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Made using Stable Diffusion. I'm using Stable Diffusion to make conceptual illustrations for a grimoire of digital Platonic paganism. You can download it as a free PDF here: ericsteinhart.com/paganism/paganism-home.html
One of the miracles is the existence of this book. It is written by the author of one of my senior physics textbooks (c. 1961) and is undoubtedly a result of his collaborative effort with Larry LeShan on Einstein's Space and Van Gogh's Sky, a book I will take from my library to re-read shortly.
The Miracle of Existence covers a territory well-traveled by metaphysical and theological explorers but seldom by a physicist, especially in public, and Margenau does it without LeShan as a guide this time. The first chapter on the connections between the mind and physical reality is a big help for the novice explorers. In it Margenau establishes operational definitions for discussing the real world: how to separate perceptions, objects, and mental constructs from each other.
He discusses evolution and the existence of morphogenetic-like fields without specifically referring to Rupert Sheldrake's term, which seems a little strange. This is an oversight that the good physicist would never make when writing about physics. It would be like his trying to talk about the Heisenberg Uncertainty Principle without using either Heisenberg or Uncertainty. For example, in this book he points out the usefulness of "rules of correspondence" which are, in fact, operational definitions, the introduction of which concept he attributes to the philosopher-physicist Bridgmann.
Overall the book promised meat and delivered menu. The menu offered a visual splash of perennial philosophy stuffed into scientific pastry shells covered with toppings of Eastern metaphysics to create the effect of a Mondrian painting. Pretty as a picture, but who can eat it or explain what it means.
One repugnant tendency of modern science over the centuries has been to thrash someone's ideas in one century and a century or so later, suddenly find a way finally to make sense of the same ideas. The creatio ex nihilo tenet of Thomas Aquinas was regarded as absurd by the modern scientists of his time, and modern scientists of our time find it plausible that matter is created out of nothing in the theory of the Universe known as the Big Bang.
One quotable quote:
[page 131, For Insomnia] As far as I know the best remedy is a psychic one: convince the patient that the sleep he gets is all he needs.
Perhaps that is the message of this book for me: "The knowledge I have of this subject is all I need" and that I can safely avoid such books in the future.
Throughout its nearly five years of existence, High Places has toured extensively and performed in a multitude of environments. Whether playing at the Guggenheim Museum in Manhattan or in an industrial warehouse in Santiago, Chile, the band's enveloping sound and propulsive energy allow the music to translate to a variety of venues. Much to our enjoyment, they recently came by Room 205 to play inside our enormous yarn sculpture.
BIO
High Places began as an experiment in collaboration: two people with diverse artistic backgrounds coming together to merge their skills and aesthetic tastes. Rob Barber grew up listening to punk and hardcore, and Mary Pearson studied bassoon performance, but both gravitated toward a DIY compositional style and a love of layers. High Places' songs contain a fascinating range of aural layers: bells and bird calls over a wash of ocean waves; mallets hitting mixing bowls over treated guitar and glockenspiel; Mary's reflective vocals over Rob's homemade beats. The result is an imaginative and spacious amalgam of sounds that is as immediate as it is refreshing.
COMPONENTS
Video
• YouTube: youtube.com/playlist?list=PLC4EEUwd7e4kYsSY8n8HzG6ixrFpKv40m
• Vimeo: vimeo.com/album/2230432
Photos
• Flickr: flic.kr/s/aHsjtMC5pX
Music
• SoundCloud: soundcloud.com/goincase/sets/high-places-at-room-205
CREDITS
Executive Producer
• Incase: goincase.com
Producer
• Arlie Carstens: disastercasual.typepad.com
Director
• Otto Arsenault: ottoarsenault.com
Set Designer
• Sophia Rubio: nothingisbeautifulanymore.com
Audio Engineer
• Butchy Fuego: twitter.com/butchyfuego
Camera
• Jon Barlow: vimeo.com/jonbarlow
• Sophia Rubio: nothingisbeautifulanymore.com
• Otto Arsenault: ottoarsenault.com
Editor
• Otto Arsenault: ottoarsenault.com
Art Department
• Lauren Barlow
• Melissa Huddleston
Gaffer
• Frits Dejong: imdb.com/name/nm0208997
Photos
• Arlie Carstens: disastercasual.typepad.com
Performing Artist
• High Places: hellohighplaces.blogspot.com
Label
• Thrill Jockey: thrilljockey.com
Room 205 Theme Song
• Cora Foxx: theheapsf.com
Fortepiano, Company Bösendorfer, design Josef Frank, Vienna, 1928
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
First of Four in the CornFlower Series.
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Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
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The Holiday House Geographic, is among the most desirable vintage travel trailers in the world. One of only two currently known to be in existence, the body of this trailer was designed by world renowned industrial engineer, Chuck Pelly, designer of the Scarab race car and founder of Designworks USA, which is BMW's California Studio.
David Holmes, President of "Harry & David" fruit company, began producing the Holiday House travel trailers in November of 1959, in Medford, Oregon. These were aluminum and wood constructed trailers as many of their counterparts of this era, however, the Holiday House trailers stood out as distinctive due to their highly progressive and futuristic design.
In 1958 David Holmes enlisted Chuck Pelly to design the Geographic model, also known as Model X, as a super limited production model, which he dubbed the "Trailer For The Rich". The styling was unlike any trailer of it's time. There are thought to have only been parts of 7 of these strikingly futuristic fiberglass trailers ever made with a price tag of almost $8,500. The Holiday House factory burned down in 1962, and the molds that survived were discarded years later.
This 1961 Holiday House Geographic has been completely restored from the frame up with no expense spared, by Flyte Camp, in Bend, OR.
This trailer would make a wonderful addition to any collection, and is fully equipped as a modern luxury travel trailer.
The Holiday House Geographic Serial Number 007:
The exterior was tastefully re-finished with Axalta finishing systems and coatings, in a two-toned champagne and moss green with bronze colored pin-stripping. The entire running system was upgraded with new axels, brakes, wheels, and 10-ply Diamond Back white wall trailer tires. The exterior is completed with a vintage style fabric awning.
The interior features Black Walnut wall skin, cabinetry and black walnut hard wood flooring with custom aluminum detailing. The bathroom/dressing room features Marmoleum flooring, Walnut & Marmoleum countertops and a Stainless Steel shower with a Teak hardwood shower floor insert. Through out the coach original vintage light sconces are combined with LED lighting. Warm LED strip lighting accents the cabinetry, with lighting in cabinet, under cabinet and along the floor in the living area. The kitchen is outfitted with a stainless two burner cook top, a two drawer stainless 3-way fridge, and a stainless sink with a built-in drain board. Stainless kitchen countertops, and luxury upholstery fabric, in moss, accented with high end custom pleated and lined drapery complete the interior finishes. Behind the scenes an LP on-demand hot water heater provides a steady flow of limitless hot water. Off grid the water holding system is made up of a 35 gallon fresh water tank, a 35 gallon black water tank and 40 gallon grey water holding. The 2000 watt Go Power! inverter system is powered by 4 Trojan 6-volt AGM batteries, and is solar capable. There are both 110 outlets, and 12 volt ports throughout the trailer. The A/V system includes a 32” TV, surround sound and a DVD/Bluetooth stereo system. The Air-conditioning system has a heat pump and is tastefully concealed under the front couch. The front L shaped sofa, is 30” deep with pillows removed and can comfortably sleep two. The gaucho couch also extends to sleep two. There is ample storage, with full extension drawers. Aluminum trim and detailing has been added to the bottom of the cabinetry. No detail has been overlooked including the stainless steel front door threshold which has been laser etched with "Geographic".
The icing on the cake was having Chuck Pelly attended the Palm Springs Modernism event in February of this year to see the completed Geographic, and he added his personal signature to the trailer both inside and out!
This may be the only opportunity to own this priceless piece of history. Please contact Flyte Camp with any questions, and for additional detail photos if desired. We accept payment by Cashiers Check if the check is drawn off of an Institution with a Branch in Bend, Oregon. Otherwise, we accept wire transfer. Please let us know if you have any questions regarding payment, or to schedule pickup. Buyer is responsible for all shipping arrangements. Trailer should be picked up within 30 days of auction end. Contact us if you are an international buyer.
Media:
This trailer will be featured on the official 2018 Hot August Nights poster. Hot August Nights is the largest collectable car show in the US, being held August 7-12th, 2018 in Reno, NV.
The Geo was featured on the cover of the June 2018 edition of Vintage Camper Trailers Magazine. The Geographic took the trophy for Best of Modernism at the 2018 Palm Springs Modernism Vintage Travel Trailer Show, and Best Mobile Mansion at the Pismo Coast Rally in May of 2018. The trailer has also been filmed for an upcoming episode of Extreme RVs on the Travel Channel. Please check out footage of the build on the Flyte Camp YouTube Channel.
Photos curtesy of Hal Thomas Photography, Tim Cash of Far From Earth Films, and Anna Scribner of Flyte Camp, LLC.
Credit: Flyte Camp
Source: eBay
I (heart) graph theory :). My entire social existence boils down to a handful of discrete, esoteric, and sometimes interconnected groups. Is life really so simple and easy to visualize? Are you just a dot in a complex constellation representing my social life? Am I just a dot in yours too?
From an information-theoretic standpoint, Gus and Guy are my best friends in Portland and Boulder respectively ;). The level of cross-connections my social circle has with Gus are astounding. If you live in Portland and know me, odds are you know Gus too. Same goes with Guy in Boulder, excepting a couple social groups (climbers and photogs, mostly).
Search for Nexus on facebook to make yours. You can view the interactive graph here: nexus.ludios.net/view/Caleb_Phillips/KpWlYhHhJ5pn/.
The existence of the revered sanctuary of Zeus Olympios was the principal reason for founding the city named after the god, Dion adjacent to the sanctuaries. Textual sources and archaeological finds bear witness to the presence of a sizeable settlement already in the second half of the 5th century BC. The enhancement of Dion as central sacred place of the Macedonians contributed to the development of the city, which in Hellenistic times was famed and wide for its fortification and its plendid monuments. Built on level ground and square in shape, its urban plan was laid out according to the Hippodamean grid system. Because of the several successive building phases in the city, the remnants dating from the Hellenistic period are found at great depth.
In 169 BC Dion was captured by the Romans consul Marcius Philippus. Shortly after the naval battle of Actium (30 BC), Roman citizens settled in the city, founding a colony officially named Colonia Julia Diensis. Dion enjoyed an economic and cultural heyday during the 2nd and in the early 3rd century AD. There are strong signs of a renaissance of Classical Greek civilisation and a revial of memories of the time of Alexander the Great. In this period there was extensive rebuilding of the political centre of the colony, with the construction of luxirious public and private edifices.
The epicenter of public life in Dion was always at the south entrance to the city, next to the gateway leading to the sanctuaries. The main road (cardo) of Dion ran through the city from north to south, linking the corresponding gateways in the wall. It was charted in Hellenistic times bu was not paved until the 3rd century AD. The excavation of porticoes along the kerb revealed that this street was a via colonnata.
Public buildings, bathouses, exercise facilities, infrastructures for accomodation and dining, shops and opulent residences lined both sides of the cardo. Along the wast side there were pubic lavatories and a row of shops and workshops, inside were found remains of the processing of raw materials, storage jars, coins, tools, weights and measures.
from the book
STRATEGIES d'EXISTENCE"
from the book
STRATEGIES d'EXISTENCE" by Thierry Geoffroy / Colonel
ISBN877245456949
Rhodos Publishing h
from the book
STRATEGIES d'EXISTENCE" by Thierry Geoffroy / Colonel
ISBN877245456949
Rhodos Publishing house 1996
State of the Vatican City, is a landlocked sovereign city-state whose territory consists of a walled enclave within the city of Rome, the capital city of Italy. It has an area of approximately 44 hectares (110 acres) (0.44 km2), and a population of just over 800.[5][12]
Vatican City is a city-state that came into existence in 1929. It is distinct from the Holy See, which dates back to early Christianity and is the main episcopal see of 1.147 billion Latin and Eastern Catholic adherents around the globe. Ordinances of Vatican City are published in Italian; official documents of the Holy See are issued mainly in Latin. The two entities even have distinct passports: the Holy See, not being a country, only issues diplomatic and service passports; the state of Vatican City issues normal passports. In both cases the passports issued are very few.
The Lateran Treaty in 1929, which brought the city-state into existence, spoke of it as a new creation (Preamble and Article III), not as a vestige of the much larger Papal States (756-1870) that had previously encompassed central Italy. Most of this territory was absorbed into the Kingdom of Italy in 1860, and the final portion, namely the city of Rome with a small area close to it, ten years later, in 1870.
Vatican City is an ecclesiastical or sacerdotal-monarchical state, ruled by the bishop of Rome—the Pope. The highest state functionaries are all Catholic clergymen of various nationalities. It is the sovereign territory of the Holy See (Sancta Sedes) and the location of the Pope's residence, referred to as the Apostolic Palace.
The Popes have resided in the area that in 1929 became Vatican City since the return from Avignon in 1377. Previously, they resided in the Lateran Palace on the Caelian Hill on the opposite side of Rome, which site Constantine gave to Pope Miltiades in 313. The signing of the agreements that established the new state took place in the latter building, giving rise to the name of Lateran Pacts, by which they are known.
The name "Vatican" is ancient and predates Christianity, coming from the Latin Mons Vaticanus, meaning Vatican Mount. The territory of Vatican City is part of the Mons Vaticanus, and of the adjacent former Vatican Fields where St. Peter's Basilica, the Apostolic Palace, the Sistine Chapel, and museums were built, along with various other buildings. The area was part of the Roman rione of Borgo until 1929. Being separated from the city, on the west bank of the Tiber river, the area was an outcrop of the city that was protected by being included within the walls of Leo IV (847–55), and later expanded by the current fortification walls, built under Paul III (1534–49), Pius IV (1559–65) and Urban VIII (1623–44). When the Lateran Treaty of 1929 that gave the state its present form was being prepared, the boundaries of the proposed territory were influenced by the fact that much of it was all but enclosed by this loop. For some tracts of the frontier, there was no wall, but the line of certain buildings supplied part of the boundary, and for a small part of the frontier a modern wall was constructed. The territory includes St. Peter's Square, distinguished from the territory of Italy only by a white line along the limit of the square, where it touches Piazza Pio XII. St. Peter's Square is reached through the Via della Conciliazione which runs from the Tiber River to St. Peter's. This grand approach was constructed by Benito Mussolini after the conclusion of the Lateran Treaty.
According to the Lateran Treaty, certain properties of the Holy See that are located in Italian territory, most notably Castel Gandolfo and the major basilicas, enjoy extraterritorial status similar to that of foreign embassies. These properties, scattered all over Rome and Italy, house essential offices and institutions necessary to the character and mission of the Holy See.
Castel Gandolfo and the named basilicas are patrolled internally by police agents of Vatican City State and not by Italian police. St. Peter's Square is ordinarily policed jointly by both.
In this originally uninhabited area (the ager vaticanus) on the opposite side of the Tiber from the city of Rome, Agrippina the Elder (14 BC – 18 October AD 33) drained the hill and environs and built her gardens in the early 1st century AD. Emperor Caligula (37-41) started construction of a circus (AD 40) that was later completed by Nero, the Circus Gaii et Neronis, usually called, simply, the Circus of Nero. The Vatican obelisk was originally taken by Caligula from Heliopolis, Egypt to decorate the spina of his circus and is thus its last visible remnant. This area became the site of martyrdom of many Christians after the Great Fire of Rome in AD 64. Ancient tradition holds that it was in this circus that Saint Peter was crucified upside down. Opposite the circus was a cemetery separated by the Via Cornelia. Funeral monuments and mausoleums and small tombs as well as altars to pagan gods of all kinds of polytheistic religions were constructed lasting until before the construction of the Constantinian Basilica of St. Peter's in the first half of the 4th century. Remains of this ancient necropolis were brought to light sporadically during renovations by various popes throughout the centuries increasing in frequency during the Renaissance until it was systematically excavated by orders of Pope Pius XII from 1939 to 1941.
In 326, the first church, the Constantinian basilica, was built over the site that early Roman Catholic apologists (from the first century on) as well as noted Italian archaeologists argue was the tomb of Saint Peter, buried in a common cemetery on the spot. From then on the area started to become more populated, but mostly only by dwelling houses connected with the activity of St. Peter's. A palace was constructed near the site of the basilica as early as the 5th century during the pontificate of Pope Symmachus (reigned 498–514)
Popes in their secular role gradually came to govern neighbouring regions and, through the Papal States, ruled a large portion of the Italian peninsula for more than a thousand years until the mid 19th century, when all of the territory of the Papal States was seized by the newly created Kingdom of Italy. For much of this time the Vatican was not the habitual residence of the Popes, but rather the Lateran Palace, and in recent centuries, the Quirinal Palace, while the residence from 1309–77 was at Avignon in France.
In 1870, the Pope's holdings were left in an uncertain situation when Rome itself was annexed by the Piedmont-led forces which had united the rest of Italy, after a nominal resistance by the papal forces. Between 1861 and 1929 the status of the Pope was referred to as the "Roman Question". They were undisturbed in their palace, and given certain recognitions by the Law of Guarantees, including the right to send and receive ambassadors. But they did not recognize the Italian king's right to rule in Rome, and they refused to leave the Vatican compound until the dispute was resolved in 1929. Other states continued to maintain international recognition of the Holy See as a sovereign entity. In practice Italy made no attempt to interfere with the Holy See within the Vatican walls. However, they confiscated church property in many other places, including, perhaps most notably, the Quirinal Palace, formerly the pope's official residence. Pope Pius IX (1846–78), the last ruler of the Papal States, claimed that after Rome was annexed he was a "Prisoner in the Vatican". This situation was resolved on 11 February 1929 between the Holy See and the Kingdom of Italy.
The treaty was signed by Benito Mussolini on behalf of King Victor Emmanuel III and by Cardinal Secretary of State Pietro Gasparri for Pope Pius XI. The Lateran Treaty and the Concordat established the independent State of the Vatican City and granted Roman Catholicism special status in Italy. In 1984, a new concordat between the Holy See and Italy modified certain provisions of the earlier treaty, including the position of Roman Catholicism as the Italian state religion.
A Gandhi stencil in preparation in my workshop.
flickr.com/groups/constructingcoexistence/
Picture by Olivier Horen :
The Holiday House Geographic, is among the most desirable vintage travel trailers in the world. One of only two currently known to be in existence, the body of this trailer was designed by world renowned industrial engineer, Chuck Pelly, designer of the Scarab race car and founder of Designworks USA, which is BMW's California Studio.
David Holmes, President of "Harry & David" fruit company, began producing the Holiday House travel trailers in November of 1959, in Medford, Oregon. These were aluminum and wood constructed trailers as many of their counterparts of this era, however, the Holiday House trailers stood out as distinctive due to their highly progressive and futuristic design.
In 1958 David Holmes enlisted Chuck Pelly to design the Geographic model, also known as Model X, as a super limited production model, which he dubbed the "Trailer For The Rich". The styling was unlike any trailer of it's time. There are thought to have only been parts of 7 of these strikingly futuristic fiberglass trailers ever made with a price tag of almost $8,500. The Holiday House factory burned down in 1962, and the molds that survived were discarded years later.
This 1961 Holiday House Geographic has been completely restored from the frame up with no expense spared, by Flyte Camp, in Bend, OR.
This trailer would make a wonderful addition to any collection, and is fully equipped as a modern luxury travel trailer.
The Holiday House Geographic Serial Number 007:
The exterior was tastefully re-finished with Axalta finishing systems and coatings, in a two-toned champagne and moss green with bronze colored pin-stripping. The entire running system was upgraded with new axels, brakes, wheels, and 10-ply Diamond Back white wall trailer tires. The exterior is completed with a vintage style fabric awning.
The interior features Black Walnut wall skin, cabinetry and black walnut hard wood flooring with custom aluminum detailing. The bathroom/dressing room features Marmoleum flooring, Walnut & Marmoleum countertops and a Stainless Steel shower with a Teak hardwood shower floor insert. Through out the coach original vintage light sconces are combined with LED lighting. Warm LED strip lighting accents the cabinetry, with lighting in cabinet, under cabinet and along the floor in the living area. The kitchen is outfitted with a stainless two burner cook top, a two drawer stainless 3-way fridge, and a stainless sink with a built-in drain board. Stainless kitchen countertops, and luxury upholstery fabric, in moss, accented with high end custom pleated and lined drapery complete the interior finishes. Behind the scenes an LP on-demand hot water heater provides a steady flow of limitless hot water. Off grid the water holding system is made up of a 35 gallon fresh water tank, a 35 gallon black water tank and 40 gallon grey water holding. The 2000 watt Go Power! inverter system is powered by 4 Trojan 6-volt AGM batteries, and is solar capable. There are both 110 outlets, and 12 volt ports throughout the trailer. The A/V system includes a 32” TV, surround sound and a DVD/Bluetooth stereo system. The Air-conditioning system has a heat pump and is tastefully concealed under the front couch. The front L shaped sofa, is 30” deep with pillows removed and can comfortably sleep two. The gaucho couch also extends to sleep two. There is ample storage, with full extension drawers. Aluminum trim and detailing has been added to the bottom of the cabinetry. No detail has been overlooked including the stainless steel front door threshold which has been laser etched with "Geographic".
The icing on the cake was having Chuck Pelly attended the Palm Springs Modernism event in February of this year to see the completed Geographic, and he added his personal signature to the trailer both inside and out!
This may be the only opportunity to own this priceless piece of history. Please contact Flyte Camp with any questions, and for additional detail photos if desired. We accept payment by Cashiers Check if the check is drawn off of an Institution with a Branch in Bend, Oregon. Otherwise, we accept wire transfer. Please let us know if you have any questions regarding payment, or to schedule pickup. Buyer is responsible for all shipping arrangements. Trailer should be picked up within 30 days of auction end. Contact us if you are an international buyer.
Media:
This trailer will be featured on the official 2018 Hot August Nights poster. Hot August Nights is the largest collectable car show in the US, being held August 7-12th, 2018 in Reno, NV.
The Geo was featured on the cover of the June 2018 edition of Vintage Camper Trailers Magazine. The Geographic took the trophy for Best of Modernism at the 2018 Palm Springs Modernism Vintage Travel Trailer Show, and Best Mobile Mansion at the Pismo Coast Rally in May of 2018. The trailer has also been filmed for an upcoming episode of Extreme RVs on the Travel Channel. Please check out footage of the build on the Flyte Camp YouTube Channel.
Photos curtesy of Hal Thomas Photography, Tim Cash of Far From Earth Films, and Anna Scribner of Flyte Camp, LLC.
Credit: Flyte Camp
Source: eBay
This building, constructed in 1874-75, is a successor to a primitive log structure that housed one of the first four schools in existence in the area when Richland County was officially formed in 1841. This current structure was originally located 4 miles north-northeast of Olney, at the intersection of what is now North Silver Road and East Tank Farm Lane.
Records show the largest number of students attending McsBurg School was 40, in 1913-14. The school closed its doors at the end of the 1943-44 term, due to shrinking enrollment (eight pupils) and the approaching mandated county-wide consolidation of schools. In 1947, the building became a summer cabin for a local family, who later (1964) donated it to the Olney Garden Club for restoration and relocation to the Olney City Park. In 2015, the Garden Club deeded the schoolhouse to the Richland Heritage Museum Foundation, which performed a second restoration and moved the building to its current site, next to the Heritage House Museum.
Throughout its nearly five years of existence, High Places has toured extensively and performed in a multitude of environments. Whether playing at the Guggenheim Museum in Manhattan or in an industrial warehouse in Santiago, Chile, the band's enveloping sound and propulsive energy allow the music to translate to a variety of venues. Much to our enjoyment, they recently came by Room 205 to play inside our enormous yarn sculpture.
BIO
High Places began as an experiment in collaboration: two people with diverse artistic backgrounds coming together to merge their skills and aesthetic tastes. Rob Barber grew up listening to punk and hardcore, and Mary Pearson studied bassoon performance, but both gravitated toward a DIY compositional style and a love of layers. High Places' songs contain a fascinating range of aural layers: bells and bird calls over a wash of ocean waves; mallets hitting mixing bowls over treated guitar and glockenspiel; Mary's reflective vocals over Rob's homemade beats. The result is an imaginative and spacious amalgam of sounds that is as immediate as it is refreshing.
COMPONENTS
Video
• YouTube: youtube.com/playlist?list=PLC4EEUwd7e4kYsSY8n8HzG6ixrFpKv40m
• Vimeo: vimeo.com/album/2230432
Photos
• Flickr: flic.kr/s/aHsjtMC5pX
Music
• SoundCloud: soundcloud.com/goincase/sets/high-places-at-room-205
CREDITS
Executive Producer
• Incase: goincase.com
Producer
• Arlie Carstens: disastercasual.typepad.com
Director
• Otto Arsenault: ottoarsenault.com
Set Designer
• Sophia Rubio: nothingisbeautifulanymore.com
Audio Engineer
• Butchy Fuego: twitter.com/butchyfuego
Camera
• Jon Barlow: vimeo.com/jonbarlow
• Sophia Rubio: nothingisbeautifulanymore.com
• Otto Arsenault: ottoarsenault.com
Editor
• Otto Arsenault: ottoarsenault.com
Art Department
• Lauren Barlow
• Melissa Huddleston
Gaffer
• Frits Dejong: imdb.com/name/nm0208997
Photos
• Arlie Carstens: disastercasual.typepad.com
Performing Artist
• High Places: hellohighplaces.blogspot.com
Label
• Thrill Jockey: thrilljockey.com
Room 205 Theme Song
• Cora Foxx: theheapsf.com
Unsmoked ham, wholegrain mustard, mayonnaise, Flora (obviously), and some Boursin. The most awesome sandwich in existence.
Andy Biersack of Black Veil Brides, live at the Best Buy Theater NYC 11.23.14..
Check out the gallery on Music Existence: musicexistence.com/blog/2014/11/25/gallery-black-veil-bri...
Lucy: Humans consider themselves unique, so they rooted their whole theory of existence on their uniqueness.
in Luc Besson movie: Lucy
The day starts slowly for these railway boys. They sleep under photos of goddesses.
They are close friends with the main gang leader in this railway station. Gang leaders are boys in their late teens or early 20s who often beat and manipulate younger boys. They introduce sniffing glue to new boys, creating the dependency they need to stay in control.
Photo © 2012 IMB / Graham HIll
Sometimes all it takes is being alone in a field of grass with nature all around to make you feel at peace. We often find our lives consumed with the hustle of daily life and it takes a trip to our happy place to find our center. I don't have to pack too long or travel too far to find my reason for being. My backyard is a wonderland of mystery just waiting to be explored. I may never be anything more than someone you once knew. My only hope is that a piece of me remains to be explored long after I am gone.
I often wonder why I have been placed on this earth. Is it to carry a gun so that you can feel safe and free? I have done that. Is it to change an infinite number of watch batteries so that you can make it to work on time? I have done that too. Or is it to simply capture a moment so that you can experience something you may never see from a side of the planet I have never been? In time the gun will be replaced with something more advanced and the watch battery will be long since expired. My ticket will have been punched, but I hope the life I lived will remain for others to experience for eternity. That is the power of a camera!!!
I find myslef sitting in the same place i was a year ago and remembering Sakura (to the new members that did not know her she was also a flickr member) who passed away almost the same time last year.
_______________________________________________________________________
"Existence" is strange.. we are here then we are not. Makes me think about things that matter family & friends... People in general and how we treat one another. If I die today what impression have i left on this world? on people? We never know when we will travel to the "other side".. (if you believe in it).
There is a quote that goes something like.. "never leave anything you could say today for tomorow." i cant remember for the life of me where i got it from but i know its from somewhere. And never leave something you could do today for tomorow...
im just thinking and remembering.. *sigh*
Early Conlangs and Universal Languages: From Ancient Greece to 20th-Century America
Conlangs did not come into existence with Zamenhof’s Esperanto, Okrand’s Klingon and Tolkien’s Elvish. Language creation has been around since the first humans began connecting the sounds they uttered to things in the real world. The relationship between words and their meanings has been analyzed by philosophers for ages. Numerous authors long before Tolkien added constructed languages to their works to provide verisimilitude to their imaginary worlds. Many people have theorized and even created languages to be used as international, neutral forms of communication including Volapük, Interlingua, Ido, Latino sine Flexione, Novial, Occidental, and many more. These are the founders, philosophers, writers, and visionaries who laid the groundwork for the conlangers of today.
An Historical Timeline from Plato to Swift
360 B.C.E.
Plato
Cratylus
early 3rd century C.E.
Athenaeus of Naucratis
The Deipnosophists (Banquet of the Philosophers)
12th century
Hildegard of Bingen
“Lingua Ignota”
1516
Sir Thomas More
De Optimo Reipublicae Statu deque Nova Insula Utopia
(More's work, commonly referred to simply as Utopia, includes information on the Utopian language)
1532
François Rabelais
Gargantua and Pantagruel
1580s
Dr. John Dee & Edward Kelly
Diaries
(Edward Kelly would enter trance states and receive messages from the Angels in their language, Enochian. Dr. John Dee faithfully transcribed all that Kelly would relate.)
1622
Paul Guldin
Problema aritmeticum de rerum combinationibus
(calculated the number of possible locutions generated by 23 letters)
1629
Marin Mersenne
Harmonie universelle
(wherein Mersenne considers the idea of a universal language)
1629
René Descartes
Letter to Marin Mersenne
(expressed a critical opinion of a universal language submitted anonymously to Mersenne; Descartes advocated a universal language built on philosophical principles)
1638
Francis Godwin
The man in the moone or A discourse of a voyage thither by Domingo Gonsales
(the first English science fiction; describes the “musical” Lunar language)
1647
Francis Lodwick
A common writing: whereby two, although not understanding one the others language, yet by the helpe thereof, may communicate their minds one to another
(the first universal language scheme to be published)
1652
Sir Thomas Urquhart
Ekskubalauron, or the Discovery of A most exquisite Jewel, more precious then Diamonds inchased in Gold, the like whereof was never seen in any age ...
(includes Urquhart's "Introduction to the Universal Language")
1657
Cave Beck
The universal character: by which all the nations in the world may understand one anothers conceptions, reading out of one common writing their own mother tongues.
(Beck's universal language and script were based primarily on the use of numbers)
1659
Dr. Meric Casaubon
True and Faithful Relation of What Passed for Many Yeers between Dr. John Dee and Some Spirits
(Enochian)
1661
George Dalgarno
Ars signorum
(Dalgarno can be credited with devising the first universal language based on a systematic categorization of reality, from animals, humans, and plants to thoughts, feelings, and beyond. This idea would be refined further by John Wilkins in 1668)
1663
Athanasius Kircher
Polygraphia nova et universalis
(Kircher's language failed to catch on as a universal language, but was a pioneering work in cryptography)
1676
Gabriel de Foigny
La Terre Australe Connue
1677
Denis Vairasse d'Alais
Les Sévarambes
1668
John Wilkins
(brother-in-law of Oliver Cromwell)
An essay towards a real character and a philosophical language
(lays out a detailed categorization of reality accompanied by a universal languages based on this classification)
1669
John Webb
An Historical Essay Endeavoring a Probability That the Language of the Empire of China Is the Primitive Language
(proposes Chinese as the language spoken before the confusion of tongues at the Tower of Babel)
1726
Jonathan Swift
Travels into Several Remote Nations of the World, in Four Parts by Lemuel Gulliver
(Brobdingnagian, Laputan, and Houyhnhnm languages)
(Bottom) The Ban
For years, the subject of the origin of language AND the construction of universal languages was officially banned in academic circles. The 1866 constitution of the Société de linguistique de Paris bluntly stated...
[l]a Société n'admet aucune communication concernant, soit l'origine du langage, soit la création d'une langue universelle.
"The Society does not accept papers on either the origin of language or the creation of a universal language."
In 1872, the London Philological Society followed suit. Almost a century later, Noam Chomsky would echo this skepticism of research into the prehistory of language, and this would be enough to stifle this subject in academia for decades.
Luckily, the origin of language has now become a topic of serious academic research by noted linguists like Steven Pinker, Sue Savage-Rumbaugh, and Simon Kirby. The First Word by Christine Kenneally does a wonderful job of presenting the history of this debate and the current state of research.
In the realm of conlangs, the Internet has provided an unsurpassed opportunity for artificial languages to flourish. Entire web sites, forums, and listservs dedicated to (and written in) Esperanto, Klingon, and thousands of other personal and international languages are now commonplace online.
Kungsladugård, Gothenburg.
It's never too late to stay up too late.
Quote by Carl Jung.
View large on black highly recommended.
“We are strange beings, we seem to go free, but we go in chains - chains of training, custom, convention, association, environment - in a word, Circumstance - and against these bonds the strongest of us struggle in vain” - Mark Twain
Postumus Ӕ Double Sestertius. Lugdunum, AD 261. IMP C M CASS LAT POSTVMVS P F AVG, radiate,draped and cuirassed bust right / LAETITIA AVG, galley right with four rowers. RIC 143; Bastien 87. 15.92g, 32mm, 6h.
Virtually Mint State – apart from a light patina, this remarkable specimen is otherwise exactly as it was when it left the die.
One of the very finest known sestertii of Postumus in existence.
Ex Roma Numismatics VII, 22 March 2014, lot 1223.
Postumus appears to have been an imperial legate of Lower Germany when he defeated a Juthungian army which was returning from Italy, laden with goods and captives (even though they had been turned back by Gallienus at Mediolanum). Postumus had already distributed the captured wealth to the legions he commanded when he received the command of Gallienus’ son and Caesar, Saloninus, to hand over the recovered spoils. Renouncing Gallienus and Saloninus, the troops hailed Postumus as emperor, and proceeded to attack Colonia Claudia Ara Agrippinensium and kill Saloninus. Postumus immediately secured the loyalty of Gaul, Upper and Lower Germania, and Raetia. The following year Britannia, Gallia Narbonensis and Hispania followed suit.
Though Postumus relied on the army which kept him in power for a decade, the safety of the provinces was not solely an army matter, for the coasts required protection also, and so it is reasonable that his navy deserved mention on the coinage. The issues which couple the reverse legends FELICITAS and LAETITIA with scenes of a galley probably show that the emperor by no means neglected his navy, and perhaps that it achieved success.
The type of galley depicted on the reverse of the present coin could be a navis lusoria, which was a small military vessel of the late Roman Empire that served as a troop transport. It was smaller and narrower than similar earlier vessels, and ideally suited to the rivers close to the Limes Germanicus; the presence of this type of vessel in the Classis Germanica is shown through the discovery of the Mainz Roman ships in 1981-2, thus proving that they operated on the Rhine and Danube.
ROMA13, 894
A glimpse of the fabulous Kackar Mountain region of Northeast Turkey...
Photographed during a steep pass from one valley system to the other one, Çeymakçur valley...
Encountered a microclimate harboring a tremendous variety of Kackars flora...
A Türker Şengül Artwork (c)2005
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.
You lived, But have you ever thought of the evidence for your life? You left nothing ,but better than the pains you give to the others...
By Moxkyr
Survival for Existence is becoming so difficult due to harsh climate/weather.
Many flowers get wilted in no time.. very few stand tall.