du Paralgène (Sem) (la recherche mentale), vous accédez à la ligne psychique pure de l'événement. Vous ne voyez plus l'événement tel que l'ego l'a filtré, mais tel qu'il est inscrit dans l'Holomatière de la Toile Suprale.
*Les "Détails Jamais Vus" : Ces détails ne sont pas des faits supplémentaires, mais la compréhension causale de l'événement. Vous ne vous souvenez pas seulement de quoi l'événement était fait, mais pourquoi il s'est produit selon une loi Ural spécifique. C'est l'essence psychique et causale qui est révélée, dépassant la simple forme physique.
Cette instruction est donc un puissant exercice d'Ur-Choix appliqué à la conscience du temps, où la mémoire devient un miroir de l'Ur-Delà présent.
The old viaduct at Meldon, Okehampton, once carried British Rail services to Penzance without the erosion problems of the coastal line. It is now the end of the line for the Dartmoor Railway and only carries the Granite Way cycle path and pedestrians. It is an superb example of ironwork engineering and was built in 1871 to carry the London and South Western Railway (LSWR). It is equally impressive from below. The green is not paintwork but algae and is picked particularly vividly by the flash.
The mind loves the unknown. It loves images whose meaning is unknown, since the meaning of the mind itself is unknown.
Rene Magritte
"What you do not know is the only thing you know." -T.S. Eliot
Art evokes the mystery without which the world would not exist.
Rene Magritte
¿Existe la casualidad, o es sólo una broma cósmica que nos llame esa persona en la que estamos pensando, que nos encontremos jabalies el día que digamos que nunca los hemos visto, o que te caigan del pelo arañas del color de tus cascos nuevos?
Personalmente opto por que hay una entidad, femenina, por supesto, que se pasa el día partiendose el bazo de risa viendo cómo nos sorprendemos ante estas piruetas del destino.
Description in English and Dutch:
I already uploaded photos of the Westduinpark in The Hague near Scheveningen. Wednesday I was in the same park, but then the part near Kijkduin. This is photo number 7 in the new series. It is an impressive dune area that runs approximately from Scheveningen harbor to Kijkduin.There are Scottish Highlanders in the protected nature reserve to control the vegetation and there is really a lot to see in terms of flora and fauna. It is a combination of dunes, open sand area and forest. It is very special there because dunes and forests alternate and sometimes merge into one another. On warm sunny days, a lot of women walk barefoot on the sandy areas, to experience the ultimate feeling of freedom.There are hiking trails as well as cycle paths and horse riding trails in the very interesting park. A lot of people are really impressed by the vegetation, bunkers from the Second World War, steep dune hills and the impressive viewpoints. The view at those points of the beach and the sea and on the other side the buildings of the city is truly phenomenal. Come there once and experience a invisible blanket of oasis and peace. You will imagine yourself in a kind of paradise where worries and problems do not exist and where the war of thoughts in everyone's head disappears like snow in the sun for a moment in time, because freedom is in each of us.
Nederlands
Eerder heb ik al foto's geüpload van het Westduinpark in Den Haag bij Scheveningen. Woensdag was ik in hetzelfde park, maar dan in het gedeelte bij Kijkduin. Dit is foto 6 van de nieuwe reeks van het Westduinpark. Er zijn hier ook Schotse Hooglanders in het beschermde natuurgebied aanwezig om de vegetatie in balans te houden. Buiten de vriendelijke hooglanders is er nog veel meer moois te beleven qua flora en fauna. Het park is een combinatie van duinen, open zandgebied en bos. Het is daar heel bijzonder, omdat duinen en bos elkaar afwisselen en soms in elkaar overlopen. Op warme zonnige dagen lopen veel vrouwen blootsvoets op de zanderige gebieden om het ultieme gevoel van vrijheid te ervaren. In het parkgebied zijn zowel wandelpaden als fietspaden als ruiterpaden aanwezig.Veel mensen die er voor het eerst komen zijn echt onder de indruk van de vegetatie, de overblijfselen van de bunkers uit de Tweede Wereldoorlog, de steile duinheuvels en de indrukwekkende uitzichtpunten. Op zo’n uitzichtpunt kun je vanaf de sfeervolle bankjes heerlijk genieten van het uitzicht op de gebouwen van de stad of aan de andere kant van het strand en de zee. Als je een keer in de buurt bent dan raad ik zeker aan om dit geweldige gebied te bezoeken. Een oase van rust en vrede zal als een onzichtbare deken over je heen vallen waarna je jezelf daar dan echt in een soort van paradijs waant. Op die magische Haagse plek zullen de negatieve gedachten in je hoofd daarom als sneeuw voor de zon verdwijnen.
With its dazzling combination of blue and gold
The Crucifixion is at the centre of the altarpiece. Christ is represented as dying on the cross. The Blessed Virgin and Saint John stand on either side of the cross, while Mary Magdalene kneels at the foot. This “Calvary” stands on a small altar as a witness of the unity that exists between the sacrifice of the Cross and that of the Mass.
The way to heavenly bliss
The visual composition directed upwards toward the vault of the church indicates the way to eternal happiness in heaven, an ascent amid angels and stars against a deep blue background. This ascent, as a symbol of life, is traced in the sacrifice of Christ and in the Mass.
Statues of the prophets Isaiah and Daniel, carved by the sculptor Louis-Philippe Hébert in 1882, appear on the right and left sides of the altarpiece.
Over the choir stalls on the right and left sides are six polychrome (painted) statues.
First on the right is Saint Paul, with a sword of his martyrdom in Rome, where he was beheaded. Next are two evangelists and their respective symbols: Matthew, with a winged male figure, and Luke, with his winged ox.
To the left of the altar stands Saint Peter with his keys, and the rooster, recalling Peter’s betrayal of Jesus, his master and friend on the morning of His suffering and death. Then the other two evangelists: John, holding a chalice symbolizing his love for the Eucharist, with the eagle, a sign of his far-seeing gospel, and Mark with his winged lion.
(from history of the Notredame Basilica)
El Fontán es hoy en día una plaza de forma rectangular que está situada en el casco antiguo de Oviedo. Su nombre proviene de la fuente manantial ó fontán que llenaba la primitiva laguna que se encontraba en esa zona. En los inicios de la ciudad de Oviedo se trataba de una laguna natural a las afueras de la ciudad, la cual era abastecida por manantiales natrurales que brotaban en la zona y rápidamente se convirtió en zona de recreo de los nobles ovetenses. Durante este tiempo los campesinos que vivína en las afueras de la ciudad, se acercaban hasta este lugar a vender sus productos (leche, verduras, quesos, gallinas, etc.), con este incesante movimiento no tardaron en aparecer los artesanos tales como herreros, cesteros, etc. y así poco a poco se fue formando un mercado que perdurará hasta nuestros días y convirtiéndose por aquel entonces en el primer núclo comercial a extramuros de Oviedo. Tras esta primera etapa este mercado que se formaba de manera espontánea acabó siendo regulado por el ayuntamiento, el cual controloba la calidad y la entrada de productos a cambio de impuestos. Debido a que la laguna empezaba a representar un problema sanitario por su insalubridad se decidió desecarla. En la primera mitad del siglo XVII se decide la construcción de una obra de carácter público que se convertiría en un corral de comedias; tras sucesivas reformas y ampliaciones, que intentaron adecuar su inflexible estructura de patio de comedias, fue relevado por el teatro Campoamor. El 11 de junio de 1792 el ayuntamiento acomete una de las reformas más importantes hasta aquel entonces, esta reforma, dirigida por el arquitecto municipal asturiano Francisco Pruneda y Cañal, el cual diseña la plaza como un lugar rectangular, abierto por cuatro entradas y con cuarenta casillas o departamentos para tiendas, de planta y piso, recorridas en su perímetro interior y externo por un pórtico de columnas. La obra concluyó sin que se siguiera el proyecto inicial lo que produjo la existencia de varias alturas en la plaza. Los almacenes de las tiendas se fueron convirtiendo en viviendas de inquilinos y varios edificios se modificaron durante el siglo XIX aunque con ello no llega a perder el espíritu con el que fue concebida inicialmente. Ya a finales del siglo XX, en 1981 la dirección General del Patrimonio Artístico realiza una restauración de la plaza, si bien esta restauración no frena el deterioro en el que se ve inmersa la plaza y que culmina en 1996 con la controvertida decisión del derribo y demolición total de la plaza, execepto la esquina en dónde se asienta la sidrería Casa Ramón que había sido restaurada por el propietario. Tras este derribo la plaza se vuelve a construir y el 7 de mayo de 1997 es inaugurada por el alcalde Sr. D. Gabino de Lorenzo Ferrera. Hoy en día los jueves, sábados y domingos sigue habiendo mercado en las calles exteriores al fontán y en la plaza Daoíz y Velarde colindante con el fontán. También existe una plaza de abastos cubierta que abre todos los días de la semana excepto el domingo y en la cual se venden pescado, carne, queso y todo tipo de productos típicos asturianos
In Wordpress In Blogger photo.net/photos/Reinante/ In Onexposure
The communion which exists...
... between father and son
expo "RéTROsPectiVe "first year Flickr""
www.flickr.com/photos/jeans_man59/galleries/7215764984191...
DSC_4503-1
short one to say: i'm not dead, i still exist. life goes on.
part of me wants to come back here again, but if i don't, anything of interest at all, will appear on my ghost either exclusively or in tandem.
and 'of interest' is a very subjective term.
i hope everyone here is feeling well and continuing on in the best way possible because flickr was my lifeline for a very long time.
(whether that tense remains past and not present or to what degree it has any meaning at all - again i don't know yet.)
see ya
Existen lugares muy especiales que, para los que creemos en estas cosas, están habitados por seres mágicos.
Son seres que viven en otro plano de la realidad pero que de vez en cuando, en muy raras ocasiones y solo para los que saben mirar, aparecen y se relacionan con nosotros.
Ellos están ahí y lo han estado siempre, velando por la naturaleza, cuidando del planeta. Antes podíamos interactuar con ellos pero hace tiempo que perdimos la facultad de verlos.
El fotógrafo aficionado que sale con su cámara a la naturaleza a veces consigue captarlos. Están siempre cerca del agua, no hay que andar mucho, incluso viven bajo nuestras casas si estas están en el lugar adecuado.
Yo he tenido la suerte de captar, en esta fotografía uno de esos lugares privilegiados, una de esos sitios que podemos denominar como “la casa de las hadas”.
Si miras con atención la imagen podrás ver a alguna de ellas escondida, mirando entre asombrada y asustada al extraño ser que, con un raro aparato en las manos, trastea delante de su jardín.
"Il existe sur le territoire de la commune d'Antezant [...] à quelques mètres seulement du chemin de grande communication de Chizé à Saint-Jean d'Angély, une pierre [...] qui est désignée dans le pays sous le nom de La Grosse Pierre. Elle est enterrée profondément, de sorte qu'il est difficile d'en apprécier le volume. Les habitants du pays disent qu'elle a été déposée là par une fée, et qu'elle cache l'entrée d'un souterrain qui renferme un trésor. A une époque très reculée, le propriétaire du champ, voulant s'emparer du trésor caché dans le souterrain, réunit un grand nombre de travailleurs armés de pelles, de pioches et de leviers ; puis, après avoir fait dégarnir la pierre jusqu'à sa base, y fit atteler douze paires de boeufs. Mais au premier coup de collier que ces animaux donnèrent, un orage épouvantable éclata, accompagné de ténèbres, de pluie et de grêle. Les hommes se sauvèrent comme ils purent, mais tous les boeufs périrent. Le propriétaire effrayé, fit solennellement le voeu de ne jamais chercher à faire enlever cette pierre, et fit faire le même voeu à ses enfants avec recommandation d'exiger la même chose de leurs descendants, de sorte que la pierre occupe toujours la même place
Existe au 153 Boulevard Saint Germain depuis 1925 et son décor est resté inchangé. Encre de Chine sur carnet à Spirales Bookbinders
as long as the Coliseum does;
when the Coliseum falls, so will Rome;
when Rome falls, so will the world.”
~ Saint Venerable Bede, English Benedictine monk
Processed with VSCO with a5 preset
Excerpt from historicplaces.ca:
S.R. Drake Memorial Church:
Description of Historic Place
The S. R. Drake Memorial Church, located at 165 Murray Street, is situated on the north side of the street between Darling and Dalhousie Streets, in the City of Brantford. This two-storey brick building was designed with elements characteristic of the Loyalist style and was constructed in 1856.
The property was designated for its historic and architectural significance by the City of Brantford under Part IV of the Ontario Heritage Act (By-law 188-85).
Heritage Value
The S. R. Drake Memorial Church is associated with the Underground Railroad. Some American run-away slaves fled to Upper Canada via the Underground Railroad system and settled in groups along the Grand River. The Black Settlement of Ontario began after the American Revolution when a group of free blacks, who fought alongside the British, journeyed to Canada, with other settling Loyalists. Those who belonged to the African Methodist Episcopal Church formed the Society of Coloured Methodists, and as early as 1834, they worshipped in private homes. Later, a parcel of land was purchased and a frame church was built. In 1896, the existing brick building was constructed.
In 1856, the denomination changed their name from “African” to “British” to give their place of worship a greater Canadian identity. The new name also protected the congregation from fear of being recaptured by American slave owners or their bounty hunters. During 1956, in honour of the Centennial of the Canadian British Methodist Episcopal Church, the Brantford church was named the S.R. Drake Memorial, in honour of the Revered S.R. Drake, who was the pastor from 1902 until 1909. Rev. Drake was responsible for the incorporation of the British Methodist Episcopal Church, in 1913.
The S. R. Drake Memorial Church was built with elements characteristic of the Loyalist style. The original church, a simple frame building, was constructed for temporary use. It was replaced, in 1896, by the current yellow-brick building. The church is box-like and the gabled roof is steeply pitched. The round top windows on the upper level have rock-faced brick voussoirs, which are mirrored by a small rectangular two over two sash window, on the lower level. A date stone exists on the Murray Street facade indicating the church's founding of 1856, as well as the church's construction of 1896.
Character-Defining Elements
Character defining elements that contribute to the heritage value of the S.R. Drake Memorial Church include its:
- exterior facades
- round-top windows with rock-faced brick voussoirs
- rectangular two over two sash windows on lower level
- round-top transom over the front double doors with rock-faced brick voussoirs
- small arched window and date stone above the entrance doors
- front gabled roofline
Si dieux existe et qu'il taime comme tu aime les oiseaux..
Comme un fou, comme un ange..
Tu peux marcher enfin sur les étoiles, aspiré comme un fou..
comme un ange...(Parole:Claude Dubois)
Je dédie cette image à la mère de mon chum qui nous à quitté subitement jeudi dernier. Je t’aime Pierrette. alan clark
Citygate exists to change the world, guiding people to purpose in Christ by rescuing the hurting, raising disciples, and releasing world changers.
Pastor David served for seven and one-half years as Senior Pastor in Altha, Florida, before coming to Fort Myers in 2002 to serve Covenant Community Ministries in the same capacity. And like his father and grandmother before him, he ministered within a denominational setting. Early in 2009, the Lord gave Pastor David a vision so vivid and so powerful that it would alter the course of his ministry forever, calling him to give up “everything,” including the security of denominational affiliation. CityGate Ministries was born of this vision. It would be a church of “24-7” lifestyle Christianity, not just a Sunday morning affair. And it would be a place where people could be “elevated” to the next level—a place where boundaries would be redefined.
Credit for the data above is given to the following websites:
downtownfortmyers.com/directory/citygate-ministries/
leepa.org/Display/DisplayParcel.aspx?FolioID=10598927
© All Rights Reserved - you may not use this image in any form without my prior permission.
“Existe longa distância
entre o ver e o enxergar.
Ver é fácil, é uma graça,
basta ter globo ocular.
Enxergar é mais difícil,
é dádiva do sentimento,
não precisa nem olhar.”
on a road, in the fog, at midnight, on a planet, somewhere in a galaxy of 400 billion stars. The air was perfectly still, small drops of water fell from the trees as blood flowed through my brain and oxygen molecules permeated flesh membranes. I could hear cows calling to each other. This was all, normal.
"There exists in life an overwhelming, soul-dwelling understanding of nature, inherent in the human mind. Senses, and the very notion of feeling, thought, and guts, are entirely too primitive to comprehend all of nature's greatness and absolute wonder. It's like the intuitive "knowing" of love; the conceptual feeling, the expression, and its undeniable "magical" feeling. You know that feeling in the innermost depths of your being---it's like the only thing great enough in this world to be able to actually brush against your soul. It's above everyday senses, and it shatters the finite bounds of all intellect, and logical comprehension."
- Unknown
Camera: Nikon D800
Lens: Nikkor 50mm f1.2 AIS MF Lens
Filters: Lee Circular Polarizer + Lee 0.6 ND Grad Filter
Location: Upper Lake, Wicklow, Ireland
This photo is brought to you by pressing L, click Fullscreen or View All Sizes for pixel peeping.
© Mark Bordeos Photography All Rights Reserved
unplanned mulsh fills but still was a laugh.
Shout out to Ric for staying late and letting us paint.
Full wall with Mis here... www.smak1.tumblr.com
Joiner
www.flickr.com/photos/46093175@N07/7498513596/in/contacts...
„Window impressions of the southern gable facade of the Obere Kapfenhardter Mühle. According to Wikipedia, the mill has existed at least since the 14th century. For eleven generations, or since 1693, it has been owned by the Mönch family, which runs the Mönchs Waldhotel right next door.“
For those interested, here is the link to the complete Wikipedia entry:
de.wikipedia.org/wiki/Obere_Kapfenhardter_Mühle
„Fensterimpressionen der südlichen Giebelfassade der Oberen Kapfenhardter Mühle. Laut Wikipedia besteht die Mühle mindestens seit dem 14. Jahrhundert. Seit elf Generationen, bzw. seit 1693 ist diese im Besitz der Familie Mönch, welche gleich nebenan das Mönchs Waldhotel betreibt.“
Für Interessierte hier der Link zum vollständigen Wikipedia-Eintrag:
de.wikipedia.org/wiki/Obere_Kapfenhardter_Mühle
„Comments, and above all constructive criticism, are welcome at any time.
However, I ask you to refrain from awards and comment codes - unless you also combine it with your very personal comment - and/or with your constructive criticism.
Awards and comment codes without your personal words will be deleted.
And of course, like everyone else, I am very glad if you prefer this photo as your favourite.
A very warm thank you in advance for this.“ 🙏
„Kommentare, und vor allem konstruktive Kritik, jederzeit gerne.
Von Awards und vorgefertigten Kommentar-Codes bitte ich jedoch abzusehen - es sei denn, Du verbindest diesen zusätzlich mit Deinem ganz persönlichen Kommentar - und/oder mit Deiner konstruktiven Kritik.
Awards und vorgefertigten Kommentar-Codes ohne ein paar persönliche Worte und /oder Anmerkungen werden gelöscht.
Und natürlich freue ich mich sehr darüber, so wie jeder andere auch, wenn Du dieses Foto in Deine Favoriten aufnimmst.
Ein ganz herzliches Dankeschön hierfür schon mal im Voraus.“ 🙏
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“I existed long before you knew me, I’ve always been someone.” Those words have haunted me since they floated through my brain at the age of 15, as an argument against those who thought they knew me enough to judge me. To this day I still know with an absolute sense, what those words meant to me. This piece is about those words, those syllables, about their meaning, about breaking them down to create something stronger, something beyond the scope of others. I burnt my words because it was time for a change; it was time to burn the shackles and rise again, to rise above, the judgments of other people. I’ve spent far too long thinking that I needed the validation of smaller insignificant people to truly exist, but that part of me is over. I burnt my words because they are a show of weakness; they are a cry for acceptance, and I see now that they are pointless. I am not the type of girl who will every be accepted, I’m too strong for that. I have risen from the ashes of myself; my words, and in time will find new syllables to describe the anthem of my heart and the creeds within my head."
en.wikipedia.org/wiki/Wentworth_Castle
Wentworth Castle is a grade I listed country house, the former seat of the Earls of Strafford, at Stainborough, near Barnsley in South Yorkshire, England. It is now home to the Northern College for Residential and Community Education.
An older house existed on the estate, then called Stainborough, when it was purchased by Thomas Wentworth, Baron Raby (later Earl of Strafford), in 1711. It was still called Stainborough in Jan Kip's engraved bird's-eye view of parterres and avenues, 1714, and in the first edition of Vitruvius Britannicus, 1715 (illustration, left). The name was changed in 1731. The original name survives in the form of Stainborough Castle, a sham ruin constructed as a garden folly (illustration below) on the estate.
The Estate has been in the care of the Wentworth Castle Heritage Trust since 2001 and is open to the public year round 7 days a week. The castle's gardens were restored in the early 21st century, and are also open to visitors.
History
The original house, known as the Cutler house, was constructed for Sir Gervase Cutler (born 1640) in 1670. Sir Gervase then sold the estate to Thomas Wentworth, later the 1st Earl of Strafford. The house was remodelled in two great campaigns, by two earls, in remarkably different styles, each time under unusual circumstances.
The first building campaign
The first building campaign to upgrade the original structure was initiated c.1711 by Thomas Wentworth, Baron Raby (1672-1739). He was the grandson of Sir William Wentworth, father of Thomas Wentworth, the attainted 1st Earl. Raby was himself created 1st Earl of Strafford (second creation) in 1711.
The estate of Wentworth Woodhouse, which he believed was his birthright, was scarcely six miles distant and was a constant bitter sting, for the Strafford fortune had passed from William Wentworth, 2nd Earl of Strafford, the childless son of the great earl, to his wife's nephew, Thomas Watson; only the barony of Raby had gone to a blood-relation. M.J. Charlesworth surmises that it was a feeling that what by right should have been his that motivated Wentworth's purchase of Stainborough Castle nearby and that his efforts to surpass the Watsons at Wentworth Woodhouse in splendour and taste motivated the man whom Jonathan Swift called "proud as Hell".[1]
Wentworth had been a soldier in the service of William III, who made him a colonel of dragoons. He was sent by Queen Anne as ambassador to Prussia in 1706-11 and on his return to Britain, the earldom was revived when he was created Viscount Wentworth and Earl of Strafford in the Peerage of Great Britain. He was then sent as a representative in the negotiations that led to the Treaty of Utrecht, and was brought before a commission of Parliament in the aftermath. With the death of Queen Anne, he and the Tories were permanently out of power. Wentworth, representing a clannish old family of Yorkshire, required a grand house consonant with the revived Wentworth fortunes, he spent his years of retirement completing it and enriching his landscape.
He had broken his tour of duty at Berlin to conclude the purchase of Stainborough in the summer of 1708, and returned to Berlin, armed with sufficient specifications of the site to engage the services of a military architect who had spent some years recently in England, Johann von Bodt. who provided the designs.[2] Wentworth was in Italy in 1709, buying paintings for the future house: "I have great credit by my pictures," he reported with satisfaction: "They are all designed for Yorkshire, and I hope to have a better collection there than Mr. Watson."[3] To display them a grand gallery would be required, for which James Gibbs must have provided the designs, since a contract for wainscoting "as desined by Mr Gibbs" survives among Wentworth papers in the British Library (Add. Mss 22329, folio 128). The Gallery was completed in 1724.[4] There are designs, probably by Bodt, for an elevation and a section showing the gallery at Wentworth Castle in the Victoria and Albert Museum (E.307-1937), in an album of mixed drawings which belonged to William Talman's son John.[5] the gallery extends one hundred and eighty feet, twenty-four feet wide, and thirty high, screened into three divisions by veined marble Corinthian columns with gilded capitals, and with corresponding pilasters against projecting piers: in the intervening spaces four marble copies of Roman sculptures on block plinths survived until the twentieth century.[6] Construction was sufficiently advanced by March–April 1714 that surviving correspondence between Strafford and William Thornton concerned the disposition of panes in the window sashes: the options were for windows four panes wide, as done in the best houses Thornton assured the earl, for which crown glass would do, or for larger panes, three panes across, which might requite plate glass: Strafford opted for the latter.[7] The results, directed largely by letter from a distance,[8] are unique in Britain. Sir Nikolaus Pevsner found the east range "of a palatial splendour uncommon in England."[9] The grand suite of parade rooms on the ground floor extended from the room at the north end with a ceiling allegory of Plenty to the south end, with one of a Fame.
Bodt's use of a giant order of pilasters on the front and other features, suggested to John Harris that Bodt, who had been in England in the 1690s, had had access to drawings by William Talman. Talman was the architect of Chatsworth, considered to be England's first truly Baroque house. Indeed there are similarities of design between Wentworth's east front and Chatsworth. Both have a distinctly Continental Baroque frontage. Wentworth has been described as "a remarkable and almost unique example of Franco-Prussian architecture in Georgian England".[10] The east front was built upon a raised terrace that descended to sweeps of gravelled ramps that flanked a grotto and extended in an axial vista framed by double allées of trees to a formal wrought iron gate, all seen in Jan Kip's view of 1714, which if it is not more plan than reality, includes patterned parterres to the west of the house and an exedra on rising ground behind, all features that appear again in Britannia Illustrata, (1730).[11] An engraving by Thomas Badeslade from about 1750 still shows the formal features centred on Bodt's façade, enclosed in gravel drives wide enough for a coach-and-four. The regular plantations of trees planted bosquet-fashion have matured: their edges are clipped, and straight rides pierce them.[12] All these were swept away by the second earl after mid-century, in favour of an open, rolling "naturalistic" landscape in the manner of Capability Brown.[13]
The first earl's landscape
Strafford planted avenues of trees in great quantity in this open countryside, and the sham castle folly (built from 1726 and inscribed "Rebuilt in 1730", now more ruinous than it was at first) that he placed at the highest site, "like an endorsement from the past"[14] and kept free of trees (illustration, left) missed by only a few years being the first sham castle in an English landscape garden.[15] For its central court where the four original towers were named for his four children, the earl commissioned his portrait statue in 1730 from Michael Rysbrack, whom James Gibbs had been the first to employ when he came to England;[16] the statue has been moved closer to the house.
A staunch Tory,[17] Lord Strafford remained in political obscurity during Walpole's Whig supremacy, for the remainder of his life. An obelisk was erected to the memory of Queen Anne in 1736, and a sitting room in the house was named "Queen Anne's Sitting Room" until modern times. Other landscape features were added, one after the other, with the result that today there are twenty-six listed structures in what remains of the parkland.
The second earl at Wentworth Castle
The first earl died in 1739 and his son succeeded him. William Wentworth, 2nd Earl of Strafford (1722-1791) rates an entry in Colvin's Biographical Dictionary of British Architects as the designer of the fine neo-Palladian range, built in 1759-64 (illustration, upper right). He married a daughter of the Duke of Argyll[18] and spent a year on the Grand Tour to improve his taste; he eschewed political life. At Wentworth Castle he had John Platt (1728–1810)[19] on the site as master mason and Charles Ross ( -1770/75) to draft the final drawings and act as "superintendent"; Ross was a carpenter and joiner of London who had worked under the Palladian architect and practiced architectural ammanuensis, Matthew Brettingham, at Strafford's London house, 5, St James's Square, in 1748-49. Ross's proven competency in London in London doubtless recommended him to the Earl for the building campaign in Yorkshire.[20] At Wentworth Castle it was generally understood, as Lord Verulam remarked in 1768, "'Lord Strafford himself is his own architect and contriver in everything."[21] Even in the London house, Walpole tells us, "he chose all the ornaments himself".
Horace Walpole singled out Wentworth Castle as a paragon for the perfect integration of the site, the landscape, even the harmony of the stone:
"If a model is sought of the most perfect taste in architecture, where grace softens dignity, and lightness attempers magnificence... where the position is the most happy, and even the colour of the stone the most harmonious; the virtuoso should be directed to the new front of Wentworth-castle:[22] the result of the same judgement that had before distributed so many beauties over that domain and called from wood, water, hills, prospects, and buildings, a compendium of picturesque nature, improved by the chastity of art."[23]
Later history
With the extinction of the earldom with the third earl in 1799, the huge family estates were divided into three, one third going to the descendants of each daughter of the 1st Earl. Wentworth Castle was left in trust for Lady Henrietta Vernon's grandson Frederick Vernon, (of Hilton Hall, Staffordshire) whose trustees were William, 4th Earl Fitzwilliam, and Walter Spencer Stanhope. Frederick Vernon added Wentworth to his surname and took charge of the estate in 1816. Between 1820 and 1840 the old chapel of St. James was replaced with the current building and the windows of the Baroque Wing were lowered on either side of the entrance hall. Frederick Vernon Wentworth also amalgamated two ground floor rooms to make what is now the blue room. In July of 1838 a freak hail storm badly damaged the cupola and windows of the house as well as all the greenhouses within the walled gardens, yet this pales into insignificance when compared with the nearby Huskar Colliery disaster where 26 child miners lost there lives due to flooding following the hail storm. In May of 1853 a freak snow storm also caused severe damage, particularly to the mature trees within the gardens, some of them rare species from America planted by the 1st and 2nd earls. Frederick Vernon Wentworth was succeeded by his son Thomas in 1885 who added the iron framed Conservatory and electric lighting by March of the following year. The Victorian Wing also dates from this decade and its construction allowed the Vernon-Wentworths to entertain the young Duke of Clarence and his entourage during the winters of 1887 and 1889. The estate was inherited by Thomas' eldest son Captain Bruce Canning Vernon Wentworth, M.P. for Brighton, in 1902. Preferring his Suffolk estates, the Captain put the most valuable of his Wentworth Castle house contents up for sale at auction with Christies after the First World War. The paintings sold at Christie's on 13 November 1919.[24] Bruce Vernon-Wentworth, who had no direct heirs, sold the house and its gardens to Barnsley Corporation in 1948, while the rest of his estates, in Yorkshire, Suffolk and Scotland were left to a distant cousin.[25] The remaining contents of Wentworth Castle were emptied at a house sale,[26] and the house became a teacher training college, the Wentworth Castle College of Education, until 1978. It was then used by Northern College.[27] It was featured in the Victoria and Albert Museum's exhibition "The Country House in Danger". The great landscape that Walpole praised in 1780 was described in 1986 as now "disturbed and ruinous", the second earl's sinuous river excavated in the 1730s reduced to a series of silty ponds,.[28]
Wentworth Castle is the only Grade I Listed Gardens and Parkland in South Yorkshire. The Wentworth Castle Heritage Trust was formed in 2002 as a charity with the aim “To undertake a phased programme of restoration and development works which will provide benefit to the general public by providing extensive access to the parkland and gardens and the built heritage, conserving these important heritage assets for future generations”. Today, the landscape is gradually being restored by the Trust. The restoration of the Rotunda was completed in 2010, the parkland has been returned to deer park. The restoration of the Serpentine will form a future project as funding allows.
The estate opened fully to visitors in 2007, following the completion of the first phase of restoration, which cost £15.2m.[29] The Gardens at Wentworth Castle and Stainborough Park are open 7 days a week year round (closed Christmas Day and Boxing Day). Information for visitors, groups and schools and the latest information on restoration progress is available from the Trust's website. Tours of the house are available by arrangement.
Wentworth Castle was featured on the BBC TV show Restoration in 2003, when a bid was made to restore the Grade II* Listed Victorian conservatory to its former glory, though it[30] did not win in the viewers' response. Subsequently, the Wentworth Castle Heritage Trust took the decision in 2005 to support the fragile structure further with a scaffold in order to prevent its total collapse. The Trust succeeded in raising the £3.7 million needed to restore the conservatory in 2011 and work began in 2012, with grants from English Heritage, the Country Houses Foundation, the Heritage Lottery Fund and the European Regional Development Fund. The Trust completed the restoration of its fragile Victorian glasshouse in October 2013 – 10 years after its first TV appearance the Restoration series. It was opened by the Mayor of Barnsley on 7 November 2013 and opened to the general public the following day.
The Eldrial Vale
Beneath an immeasurable sky, where clouds drifted like phantoms across a fathomless blue, the Eldrial Vale unfurled in solemn majesty. It was a place where time thickened, suspended between memory and forgetting. On either side, mountains loomed — their peaks scarred by lingering ice, white veins against weathered rock — watching all with an indifference carved by millennia. Forests of ancient trees draped their dark canopies down the slopes, their depths murmuring secrets to winds that slipped through the branches like unseen messengers.
A river, impossibly clear, wound its way through the valley’s heart, glinting like liquid glass drawn by an unseen hand. It wove intricate, unhurried arcs through the meadowlands, as if contemplating its own course. The water whispered across pebbles smoothed by the ages, its sound a language older than thought. There was a kind of sentience to its flow, a knowing grace that made the air around it feel charged — as though the very earth held its breath.
The valley floor stretched out, a wild expanse of mossy greens and russet grasses, interrupted by boulders tossed carelessly in some forgotten upheaval. Wildflowers, brilliant yet shy, clung to the edges of this fractured land, their delicate petals trembling beneath the weight of the sun’s late morning gaze. The air was dense with the scent of damp loam, cool stone, and distant water — a mingling of fragrances so subtle they bordered on memory.
It was a landscape that held itself apart, poised between serenity and unease. A stillness laced with tension, as though the land teetered on the brink of revelation. Here, beauty did not simply exist; it watched. The mountains neither welcomed nor forbade, their silence stretched taut, a canvas awaiting meaning. The river did not merely travel — it remembered, its path carved not just through rock, but through forgotten tales and unspoken longings.
Beyond the narrowing of the vale, where shadows braided themselves into the light, lay the passage into wilder realms. The valley's edges blurred, boundaries fading into uncertainty. Each step forward felt like a question pressed into the earth. And in that space between known and unknown, sunlight seemed to flicker, hesitant yet resolute — as though the world itself was deciding whether to unveil or obscure.
To stand here was to feel the enormity of stories untold, the ache of things almost remembered. The air thrummed with a quiet, dissonant music, vibrating with a tension that refused to resolve. The stones, the water, the wind — they all seemed to pause, expectant, holding within them the possibility of revelation or retreat.
This was Eldrial: a place where the world tilted ever so slightly, unsettling in its beauty, magnetic in its mystery — an edge between what was and what might yet be.
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To wander these landscapes, whether in vision or in thought, is to touch a fragment of that boundless wonder. If the whisper of this vale calls to you, let your journey continue beyond these words. Discover more visions of untamed places and stories held in light and language at www.coronaviking.com — where the world awaits, ready to be seen anew.
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Real Location: Routeburn Valley North in New Zealand's Southern Alps