Use the Emperor's order dictionary.

LEGO STARWARS blog:

stormtrooper.kr/

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 :)

The Coronation of the Virgin is a painting by the Italian early Renaissance master Fra Angelico, executed around 1434–1435 in Fiesole (Florence). It is now in the Musée du Louvre of Paris, France. The artist executed another Coronation of the Virgin (c. 1432), now in the Uffizi in Florence.

The work is not thought to have originally been painted around 1434 (a few years after the similar painting in the Uffizi) for the convent of San Domenico of Fiesole, near Florence, where Fra Angelico was a Dominican friar and for which he painted also the Fiesole Altarpiece (1424-1425) and the Annunciation now at the Museo del Prado. Some art historians, such as John Pope-Hennessy, date it instead to Angelico's visit to Rome (1450).

The painting was brought to France as a result of the pillages of the Napoleonic Wars. Like several other artworks, it was not given back with the excuse of its large size.

The work shows several differences from the earlier Coronation now at the Uffizi. The gilded background has disappeared, replaced by a more realistic light blue sky. The composition is more advanced, perhaps inspired to the innovation introduced by Masaccio. Angelico here depicts a rich cyborium with Gothic triple mullions, supported by a series of polychrome marble steps, as the set of the Incoronation. Elements such as the twisted columns show similarities with the tabernacles painted in the frescoes of the Niccoline Chapel in Rome.

Such as in the Florence painting, the angels and the saints form the audience at the side of the central scene, but the figures are more defined and some are shown from back, and the pavement's tiles are painted according to geometrical perspective. Pope-Hennessy supposed that the angels were influenced by those in the San Brizio Chapel of Orvieto Cathedral (1447).

The work was executed with the extensive help of assistants, especially in the right side: for example, St. Catherine's wheel is painted approximatively, and some of the saints in this side have less expressive faces.

The painting has a predella with scenes portraying the Miracles of St. Dominic and, in the middle, the Resurrection of Christ. Such as in other Angelico's work, the predella scenes show an extensive use of geometrical perspective, enhanced by the use of alternatively empty and full architectures.

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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.

Executing a lovely topside whilst performing a missed approach at RAF Fairford ahead of their attendance at Ex Ramstein Flag 2025.

www.seraphimsl.com/?p=149629

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.

en.wikipedia.org/wiki/Luce_Memorial_Chapel

The Luce Memorial Chapel is a Christian chapel on the campus of Tunghai University, Taichung, Taiwan. It was designed by the architect and artist Chen Chi-Kwan in collaboration with the firm of noted architect I. M. Pei, and named in honor of the Rev. Henry W. Luce, an American missionary in China in the late 19th century and father of publisher Henry Luce.

The project was originally planned in April 1954 but put on hold until July 1960. Construction took place from September 1962 until November 1963. Construction costs were USD $125,000.

The chapel occupies a 12,000 square metre site on campus and is set on an irregular hexagonal base, providing 477 m² of gross floor area, including a 245 m² nave (500 seats), 81 m² chancel, and 44 m² robing rooms. The church itself is a curved, tent-like structure rising as a hyperbolic paraboloid to 19.2 m high and establishing a central focal landmark on the campus.

The chapel was executed in reinforced concrete with its form providing earthquake stability. Construction involved elaborate formwork by local craftsmen. Ribs reinforce the curved surfaces and thicken as they descend, preventing buckling while expressing structural forces. The exterior is covered by glazed diamond-shaped tiles, and on the interior, thicker diamond-shaped concrete coffers at the bottom gradually diminish in size as they near the top since stresses are concentrated near the ground.

路思義教堂（英語：Luce Memorial Chapel）是一座位於台灣台中市西屯區東海大學的基督教禮拜堂，為東海大學的校園象徵，位於整個校園的中心，西接教學區，東接宿舍區。東海大學早期樹木尚未繁密之前，校園內任何一處地方都可看到路思義教堂。路思義教堂為著名美國華裔建築師貝聿銘與台灣建築師陳其寬之作，建於1962年9月至1963年11月。

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.

«Se accosti l’orecchio alla spalletta di un ponte, senti le parole del fiume» – Fabrizio Caramagna

Shadows and reflections of the Devil's Bridge. Cividale (UD), Italy. © Michele Marcolin, 2023. K1ii + smc Pentax-FA 31mm f1.8 AL Limited.

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The Devil's Bridge is one of the symbols of Cividale del Friuli. Boldly suspended on the Natisone River, it is still somehow wrapped in legend. The two banks were joined, at least from the 1200's, by a wooden passage, which was replaced after various inconclusive attempts by a stone bridge during the the XIV century. It was planned by lacopo Dugaro from Bissone, who began the construction in 1442. The job, slow and plagued by various adversities, was continued five years later under the guide of Erardo (or Everardo) from Villaco, a former member of Dugaro's team (who perhaps died of plague meanwhile or - allegedly - gave up without fulfilling his obligations).

Bartolomeo delle Cisterne finished it with a first paving in 1501 and a second in 1558. Its was defended by towers on both sides, which were dismantled around the second half of the past century. Works of restoration also followed through time. In 1843, during the works of reinforcing of the central pillar, two important stones of Roman age were discovered.

The fate of the bridge had a tragic epilogue: the 27th of October 1917, during the defeat of Caporetto, it was blown up attempting to slow down the enemy. A useless destruction, as the Imperial Army crossed the river the same evening. The bridge was later reconstructed by the Germans with local skilled workers, following the precise reliefs executed years before by the engineer Ernesto de Paciani of Cividale.

Opened again on the 18th of May 1918, the new bridge had short life for the 29th of April 1945 the Germans tried to blow it up again. Fortunately the damage was minimal and it was soon repaired. The rocky walls where the arches rest on were also reinforced. The central pillar rests on a natural rock, protruding in the center of the river.

Popular beliefs has the construction of the bridge connected to the supernatural: the devil would have facilitated the construction of the bridge in exchange for the soul of the firs creature who crossed it. But the inhabitants of Cividale mocked the devil, sending through the new passage an animal, a dog or cat (different versions exist, as well as various 'Devil's Bridges' around Italy). The bridge inspired also artists: writers have dedicated to it pages of intense poetry, while skillful painters have reproduced it in their works, fixing shapes and colors, with the transparency of waters.

St Albans claims to be the earliest site of Christian pilgrimage in England, being named after our first martyr, who was executed at some point in the 3rd century AD (when the city was still known by its Roman name, Verulanium) having sheltered a persecuted Christian priest, St Amphibalus, and been impressed by his faith, offering himself for arrest in his place. Both men were buried here and Alban's tomb was venerated and marked in some form long before the present cathedral was built.

The cathedral is nonetheless one of the most ancient of our major churches, though its cathedral status dates only to 1877 when the new diocese of St Albans was formed. The church was originally founded as St Alban's Abbey, and built close to the presumed site of Alban's martyrdom. Founded in 793 by King Offa, the abbey was rebuilt several times with the earliest parts of the present cathedral dating back to the late 11th century. Much use was made of recycled material from the abandoned Roman city of Verulanium, and the handsome Romanesque tower appears to be entirely constructed of reused Roman bricks. The Abbey was built on an impressive scale, and must have once been a very wealthy institution owing to pilgrimages to the shrine of St Alban behind the high altar. However its fortunes had begun to decline even before the Reformation swept medieval monastic life away.

The abbey church miraculously survived the Dissolution in its entirety and was sold to the town for use as their parish church. The monastic buildings however were completely erased aside from the splendid Abbey Gatehouse near the west end, and only the weathered remains of arcading on the south side of the nave remains of the former cloisters. Upkeep thereafter seems to have been a serious challenge and the huge church spent much of the following centuries in poor repair, thus much work was done by a succession of architects in the Victorian period prior to the abbey church being raised to the status of cathedral. The most obvious interventions are those made by Edmund Beckett / Lord Grimthorpe, an amateur architect who paid for much of the work in the 1870s in return for a free hand in redesigning parts of the building. His are the strange turrets on ends of the transepts, along with their facade windows below and the west front, which is clearly a Victorian confection, though the medieval facade it replaced had been left in a rather bare, unfinished state.

The cathedral we see today is thus a rather surprising mixture of styles and materials, everything from Roman brick, flint and rubble to fine white limestone., which gives it a rather patchy appearance. Its great length however is remarkable, being the second longest medieval church in the country (only Winchester is longer, but St Albans has a longer nave). The oldest parts are the towers and transepts from the end of the 11th century, along with much of the north side of the nave, all fine examples of early Romanesque architecture. Most of the rest was rebuilt in the Gothic style in various phases throughout the 14th century, including the greater part of the nave and all of the choir and Lady Chapel (though the east end was heavily renewed externally in the Victorian restoration).

Entering the cathedral one cannot fail to be impressed by the enormous length of the nave,, mostly of late 13th and early 14th century date aside from the strikingly austere north arcade in the more easterly section, where the raw unadorned early Norman architecture contrasts dramatically with the more ornate Gothic arcade opposite. The Norman columns have the added appeal of retaining substantial remains of medieval mural decoration, with a succession of Crucifixion scenes that may have originally served as reredos to long vanished side altars. The medieval pulpitum screen remains and separates the eastern bays for use as the choir beyond it. This area also retains its flat late medieval wooden ceiling complete with painted panels of angels holding shields.

The transepts and crossing beneath the tower form an especially memorable interior space, again the architecture is of the more raw, auster Norman variety, but the tower arches are enlivened with painted decoration simulating brickwork and much Roman and Saxon material is incorporated in to the transepts. Beyond is the fully Gothic eastern limb with the presbytery covered by a handsome medieval wooden vault, again replete it medieval painted decoration, and the striking altar reredos, a towering late medieval screen populated with elaborate niches and statuary (the latter being Victorian replacements for originals long lost). Behind this is the re-assembled shrine of St Alban (along with that of St Amphibalus in the south choir aisle nearby). The Lady Chapel beyond is a handsome example of 14th century Decorated Gothic, though much restored following centuries of use as a schoolroom separated from the rest of the church.

There is much of interest to see in the cathedral, though most of the furnishings are Victorian (the originals having long vanished) and there are few monuments of note aside from the two late medieval chantry chapels of Abbot Ramryge and Humphrey Duke of Gloucester, the latter overlooking the shrine of St Alban and balanced by a 15th century wooden watching loft on the opposite side (a rare survival). There is a mixture of glass, the most notable pieces being the most recent additions in the south aisle and north transept rose window. The best features are the unusually extensive remnants of medieval mural painting in various parts of the church, a quite remarkable survival, making a thorough exploration of this cathedral all the more rewarding.

This was my third visit, and longest one, though my attempt at a fuller photographic record was severely compromised by accidents with my camera, which at one point fell from my tripod onto the stone floor in one of the chantry chapels. I was lucky it survived at all given the dreadful crash it made, but it was seriously affected and my photos were very hit and miss from that point onwards. My day however ended on a happier note, returning in the evening to attend a lovely performance of Mozart's Requiem, and the acoustics in there are indeed impressive.

For more about the cathedral see below.

en.wikipedia.org/wiki/St_Albans_Cathedral

Keep Visualizing, Seeing and Executing!!

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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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This meticulously executed preparatory drawing documents the initial conception of a dramatic and monumental composition, now at the Louvre, that would become a seminal work in the artist’s oeuvre. Although Girodet would go on to produce numerous figurative studies, the Gallery’s recently rediscovered sheet is one of three compositional sketches for this painting and, as far as we know, the only preparatory work for A Deluge Scene outside of France.

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.

We are pretty lucky here in New Zealand, to just look up and see the wonder that is our Milky Way so clearly. So much to think about, so much to see. It's all just stardust and time. And being able to capture all this on a simple DSLR camera is just so rewarding. Staying curious is the key to capturing something unique and challenging.

But it's not as simple as just heading out and shooting, a fair amount of planning is involved. Would you like to learn how to plan, execute and edit a shot like this? Get in touch for details on a West Coast or Auckland Photography Workshop with us.

Some things you can learn:

• How to plan your shot of the Milky Way

• Location scouting – finding the best possible view

• Moon and Milky Way phases

• Essential gear to use

• How to shoot large panoramas

• Star-trails and time-lapses

• Editing in LR/PS and stitching methods

• Etiquette when shooting around others at night

and so much more!

Explored 30.03.2011 # 185

www.seraphimsl.com/?p=154579

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.

la Maestà di Duccio di Buoninsegna, vero capolavoro assoluto dell’arte pittorica italiana del primo Trecento. Il dipinto, realizzato dal Maestro tra il 1308 e il 1311, era visibile da entrambi i lati e risulta una delle più vaste imprese artistiche di tutti i tempi, considerando che oltre quaranta figure sono rappresentate nella faccia anteriore e quasi ottanta sono presentate nelle storie del retro, delle predelle e dei coronamenti. Nella parte anteriore è raffigurata la Madonna in trono, santi e angeli, e in quella posteriore, suddivisa in ventisei scene, la Passione di Cristo.

the Maestà altarpiece by Duccio di Buoninsegna, an absolute masterpiece of early fourteenth-century Italian painting. This painting that the Maestro executed between 1308 and 1311 was visible on both sides, and proves to be one of the largest artistic undertakings of all times, considering that more than forty figures are depicted on the front surface and almost eighty are presented in the stories on the back, the predellas and the crowns. The front part depicts the Madonna Enthroned, Saints and Angels, while the rear surface is divided into twenty-six scenes depicting the Passion of Christ.

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.

Executing an overshoot before returning to Boscombe Down.

For over 100 years Kilmainham Gaol held thousands of men, women and children for crimes that ranged from minor offenses to being involved in some of the most momentous events in Irish history. Opened in 1796 as the new County Gaol for Dublin. While most of the prisoners were common criminals, it also held political prisoners involved in Ireland’s struggle for independence. Included amongst those held here were Robert Emmet, Anne Devlin, the Fenians, Charles Stewart Parnell, Countess Markievicz and the leaders of the 1916 Easter Rising, 14 of whom were executed by firing squad in the Stonebreaker’s yard.

Nieuwe Ooster 08/02/2021 16h25

Peaceful atmosphere in a frozen world. The cemetery Nieuwe Ooster the day after the blizzard Darcy almost untouched by brooms and snow blades.

Winter 2021

(album with all the photos of Darcy blizzard, the frost period, drifting snow, people in the snow, cars in the snow, transport and more)

De Nieuwe Ooster

The New Eastern Cemetery is a cemetery in Amsterdam. This is located on the Kruislaan in the Watergraafsmeer in Amsterdam East and has an area of 33 hectares. The cemetery opened on May 1, 1894. It is now called De Nieuwe Ooster, because of the construction of a crematorium in 1994, after a design by R. van Liesveld.

The New Eastern Cemetery replaced the (Old) Eastern Cemetery, built in 1866, just outside the Muiderpoort.

In 1904 the municipality bought the adjacent grounds of the Oud-Roosenburgh estate. The extension was 8 hectares and was adapted to Springer's design. In 1927, the cemetery was expanded again, up to Zaaiersweg (Betondorp) and is now 33 hectares.

In 1888, the municipality of Amsterdam bought a piece of land of 16 hectares in the then independent neighboring municipality of Watergraafsmeer for a new cemetery, as there was not enough space elsewhere.

The cemetery was designed in 1892 by Leonard Anthony Springer. This landscape architect paid a lot of attention to the trees in his design.

In 1893, the municipal architect of Amsterdam, Adriaan Willem Weissman, made four designs for an auditorium for the New Eastern Cemetery. On the advice of P.J.H. Cuypers, at the time municipal councilor of Amsterdam, the third and most simple design was executed. In the noughties of the 21st, the Asbestos area De Nieuwe Ooster was constructed on the back grounds.

[ Wikipedia - Nieuwe Ooster (Dutch) ]

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This is Loraine and we are at Ala Moana beach. This is a concept I had with another model, but never had the chance to execute. Glad I finally finished it. I'm off today and have another shoot with Loraine...it's a night shoot in a warehouse...should be interesting!

I also joined Fine Art America and uploaded some pictures for sale. They have a great selection of QUALITY papers, canvas, and even framing. If you would like me to upload another picture on there just let me know.

Prints available here on Purephoto

Find me on facebook, tumblr, twitter, formspring,or my website.

Rear window

a skilfully executed reconciliation

EAST CHINA SEA (March 30, 2020) U.S. 7th Fleet flagship USS Blue Ridge (LCC 19), right, and Arleigh Burke-class guided-missile destroyer USS Mustin (DDG 89), left, execute a dual underway replenishment with the Military Sealift Command dry cargo and ammunition ship USNS Charles Drew (T-AKE 10) in the East China Sea, March 30, 2020. Blue Ridge is the oldest operational ship in the Navy and, as 7th Fleet command ship, actively works to foster relationships with allies and partners in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist Seaman Erik Rivera Jr.)

Source: en.wikipedia.org/wiki/London

London is the capital and largest city of both England and the United Kingdom. Standing on the River Thames in the south-east of England, at the head of its 50-mile (80 km) estuary leading to the North Sea, London has been a major settlement for two millennia. Londinium was founded by the Romans. The City of London, London's ancient core − an area of just 1.12 square miles (2.9 km2) and colloquially known as the Square Mile − retains boundaries that follow closely its medieval limits. The City of Westminster is also an Inner London borough holding city status. Greater London is governed by the Mayor of London and the London Assembly.

London is considered to be one of the world's most important global cities and has been termed the world's most powerful, most desirable, most influential, most visited, most expensive, innovative, sustainable, most investment friendly, most popular for work, and the most vegetarian friendly city in the world. London exerts a considerable impact upon the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism and transportation. London ranks 26 out of 300 major cities for economic performance. It is one of the largest financial centres and has either the fifth or sixth largest metropolitan area GDP. It is the most-visited city as measured by international arrivals and has the busiest city airport system as measured by passenger traffic. It is the leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. London's universities form the largest concentration of higher education institutes in Europe. In 2012, London became the first city to have hosted three modern Summer Olympic Games.

London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2016 municipal population (corresponding to Greater London) was 8,787,892, the most populous of any city in the European Union and accounting for 13.4% of the UK population. London's urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The population within the London commuter belt is the most populous in the EU with 14,040,163 inhabitants in 2016. London was the world's most populous city from c. 1831 to 1925.

London contains four World Heritage Sites: the Tower of London; Kew Gardens; the site comprising the Palace of Westminster, Westminster Abbey, and St Margaret's Church; and the historic settlement in Greenwich where the Royal Observatory, Greenwich defines the Prime Meridian, 0° longitude, and Greenwich Mean Time. Other landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Paul's Cathedral, Tower Bridge, Trafalgar Square and The Shard. London has numerous museums, galleries, libraries and sporting events. These include the British Museum, National Gallery, Natural History Museum, Tate Modern, British Library and West End theatres. The London Underground is the oldest underground railway network in the world.

Source: en.wikipedia.org/wiki/River_Thames

The River Thames, known alternatively in parts as the Isis, is a river that flows through southern England including London. At 215 miles (346 km), it is the longest river entirely in England and the second longest in the United Kingdom, after the River Severn.

It flows through Oxford (where it is called the Isis), Reading, Henley-on-Thames and Windsor. The lower reaches of the river are called the Tideway, derived from its long tidal reach up to Teddington Lock. It rises at Thames Head in Gloucestershire, and flows into the North Sea via the Thames Estuary. The Thames drains the whole of Greater London.

Its tidal section, reaching up to Teddington Lock, includes most of its London stretch and has a rise and fall of 23 feet (7 m). Running through some of the driest parts of mainland Britain and heavily abstracted for drinking water, the Thames' discharge is low considering its length and breadth: the Severn has a discharge almost twice as large on average despite having a smaller drainage basin. In Scotland, the Tay achieves more than double the Thames' average discharge from a drainage basin that is 60% smaller.

Along its course are 45 navigation locks with accompanying weirs. Its catchment area covers a large part of south-eastern and a small part of western England; the river is fed by at least 50 named tributaries. The river contains over 80 islands. With its waters varying from freshwater to almost seawater, the Thames supports a variety of wildlife and has a number of adjoining Sites of Special Scientific Interest, with the largest being in the remaining parts of the North Kent Marshes and covering 5,449 hectares (13,460 acres).

Source: en.wikipedia.org/wiki/Tower_Bridge

Tower Bridge is a combined bascule and suspension bridge in London built between 1886 and 1894. The bridge crosses the River Thames close to the Tower of London and has become an iconic symbol of London. Because of this, Tower Bridge is sometimes confused with London Bridge, situated some 0.5 mi (0.80 km) upstream. Tower Bridge is one of five London bridges now owned and maintained by the Bridge House Estates, a charitable trust overseen by the City of London Corporation. It is the only one of the Trust's bridges not to connect the City of London directly to the Southwark bank, as its northern landfall is in Tower Hamlets.

The bridge consists of two bridge towers tied together at the upper level by two horizontal walkways, designed to withstand the horizontal tension forces exerted by the suspended sections of the bridge on the landward sides of the towers. The vertical components of the forces in the suspended sections and the vertical reactions of the two walkways are carried by the two robust towers. The bascule pivots and operating machinery are housed in the base of each tower. Before its restoration in the 2010s, the bridge's colour scheme dated from 1977, when it was painted red, white and blue for Queen Elizabeth II's Silver Jubilee. Its colours were subsequently restored to blue and white.

The bridge deck is freely accessible to both vehicles and pedestrians, whereas the bridge's twin towers, high-level walkways and Victorian engine rooms form part of the Tower Bridge Exhibition, for which an admission charge is made. The nearest London Underground tube stations are Tower Hill on the Circle and District lines, London Bridge on the Jubilee and Northern lines and Bermondsey on the Jubilee line, and the nearest Docklands Light Railway station is Tower Gateway. The nearest National Rail stations are at Fenchurch Street and London Bridge.

Source: en.wikipedia.org/wiki/Tower_of_London

The Tower of London, officially Her Majesty's Royal Palace and Fortress of the Tower of London, is a historic castle located on the north bank of the River Thames in central London. It lies within the London Borough of Tower Hamlets, separated from the eastern edge of the square mile of the City of London by the open space known as Tower Hill. It was founded towards the end of 1066 as part of the Norman Conquest of England. The White Tower, which gives the entire castle its name, was built by William the Conqueror in 1078 and was a resented symbol of oppression, inflicted upon London by the new ruling elite. The castle was used as a prison from 1100 (Ranulf Flambard) until 1952 (Kray twins), although that was not its primary purpose. A grand palace early in its history, it served as a royal residence. As a whole, the Tower is a complex of several buildings set within two concentric rings of defensive walls and a moat. There were several phases of expansion, mainly under Kings Richard I, Henry III, and Edward I in the 12th and 13th centuries. The general layout established by the late 13th century remains despite later activity on the site.

The Tower of London has played a prominent role in English history. It was besieged several times, and controlling it has been important to controlling the country. The Tower has served variously as an armoury, a treasury, a menagerie, the home of the Royal Mint, a public record office, and the home of the Crown Jewels of England. From the early 14th century until the reign of Charles II, a procession would be led from the Tower to Westminster Abbey on the coronation of a monarch. In the absence of the monarch, the Constable of the Tower is in charge of the castle. This was a powerful and trusted position in the medieval period. In the late 15th century, the castle was the prison of the Princes in the Tower. Under the Tudors, the Tower became used less as a royal residence, and despite attempts to refortify and repair the castle, its defences lagged behind developments to deal with artillery.

The peak period of the castle's use as a prison was the 16th and 17th centuries, when many figures who had fallen into disgrace, such as Elizabeth I before she became queen, Sir Walter Raleigh, and Elizabeth Throckmorton, were held within its walls. This use has led to the phrase "sent to the Tower". Despite its enduring reputation as a place of torture and death, popularised by 16th-century religious propagandists and 19th-century writers, only seven people were executed within the Tower before the World Wars of the 20th century. Executions were more commonly held on the notorious Tower Hill to the north of the castle, with 112 occurring there over a 400-year period. In the latter half of the 19th century, institutions such as the Royal Mint moved out of the castle to other locations, leaving many buildings empty. Anthony Salvin and John Taylor took the opportunity to restore the Tower to what was felt to be its medieval appearance, clearing out many of the vacant post-medieval structures. In the First and Second World Wars, the Tower was again used as a prison and witnessed the executions of 12 men for espionage. After the Second World War, damage caused during the Blitz was repaired, and the castle reopened to the public. Today, the Tower of London is one of the country's most popular tourist attractions. Under the ceremonial charge of the Constable of the Tower, and operated by the Resident Governor of the Tower of London and Keeper of the Jewel House, the property is cared for by the charity Historic Royal Palaces and is protected as a World Heritage Site.

shot executed by pinhole Auloma Feris 4x5 , filter for view camera green aulomacolor, negative scan by Canon EOS 1100D

This is the beginning of a new set Heather Peabody and I will be executing over the next few weeks; The Storybook Series, which is inspired by international folktales we all know.

TUMBLR

Model: Kelly Baysinger

Photographer: Shannon Bray

Assistant/Make-up/Styling: Heather Peabody

You may also know this story as Swan Lake, or from the movie Black Swan.

An evil sorcerer turns a group of girls into beautiful swans and has control over them. While out hunting one day, Prince Siegfried, (whose mother has just told him that he must marry) discovers a beautiful swan. He is enchanted by her. When he aims to shoot her, she stops him and tells him the story of her life--how she is really a princess turned into a swan, and how the only way that she can be released from her curse is if a man declares his true love to her. He is just about to declare his love for her when the evil sorcerer shows up and takes the princess away. A few days later, the prince's mother is having a party for him to choose a bride. While he is there, he sees the beautiful swan and is thrilled. What he doesn't know is that the swan is really the evil sorcerer's daughter put under an enchantment to look like the princess. He dances with her, and at the end of the night he declares his love for her. He realizes he has made a terrible mistake when he sees the real swan princess through the window. He runs to her, but it is too late. She is so upset that she jumps off of a cliff and kills herself. In a desperate attempt to be with his true love, the prince follows her off the cliff. Since that action showed that the princewas really in love with her, all the other swans are relased from the curse and the evil sorcerer is destroyed. The story ends with the prince and princess floating up into the air.

•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.

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....❤️

In a previous image, I posted the cell light view from one of the luxury or comfortable cells of Kilmainham Gaol in Dublin. This view is of the window of one of the harsher cells where convicts could spend many years locked up. When this prison was in use there were just steel bars on these windows, no glass or wooden panels to keep out the elements that Irish winters could offer. Although we may say guilty convicts deserved a harsh life in prison we must not forget that some of the prisoners interred in these horrendous conditions were aged just eight years old, locked up hard labour for stealing food. Kilmainham Gaol was built in 1796 when Ireland was under British rule, the gaol replaced an old dungeon type institution. Following the Easter rebellion against British rule in 1916 a number of Irish rebels were interred in Kilmainham before being executed in the stone breakers yard of the prison. The prison closed some years later then fell into decay and disrepair before being rescued and refurbished by volunteers in the 1960's. Kilmaniham Gaol is now in the care of the State and is a tourist attraction. A number of movies were made there including Michael Collins, In The Name of The father and The Italian Job, amongst others.

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 high decibel face of the Carnaval. The lone faux cosmos ( or is it a gerbera ?) flower at the back bears mute testimony.

Glitzy shimmering reds, purples and yellows go with a bit of dowdy greens into dresses with wild exotic themes. The sound systems deliver their deafening roar of thumping gyrating music and the young dancers enrolled to perform the street dances, execute every high stepping move that they can eke out in not so perfect harmony.

It is obvious this is an Arabian mid summer.s nigh dream of a dance extravaganza. Carnaval in Goa is held in February every year at 4 places. This was shot in the town of Margao.

Camera NIKON CORPORATION NIKON D300

Exposure 1/4000 sec

Aperture f/1.8

Focal Length 50 mm

ISO Speed 200

Exposure Bias 0 EV

Flash No Flash

_DSC0180 from nef sel cu le sat low red sh 125pxl sel sat down gr br

(BEST SEEN LARGER THAN UNLIFE....)

IRON ZOMBIE - TERROR IN THE TOY BOX

Infected by an off-world, inter dimensional Zombie virus Tony Stark is transformed into the Unmincible Iron Zombie!

Chopped in half during a recent battle Iron Zombie remains hideously dangerous and infectiously at large in the Toy Box, here seen having Iron M.O.D.O.K for breakfast....

IRON TOYS: “It’s...a...ZOMBIEEEEEEEEEE !!!!!!”

IRON ZOMBIE: “BRAINSSSSSSSSSchlurppppppppp!!!”

-------------------------------------------------------------------------------------------------------------------

Care and Handling of Action Figures:

Important Safety Tip #1:

Do NOT store Marvel Zombies in the same Toy Box as uninfected figures.

This was a hysterically crazy Halloween inspired photo shoot that took days to set up and execute, mostly due to the odd angle and multiple figures included in the scene.

The action figures have one thing in common, of course, they’re all Iron Man related......from the articulated plastic figures to the die-cast monster truck.

I’ve also included eleven of my custom converted figures or scratch built Iron Man sculptures. Custom modifications include The Incredible Shrinking Iron Man, Iron Spam and Iron Cyberman. Sculpts featured are My Little Iron Pony, Iron M & M, my 50 mm Movie Mk 1 suit, the Iron Mobile, the Tony Stark Built S.H.I.E.L.D helicarrier, Iron M.O.D.O.K and Iron Zombie. All of which have separate photosets in their own right within my stream where you can learn more about their construction.

(Somewhat tragically, this is not my entire collection.....clearly Iron Zombie is not the only one who needs an infusion of brains!)

Iron Zombie is a popular character in the Marvel Zombie alternate universe, where the familiar super heroes have become frightful Undead monsters chomping their way through the population of Earth and indeed, the entire cosmos!

I ended up constructing an overhead bridge to set the camera up on and eventually settled on a combination of natural and artificial light along with a slow shutter speed activated by timer.

There were a LOT of rejected pictures but I learned a lot from each one, a process which reminded me so much of working in other artistic mediums, for example, painting, sculpting and drawing.

Setting the scene was a challenge. Treating the shoot as a series of drafts worked well, as I had to do a lot of tweaking of the figures since some of them masked others to an extent that could best be determined by trial and error in camera.

Making minor changes also encouraged me to come up with extra gags along the way. Such as the trio of Mini-Mates figures standing on each others’ shoulders to get out of the Toy Box. (You’d think one of those bigger blokes would have given ‘em a hand, but it’s every Iron Man for himself when there’s a Zombie on the loose!) Then there’s the armour spilling out of Mr Stark’s briefcase, and what’s that bottle of Old Fortran doing in there, eh Tony? Having a Super Hero Squad figure vaulting over the Toy Box wall with one hand was an idea that I’d had for a while, ever since I noticed that the little figure can actually balance on it’s palm and yes, that Space Armour Iron Man is using his spring loaded hook to hoist himself over the wall.

My favourite gag is War Machine putting the boot into one of the other figures that’s grabbing onto his leg....you go Rhodey!

The long but amusing process meant that I didn’t need to do too much Photoshopping at the end of the day. An ominous border around the frame, a bloody footprint here, some power glows and boot jet flares there and that was pretty much it. Well okay, I digitally inserted Iron M.O.D.O.K’s brains into the picture but I swear the image was taken from a plate of real human brains....

The blood, by the way, is food colouring, and since the figures were slipping and sliding all over the place on the Toy Box floor it was the devil’s own work to keep ‘em out of the gore. It was like playing Dominoes in a pool of blood....well, so I’d imagine! The way they kept falling down I have to wonder if the lads had been partying with that Old Fortran before the shoot....

Mind you, it occurs to me that so many heroes could just as well “FOOM!!” the lone Iron Zombie with their fearsome firepower as turn and flee but you know how it is with the Undead. Once panic sets in it’s head for the hills ‘cos nobody wants to get ‘et, or worse, bit and TURNED!

Thanks to Gail for putting up with me during the weekend of terror that this took to shoot. (Now that's undying love!)

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.

www.instagram.com/p/B95phRxJrky/?igshid=13n2fd4h5d9jj

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.

Bodensee/Lac de Constance is a big lake between Austria, Germany and Switzerland, most of the shoreline is german. I have been here very often for trainings and now for some days again.

our first visit in Konstanz, place of the Council of Constance, 1414 to 1418 - Jan Hus was executed by the order of the council....

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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.

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.

en.wikipedia.org/wiki/Novodevichy_Convent

My son Archie suggested that we demonstrate the folly of Executing Order 66 at the annual Jedi picnic.

Feel free to suggest a caption.

Irving R. Bacon (1875-1962)

Pen and ink with graphite on paper

Executed during Bacon’s Munich period of study at the Royal Academy.

Irving Roscoe Bacon was born in Fitchburg, Massachusetts on November 29, 1875.

Bacon studied with Wm Chase, F. Luis Mora, and at the Royal Academy in Munich. He spent most of his career in Michigan where he was personal artist for Henry Ford.

He died in El Cajon, CA on Nov. 21, 1962.

Exhibits:

Royal Academy, 1909 (medal)

National Academy of Design (New York City), 1910-12

Pennsylvania Academy of the Fine Arts, 1911, 1912

Art Institute of Chicago, 1911, 1912

----------------------------------

Examples of Bacon's paintings can be seen here: www.thehenryford.org/collections-and-research/digital-col...(Irving%20Reuben),%201875-1962&years=0-0&perPage=10&pageNum=1&sortBy=relevance

===================

FROM THE WEBSITE OF THE HENRY FORD:

Irving R. Bacon worked for Henry Ford as an artist. His work ranged from cartoons in the Ford Times to paintings of artifacts and events at the Edison Institute. His papers include photographs, drawings, and correspondence related to his career with Ford Motor Company and the Edison Institute.

Biographical / Historical Note

Born in 1875 in Fitchburg, Massachusetts, Irving Bacon received his early art training from Joseph Gies at the Art School of the Detroit Museum of Art.

Much of his early work concentrated on illustrations and cartoons, and often his artwork reflected the influence of his travels to the American West.

From 1894 to 1900 he worked as an illustrator at the Detroit Evening News and the Detroit Free Press. He first met Henry Ford through a mutual acquaintance in 1898, when he rode to Royal Oak and back to Detroit on Woodward Avenue in Henry's new automobile.

In 1902 he went to New York City to study at the Chase School of Art and to illustrate for Harper's Weekly and McClure's.

In 1906 he went to the Royal Academy in Munich and studied under Heinrich von Zugel, a noted animal painter. It was there where Bacon acquired his talent for painting landscapes and portraits.

After returning to Detroit in 1910, he once again met Henry Ford, who by this time was a millionaire. Henry became interested in art largely due to the interest and talent of his own son, Edsel.

He purchased a landscape scene from Bacon-a painting, which, according to Bacon, was "certainly not a masterpiece." It was after this meeting that Bacon gained permission from Henry to utilize his large estate for landscape paintings.

In 1913 he received a generous gift of money from his friend Harold Wills (a Ford executive), and once again returned to Munich for further study. His stay was cut short, however, due to the start of World War I.

Upon returning to Detroit, he realized the need for a steady salary in order to adequately support his wife and six children, so he met again with Henry Ford and soon became an employee of the Ford Motor Company, drawing cartoons for the Ford Times and later, illustrations for The Dearborn Independent.

Henry loved Bacon's cartoons, an area of work which Bacon wanted to discontinue. According to Bacon, "That class of work seemed to conflict with my high aims of art. Little did I realize at the time that I was beginning a thirty three year stretch of work for Henry Ford and his great organization that eventually would wean me away from the art world."

Working for Henry at the Ford Motor Company, and later the Edison Institute, Bacon's tasks included painting scenes and portraits that were of great interest to Henry Ford and his Museum and Village. These included portraits of Ford's family and friends, Noah Webster, Luther Burbank, Mark Twain, Dr. George Washington Carver, Stephen Foster, John Burroughs, and others.

He was also responsible for creating paintings of the artifacts located at the institute, and he also acted as stage designer for the Museum's theater.

His interest in photography and motion pictures led him to become the head of the Photographic Department for several years. Bacon retired from the Edison Institute in 1948, and moved to Miami with his second wife. He died in 1962 at the age of 86.

This collection is mainly composed of photographs, drawings, and some correspondence related to Bacon's career with the Ford Motor Company and the Edison Institute. The series within this collection are accordingly arranged to the different aspects involved with the work of Henry Bacon.

There are five series in the collection, the Golden Jubilee painting, Irving Bacon personal materials, Greenfield Village and Henry Ford Museum, Henry Ford related work, and Dearborn Independent.

Series I, Golden Jubilee painting: This series is comprised of pamphlets, notes, lists, correspondence, and photographs related Bacon’s painting entitled "Celebration of the Golden Jubilee of the Invention of the Incandescent Electric Light" also known as the "The Dedication of the Edison Institute of Technology." The Golden Jubilee occurred on October 21, 1929. It is arranged by the sub-series Printed material (1929), Correspondence (1936-1937), and Photographs (dates unknown, but assumed to be between 1920-1938). The photographs, which are mainly portraits of the individuals who attended the events of October 21, 1929, were obtained by Bacon in the years 1936-1938, for the purpose of recreating the dinner scene, some seven to nine years previous. Over 400 individuals attended this dinner, ranging from Henry Ford's personal friends to contemporary world business and political leaders. The number of dinner guests eventually included in Bacon's painting numbered 266. The filing arrangement for the Photographs subseries was left in much the same way that Bacon had organized it, which was by seating arrangements. He categorized his filing system according to "Tables," "Arches," and "Individuals Standing" e.g., Table 1, Arch 1, etc.

Series II, Irving Bacon personal materials: In this series are various materials (1907-1957) which apparently were kept for the personal use and interest of Mr. Bacon. A large portion of this series, theater interests, contains materials on early theater and film actors/actresses. The majority of the materials within this series are photographs, unless otherwise noted.

Series III, Greenfield Village and Henry Ford Museum: This series is an assortment of photographs, mixed with notes and sketches related to subjects found at Greenfield Village and Henry Ford Museum. Bacon collected photographs of the various subjects in order to study them and eventually create a likeness within his own paintings.

Series IV, Henry Ford related work: This series is an example of yet another type of work that Bacon undertook as an employee of Henry Ford. It reflects the personal interests of Henry Ford. Included are miscellaneous printed materials, photographs, sketches, and maps (photographed). The folders have retained the original titles given by Bacon himself.

Series V, Dearborn Independent: Irving Bacon's artwork created for the Dearborn Independent is found within this series (approximately 1925-1935). These oversized materials consist mainly of sketches, prints, and color drawings.

Less

Collection Details

Object ID: 84.1.1657.0

Creator: Bacon, Irving R. (Irving Reuben), 1875-1962

Inclusive Dates: 1863-1957

Size: 4.4 cubic ft. and 4 oversize boxes 7.8 cubic ft. (17 boxes) [Collection Survey]

Language: English

From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...

===================

From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...

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.

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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.

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