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Domenico Ghirlandaio (1449-1494) - two miracles of the Madonna - polychrome stained glass windows, executed in 1492 by Alessandro Agolanti to a design by Ghirlandaio - Tornabuoni Chapel (1485-1490) - Santa Maria Novella Florence
La cappella Tornabuoni è la cappella maggiore della basilica di Santa Maria Novella a Firenze. Contiene uno dei più vasti cicli di affreschi di tutta la città, realizzato da Domenico Ghirlandaio e bottega dal 1485 al 1490.
Gli affreschi hanno come tema le Scene della vita della Vergine e di san Giovanni Battista, inquadrate da finte architetture (pilastri con capitelli corinzi dorati e trabeazioni con dentelli, sulle tre pareti disponibili. Le scene si leggono dal basso verso l'alto, da destra a sinistra, secondo uno schema che già all'epoca doveva risultare un po' arcaico.
Le due pareti principali, a destra e a sinistra, presentano tre file di scene ciascuna, a sua volta divise in due scene rettangolari, ed una grande lunetta sulla sommità, per un totale di sette scene a parete.
The Cappella Tornabuoni is the main chapel (or chancel) in the church of Santa Maria Novella, Florence, Italy. It is famous for the extensive and well-preserved fresco cycle on its walls, one of the most complete in the city, which was created by Domenico Ghirlandaio and his workshop between 1485 and 1490.
The portraits of the members of the Tornabuoni family and of relatives, friends, allies and clients of the Medici and the Tornabuoni are included as spectators to the holy stories.
Ghirlandaio worked to the frescoes from 1485 to 1490, with the collaboration of his workshop artists, who included his brothers Davide and Benedetto, his brother-in-law Sebastiano Mainardi and, probably, the young Michelangelo Buonarroti. The windows were also executed according to Ghirlandaio's design. The complex was completed by an altarpiece portraying the Madonna del Latte in Glory with Angel and Saints, flanked by two panels with St. Catherine of Siena and St. Lawrence.
The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.
It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.
The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.
The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.
The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.
Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X (Giovanni di Lorenzo de' Medici), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II (Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.
Already in the Gallerie Degli Uffizi, it was then moved to the Pitti Palace by the beginning of the eighteenth century. It was listed in inventories in 1723 and 1761 as being on display in the Grand Prince Ferdinando's bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the Napoleonic looting of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.
The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione (c. 1514–1515). The painting is oil on panel, with St John the Baptist painted in a different key range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from Raphael's hand, which was a result of him shuddering off the legacies of Leonardo da Vinci and Pietro Perugino, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna (c. 1510).
The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.
The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas. There are a few enchanting legends connected to the Madonna della Sedia painting, one being about a beautiful Urbino peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.
Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.
Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and La Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.
Johann Zoffany also included this painting along with many others in his 1770s painting of the Tribuna of the Uffizi.
In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".
The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.
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The year is 18 BBY, 1 year since we received the orders to execute all of the Jedi for committing treason against the republic. After the purge, we were given new armour, and reassigned from being the Wampa Squad, to the Eighth Brother’s personal troopers. Since then, we have gone on countless missions to find the treasonous Jedi alongside the powerful inquisitor, the Eighth Brother.
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The eighth brother received a transmission from Vader himself, our next objective is to hunt down a Jedi master called Nirhma Moss, who survived Order 66, intel has led us to believe she is hiding in an old seperatist outpost on Devaron. We arrive at Devaron and start to find traces of life among the rocky and muddy terrain. The planet has many small cliffs topped with mud and trees, bushes flourish all over the ground and old seperatist bases can sometimes be found in the depths of Devaron. We find a small crate containing some supplies, and at the same time, the sound of a lightsaber echoes around us. I look up to see Nirhma Moss and the Eighth Brother face to face.
“Eighth Brother, we finally meet.”
“Nirhma Moss, your time has come.”
“I’ve heard stories of your kind, Inquisitors. I sensed your presence long before you went rummaging through my belongings.”
“Sir, should we fire?”
“No, I will take her myself.”
“Yes Sir!”
The two fought endlessly, using all their strength, but the Eighth Brother came out on top. We were ordered to carry her back to the ship. Another successful mission.
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This is my application for the Dark Times RPG, I hope you like the build and the story. I tried my hardest to write an interesting story for this build but I couldn’t seem to get something I liked. I hope I get accepted into the Dark Times :)
S.F. Chinese New Year's stage performance. The idea was to execute a dignified and graceful routine with the pennant/streamer - as exemplified in this pose: www.flickr.com/photos/191025009@N06/51247884789/in/datepo..., but at that age it's difficult to stay focused on a task for very long. The giggles are a constant danger. The photos of these events are old; the performers are adults by now. Leave comment if for any reason you object to this non-commercial use, and I will gladly remove them at once.
Keep Visualizing, Seeing and Executing!!
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Oil on Water Abstract Macro Series
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يرجى كتابة روبنكاليكساندر [في] جوجل [دوت] كوم لاستخدام صوري. الرجاء عدم استخدام صوري بدون إذن صريح مني. تشكرات!
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Grille exécutée par Fray Francisco de Salamanca et Juan de Avila.
Fondé au XIIIe siècle après la découverte d'une statue de la Vierge et symbole de la "Hispanidad", il fut le plus important monastère d'Espagne durant quatre siècles.
C'est là que vint Colomb après son voyage de 1492 pour rendre compte aux Rois Catholiques de son voyage vers les Indes... et c'est là, en 1496, que furent baptisés les premiers Indiens ramenés en Europe.
The Mausoleum of Hadrian, usually known as Castel Sant'Angelo, is a towering cylindrical building in Parco Adriano, Rome, Italy. It was initially commissioned by the Roman Emperor Hadrian as a mausoleum for himself and his family. The building was later used by the popes as a fortress and castle, and is now a museum. The Castle was once the tallest building in Rome.
The tomb of the Roman emperor Hadrian, also called Hadrian's mole, was erected on the right bank of the Tiber, between 134 and 139 AD. Originally the mausoleum was a decorated cylinder, with a garden top and golden quadriga. Hadrian's ashes were placed here a year after his death in Baiae in 138, together with those of his wife Sabina, and his first adopted son, Lucius Aelius, who also died in 138. Following this, the remains of succeeding emperors were also placed here, the last recorded deposition being Caracalla in 217. The urns containing these ashes were probably placed in what is now known as the Treasury room deep within the building. Hadrian also built the Pons Aelius facing straight onto the mausoleum – it still provides a scenic approach from the center of Rome and the left bank of the Tiber, and is renowned for the Baroque additions of statues of angels holding aloft elements of the Passion of Christ.
Much of the tomb contents and decorations have been lost since the building's conversion to a military fortress in 401 and its subsequent inclusion in the Aurelian Walls by Flavius Augustus Honorius. The urns and ashes were scattered by Visigoth looters during Alaric's sacking of Rome in 410, and the original decorative bronze and stone statuary were thrown down upon the attacking Goths when they besieged Rome in 537, as recounted by Procopius. An unusual survivor, however, is the capstone of a funerary urn (probably that of Hadrian), which made its way to Saint Peter's Basilica, covered the tomb of Otto II and later was incorporated into a massive Renaissance baptistery. The use of spolia from the tomb in the post-Roman period was noted in the 16th century — Giorgio Vasari writes:
...in order to build churches for the use of the Christians, not only were the most honoured temples of the idols [pagan Roman gods] destroyed, but in order to ennoble and decorate Saint Peter's with more ornaments than it then possessed, they took away the stone columns from the tomb of Hadrian, now the castle of Sant'Angelo, as well as many other things which we now see in ruins.
Legend holds that the Archangel Michael appeared atop the mausoleum, sheathing his sword as a sign of the end of the plague of 590, thus lending the castle its present name. A less charitable yet more apt elaboration of the legend, given the militant disposition of this archangel, was heard by the 15th-century traveler who saw an angel statue on the castle roof. He recounts that during a prolonged season of the plague, Pope Gregory I heard that the populace, even Christians, had begun revering a pagan idol at the church of Santa Agata in Suburra. A vision urged the pope to lead a procession to the church. Upon arriving, the idol miraculously fell apart with a clap of thunder. Returning to St Peter's by the Aelian Bridge, the pope had another vision of an angel atop the castle, wiping the blood from his sword on his mantle, and then sheathing it. While the pope interpreted this as a sign that God was appeased, this did not prevent Gregory from destroying more sites of pagan worship in Rome.
The popes converted the structure into a castle, beginning in the 14th century; Pope Nicholas III connected the castle to St Peter's Basilica by a covered fortified corridor called the Passetto di Borgo. The fortress was the refuge of Pope Clement VII from the siege of Charles V's Landsknechte during the Sack of Rome (1527), in which Benvenuto Cellini describes strolling the ramparts and shooting enemy soldiers.
Leo X built a chapel with a Madonna by Raffaello da Montelupo. In 1536 Montelupo also created a marble statue of Saint Michael holding his sword after the 590 plague (as described above) to surmount the Castel.[6] Later Paul III built a rich apartment, to ensure that in any future siege the pope had an appropriate place to stay.
Montelupo's statue was replaced by a bronze statue of the same subject, executed by the Flemish sculptor Peter Anton von Verschaffelt, in 1753. Verschaffelt's is still in place and Montelupo's can be seen in an open court in the interior of the Castle.
The Papal state also used Sant'Angelo as a prison; Giordano Bruno, for example, was imprisoned there for six years. Another prisoner was the sculptor and goldsmith Benvenuto Cellini. Executions were performed in the small inner courtyard. As a prison, it was also the setting for the third act of Giacomo Puccini's 1900 opera Tosca; the eponymous heroine leaps to her death from the Castel's ramparts.
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Sadly, not executed as well as I had hoped for, but I like this shot nevertheless for the expression of movement as well as for the delightful subject. The sheer number of cyclists in Amsterdam and their appearance at considerable speed from all directions is astonishing. There are no overweight Dutch people, they are all so fit!
•52 Church Street is Christ Church Cathedral. In 1816 the stone Christ Church was built by order of Governor Macquarie by convicts. Designed by convict artist Joseph Lycett. The first Bishop of Newcastle was appointed in 1847. Bishop Tyrrell who arrived 1848. The old church of 1816 was used until architect John Horbury Hunt drew up plans for a cathedral and had it demolished. One stone remains in the nave of the current Cathedral. In 1883 Cathedral Hall was built across the road for use as a church whilst the Cathedral was being built. Work began 1883 on the Cathedral but stopped in 1891 as the foundations began to subside. Work restarted in 1902 and was soon finished with marble floors, stained glass windows and a superb Warriors Chapel. The church ran a competition in 1868 for a cathedral to cost no more than £10,000. The winners were Terry and Speechley from Melbourne with John Horbury Hunt as supervising architect. Cost concerns arose and John Horbury Hunt was appointed as the architect. During repairs undertaken after the 1989 Newcastle earthquake the original 1816 church foundation stone was re-positioned within the Cathedral nave. Hunt also designed a Pro-Cathedral opposite which was called Cathedral Hall. It is now the Anglican Newcastle Grammar School. This was used until the opening of the new Cathedral for services in 1902. Kempe of London supplied the stained glass windows in the nave and baptistery in the new Cathedral. It also contains a stained glass jewel: the Dies Domini window designed by Sir Edward Burne-Jones and executed by Morris & Co. of London. The Warriors' Chapel was built in 1924. It was a permanent memorial to all those who died in World War I, especially men and women of Newcastle and the Hunter Valley. The Christ Church burial ground, located on the northern side of the church and now a park and is the first known European burial ground in Newcastle.
Image of Nickel Plate Road 2-8-4 No. 767 doing a photo runby on the Cuyahoga Valley Scenic Railroad made at Boston Mill.
U memorijalnom parku Dotrščina spomenik je u čast žrtava fašizma strijeljanima u ovoj šumi. Spomenik je djelo Vojina Bakića (1915.- 1992.), koji je bio istaknuti hrvatski kipar srpskog podrijetla.
Zbog odbijanja svjetla od metalne površine ovog lijepog spomenika, on se mijenja od sata do sata, od jednog do drugog godišnjeg doba. Nikad se ne čini isti.
In memorial park Dotrščina there is a monument in honour of victims of fascism executed in this forest. The monument is work of Vojin Bakić, ( born 1915 , died 1992) who was a prominent Croatian sculptor of Serbian descent.
Due to reflection of the light from the metallic surface of this beautiful monument, it changes from hour to hour and from season to season. It never seems to be the same.
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March 2029 - SSA troops execute a mission to locate an abandoned DARKWATER military facility in Sudan. They met no resistance and recovered old DARKWATER technology and documents hidden in the facility. Lucky for them, it did not look like the EU had found the place yet. However, some rooms and certain areas of the facility looked demolished and unrecognisable. Reports indicate the facility has hastily destroyed by DARKWATER units after the head of the facility was executed due to his little care to orders issued by DARKWATER command. Sharp Sky was hired by the Indian government to raid this place. They were hired to find DARKWATER technology for the Indian armed forces that use semi-outdated equipment. This successful mission strengthened relations between Sharp Sky and the Indian government. Unintentionally, this annoyed the European Union’s leaders because they had been the ones who had found many facilities in Eastern Africa and the Middle East. According to found DARKWATER documents, this facility had encountered safety and maintenance problems and had been disbanded.
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The Sharp Sky figure in the scene is the new standard for all main SSA figures from now on. Scout and Marksman/Sniper variants aren't official yet.
Exécuté seulement en 1807 par Gérard (1770-1837), le portrait de Joséphine "dans le costume du couronnement" fut exposé au Salon de 1808 et placé aux Tuileries.
Napoléon en commanda la même année une réplique destinée à être traduite en tapisserie.
Huit lissiers des Gobelins travaillèrent au tissage, notamment Claude père, aidé de son fils, qui exécuta la figure de Joséphine avec une rare perfection. Bien que tissée en haute lisse, la tapisserie est inversée par rapport à la peinture comme c'est le cas en basse lisse. La couronne posée sur le tabouret est bien celle livrée par le joaillier Marguerite pour le couronnement; et, mis à part la parure de saphirs et le haut du corsage, le bas de robe en soie blanche brodée et le grand manteau en velours pourpre, exécutés par les couturiers Leroy et Rimbaud, sont ceux que l'Impératrice portait pour la cérémonie du 2 décembre 1804.
Commencée en juillet 1808 et livrée en novembre 1810, un an après le divorce de Joséphine et Napoléon, cette tapisserie fut offerte par Napoléon au fils de Joséphine, Eugène (1781-1824) pour les étrennes de 1810.
Executed only in 1807 by Gérard (1770-1837), the portrait of Josephine "in the costume of the coronation" was exhibited at the Salon of 1808 and placed in the Tuileries.
In the same year, Napoleon commissioned a replica to be translated into tapestry.
Eight weavers from the Gobelins worked on the weaving, notably Claude père, assisted by his son, who executed the figure of Joséphine with rare perfection. Although woven in haute lisse, the tapestry is inverted in relation to the painting, as is the case in basse lisse. The crown on the stool is indeed the one delivered by the jeweller Marguerite for the coronation; and, apart from the sapphire set and the top of the bodice, the embroidered white silk dress and the large purple velvet cloak, made by the couturiers Leroy and Rimbaud, are those worn by the Empress for the ceremony of 2 December 1804.
The tapestry was begun in July 1808 and delivered in November 1810, a year after Josephine and Napoleon's divorce. Napoleon gave it to Josephine's son Eugène (1781-1824) for his Christmas present in 1810.
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
It has been a busy few weeks, planning and executing a seven part project for one of my favorite clients and squeaking in other work between those shoots. Between at project and my other responsibilities, I have pulled almost a month (maybe more, who can remember) for 7 day work weeks. So, I am headed up to lake Bruin with a few friends for a much-needed couple of days off.
Before I go, I thought I’d throw a few images up on the site that were outtakes from the recent shoots. It’s been a fun project where I had a lot of creative latitude. I feel extraordinarily fortunate to be able to make a living doing something I really love, namely taking pictures. But, when I am doing client work, I am sometimes restricted in what I can post. Such is the life of the freelancer.
Although I do plan on doing some work on a wedding that I recent photographed, this weekend will be more about play than work. Depending on the conditions, I would like to get some shooting in while I am up there. Readers of this blog won’t be surprised to know that I love north Louisiana and the photographs I am occasionally able to capture from the mystical, empty place.
I hope you all have a good weekend and just to keep this site active (I’ve been slack about posting, I know). Here are some of the shots I took recently but which probably won’t make the cut with the client.
Check out more at my blog, for lots of photos, recipes, tech talk, travel writing and other ramblings. I appreciate any feedback but, please do not post graphic awards or invitations in the comments, I'm just not crazy about them. Also, if you want to use any of my Commercial Commons licensed photos please link the attribution back to my blog (listed above) and use my full name, Frank McMains. Thanks! Sorry, but you have to pay to use fully copyright protected photos.
Again for model year 1963 minor restyled details were executed by Brooks Stevens (1911-1995) like a renewed grille and dashboard. Stevens also used thinner upper door frames to improve the visibility. More striking was the elimination of the outdated semi-panoramic windshield. All these measures gave the Lark a more modern look.
Despite all affords and the good reputation and reliability of Studebaker, and the fact that the Lark was relatively cheap (special the V8 versions), sales went down year by year.
You can find a very interesting article about the history of the Lark here: www.indieauto.org/2021/04/16/1964-studebaker-brooks-steve...
2779 cc L6 or 4248 cc V8 engine.
C. 1180/1250 kg.
Production Studebaker Lark series: 1959-1966.
Production Studebaker Lark 2nd generation: Autumn 1961-1963.
Production Studebaker Lark Six and Eight this version: Autumn 1962-1963.
New US reg. number.
Picture was taken from:
Cars of the Sizzling '60s, a Decade of Great Rides and Good Vibrations, by the Auto Editors of Consumer Guide, Publications International LTD, Lincolnwood, 1997.
Original photographer, place and date unknown.
Book collection Sander Toonen (1998).
Halfweg, July 10, 2024.
© 2024 Sander Toonen, Halfweg | All Rights Reserved
Domenico Ghirlandaio (1449-1494) - St. John the Baptist - polychrome stained glass windows, executed in 1492 by Alessandro Agolanti to a design by Ghirlandaio - Tornabuoni Chapel (1485-1490) - Santa Maria Novella Florence
La cappella Tornabuoni è la cappella maggiore della basilica di Santa Maria Novella a Firenze. Contiene uno dei più vasti cicli di affreschi di tutta la città, realizzato da Domenico Ghirlandaio e bottega dal 1485 al 1490.
Gli affreschi hanno come tema le Scene della vita della Vergine e di san Giovanni Battista, inquadrate da finte architetture (pilastri con capitelli corinzi dorati e trabeazioni con dentelli, sulle tre pareti disponibili. Le scene si leggono dal basso verso l'alto, da destra a sinistra, secondo uno schema che già all'epoca doveva risultare un po' arcaico.
Le due pareti principali, a destra e a sinistra, presentano tre file di scene ciascuna, a sua volta divise in due scene rettangolari, ed una grande lunetta sulla sommità, per un totale di sette scene a parete.
The Cappella Tornabuoni is the main chapel (or chancel) in the church of Santa Maria Novella, Florence, Italy. It is famous for the extensive and well-preserved fresco cycle on its walls, one of the most complete in the city, which was created by Domenico Ghirlandaio and his workshop between 1485 and 1490.
The portraits of the members of the Tornabuoni family and of relatives, friends, allies and clients of the Medici and the Tornabuoni are included as spectators to the holy stories.
Ghirlandaio worked to the frescoes from 1485 to 1490, with the collaboration of his workshop artists, who included his brothers Davide and Benedetto, his brother-in-law Sebastiano Mainardi and, probably, the young Michelangelo Buonarroti. The windows were also executed according to Ghirlandaio's design. The complex was completed by an altarpiece portraying the Madonna del Latte in Glory with Angel and Saints, flanked by two panels with St. Catherine of Siena and St. Lawrence.
Preston Hall History | 1100 – 1899
A wealth of history
Preston Manor, as the original building was previously known, was a country residence to a series of influential families who have played a notable role in British history. The first family to live at Preston Manor for over 400 years were the Culpeper family. The founder of the dynasty, the first Sir Thomas Culpeper, served as Sheriff of Kent and a courtier to King Edward I.
With Preston Manor as their country estate, the Culpeper family were involved in intrigues in the Tudor courts of King Henry VIII and Queen Elizabeth I. One descendant, Joyce Culpeper married into the Dukes of Norfolk and became mother of Queen Catherine Howard, fifth wife of King Henry VIII. Another, Sir Thomas Culpeper (1514-1541) served as a courtier to King Henry VIII and was the secret lover of Henry’s fifth queen, Catherine Howard, for which they were both executed.
A later member of the Culpeper family plotted to overthrow Queen Elizabeth I and replace her with Mary Queen of Scots.
The final Culpeper to own the Manor was Alicia Culpeper; when she died in 1723, and with the death of her only child and last husband, the Manor was passed to her late husband’s brother, Dr Charles Milner.
He lived at Preston Manor until his death in 1771 when the hall was passed to his great nephew. A memorial to the Culpeper family can still be found in the inside the Church to the north of the village today.
Preston Manor was purchased in 1848 by Edward Ladd Betts (1815-1872), a railroad baron who, as Chairman of William Betts & Sons, built parts of the British, Canadian and Russian railway systems. Edward’s wife Anne Peto, was an heiress and sister of Sir Samuel Morton Peto, who built the Houses of Parliament, Nelson’s Column and The Lyceum.
Grand carriage driveway, lawns and stone fountain
In 1850 Edward and Anne Ladd Betts commissioned architect John Thomas (1813-1862) to rebuild Preston Manor into the magnificent Jacobean style mansion, Preston Hall, which currently stands on the site. John Thomas was a favourite architect of HRH Prince Albert and the Prince Consort, worked on Buckingham Palace, the Palace of Westminster and Somerleyton Hall.
Preston Hall was given a grand stone façade with features including large bay windows; tall and ornate ceilings including a magnificent hammer-beam ceiling; rich wood wall panelling and marquetry; coats of arms; turrets and towers. An orangery and ornate stables were added and the new mansion was complete with carriage driveway, lawns, stone fountain and sculptures in the grounds.
To facilitate travel to their London mansion, the family built the local railway station and branch line. Like the Culpeper family, the Betts hosted large parties at the hall, with Kent and Surrey Cricket clubs invited to play on the cricket ground within the estate.
To promote the happiness and comfort of all the inhabitants
In 1867 the Betts family overstretched themselves financially building the rail network into London Victoria and London Bridge Stations and Edward became bankrupt and was forced to sell Preston Hall. Betts was highly regarded by the local inhabitants and in an address presented to Betts and his family at the time of their departure from Preston Hall, the villagers of Aylesford observed:
“We should not forgive ourselves if we allowed you to depart from us without our expressing to you our deep felt gratitude for the many benefits you have conferred upon this village. If we take a retrospective view of what Aylesford was 20 years back and contrast it then with its present state and condition, what a manifest improvement is everywhere to be seen – and this, Sir, has been brought about chiefly through your instrumentality. Our Village Church, the Wesleyan Chapel, the Infant School, the Library and Reading Rooms and the bringing of pure spring water to our doors, are all evidences that you were ever ready by your generous aid to promote the happiness and comfort of all the inhabitants.
And not only in these more public acts of generosity have you been distinguished during your residence among us, but also in the exercise of those kind and benevolent feelings which have prompted you at all times to relieve the widow, comfort the sick and aid the distressed; in which good work of charity Mrs Betts and the members of your family have also been most willingly engaged.”
Despite moving from the area, when he died in 1872, Betts’ body was interred in the family vault in the churchyard of St Peter and St Paul’s Parish Church, Aylesford. With Betts’ insolvency in 1867, the Hall was bought by Thomas Brassey, a railway contractor, on behalf of his son, Henry Brassey. Henry did not work in railways himself, but his father was a friend of Betts and they had worked closely together, so Henry clearly knew Betts and Preston Hall. Henry moved to Preston Hall on the death of his father in 1870. Henry became a great benefactor of Aylesford, including financing major repairs to the church and provided the village with a school. Between 1868 and 1885 Henry was MP for Sandwich, Kent and later served as both Deputy Lieutenant and High Sheriff of Kent. He died in 1891 and his wife, Anna, in 1898.
On the death of Anna, Preston Hall passed to Henry and Anna’s son, Henry Leonard Campbell Brassey (1870-1958). Henry Leonard Campbell Brassey had married Lady Violet Mary Gordon-Lennox (1874-1946), the daughter of Charles Henry Gordon-Lennox, 7th Duke of Richmond, in 1894. Lady Violet did not care for Preston Hall, expressing the opinion “…it was only fit for commoners as it had no historical legacy.” They moved to Apethorpe Hall, Northamptonshire, in 1904 and sold off major parts of the Preston Hall estate (which had been hundreds of acres), selling the home farm, agricultural land and woodland, so that the house and grounds were reduced to 24.9 acres.
Laocoön and His Sons - a probable marble copy executed between the 1st century BC and I century AD of an original bronze of 150 BC - Pio-Clementine Museum of Vatican Museums
Il gruppo statuario raffigura la fine di Laocoonte e dei suoi due figli Antifante e Timbreo mentre vengono stritolati da due serpenti marini
The statuary group depicts the end of Laocoonte and its two sons Antifante and Timbreo while being crushed by two sea serpents
With tongues flickering in their mouths red,
They like the twin killing stings in their head.
We fled away all bloodless for fear.
But with a braid to Laocoon to tear
They start attacking, and his two sons sing
First the other serpent latched on like a ring,
And with their cruel bite, and sting they fell,
Of tender limbs took many a sorry morsel;
Next they the priest invaded both to entwine,
Whence with his weapons did his body pine
His children for to help and rescue.
Both they about him looped in knots through,
And twice circled his middle round about,
And twice folded their scaly skin but doubt,
About his crown, both neck and head they scrag
In case you're wondering, the scan of this slide wasn't executed the wrong way around - this is a particularly rare shot of a left-hand drive Leyland Olympian with Alexander bodywork to a similar specification to more conventional examples being supplied to KMB in Hong Kong in 1990. This example, one of a pair supplied to Volvo in Korea, was used as a demonstrator in Taipei, Taiwan and found its way to Citybus along with its sister bus, for spares, but a huge slice of good fortune and some much appreciated assistance from staff at Citybus' Ap Lei Chau depot, resulted in the (still mechanically complete) bus being powered up and moved for photographs at the time of this visit in October 1996.
The rifles are aimed at the medal worn around the victims neck - the poles behind the statue represent the names, and ages of those executed - during WW1 306 British and Commonwealth soldiers were shot for desertion, cowardice, striking a senior officer, disobeying a lawful command, casting away arms, and sleeping on post.
It is now recognised that several were under age when they volunteered and many were suffering from post traumatic stress disorder, which was not recognised as a medical condition until 1980.
The six trees facing the memorial represent where the firing squad
stood.
A LOT OF THE POLES WHICH STATE THE NAMES OF THOSE EXECUTED SAY AGE UNKNOWN WHICH POSSIBLY INDICATES THAT THEY WERE VERY YOUNG
In 2006 a posthumous pardon was granted for the men....❤️
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After executing a pop-up slide into second base, the runner for the Napa Silverados Minor League Baseball club was called out stealing second on the low throw from the Pacifics catcher.
Camera: Canon EOS 1D Mark IV
Lens: Canon EF 100-400mm f/4.5-5.6 IS II USM @321mm
Exposure: 1/2000 sec @ f/5.6 ISO400
This image is © Douglas Bawden Photography, please do not use without prior permission.
Enjoy my photos and please feel free to comment. The only thing that I ask is no large or flashy graphics in the comments.
EXPLORE # 152
This is Fort Santiago in Intramuros, Manila, Philippines. Shown at the background is a part of the Rizal Shrine where the national hero's belongings were kept after his execution and also numerous artworks about him. The footprints were made of copper retracing his path towards the execution site (Bagumbayan) now called Luneta. Rizal was executed December 30, 1896 at the age of 35. Below is his poem written in Spanish, "Mi Ultimo Adios", " and the English translation,. "My Last Farewell."
Mi Ultimo Adiós
¡Adiós, Patria adorada, región del sol querida,
Perla del mar de oriente, nuestro perdido Edén!
A darte voy alegre la triste mustia vida,
Y fuera más brillante, más fresca, más florida,
También por ti la diera, la diera por tu bien.
En campos de batalla, luchando con delirio,
Otros te dan sus vidas sin dudas, sin pesar;
El sitio nada importa, ciprés, laurel o lirio,
Cadalso o campo abierto, combate o cruel martirio,
Lo mismo es si lo piden la patria y el hogar.
Yo muero cuando veo que el cielo se colora
Y al fin anuncia el día tras lóbrego capuz;
si grana necesitas para teñir tu aurora,
Vierte la sangre mía, derrámala en buen hora
Y dórela un reflejo de su naciente luz.
Mis sueños cuando apenas muchacho adolescente,
Mis sueños cuando joven ya lleno de vigor,
Fueron el verte un día, joya del mar de oriente,
Secos los negros ojos, alta la tersa frente,
Sin ceño, sin arrugas, sin manchas de rubor
Ensueño de mi vida, mi ardiente vivo anhelo,
¡Salud te grita el alma que pronto va a partir!
¡Salud! Ah, que es hermoso caer por darte vuelo,
Morir por darte vida, morir bajo tu cielo,
Y en tu encantada tierra la eternidad dormir.
Si sobre mi sepulcro vieres brotar un día
Entre la espesa yerba sencilla, humilde flor,
Acércala a tus labios y besa al alma mía,
Y sienta yo en mi frente bajo la tumba fría,
De tu ternura el soplo, de tu hálito el calor.
Deja a la luna verme con luz tranquila y suave,
Deja que el alba envíe su resplandor fugaz,
Deja gemir al viento con su murmullo grave,
Y si desciende y posa sobre mi cruz un ave,
Deja que el ave entone su cántico de paz.
Deja que el sol, ardiendo, las lluvias evapore
Y al cielo tornen puras, con mi clamor en pos;
Deja que un ser amigo mi fin temprano llore
Y en las serenas tardes cuando por mí alguien ore,
¡Ora también, oh Patria, por mi descanso a Dios!
Ora por todos cuantos murieron sin ventura,
Por cuantos padecieron tormentos sin igual,
Por nuestras pobres madres que gimen su amargura;
Por huérfanos y viudas, por presos en tortura
Y ora por ti que veas tu redención final.
Y cuando en noche oscura se envuelva el cementerio
Y solos sólo muertos queden velando allí,
No turbes su reposo, no turbes el misterio,
Tal vez acordes oigas de cítara o salterio,
Soy yo, querida Patria, yo que te canto a ti.
Y cuando ya mi tumba de todos olvidada
No tenga cruz ni piedra que marquen su lugar,
Deja que la are el hombre, la esparza con la azada,
Y mis cenizas, antes que vuelvan a la nada,
El polvo de tu alfombra que vayan a formar.
Entonces nada importa me pongas en olvido.
Tu atmósfera, tu espacio, tus valles cruzaré.
Vibrante y limpia nota seré para tu oído,
Aroma, luz, colores, rumor, canto, gemido,
Constante repitiendo la esencia de mi fe.
Mi patria idolatrada, dolor de mis dolores,
Querida Filipinas, oye el postrer adiós.
Ahí te dejo todo, mis padres, mis amores.
Voy donde no hay esclavos, verdugos ni opresores,
Donde la fe no mata, donde el que reina es Dios.
Adiós, padres y hermanos, trozos del alma mía,
Amigos de la infancia en el perdido hogar,
Dad gracias que descanso del fatigoso día;
Adiós, dulce extranjera, mi amiga, mi alegría,
Adiós, queridos seres, morir es descansar.
José Rizal, 1896
My Last Farewell
Farewell, beloved Country, treasured region of the sun,
Pearl of the sea of the Orient, our lost Eden!
To you eagerly I surrender this sad and gloomy life;
And were it brighter, fresher, more florid,
Even then I’d give it to you, for your sake alone.
In fields of battle, deliriously fighting,
Others give you their lives, without doubt, without regret;
The place matters not: where there’s cypress, laurel or lily,
On a plank or open field, in combat or cruel martyrdom,
It’s all the same if the home or country asks.
I die when I see the sky has unfurled its colors
And at last after a cloak of darkness announces the day;
If you need scarlet to tint your dawn,
Shed my blood, pour it as the moment comes,
And may it be gilded by a reflection of the heaven’s newly-born light.
My dreams, when scarcely an adolescent,
My dreams, when a young man already full of life,
Were to see you one day, jewel of the sea of the Orient,
Dry those eyes of black, that forehead high,
Without frown, without wrinkles, without stains of shame.
My lifelong dream, my deep burning desire,
This soul that will soon depart cries out: Salud!
To your health! Oh how beautiful to fall to give you flight,
To die to give you life, to die under your sky,
And in your enchanted land eternally sleep.
If upon my grave one day you see appear,
Amidst the dense grass, a simple humble flower,
Place it near your lips and my soul you’ll kiss,
And on my brow may I feel, under the cold tomb,
The gentle blow of your tenderness, the warmth of your breath.
Let the moon see me in a soft and tranquil light,
Let the dawn send its fleeting radiance,
Let the wind moan with its low murmur,
And should a bird descend and rest on my cross,
Let it sing its canticle of peace.
Let the burning sun evaporate the rains,
And with my clamor behind, towards the sky may they turn pure;
Let a friend mourn my early demise,
And in the serene afternoons, when someone prays for me,
O Country, pray to God also for my rest!
Pray for all the unfortunate ones who died,
For all who suffered torments unequaled,
For our poor mothers who in their grief and bitterness cry,
For orphans and widows, for prisoners in torture,
And for yourself pray that your final redemption you’ll see.
And when the cemetery is enveloped in dark night,
And there, alone, only those who have gone remain in vigil,
Disturb not their rest, nor the mystery,
And should you hear chords from a zither or psaltery,
It is I, beloved Country, singing to you.
And when my grave, then by all forgotten,
has not a cross nor stone to mark its place,
Let men plow and with a spade scatter it,
And before my ashes return to nothing,
May they be the dust that carpets your fields.
Then nothing matters, cast me in oblivion.
Your atmosphere, your space and valleys I’ll cross.
I will be a vibrant and clear note to your ears,
Aroma, light, colors, murmur, moan, and song,
Constantly repeating the essence of my faith.
My idolized country, sorrow of my sorrows,
Beloved Filipinas, hear my last good-bye.
There I leave you all, my parents, my loves.
I’ll go where there are no slaves, hangmen nor oppressors,
Where faith doesn’t kill, where the one who reigns is God.
Goodbye, dear parents, brother and sisters, fragments of my soul,
Childhood friends in the home now lost,
Give thanks that I rest from this wearisome day;
Goodbye, sweet foreigner, my friend, my joy;
Farewell, loved ones, to die is to rest.
José Rizal, 1896
(Modern English translation by Edwin Agustín Lozada)
The island was formerly known as Ruatan and Rattan. It is approximately 77 kilometres (48 mi) long, and less than 8 kilometres (5.0 mi) across at its widest point. The island consists of two municipalities: José Santos Guardiola in the east and Roatán, including the Cayos Cochinos, further south in the west.
The island rests on an exposed ancient coral reef, rising to about 270 metres (890 ft) above sea level. Offshore reefs offer opportunities for diving. Most habitation is in the western half of the island.
The most populous town of the island is Coxen Hole, capital of Roatán municipality, located in the southwest. West of Coxen Hole are the settlements of Gravel Bay, Flowers Bay and Pensacola on the south coast, and Sandy Bay, West End and West Bay on the north coast. To the east of Coxen Hole are the settlements of Mount Pleasant, French Harbour, Parrot Tree, Jonesville and Oakridge on the south coast, and Punta Gorda on the north coast.
The easternmost quarter of the island is separated by a channel through the mangroves that is 15 metres wide on average. This section is called Helene, or Santa Elena in Spanish. Satellite islands at the eastern end are Morat, Barbareta, and Pigeon Cay. Further west between French Harbour and Coxen Hole are several cays, including Stamp Cay and Barefoot Cay.
Located near the Mesoamerican Barrier Reef, the largest barrier reef in the Caribbean Sea (second largest worldwide after Australia's Great Barrier Reef), Roatán has become an important cruise ship, scuba diving and eco-tourism destination in Honduras. Tourism is its most important economic sector, though fishing is also an important source of income for islanders. Roatán is located within 40 miles of La Ceiba. The island is served by the Juan Manuel Gálvez Roatán International Airport and the Galaxy Wave Ferry service twice a day.
The Indians of the Bay Islands are believed to have been related to either the Paya, the Maya, the Lenca or the Jicaque, which were the tribes present on the mainland. Christopher Columbus on his fourth voyage (1502–1504) came to the islands as he visited the neighbouring Bay Island of Guanaja. Soon after, the Spanish began trading in the islands for slave labour. More devastating for the local Indians was exposure to Eurasian infectious diseases to which they had no immunity, such as smallpox and measles. No indigenous people survived the consequent epidemics
Throughout European colonial times, the Bay of Honduras attracted an array of individual settlers, pirates, traders and military forces. Various economic activities were engaged in and political struggles played out between the European powers, chiefly Britain and Spain. Sea travellers frequently stopped over at Roatán and the other islands as resting points. On several occasions, the islands were subject to military occupation. In contesting with the Spanish for colonisation of the Caribbean, the English occupied the Bay Islands on and off between 1550 and 1700. During this time, buccaneers found the vacated, mostly unprotected islands a haven for safe harbour and transport. English, French and Dutch pirates established settlements on the islands. They frequently raided the Spanish treasure ships, cargo vessels carrying gold and silver from the New World to Spain.
During the War of the Austrian Succession (King George's War in the US), a detachment of the British Army under Lt. Col John Caulfeild garrisoned the island from 1742 to 1749. The garrison was originally found from two companies of Gooch's Virginia Regiment, but these were eventually amalgamated into Trelawney's 49th Foot (later the 1st Royal Berkshire Regiment).
In 1797, the British defeated the Black Carib, who had been supported by the French, in a battle for control of the Windward Caribbean island of St. Vincent. Weary of their resistance to British plans for sugar plantations, the British rounded up the St. Vincent Black Carib and deported them to Roatán. The majority of Black Carib migrated to Trujillo on mainland Honduras, but a portion remained to found the community of Punta Gorda on the northern coast of Roatán. The Black Carib, whose ancestry includes Arawak and African Maroons, remained in Punta Gorda, becoming the Bay Island's first permanent post-Columbian settlers. They also migrated from there to parts of the northern coast of Central America, becoming the foundation of the modern-day Garífuna culture in Honduras, Belize and Guatemala.
The majority permanent population of Roatán originated from the Cayman Islands near Jamaica. They arrived in the 1830s shortly after Britain's abolition of slavery in 1838. The changes in the labour system disrupted the economic structure of the Caymans. The islands had a largely seafaring culture; natives were familiar with the area from turtle fishing and other activities. Former slaveholders from the Cayman Islands were among the first to settle in the seaside locations throughout primarily western Roatán. During the late 1830s and 1840s, former slaves also migrated from the Cayman Islands, in larger number than planters. All together, the former Cayman peoples became the largest cultural group on the island.
For a brief period in the 1850s, Britain declared the Bay Islands its colony. Within a decade, the Crown ceded the territory formally back to Honduras. British colonists were sent to compete for control. They asked American William Walker, a freebooter (filibuster) with a private army, to help end the crisis in 1860 by invading Honduras; he was captured upon landing in Trujillo and executed there.
In the latter half of the 19th century, the island populations grew steadily and established new settlements all over Roatán and the other islands. Settlers came from all over the world and played a part in shaping the cultural face of the island. Islanders started a fruit trade industry which became profitable. By the 1870s it was purchased by American interests, most notably the New Orleans and Bay Islands Fruit Company. Later the Standard Fruit and United Fruit companies became the foundation for modern-day fruit companies, the industry which led to Honduras being called a "banana republic".
In the 20th century, there was continued population growth resulting in increased economic changes and environmental challenges. A population boom began with an influx of Spanish-speaking Mestizo migrants from the Honduran mainland. Since the late 20th century, they tripled the previous resident population. Mestizo migrants settled primarily in the urban areas of Coxen Hole and Barrio Los Fuertes (near French Harbour). Even the mainlander influx was dwarfed in number and economic effects by the overwhelming tourist presence in the 21st century. Numerous American, Canadian, British, New Zealander, Australian and South African settlers and entrepreneurs engaged chiefly in the fishing industry, and later, provided the foundation for attracting the tourist trade.
In 1998, Roatán suffered some damage from Hurricane Mitch, temporarily paralysing most commercial activity. The storm also broke up the popular dive-wrecks Aguila and Odyssey.
Credit for the data above is given to the following websites:
The F-35 Lightning II executed its first live-fire launch of a guided air-to-air missile over a military test range off the California coast on Oct. 30, 2013. The AIM-120 advanced medium range air-to-air missile (AMRAAM) was fired from an F-35A conventional take-off and landing variant test aircraft. Test data and observers confirmed the F-35 identified and targeted an aerial drone target with its mission systems sensors, passed the target "track" information to the missile, and launched the AIM-120 from the aircraft to engage the drone. After launch, the missile successfully acquired the target and followed an intercept flight profile. Moments before the missile was about to destroy the target, a self-destruct signal was sent to the AIM-120 in order to preserve the aerial drone for use in future tests.
Think, plan, execute, rethink, adjust the plan and re-execute.
Stopped down much more than my usual settings for this deca exposure in order to hold back the ultra bright LEDs so as to keep me and the background plenty dark.
Headache extraordinaire and ridiculously soaked in the process !
Hit L for audience participation.
Slight crop and signed.
Ambassador Joseph Wilson had already earned a footnote in history before his wife was revealed as a CIA agent, prompting a furious political storm in Washington. As acting ambassador to Iraq in the run-up to the first Gulf War, he was the last US diplomat to meet with Saddam Hussein, in 1991. He very publicly defied the Iraqi strongman by giving refuge to more than 100 US citizens at the embassy and in the homes of US diplomats - at a time when Saddam Hussein was threatening to execute anyone who harboured foreigners. He then addressed journalists wearing a hangman's noose instead of a necktie. He later told the Washington Post newspaper that the message to Saddam Hussein was: "If you want to execute me, I'll bring my own [expletive] rope."
I had plans to execute some photo shoot ideas, but the mosquitoes were too vicious outside. I'll have to settle for editing old photos for now. Any who, this is one of the lovely Laura-Kate I took a few weeks ago.
Recently, I've had this desperation to improve and learn new concepts and techniques in photography. I have been taking photos for years, but I've never actively sought to learn. I am someone who is easily discouraged, so I am often frustrated when I cannot configure a photo to look as it does in my imagination. I have much to discover before I can reach the proficiency I desire.
Order 66
"Commander Kore, execute Order 66"
"Yes, sir". The order was given, and had to be followed. We were trained to follow every order, and while clones had gained some independence during the war, this order had come straight from the top. The Chancellor. I switched to our private comms. "Troopers, spread out, surround him." My men obeyed their orders, again, without question. The jedi, Arden Tawn, suddenly turned around. "Commander, spread out, search the area. The enemy is near, I can feel it." I responded "I'm sorry sir, we're no longer required to follow your orders."
"Wha-"
"EXECUTE HIM!" A hail of blaster fire shot towards him. He deflected every shot. However, fighting alongside him for three years taught us how he fights. We dodged each blast he batted back at us, we kept moving, surrounding him.
I took aim at his chest, waiting for the right moment, when his guard, his lightsaber, was down. My moment came, he swung his blade wide, and I fired. The shot connected. He gasped and looked at his chest, he looked up. "Why?" He gasped. My response was another blast to his chest, killing him. "It's done" I said. I picked up his lightsaber. "Get a flamethrower over here. We'll give him a jedi funeral."
"Yes, sir" my troopers responded.
Novodevichy Convent, also known as Bogoroditse-Smolensky Monastery (Russian: Новоде́вичий монасты́рь, Богоро́дице-Смоле́нский монасты́рь) is probably the best-known cloister of Moscow. Its name, sometimes translated as the New Maidens' Monastery, was devised to differ from an ancient maidens' convent in the Moscow Kremlin. Unlike other Moscow cloisters, it has remained virtually intact since the 17th century. In 2004, it was proclaimed a UNESCO World Heritage Site.
The Novodevichy Convent was founded in 1524 by Grand Prince Vasili III in commemoration of the conquest of Smolensk in 1514. It was built as a fortress at a curve of the Moskva River and became an important part of the southern defensive belt of the capital, which had already included a number of other monasteries. Upon its founding, the Novodevichy Convent was granted 3,000 rubles and the villages of Akhabinevo and Troparevo. Ivan the Terrible would later grant a number of other villages to the convent.
The Novodevichy Convent was known to have sheltered many ladies from the Russian royal families and boyar clans, who had been forced to take the veil, such as Feodor I's wife Irina Godunova (she was there with her brother Boris Godunov until he became a ruler himself), Sophia Alekseyevna (Peter the Great's sister), Eudoxia Lopukhina (Peter the Great's first wife), and others. In 1610–1611, the Novodevichy Convent was captured by a Polish unit under the command of Aleksander Gosiewski. Once the cloister was liberated, the tsar supplied it with permanent guards (100 Streltsy in 1616, 350 soldiers in 1618). By the end of the 17th century, the Novodevichy Convent had already possessed 36 villages (164,215 desyatinas of land) in 27 uyezds of Russia. In 1744, it owned 14,489 peasants.
In the mid-17th century, they transferred the nuns from other Ukrainian and Belarusian monasteries to the Novodevichy Convent. In 1721, some of the aged nuns, who had done away with the Old Believers movement, were given shelter there. In 1724, the monastery housed a military hospital for the soldiers and officers of the Russian army and an orphanage for female foundlings. By 1763, the convent housed 84 nuns, 35 lay sisters, and 78 sick patients and servants. Each year, the state provided the Novodevichy Convent with 1,500 rubles, 1,300 quarters of bread, and 680 rubles and 480 quarters of bread for more than 250 abandoned children.
In 1812, Napoleon's army made an attempt to blow up the convent, but the nuns managed to save the cloister from destruction. In Tolstoy's War and Peace, Pierre was to be executed under the convent walls. In another novel of his, Anna Karenina, Konstantin Lyovin (the main character) meets his future wife Kitty ice-skating near monastery walls. Indeed, the Maiden's Field (as a meadow in front of the convent came to be known) was the most popular skating-rink in 19th-century Moscow. Tolstoy himself enjoyed skating here, when he lived nearby, in the district of Khamovniki.
In 1871, the Filatyev brothers donated money for a shelter-school for the orphans of "ignoble origins". Also, the convent housed two almshouses for nuns and lay sisters. In early 1900s, the Cathedral was surveyed and restored by architect and preservationist Ivan Mashkov. By 1917, there had been 51 nuns and 53 lay sisters in the Novodevichy Convent.
The construction of the early Baroque château began in 1679. The project was executed by an architect of French origin, Jean Baptiste Mathey, whose design exploited his experiences from his sojourn to Italy and was inspired by a typical Roman suburban villa. The central and dominant feature of the entire mass of the construction is a large hall with a corridor running to both sides and with an enfilade of adjoining salons. On the sides, the building is both vertically and horizontally enclosed by two-storey towering belvederes. The sculptural decoration of the two-armed staircase leading to the garden was entrusted to the Dresden artists Georg and Paul Hermanns. The monumental sculptures on the staircase symbolize the Titans fighting the Classical gods. The individual sculptures along the perimeter of the staircase represent Classical gods, allegories of periods of the day and year and allegories of continents.
Most of the paintings found on the ground floor of the château were created by Carpoforo Tencalla, while Francesco Marchetti and his son Giovanni Francesco worked on the first floor. The Flemish painters Abraham and Isk Godyns were summoned by the builder to execute the illusive decoration of the large main hall.
Michael executes his version of a human flag pole. He's not entirely horizontal but is working up to it.
Michael lives within driving distance of Miami Beach and comes to Muscle Beach to practice his calisthenic and gymnastic moves alongside others.
WZQ_3977_rot2_cr
Among those executed at Mont-Valérien, 40% were hostages, 60% were 'tried', condemned to death by Nazi German military tribunals and executed by German soldiers.
65% of the executed were communists (entered the Resistance from the end of 1941), 17% were Jewish (out of a proportion in French population of less than 1 %), and 20% were foreigners (like the 'Affiche Rouge' Resistance group members).