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House of the Teutonic Order
The House of the Teutonic Order was as a Viennese commandry of the in 1198 in Acre founded Teutonic Order under Duke Leopold VI in the early years of the 13th Century built. The German Order was next to the Hospitallers and the Templars the third major order of knights of the Middle Ages. Duke Leopold gave him the large area between Stephansplatz, Churhausgasse, Singerstraße and blood alley (Blutgasse). Documentarily proven is the existence of the house from 1222. Here resided the Landkomtur (province commanders) of the Bailiwick of Austria, to which the commandries Vienna, Wiener Neustadt, Graz, Friesach and Groß-Sonntag (Krain) belonged. In the great fire of 1258 all the religious buildings except the church tower burned down. In the Middle Ages the complex of the German monastic house was limited to the area along the Singerstraße and Blutgasse. 1309 exchanged the Order part of the land that was needed for the extension of Stephen's cemetery against a neighboring area. The sprawling building had in its, the Stephansplatz adjacent part a large farm yard, which was surrounded by stables. Since 1526 the Head of the Order bore the title "Grand and German master (Hoch- und Deutschmeister)". The famous Viennese house regiment of the same name by the way in 1696 emerged from those Truppenkontigenten (contigent of troops) which the Order for the Turkish war had provided. After the first Turkish siege of Vienna, numerous residents of the suburbs whose houses had been burned were housed here. From 1667 the already dilapidated buildings were torn down with the exception of the church under the Landkomtur (province commander) Gottfried Freiherr von Lambert and provided by Carlo Canevale with three-storey new buildings. As plasterers Jacob Schlag and Simon Alio were mentioned. 1679/82 increased Canevale and Johann Bernhard Ceresola the complex.
Sala terrena. In the years 1720-1725 the German religious house under the Landkomtur Guidobald Starhemberg by Anton Erhard Martinelli was further extended and baroquised. In 1785 it received under Landkomtur Alois Graf Harrach by placing a fourth storey its present shape. In the 18th Century several fires caused major damages. Especially those of 1735 raged for three days, because the urban fighting personnel the entry was denied by the German Order of Knights. Among the prominent residents of the German religious house, which in the 18th and 19th century first also as a guest house of the Order served and then was largely rented, included Wolfgang Amadeus Mozart (1781), Johannes Brahms (1863 - 1865) and the comedy writer Cornelius Hermann Paul von Ayrenhoff. At the beginning of the 19th Century on Stephansplatz the German Order Cellar (Deutschordenskeller) was opened. Was in its place in the second half of the 20th Century the Restaurant "Deutsches Haus". Since 1809 the German religious house is the residence of the Grand Master of the Teutonic Order. Until then, this one resided in Mergentheim (Baden-Württemberg). From 1864 the Landkomtur Eugen Graf von Haugwitz the church by the cathedral architect from Gran, Josef Lippert, partially had re-gothicised. At that time at the gable above the church windows the already damaged pinnacles and figures were removed. Only the Grand Master coat of arms was left. 1929 the community of the German Teutonic Knights was transformed into a purely religious order. It is one of the very few religious institutions whose top management is not located in Rome. First Grand Master living in Vienna was Archduke Anton Viktor (1804 - 1835).
Church - interior. The House of the Teutonic Order is now a sprawling complex of buildings, grouped around two courtyards. The façade at the Blutgasse is the oldest. Those at the Singerstraße stems from the 17th Century. It represents today the face side of the building. The structuring of the façade by high Baroque inonic giant pilasters followed around 1720. The ground floor is grooved. The two early-Baroque round-arched portals are framed with Tuscan pilasters. The simple façades of the courtyards are held in the style of the 17th Century. On the west side of the pentagonal courtyard on the ground floor walled arched arcades as well as glazed Pawlatschen (access galleries) from the 19th Century on the first floor can be seen. In the courts were various, in 1903 discovered grave plates placed. The ground floor rooms are vaulted, early Baroque lunette barrels and groin vaults prevailing. Among them is the Sala terrene, a with a flat dome vaulted central room which is decorated with illusionistic wall paintings of the late 18th Century. The wall and ceiling frescoes depict mythological scenes and figural ornaments. The hall was once opened to the garden through a portal, but this was later reworked into a window. The tract between Stephansplatz and Blutgasse encloses two two-aisled halls. While the cross vault of the first ones is resting on sturdy pillars is those of the other ones supported by Tuscan columns. In the partially with Rococo and Neoclassical stucco ceilings provided rooms of the first floor are located the library and archives of the Order with documents and books dating back to the 12th Century. Some beautifully crafted wood cabinets were personally manufactured by the Grand and Deutschmeister Archduke Eugen. In the treasure chamber on the second floor are in addition to religious insignias and paintings, inter alia, parts of the Kunstkammer (Art chamber) of the Grand Master Archduke Maximilian III of Austria from the time about 1600 exposed.
Church - Empore. Attention getter and center of the tract at the Singerstraße are the three tall lancet windows of the church of the Teutonic Order. The first chapel already in 1258 fell victim to a town fire. From 1326 it was replaced by Jörg von Schiffering by a new building yet today the core of the Church of the Teutonic Order forming. At that time this one was still but free on three sides. In 1375 it was dedicated to St. Elizabeth. Guidobald Starhemberg 1720/22 the Chapel had remodelled in the Baroque style and flanked at both longitudinal sides by newly built religious houses, by which the three stained glass windows became the central projection of the House of the Teutonic Order. Presumably Anton Erhard Martinelli also was involved in the planning. The quite gothical appearing church facade is a beautiful example of the baroque tinge of the time after the Gothic period of 18th Century, unique in Austria. In the neo-Gothic restoration of 1864/68 the Baroque dome of the narrow and high tower was replaced by a pointed Gothic helmet. After the church was severely damaged in 1945 by bomb hits, followed its restoration 1946/47. Its vaults possess Gothic stucco decorations. In the Baroque reconstruction in the corners eight galleries were built-in, which are accessible from the apartments situated behind. The Dutch polyptych (1520) comes from Mechelen, but was until 1864 in the St. Mary's Church of Danzig. The altarpiece was created in 1667 by Tobias Pock. In the four corners of the room Evangelists Statues by Johann Hutter (1864) replace the missing sculptures by Giovanni Giuliani from the year 1721. On the walls hang several grave slabs, including an epitaph of the scholar Johannes Cuspinian (1515) and the by Jacob Schletterer created grave monument of the Landkomtur Josef Philipp Graf Harrach. Most of the more than eighty coats of arms of German knights, covering the upper part of the walls were designed by Johann Andreas Frank 1722.
Location / Address : 1010 Vienna, Singerstraße 7
Viewing: with the exception of the church and the museum allowed only outside
Princes Road Synagogue came into existence when the Jewish community in Liverpool in the late 1860s decided to build itself a new synagogue, reflecting the status and wealth of the community. The Toxteth area was rapidly expanding as Liverpool's magnates built opulent mansions. The synagogue stands in a cluster of houses of worship designed to advertise the wealth and status of the local captains of industry, a group that was remarkably ethnically diverse, by the standards of Victorian England. Immediately adjacent to Princes Road are the magnificent Greek Orthodox Church of St Nicholas, and a handsome, early French gothic, Welsh Presbyterian Church.
Author H A Meek is quoted as saying "He who has not seen the interior of Princes Road synagogue in Liverpool has not beheld the glory of Israel."
Abdominal excessive weight, colloquially called stomach fat or medically as major excessive weight, is the buildup of visceral cellulite causing a surge in stomach size. Put simply, it refers to the existence of excess fat in the belly area. Those that are apple-shaped have the tendency to keep excess physical body fat around their belly and abdomen. Abdominal excessive weight is often assessed by stomach area; a size of 40 inches or perhaps a lot more in males along with 35 inches or more in females shows belly excessive weight
Excess fat in the abdomen is thought of an independent predictor of threat facets and morbidity, indicating the likelihood for developing ailment is higher for those with belly too much weight.
An unwanted of visceral fat is called major weight troubles, the "pot stomach" or "stomach" impact, where the abdominal area protrudes overly. This body type is in addition referred to as "apple formed", unlike "pear" shape, where fat is placed on the hips and buttocks. This figure is similarly referred to as apple formed, rather than "pear" kind, in which fat is placed on the hips as well as buttocks.
Specifically just what are the procedures to take to stay clear of Abdominal Excessive weight?
Dr. Deepak claims, "More than exercise, merely what you eat concerns; a proper diet routine is a need to if you want to keep away from belly too much weight." He a lot more brings in, "Abdominal excessive weight shows high insulin degree or anxiety hormonal rep. If you have belly too much weight, it clearly proposes that there is something neglecting in your system along with you should solve it by taking excellent actions to stop ailment. The greatest indicates to repel abdominal too much weight from your life is by taking preventive procedures. Abide by these reliable preventive procedures as well as which recognizes, you can bid farewell to stand too much weight for life.
Drink lots of water throughout the day. Water is the most reliable organic resource conveniently available to toss out waste.
Consume your meals at your own time. Chew it extensively just before ingesting it as eating without delay can create air swallowing. Therefore, decelerate as well as enjoy your scrumptious meal. Constraint intake of carbonated water. As a different take in lemon water. Claim NO to sugary products. Eat bunches of fresh fruits as well as vegetables. Eat tiny meals, along with take in after every 3-4 hours. Stop late night meals or snacks.
Include in your routine at the very least 45 minimums of day-to-day exercise in your life as well as making certain you acquire a correct 8 hours of rest every night.
Include low fatty tissue nutritional products like skimmed milk along with low fatty tissue cheese along with yoghurt.
Understand the precursors or disorders causing high blood tension, a lot more so if you have a genealogy. Then take those procedures to regulate or take care of hypertension with the help of your medical professional. Display your cholesterol levels often as well as continuously regulate your weight.
Abdominal excessive weight, colloquially recognized as stomach fat or medically as major excessive weight, is the buildup of visceral fatty tissue resulting in a surge in stomach size. Merely put, it refers to the existence of excess fat in the belly area. Those that are apple-shaped have the tendency to keep excess physical body fat around their belly and additionally abdomen. Abdominal excessive weight is often assessed by stomach area; a size of 40 inches or even a lot more in males as well as 35 inches or more in females shows belly excessive weight
An unwanted of visceral fat is recognized as major weight troubles, the "pot stomach" or "stomach" impact, where the abdominal area sticks out overly. liposuctionmelbourne.com.au/liposuction-melbourne-2/abdom...
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...
History of Kraków
First indications of the existence of Krakow approximately stem from the 7th century. In the next following centuries the tribe of Vistulans (Wislanie) populated Krakow, after they centuries ago in the as "Lesser Poland" or Malopolska known region had settled down. From the year 965 stems the first document from Krakow, as Abraham ben Jacob of Cordova, a Jewish merchant, in his book referred to the trading center of Krakow.
In 1000, the Diocese of Krakow was founded and in 1038 declared capital of the Piast dynasty. The Wawel castle and several churches were built in the 11th century and thus the town rapidly grew. 1241 the Mongols invaded the city and burned down Krakow without exception. 1138 Krakow became the seat of the senior prince. 1257 Kraków was awarded its town charter and a city map was drawn up, which remained until today. This one included the arrangement of the checkerboard street configuration with a centrally located market. On the market following the seat of the city government was built. From the historical trading functions until today only the Cloth Halls remained. But on the market not only trade agreements were closed but also courtly and urban festivities celebrated. Furthermore, the urban center served for executions. The defensive walls were built, which surrounded the city and linked it to the Wawel. In the south of Wawel Castle in 1335 the city of Kazimierz was created. By Royal command it was surrounded by defense walls and the churches of St. Catherine, of Corpus Christi and the "Na Skalce" were built. End of the 15th century, Jews settled the later Cracow district. 1364 the Cracow Academy of King Kazimierz Wielki was founded, the famous Polish Jagellonen-University.
With the last king of Jagellonian dynasty, Krakow flourished. The Wawel castle was rebuilt in Renaissance style, the well known Zygmunt chapel was built and the Cloth Halls as well as the patrician houses have been restored. During the reign of King Sigismund III. Vasa the baroque style received introduction in Krakow. The Baroque University Church of St. Anne and the Church of Saints Peter and Paul were built in this period. In 1607 Warsaw was declared headquarters of the King, but Krakow retained its title of the Royal capital. Furthermore, it remained the place of coronations and funerals. Middle of the 17th century, the city was devastated by the Swedes, what at the beginning of the 18th century was produced again.
After the first partition of Poland, Krakow became a frontier town. Austria declared the settlement Podgorze separated city. After the second division in 1794, began the Polish national uprising. After its decline and the third partition of Poland the town fell to the Austrians, which on Wawel Hill caused numerous devastations and adapted buildings to the wishes and needs of the Army. 1809 Cracow was affiliated to the Grand Duchy of Warsaw. After the defeat of Napoleon, Krakow in the Vienna Convention of 1815 was declared Free City of Kraków. Then the remains of folk hero Tadeusz Kosciuszko and of Prince Jozef Poniatowski were brought back to the city. 1820-1823 on the rise of St. Bronislava a hill in honor of the leader of the popular uprising was built. Instead of the city walls, which were largely destroyed, they laid out supporting beams. 1846 Krakow lost its independence and the Austrians erected again on the Wawel barracks and they surrounded the Wawel with fortification complexes. However, Austria but has proved less tyrannical and so the city enjoyed a certain degree of growing cultural and political freedom. 1918 Krakow became the independence back.
Before the outbreak of the Second World War, in Krakow lived about 260,000 inhabitants, of which 65,000 belonged to the Jewish religion. During the war, also Krakow became witness of German war crimes. The for the greater part Jewish district of Kazimierz was eradicated. The Jews from now on lived in ghettos where they either were deported from there to Auschwitz or immediately shot. In spite of the plundering of the Nazis, Krakow became no scene for military combat operations and thus the only large Polish town escaping this fate. Therefore, its old architecture still almost completely is intact.
After the surrender of Germany and the Polish liberation, hastened the Communist government to inspire the traditional life and the city with a large steel plant in Nowa Huta. But the intensive rebuilding of the economy and industry rather promoted an ecological disaster. Buildings that had survived the war undamaged were now devoured and destroyed by acid rain and toxic gases. Carbon dioxide emissions grew so powerful that this has remained a serious and grave problem of the city. After the fall of the Communists and the fall of the Iron Curtain Krakow has benefited greatly from tourism and has adapted itself to a large extent to the Western culture.
A few months ago I read a post about this ancient monument, I was unaware of its existence.
I logged into my Google Maps and recorded it as one of my desired places to visit.
Today Thursday 15th November 2018 Scotland basked in a beautiful Autumn sunshine, my favoured shooting conditions, I packed my Nikon and drove the 25 miles to the site.
Historic Environment Scotland maintain the monument , thankfully they have done a magnificent job, I truly believe it is important to preserve history for the generations to come.
I had a magnificent two hours recording my experience, I never fail to feel overwhelmed by the wealth of history that surrounds Aberdeen and the shire.
Thank's to Historic Environment Scotland for their detailed information on this site.
Ancient Monument - Kinkell Church - Inverurie Aberdeen Scotland.
Kinkell Church, built in the 1200s, is a classic medieval Highland church: simply designed and rectangular in shape. But the liturgical features installed in the 1520s are anything but plain. The stone sacrament house in the north of the church is an especially fine fixture.
Kinkell was refitted for Presbyterian worship following the Protestant Reformation of 1560, and declared redundant in 1771. Much of the building was dismantled and building materials recycled for use in a new kirk.
KINKELL CHURCH
• Kinkell Church, dedicated to St Michael, consist of the remains of a simple rectangular medieval parish church, of which only the N, W and part of the E
wall are upstanding.
The church was partly remodelled, perhaps on more than one occasion,
including in the early 16th century, when an elaborately carved Sacrament
House was built into the E end of the N wall.
Within the church is the monument of Gilbert de Greenlaw, killed at the battle
of Harlaw in 1411; the stone was re-used for a Forbes burial in 1592
CHARACTER OF THE MONUMENT
The church appears to have come on record in the early 13th century. Kinkell
was a mother church, or plebanus, and had dependent chapels at Dyce,
Drumblade, Kemnay, Kinnellar, Kintore and Skene.
This connection, which
was of long standing, may have arisen if Kinkell’s origins was that of an ecclesiastical foundation, rather like a minster, with an extensive parochia.
This would push back its origins considerably.
From the 14th century, certain revenues of the church evidently pertained to the Knights Hospitallers, although it is also recorded as an independent parsonage during the 14th century.
Any connection with the Hospitallers came to an end in 1420, when the church
and its annexes were erected into a prebend of Aberdeen Cathedral.
From a date and a set of initials on the sacrament house, it is apparent that in 1524 Alexander Galloway, rector of Kinkell and canon of Aberdeen Cathedral,
paid for the splendid sacrament house built into the E end of the N wall.
He appears to have been paying for further work the following year as a carved stone panel depicting the crucifixion, dated 1525, and with Alexander’s initials (three times), is built into the N wall (only a bronze replica survives; the original
was removed to Aberdeen Museum in 1934 and subsequently lost).
The church was abandoned in 1771 when the parish was amalgamated with
Keithhall. It was partially demolished to provide building materials for the new
parish church.
Archaeological Overview
There have been no recorded archaeological investigations at Kinkell.
The archaeological potential of the monument is extremely high and any excavation is very like to come across human remains, and perhaps also earlier church
buildings on the site.
Artistic/Architectural Overview
The church is fragmentary and devoid of features apart for the sacrament
house, the crucifixion panel and a single jamb of what must have been a large,
traceried E window. The simple oblong plan of the church suggests that the
basic form of the church dates from the early 13th century, with much late
medieval remodelling.
2/3
• The sacrament house is a particularly fine, and unique, example of this type of
medieval church fixture. It was an aumbry, or wall cupboard, designed to
reserve the host in appropriate reverential surroundings.
• The sacrament house at Kinkell shares several features with others found in
the NE, associated with Galloway, but is unique due to its cross shape. The
aumbry is flanked by two buttresses with crocketed finials. Between these is a
panel, which although badly defaced, appears to have been ornamented with a
monstrance supported by two angels (a very common motif found on other
sacrament houses associated with Alexander Galloway). Above this panel is a
corbelled and battlemented cornice, and above this is an oblong panel, which
probably contained a crucifixion scene, but is now empty. Flanking the
pinnacles are two panels, each filled with scrolls, which are of different forms
although the inscriptions on the scrolls were meant to be read as one and
state: ‘Here is preserved that body which was born of a virgin’.
• The crucifixion panel has a representation of St Michael, the archangel (to
whom the church was dedicated) to the right of the crucified, the Virgin on the
left and under her a priest, perhaps representing Galloway himself as donor,
standing beside an altar on which are Galloway’s initials.
• The sacrament house and the Crucifixion panel appear to have been part of a
liturgical revival in the diocese of Aberdeen during the early decade on the 16th
century. Alexander Galloway appear to have been a central figure in the move
to ensure parish churches had the fittings for the proper worship of God, and in
particular devotion to the Blessed Sacrament. He erected several sacrament
houses in churches he was involved in; Kinkell and its dependents at Dyce and
Kintore, and at King College, Aberdeen and may have been influential in the
decision of his colleagues, Alexander Spittal of Auchindoir and Alexander Lyon
of Turiff, to erect those in their respective churches. Galloway also donated a
font to Kinkell, which now is now in St John’s Episcopal Church, Aberdeen.
• The construction of the sacrament house may have been part of a wider
reorganisation of the chancel area of the church, and it is tempting to suggest
that the great E window may have been a part of this re-organisation, although
details of this moulding may be more consistent with a 14th or 15th century
date.
Social Overview
• The church is currently used as a recreational attraction. It receives little other
community use.
Spiritual Overview
• As a parish church in use for some six centuries, the site has the potential to
inform our understanding of medieval Christianity, the aspirations of the
rectors, vicars and ministers who served the church and the congregations
who worshipped in it.
• The burial ground was in use until fairly recently, and may still be in use for
occasional burials. People still visit family graves and memorials.
Aesthetic Overview
• The church and burial ground are located in the haughs of the River Don,
amongst arable farmland which adds to the appreciation of this monument.
The church has been pointed with a hard cement mortar that give the walls the impression of crazy paving.
The sacrament house, the replica crucifixion panel,
3/3 the window jamb are fine architectural details which are aesthetically very striking, and provide some idea of the glories of this once very fine church.
• The graveslab of Gilbert de Greenlaw, killed at the Battle of Harlaw, which would originally have been a ledger slab, is a particularly detailed carving of an armed knight.
What are the major gaps in understanding of the property?
• Do further historical sources or references survive.
• Nothing is known about the archaeology and earlier history of this site.
The church is an example, although much ruined, of a church which was remodelled in the 16th century.
The sacrament house is a particularly fine example of this type of church
furnishing, and the only example which takes the form of a cross.
Sacrament houses are physical manifestation of an important aspect of late medieval
Christianity; the veneration and adoration of the Body of Christ in the form of the consecrated host.
The church is closely associated with Canon Alexander Galloway, who encouraged a liturgical revival in the diocese in the early 16th century.
The site has high archaeological potential, but as a place of burial over centuries so the scope for research-led invasive excavation is not high.
Associated Properties
St Fergus’, Dyce, Auchindoir Church, St Machars Cathedral, Kintore Church,
This isn't exactly the type of photo I normally upload, but I really liked the old oil painting feel in this... Plus due to my school schedule, I have not had a chance to continue to upload the way I wanted too.
Wanted to put this out here as a wallpaper in case anyone would like it.
Canon 5D Mark II
Canon 135L
If only there had been some mayonnaise, life might have turned out a whole lot different. More piquant, and perhaps with a little extra cream in it.
- Pratchett, _Eric_
Here, paths of meaning cross—
between what is chosen and what is inevitable.
A moment where time hesitates,
and identity is briefly undone.
The existence of a theatre at Syracuse is attested by the end of the fifth century BC by the mime author, Sophron, who names the architect as Damokopos, called "Myrilla" because he made heavy use of perfume ("myrrha") at the inauguration. It has not been proven, however, that the passage records this monument and some think that it refers to another theatre in another location. However it is certain that a theatre was used in Syracuse from the early classical period and in it, it seems, the theatrical activities of the playwrights Epicharmus, Phormis and Deinolocus took place. At Syracuse, Aeschylus put on "The Aitnans" (a tragedywritten to celebrate the re-foundation of Catania with the name Aitna, or of a centre with the name of Aitna where the Catanian exiles had found refuge after the destruction of Chalcidean Katane at the hands of Hieron I), probably in 456 BC. Also The Persians, which had already been performed at Athens in 472 BC, may have been performed at Syracuse. This latter work survives to this day, while the former has been lost. At the end of the fifth century or the beginning of the fourth, the plays of Dionysius I were probably performed here, along with those of the playwrights hosted at his court, such as Antiphon.
It seems that the theatre was renovated in the third century, after 238 BC and certainly before the death of Hieron II in 215 BC, transforming it into the form seen today. Its structure was extended, taking into account the shape of the Temenite hill and the best possibilities for acoustics. Another typical characteristic of Greek theatres is the celebration of the panoramic view, also applied to the theatre of Syracuse, offering a view of the bay of the port and the island of Ortygia.
The cavea had a diameter of 138.6 metres, one of the largest in the Greek world, and originally had 67 rows of seating, mostly cut into the living rock, and divided into nine sectors (cunei) by access stairs
Strobist:
AB1600 3/4th power Above Camera Left
Large Softbox
Canon 40D 17-40L + UV Filter
Took some promos with these fellers a few months back with the "fire flower" idea, went for some more casual ones this time, not to mention a member change.
A bunchhhh of shots coming soon (:
Having visited this dockyard in August and September 2017, it brought back many memories for me having sailed out from there in 1963 on H.M.S. Venus to the Azores. I was then a Cook in the Royal Navy serving at H.M.S Ganges in Suffolk. It was a cold winter day then and I was over the side of the ship scrubbing it clean before we sailed. Arriving at the entrance it was a bit disconcerting to see the queues of people waiting to get in. The queue took 40 minutes to allow where I was to arrive at the ticket gate. A bag search told me I was to leave my Monopod with them for safekeeping at the ticket office. This also applies to Tripods for camera equipment so remember this.
The first ship you see is the H.M.S Warrior on the left-hand side dock. This ship was the fastest, largest and most powerful warship in the world when she was launched. Such was her reputation that enemy fleets were intimidated by her obvious supremacy and deterred from attacking Britain at sea although she never fired a shot in anger. HMS Warrior was a 40 gun steam-powered armoured frigate built for the Royal Navy. She was the name ship of the Warrior-class ironclads. Warrior and her sister ship HMS Black Prince were the first armour-plated, iron-hulled warships, and were built in response to France's launching in 1859 of the first ocean-going ironclad warship, the wooden-hulled Gloire. Warrior conducted a publicity tour of Great Britain in 1863 and spent her active career with the Channel Squadron. On board HMS Warrior which was launched in 1860, Britain’s first iron-hulled, armoured battleship. The ship is powered by steam and sail and was the largest, fastest and most powerful warship of her day and had a lasting influence on naval architecture and design. Work and life on board reflected both the changes the Royal Navy experienced as it evolved into a professional service and shifts in Victorian society. Built to encounter the latest of the French ships, Warrior was, in her time, the ultimate sea warrior. Yet by creating a new era in naval technology, she very soon became outdated. After 22 years’ service, Warrior’s hull was to be used as a depot, floating school and an oil jetty. Painstakingly restored in Hartlepool and then back home to Portsmouth since 1987, Warrior is a unique survivor of the once formidable Victorian Navy and now serves as a museum ship, visitor attraction, popular private hire venue and more. HMS Warrior was rescued in the 1980’s, restored and brought back home to Portsmouth and is owned by Warrior Preservation Trust, an independent charity. Sadly, the time has it taken its toll and today she is in a sorry state - her bulwarks, which keep her watertight, have failed and are deteriorating to a point which places her at significant risk.
Next ship I saw was H.M.S. Victory is a 104-gun first-rate ship of the line of the Royal Navy, ordered in 1758, laid down in 1759 and launched in 1765. She is best known for her role as Lord Nelson's flagship at the Battle of Trafalgar in 1805. She additionally served as Keppel's flagship at Ushant, Howe's flagship at Cape Spartel and Jervis's flagship at Cape St Vincent. After 1824, she was relegated to the role of harbour ship. In 1922, she was moved to a dry dock at Portsmouth, England, and preserved as a museum ship. She has been the flagship of the First Sea Lord since October 2012 and is the world's oldest naval ship still in commission. This the world’s most famous warship HMS Victory is crumbling under her own weight. An 18-month programme to bring this historic ship back to its original condition. H.M.S. Victory has been sitting in dry dock in Portsmouth since 1922 supported by 22 steel cradles positioned at six-metre intervals. It has been well recorded that the 252-year-old ship is collapsing ( so to speak ) under her own weight and following a detailed laser scan of 89.25 billion measurements and computer modelling, a new support system has been designed to record how the ship would sit in water.
The Mary Rose Museum is run by the Mary Rose Trust. The construction has been a challenge because the museum has been built over the ship in the dry dock, which is now a listed monument. During construction of the museum, conservation of the hull continued inside a sealed hotbox. In April 2013, the polyethylene glycol sprays were turned off and the process of controlled air drying began. In 2016 the hotbox walls were removed and after reopening on 20 July 2016 the ship is currently on display behind glass. This new museum displays most of the artefacts recovered from within the ship in context with the conserved hull. Since the opening, it has been visited by over a million people. The museum is dedicated to the 16th century Tudor navy warship Mary Rose as well as the historical context in which she was active. The museum opened in 1984.T he Mary Rose is a Tudor ship that was built in 1510. In service for 34 years, it sank in 1545 and then discovered in 1971 and was raised in 1982.
Another ship I went to visit was HMS M.33 which is the only sole remaining British veteran of the bloody Dardanelles Campaign of 1915-1916, and also the Russian Civil War which followed. The ship is one of just three British warships from World War I still in existence. HMS M.33 was built in 1915 on the orders of the First Lord of the Admiralty, Winston Churchill. She was a floating gun platform designed to bombard coastal positions from the sea. Her first active operation was the support of the British landings at Suvla during the Battle of Gallipoli in August 1915. She remained stationed at Gallipoli until the evacuation in January 1916. She served in the Mediterranean for the remainder of the War and was involved in the seizure of the Greek fleet at Salamis Bay in 1916.
In the dockyard, you will find many other attractions and museums along with various shops catering for items of interest connected to this historic site.
Backbone Solidarity Brigade of Maryland made a field trip to the confederate statue of General Lee calling for the Dismantling of White Supremacy.
They paid a visit to the Virginia state house emblazoning the face of it with guerrilla light projection messages calling for Medicare for All, protesting fossil fuel pipelines and demanding they "Respect Existence of Expect Resistance."
(Photos curtesy of Richmond DSA)
BRUTTIUM, Kroton. Circa 530-500 BC. Stater (Silver, 29mm, 8.22 g 12). (koppa)PO Tripod with legs ending in lion’s feet supporting a bowl with three handles at the top, two scrolls hanging below and two serpents between the feet; dotted border. Rev. Same type as the obverse, but incuse. HN III 2075. SNG ANS 238-241. An extremely attractive and toned example of unusually fine quality. Good extremely fine.
Ex NGSA VI, Geneva, 30 November 2010, 17.
This is one of the finest archaic staters of Kroton in existence.
NOMOSFPL13, 2
In existence for about 45 million years, Philippine Tarsiers can be found in different parts of the Philippines. It is perhaps best known as native to the island of Bohol, because this is where the Philippine Tarsier Foundation has set up a natural preserve for them.
Nocturnal creatures by nature, Tarsiers do not take well to being displayed and handled in the daytime as it is against their natural biorythmn. In captivity, they can only have a lifespan of 2 to 5 years as the disruption causes them considerable stress. In the wild, they can live up to 24 years.
Excessive logging, conversion of forests into farmlands and human expansion into their habitat have reduced their numbers to only about a thousand living in the wild.
I didn't use the flash in taking these pictures so as not to startle them and have them jump on me. Little did I know that they were probably more stressed out than me. Now I'm feeling guilty that I've probably contributed to their early demise.
On the other hand, increased visibility can raise public awareness of their endangered status and hopefully encourage more people to participate in their preservation.
To see the Tarsiers in Bohol, please visit the Philippine Tarsier Sanctuary in Corella instead of the other tour operators that hold Tarsiers in captivity. The address according to their website is:
The Philippine Tarsier Foundation,
Km. 14 Canapnapan Corella, Bohol 6300 Philippines
Tel: (0912) 5163375
Mobile: (0918) 6021326
Email: tarsier@mozcom.com
Bohol, Philippines
nrhp # 85000065- Fort Shaw began existence as Camp Reynolds, an Army post built by the 13th US Infantry on the Sun River about 24 miles west of Great Falls in 1867. Shortly after completion, the name was changed to Fort Shaw in honor of Colonel Robert Shaw of Civil War fame. To the east were the Plains Indians and the great buffalo range. To the south and west were Montana's mining camps and earliest settlements. To the north was Blackfeet country. The site is on the old Mullan Road, a route which saw lots of emigrant settlers and fortune-hunting miners passing through and getting raided by Blackfeet Indians. The Mullan Road (which stretched from Fort Benton, Montana and Fort Walla Walla Washington) was also traveled by stagecoaches and freight companies going between Fort Benton (head of navigation on the Missouri River) and the Last Chance Gulch placer mines near Helena.
It was from Fort Shaw that General Gibbon rode out with the Seventh Infantry one fateful day in 1876, ordered to join up with General Perry and General George Armstrong Custer and the Seventh Cavalry at the Yellowstone River. Troops from Fort Shaw also took part in the "Battle of the Big Hole" against the Nez Perce in 1877.
In the 1880's, Fort Shaw was known for its social scene, and as the site of Montana's first professional stage performance. The Army abandoned the site in 1890 but the buildings later served as an Indian school. When the Great Northern Railway built a spur line between Vaughn and Augusta, the settlement's fortunes were revived.
from sangres.com
"... black metal could be described as a negative form of environmental writing; the least Apollonian of genres, it is terrestrial – indeed subterranean and infernal – inhabiting a dead forest that is at once both mythic and real unfolding along an atheological horizon that marks the limit of absolute evil where there are no goods or resources to distribute and therefore no means of power and domination, a mastery of nothing."
- Niall Scott & Scott Wilson
I'm finally getting around to reading Hideous Gnosis which was originally a symposium organized by Nicola Masciandaro and sponsored by Glossator and Show No Mercy. Brandon Stosuy gives us - for those unfamiliar with the Black Metal movement - an informal history of the movement in the US in his article for The Believer magazine A Blaze in the North American Sky. He recounts the gruesome murder of Norwegian born Aarseth at the hands Vikernes (a.k.a. Count Grishnackh) which gained the movement its most notorious publicity.
Beyond this dance of death the original inspiration for Black Metal came from the group Venom and its Thrash Metal sounds in which "the main early defining differences between it and its father-genre being tremelo picking and 'blast-beats'; drum beats played about twice the speed as the traditional trash metal base beats (32nds as opposed to 16ths). Taking major influence from Bathory and Venom, the ganre became largely associated with Norway through the work of Mayhem, Burzum and Dark Throne, many of the later bands categorised into the black metal genre being influenced by these three bands, and many of these bands being from Norway themselves.
Characteristics of black metal include typically high-pitched screaming vocals, tremolo picked guitars lacking bass and emphasising treble, and blastbeats (quadruple time drum beats). Unlike its sibling, the more thrash-based death metal, black metal concentrates more on mood and melodies (primal as they may be) instead of riffs and heaviness.
So why would a group of cultural theorists and philosophers want to discuss the dark contours of such a nihilistic subgenre of the Heavy Metal scene as Black Metal? Aspasia Stephanou asks us "Who is the lonely being that utters discordant, pre-linguistic cries amidst a chaotic symphony of sounds?"[1] Varg Vikernes, that most notorious scion of the Black Metal world tells us that early on he was involved in the RPG games of Dungeon and Dragons, but that it was Tolkien's world of Hobbits, Dwarves, and Elves that struck the deepest cord:
"I felt a natural attraction to Sauron, who was the person who gave the world adventure, adversity and challenges in the first place. His One Eye, the One Ring and the tower of Barad-Dur are all attributes similar to those of Óðinn. The One Eye was like Óðinn's eye, the One Ring was like Óðinn's ring, Draupnir ("Dripper"), and Barad-Dur was like the tower or throne of Óðinn, called Hliðskjálf ("Secret Ritual-Site"). His Uruk-Hai and Olog-Hai ("Troll-Race") were like Viking berserkers, the Warges were like Óðinnic werewolves, and so forth. I could easily identify with the fury of the "dark forces", and enjoyed their existence very much because they were making a boring and peaceful world dangerous and exciting."[2]
He has been associated with all forms of the modern pagan movement in its extreme modes of post-nazi philosophical and religious foundations. In the late 90s, "to avoid confusion" and "to find a term more suitable and accurate", Vikernes coined the term "odalism". "In it lies Paganism, traditional nationalism, racialism and environmentalism." Vikernes contrasts it with "modern 'civilization'" which he equates with "capitalism, materialism, Judeo-Christianity, pollution, urbanization, race mixing, Americanization, socialism, globalization, et cetera". He places importance on the fact that Odalism "is not a term tainted by history"; in contrast with Nazism:
The 'nazi ghost' has scared millions of Europeans from caring about their blood and homeland for sixty years now, and it is about time we banish this ghost and again start to think and care about the things that (whether we like it or not) are important to us.[3]
Now the question is: Why have so many people been influenced by such a strange amalgam of religious bigotry and nihilistic ramblings? Or, is it that most Black Metal practitioners have formed another philosophy less racist? In the essay by Benjamin Noys, ‘REMAIN TRUE TO THE EARTH!’: REMARKS ON THE POLITICS OF BLACK METAL, tells us:
"If we were to define a degree zero of Black Metal politics then it would be an unstable amalgam of Stirnerite egoism and Nietzschean aristocratism: a radical anti-humanist individualism implacably hostile to all the ideological ‘spooks’ of the present social order, committed to creating an ‘aristocracy of the future’ (Nietzsche 464), and auto-engendering a ‘creative nothing’ (Stirner 6)."[ibid. Hideous Gnosis: p. 105]
Noys sees this music as underpinning a return to the 'grand politics' of a Nietzschean "racial-national metaphysics".[ibid. p. 106] Sale Famine of the French Black Metal group Peste Noire becomes the spokesman, or 'organic intellectual' "refuses any notion of the contingency of the link between Black Metal and the extreme right, instead insisting on the necessity of such a link."[ibid. p. 108] He goes on to say, quoting Famine, that Black Metal is, in essence, of the extreme right:
"To my mind, without being necessarily N[ational] S[ocialist], real Black Metal is always extreme right-wing music — be it from Asia or Latin America as extremeright politics are not the appanage of the white race — and it is always Satanic. (Famine, Zero Tolerance)" (ibid. p. 108)
I have to admit, my own left-wing heritage, makes me wonder just what all these cultural theorists and philosophers are up too by forming such a symposium, one that helps promote this music so devoted to the right-wing fascistic ideals of Nazism and Paganistic returns to, what Varg Vigernes, in his own form of it terms 'Odalism' ( sort of amalgam of ancient Norse Odanism and modern fascist ideals)? Noys tells us it seems to be a return to the Chtonian and telluric world view to establish its aesthetic identity:
"Black Metal is the musical memory of our bloodthirsty ancestors of blood, it is the marriage of Tradition, of old racial patrimony with fanaticism, with the rage and the rashness of a youth now lost. It is a CHTONIAN religion: a cult of the EARTH and a return to it, therefore a nationalism; a cult of what is BELOW the earth: Hell — the adjective “chthonian” applies to the Infernal gods as well. Black Metal is a fundamentalism, a music with integrity (from Latin integer, complete) which helps me to remain complete in a dying world, amidst a people in decay, unworthy of its blood. It is the apology of the dark European past. It is a psychosis which helps us to flee a reality we cannot tolerate anymore. (Famine, Zero Tolerance)" (ibid. p. 110-111)
Is this a return to the pre-weimer Germany, of an age of anarchy when the brown shirts ran amok among the population killing and luting, of a world of death portending some grand Götterdämmerung or apocalyptic Ragnarök. Is this the music of the Voluspa,
Old Norse:
Fylliz fiǫrvi
feigra manna,
rýðr ragna siǫt
rauðom dreyra.
Svǫrt verða sólskin
of sumor eptir,
veðr ǫll válynd
Vitoð ér enn, eða hvat?
English:
It sates itself on the life-blood of fated men,
paints red the powers' homes
with crimson gore.
Black become the sun's beams
in the summers that follow,
weathers all treacherous.
Do you still seek to know? And what?
Is this the music of our age, of a time when "greed will cause brothers to kill brothers, and fathers and sons will suffer from the collapse of kinship bonds. ... when the wolf will first swallow the sun, and then his brother the moon, and mankind will consider the occurrence as a great disaster resulting in much ruin. The stars will disappear. The earth and mountains will shake so violently that the trees will come loose from the soil, the mountains will topple, and all restraints will break, causing Fenrir to break free from his bonds."[4]
Noys comments: "The irony is that the aesthetic elements of Black Metal most likely to appeal to the left, or left-leaning, cultural critic – its use of ‘forms which are less conventional’, its evocation of terror or madness – are simply contingent elements that result from the mimetic parsing of the fallen world of modernity which Famine despises." (ibid. p. 113) He goes on to question the writings of Carl Schmitt and his idea of the 'enemy' - ‘The enemy is who defines me. That means in concreto: only my brother can challenge me and only my brother can be my enemy.’ In comment on this statement by Schmitt, Noys says, "the figure of the enemy also has a pacifying function: the construction politics around the friend-enemy distinction is to define ourselves and also to regard our enemy as an enemy, rather than as someone to be exterminated." (ibid. p. 117)
Noys sees this return to a pagan conception of life destructive and that in "the manner of the sorcerer’s apprentice Black Metal unleashes forces it cannot control and which return to destroy itself in an acephalic auto-consumption." (ibid. p. 119) He tells us instead that this cult of the black is a return to what Marx once called 'world-historical necromancy'. (ibid. p. 120) Noys affirms Walter Benjamin's critique of Nazism as ‘habitués of the chthonic forces of terror’ who peddle ‘sinister runic humbug’ ..., correlates with Black Metal’s similar fetishisation of war, radicalised nihilism, and an extreme rightwing politics that articulates itself in modes similar to that of the extreme left (pace Jünger’s ‘national Bolshevism’). (ibid. p. 124) In his summation Noys says,
"The aestheticisation and abstraction of social existence by capitalism in the time of real subsumption is what gives the aesthetic politics of Black Metal its mixture of pathos and bathos. The struggle to pose ‘form-giving power’ against the power of real abstractions creates particular forms of aesthetic politics that cannot simply
be identified with ‘classical’ fascism and Nazism, although, as I have noted, they have new malignant resonances in our global political and economic space that still falls back onto tellurian and nativist re-territorialisations. My point is not a falsely inflationary one, with Black Metal as the viral carrier of a ‘new Fascism’, but neither is it one that stresses dismissive complacency or the ease of extracting from Black Metal a new ‘purified’ and acceptable aesthetic radicalism. Instead, it is to stress the functional coherent incoherence of Black Metal, its constitutive impurity, as its mechanism." (ibid. p. 125)
I decide to focus on the political aesthetics of Black Metal in this first essay to steer the wary reader into the basic foundations upon which this music seems to base its strange dissonance and abject terror. There is another aspect of this music, its mythologies which harp back to the dark forest of ancient Europe, with the tribal howls, screeches, and yells of the Berserkers, those warrior-wolves and assassins full of baying songs of bloodlust and murder. In Aspasia Stephanou's essay PLAYING WOLVES AND RED RIDING HOODS IN BLACK METAL he describes this, quoting Angela Carter, as the "congregation of nightmare", "gothic monsters multiplying and infecting with their contagious proliferations the dark of night." (ibid. p. 159) He goes on to say:
"Black metal glorifies the becoming-werewolf and werewolf nomadism characterised by aggression, speed and violence. The lycanthropic entities that are conjured up in black metal’s lyrics along with the becoming-animal of the voice, demand from the listener a certain kind of response. Between a state of orgasmic pleasure and jouissance emanating from the performative space of radical otherness, and the horrors of hollowing up the body and transgressing its boundaries through the speed of sound, black metal is a monstrous desiring machine. ... It enjoins a bestial annihilation of being and loss of humanity in order to expand the self into a creative multiplicity of wolves. Black metal is becoming wolf, embracing carnal desires, animal transformations and violent instincts." (ibid. p. 159 - 160)
Stephanou even quotes from the "Furturist Manifesto" of Marinetti where he once stated "Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.” In this Black metal misogynistic world he questions the role of female Black metal bands, saying,
"If female black metal bands manipulate the qualities that patriarchy has endowed them with through the use of sexuality in their performances, the language of nihilism or the repetition of black metal’s masculine discourses, then the perpetuation of the similar will persist and their presence will forever be silenced. Black metal is a strange place to be. In a genre in which misanthropy is related to misogyny and in which male authority mostly ignores the feminine presence, black metal’s red riding hoods whether they choose, as the fairy tale says, the path of needles or the path of pins, they must still fight both the father and the wolves to survive in the woods." (ibid. p. 167)
Whatever we might say of Black metal with its proclivities toward a dark paganism and a right-wing aesthetic it seems to be filling some void within the sub world of this dark musical community, and as Scott tells us on the sin-eating mission of these troubadours of blackness, "The Black Metal event is a stranger returning from the void to collect and consume the misery of mankind." (ibid. p. 231) Let us hope that stranger god is not the dark sorcerer of a more terrible abyss of the unreal from which even our own blackest nightmares seem nothing more than the paradisaical glimpse onto a forlorn universe bereft of all things human.
1. Hideous Gnosis: Black Metal Theory Symposium 1, Edited by Nicola Masciandaro (p. 168)
2. Barzum.org A Burzum Story: Part I - The Origin And Meaning
3. Wikipedia article: Varg Vikernes
4. Byock, Jesse (Trans.) (2005). The Prose Edda. Penguin Classics. ISBN 0140447555
earth-wizard.livejournal.com/45007.html
Dark Angel (聖獣伝説ダークエンジェル, Seija densho Dark Angel?, litt. « La légende de la bête sacrée Dark Angel ») est un manga de Kia Asamiya (麻宮 騎亜, Asamiya Kia?). Publié au rythme de douze pages par mois dans le magazine Newtype de la Kadokawa Shoten à partir de 1990, il compte cinq volumes publiés en sept ans. Mais à cause du manque de succès de la série, et des délais de parution trop longs, l'éditeur a finalement arrêté de publier ce manga.
En France, ce manga fut publié par Panini Comics dans la collection Génération Comics dès mai 2000 à un rythme bimestriel.
Synopsis
Après avoir battu en duel son maître, Dark, accompagné de la jeune Kyo, part pour l’Empire du Centre où, comme le veut la tradition, il doit être consacré Gensei de son clan. Un long et dangereux périple devenant une sorte de voyage initiatique qui l’aidera à mieux se connaître lui-même...
Univers
On ne sait pas où se déroule précisément l'histoire de Dark Angel, même si l'on sait que celle-ci se déroule bien dans notre monde, comme le montrent les allusions à la Grèce, à Babylone et aux Mayas. Toutefois, la Grèce se situe en Occident par rapport à cette terre, et l'on peut donc supposer que l'histoire se situe en Asie.
Le pays est divisé en cinq Empires : le nord, l'ouest, le sud, l'est, et le centre. Chacun de ces empires est dirigé par un Gensei. Le Gensei dirige et garantit la protection de son peuple, sur lequel il a le droit de vie et de mort. Ils doivent régulièrement rendre leurs comptes à Lai Haan, souverain de l'Empire du centre.
Dotés de pouvoirs surnaturels, ils peuvent se métamorphoser en fonction de l'animal représentant l'Empire auxquels ils appartiennent. Toutefois, ils ne se servent d'un tel pouvoir qu'en de rares occasions, uniquement en cas de grand danger.
Il existe deux façons de transmettre le titre de Gensei à son successeur : la première consiste à désigner directement le successeur ; la deuxième est lorsqu'un Gensei meurt et qu'il a déjà choisi son successeur, alors l'esprit du défunt et son art accompagnent l'élu dans sa nouvelle mission.
Ils sont assistés dans leur tâche par une Hoosei, un petit esprit féerique d'apparence humaine, mais dont la taille est d'environ vingt centimètres. Entièrement dévoué à son maître, il a pour mission de le protéger et aussi de le soigner à l'aide des quelques pouvoirs magiques dont il dispose. Il est choisi par le chef de l'Empire du Centre, et il remplit sa fonction jusqu'à ce que le Gensei meure ou perde sa position.
Afin de préserver la paix entre les différents Empires, Lai Haan a ordonné un pacte de non-agression qui interdit toute intrusion dans un Empire étranger. De plus, les combats entre Genseis sont eux aussi interdits, et très sévèrement punis.
Personnages
Clan des Suzaku / Clan du Phénix Vermeil (Empire du Sud)
À l'origine, le Gensei de ce clan était Soo, homme bon et charitable qui avait l'estime et la confiance de tous, et il était considéré comme le Gensei le plus puissant des quatre Empires. Cependant, sans que personne le sût, il était atteint d'une grave maladie mortelle, et il s'empressa de choisir celui qui lui succédera au titre de Gensei. Pressentant les aptitudes de Dark, il le recueille alors que ce dernier n'a encore que neuf ans, et l'entraîne intensément pendant cinq ans, jusqu'au jour où celui-ci finit par le surpasser.
Encore jeune et immature, et ayant un sens de l'orientation défaillant, Dark n'est pas encore tout à fait apte à succéder à Soo. Allant même jusqu'à transgresser involontairement les lois et engageant le combat avec la Gensei de l'Empire de l'Est, il se retrouve puni par le chef des Armées de l'Empire du Centre, et se fait confisquer le Sabre Vermeil, symbole même de son titre de Gensei. Son voyage en direction de l'Empire du Centre pour le récupérer et pour confirmer son titre de Gensei est en quelque sorte un périple initiatique qui lui permettra de se former à sa nouvelle tâche.
Kyo, anciennement Hoosei de Soo, qu'elle admirait énormément, a maintenant décidé de se mettre au service de son nouveau maître, Dark. Émotive et effrontée, celle-ci n'arrête pas de le gronder et de le réprimander sans arrêt, mais au fond elle s'inquiète vraiment du sort de Dark, n'hésitant pas une seconde à sacrifier sa vie pour défendre celle de son maître.
Koo et Ryoo font partie de la garde personnelle de Dark. Koo accepte mal que ce dernier ait été élu Gensei des Suzaku et se méfie toujours de lui. C'est un maître dans l'art de manipuler les stylets. Ryoo, chargé lui aussi d'assurer la sécurité de Dark, approuve pleinement le choix de Lord Soo, l'ancien Gensei des Suzaku. Contrairement à Koo, il considère le nouveau Gensei comme quelqu'un de valeur et digne de confiance.
Au cours de son voyage dans l'Empire du Sud, Dark fera la connaissance de Kin, un vieux maître d'armes, qui lui offrira son hospitalité. Après avoir soumis le jeune homme à une épreuve pour juger de sa valeur et de ses intentions pacifiques, il lui donne en récompense Shinrooen, un sabre sans lame, destiné à préserver la paix.
Clan des Seiryuu / Clan du Dragon Bleu (Empire de l'Est)
Son dirigeant Lord Mei désigne Lin comme son successeur direct. Malgré sa gentillesse et son apparente fragilité, les pouvoirs de Lin ont considérablement augmenté quand, après avoir été nommée Gensei, elle est entrée en possession des perles d'eau, de terre, de feu, et de vent, symboles ancestraux de son clan. Toutefois, il lui manque la cinquième perle, la perle d'or, qui a disparu depuis trois générations, et dont les pouvoirs sont tels qu'elle peut ramener un défunt à la vie.
Lin dispose d'une garde personnelle constituée de Shiki, sa Hoosei, ainsi que de Ran et de Chao, deux puissants guerriers qui n'ont de cesse de vouloir la protéger. Chao éprouve une certaine rancune envers Dark, puisqu'il a tué Soo, dont elle était secrètement amoureuse, et qui l'a initiée à l'art du combat. De plus, les Douze Généraux du Dragon se chargent de faire respecter l'ordre dans l'Empire.
Cependant, Lin a une féroce rivale : Nie. Faisant partie des généraux au service du Gensei du Dragon Bleu, elle espérait être élue Gensei mais Lord Mei lui a préféré Lin. Depuis, incapable de comprendre les raisons de son choix, elle voue à cette dernière une haine sans borne et elle a déjà tenté de l'éliminer.
Clan des Byakko / Clan du Tigre Blanc (Empire de l'Ouest)
Lord Tan était le Gensei du clan du Tigre Blanc jusqu'à ce que sa compagne, Susa, se fasse enlever par les Gairana, une tribu nomade de bandits, et il décide alors d'abandonner son titre pour partir à sa recherche. Il désigne donc Shoo pour reprendre en main la direction de son clan.
Shoo est cependant loin d'être un chef honorable : barbare et tyrannique, il aime faire couler le sang, et entretient un règne de terreur parmi ses sujets, pour lesquels il n'a aucune estime. Bafouant sans scrupule les lois imposées par Lai Haan, celui-ci n'en fait toujours qu'à sa tête, il adore combattre et considérant Dark comme un adversaire digne de lui, il ira même jusqu'à le défier.
Bee, sa maligne Hoosei, était l'amie de Kyo jusqu'à ce qu'elle tienne cette dernière pour responsable de la mort de son frère. Depuis, elle ne peut s'empêcher d'éprouver une profonde amertume pour elle. Elle est entièrement dévouée à Shoo et l'accompagne partout.
Deux de ses plus proches subordonnés sont Soo et Sei. Soo, comme la plupart des membres de son clan, a pour points forts une rapidité hors pair et l'instinct de chasseur propre aux félins. Ayant échoué dans la mission que lui avait confié Lord Shoo visant à éliminer Goo, un Genra qui se serait rebellé contre son autorité, il s'en voit sévèrement puni. Sei, quant à elle, est une jeune femme mystérieuse, qui semble avoir un étrange pouvoir de domination sur Shoo.
Clan des Genbu / Clan de la Tortue de Jade (Empire du Nord)
Le clan des Genbu est dirigé par En, homme sage mais rusé, qui aime se mêler des affaires des autres Empires. Sa Hoosei, Setsuka, malgré son apparence frêle, dispose d'un redoutable potentiel, lui permettant de rivaliser sans difficulté avec un ennemi bien plus grand qu'elle. En plus de sa force, sa détermination et sa volonté font d'elle une alliée de choix. En dispose également d'une armée à son service, les sept Hokuteki, ou étoiles de la Grande Ourse. À la différence des Genra, lorsque ceux-ci se transforment, plutôt que de se métamorphoser en animaux, il revêtent une armure qui les protège entièrement.
Empire du Centre
On ignore beaucoup sur cet Empire, entouré par les quatre autres Empires, d'où son nom. Son chef, Lai Haan, dispose d'une autorité sur les quatre autres Genseis, puisque même Shoo le redoute. Pan Garuda, le commandant en chef de l'Armée de l'Empire du Centre, semble lui aussi avoir autorité sur eux, puisqu'il se permet de punir Lin et Dark.
Sayan
Sayan est une jeune fille que Dark rencontre en rêve. Partagée tout d'abord entre l'attitude douce et paisible de Dark et son profil de guerrier, elle finit par se lier d'amitié à lui. Elle vient d'une époque future, puisque les avions et les chars d'assaut existent dans son "monde".
Spectres grecs
On ne sait pas grand chose de la Grèce et de ses spectres grecs, si ce n'est qu'ils sont avides de combats. Au cours de l'un de ses voyages, Lin rencontrera Delpyune, un de ces spectres qui est en réalité un être hybride moitié femme moitié serpent, qui tentera de la tuer, au nom de son maître, Lord Tyupon.
Gairanas
Les Gairanas sont un clan nomade de bandits androïdes. Ils sont créés au sein de l'empire mécanique de Jipang, une petite île déserte dénuée de toute ressource naturelle, mais qui possède un énorme agglomérat mécanique fondé par la seule personne qui y vit, Kyubi. Ceux-ci excellent par leurs aptitudes au combat, et aiment défier d'autres guerriers dans leur arène de combat, qui est en fait un Colisée monté sur une tortue géante. Cependant, beaucoup de leurs origines restent un mystère.
Staff
Scénario et dessin : Kia Asamiya
Rédaction : Shinobu Kuwahara - Shin'ichiro Inoue - Osamu Ōta
Design : Tetsuya Asakura
Couleurs : Kumiko Nakayama
Conception graphiques titres : Tetsuya Asakura
Production : Michitaka Kikuchi
Consultant spécial : Michitaka Kikuchi
Assistant-dessinateur en chef : Shinobu Abebe
Assistants-dessinateurs réguliers : Hirotaka Ōkuma - Takashi Sakai - Tsutomu Isomata - Yuji Komatsu - Yoshiaki Nakahama - Takako Ishida
Assistants-dessinateurs exceptionnels : Mitsuhiro Moriyama - Kenji Nitta - Hiroki Saito - Yuitaka Karyu - Naoki Mochitzuki - Yūki Sasaki - Yuji Ushida - Takeshi Okazaki
Édition française
Notes sur l'édition française
Dark Angel est le tout premier manga publié sous le label Génération Comics de l'éditeur Panini Comics.
Plusieurs illustrations en couleur sont présentes au début de chaque volume.
Un court récit de l'auteur réalisé trois ans et demi avant la publication de Dark Angel intitulé Les origines, et qui est en quelque sorte un pilote du manga, a été ajouté à la fin du premier volume.
Le cinquième et dernier volume fut vendu avec un coffret de rangement pour ranger les quatre premiers volumes.
La série est actuellement en rupture de stock chez l'éditeur, et aucune date de réédition n'a été annoncée.
Équipe de traduction
Traduction : DéFi
Lettrage : Luca Poli
Supervision : Nicole Duclos
ISBN et dates de sortie
Volume 1 : (ISBN 2-84538-016-X) - Mai 2000
Volume 2 : (ISBN 2-84538-018-6) - Juillet 2000
Volume 3 : (ISBN 2-84538-019-4) - Septembre 2000
Volume 4 : (ISBN 2-84538-024-0) - Novembre 2000
Volume 5 : (ISBN 2-84538-026-7) - Janvier 2001
Adaptation
Après Dark Angel, Kia Asamiya décide de mettre en scène le héros dans une nouvelle adaptation de son œuvre : Dark Angel : Phoenix Résurrection (Dark Angel : La résurrection du Phénix).
N'ayant pu trouver d'éditeur japonais acceptant de continuer à publier la suite de Dark Angel, Kia Asamiya se tourne vers les États-Unis, où il trouvera finalement ce qu'il cherchait. Il change donc totalement de support, et Dark Angel devient un comic entièrement en couleurs. Il choisit de reprendre sa série depuis le début : la trame de base est la même, mais des changements au niveau du design des personnages, de la vitesse de l'histoire, du ton de la narration, apparaissent. Cependant, l'auteur abandonne bien vite le projet, puisque après le premier volume paru en 1999, il n'y a plus eu aucune nouvelle rapportée à ce sujet. L'auteur aurait en effet entrepris de travailler sur d'autres choses.
Génération Comics a quand même décidé de publier ce volume, et l'ouvrage paraît en 2001 en France.
Artbook
Un artbook de la série intitulé Dark Angel Illustration Book est sorti au Japon, édité en France par Génération Comics en 2002.
Les illustrations de Dark Angel présentées dans ce recueil ont toutes été publiées dans le magazine Newtype. Chaque double-page présente une illustration et un commentaire d'Asamiya ainsi que les différents éléments ayant servi à la conception de l'image. Une grande place est laissée aux personnages secondaires (on trouve quelques personnages qui ne sont pas apparus dans le manga). À la fin de l'ouvrage, l'auteur dresse même un tableau détaillé des étapes de la conception d'une illustration.
The whole secret of existence is to have no fear Never fear what will become Quote Meaning
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Hammel Houses (1955)
85-10 Rockaway Beach Blvd.
Rockaway Beach, Queens
Hammel Houses consists of 14 buildings with 712 apartments built on 14 acres north of Rockaway Beach Boulevard. The decision to warehouse poor families in a dying seaside resort bereft of job opportunities and distant from the city center proved disastrous. Only now, sixty years on, is development returning to the area, stimulating jobs and opportunities for those formerly abandoned to a lonely existence in an area long fraught with high crime but with great ocean views.
© Matthew X. Kiernan
NYBAI15-8544
Sarnath is the deer park where Gautama Buddha first taught the Dharma, and where the Buddhist Sangha came into existence through the enlightenment of Kondanna. Sarnath is located 13 kilometres north-east of Varanasi, in Uttar Pradesh, India.
The Buddha went from Bodhgaya to Sarnath about 5 weeks after his enlightenment. Before Gautama (the Buddha-to-be) attained enlightenment, he gave up his austere penances and his friends, the Pañcavaggiya monks, left him and went to Isipatana.
Isipatana is the name used in the Pali Canon, and means the place where holy men (Pali: isi, Sanskrit: rishi) landed.
After attaining Enlightenment the Buddha, leaving Uruvela, travelled to the Isipatana to join and teach them. He went to them because, using his spiritual powers, he had seen that his five former companions would be able to understand Dharma quickly. While travelling to Sarnath, Gautama Buddha had to cross the Ganges. Having no money with which to pay the ferryman, he crossed the Ganges through the air. When King Bimbisāra heard of this, he abolished the toll for ascetics. When Gautama Buddha found his five former companions, he taught them, they understood and as a result they also became enlightened. At that time the Sangha, the community of the enlightened ones, was founded. The sermon Buddha gave to the five monks was his first sermon, called the Dhammacakkappavattana Sutta. It was given on the full-moon day of Asalha Puja. Buddha subsequently also spent his first rainy season at Sarnath at the Mulagandhakuti. The Sangha had grown to 60 in number (after Yasa and his friends had become monks), and Buddha sent them out in all directions to travel alone and teach the Dharma. All 60 monks were Arahants.
Several other incidents connected with the Buddha, besides the preaching of the first sermon, are mentioned as having taken place in Isipatana. Here it was that one day at dawn Yasa came to the Buddha and became an Arahant. It was at Isipatana, too, that the rule was passed prohibiting the use of sandals made of talipot leaves. On another occasion when the Buddha was staying at Isipatana, having gone there from Rājagaha, he instituted rules forbidding the use of certain kinds of flesh, including human flesh. Twice, while the Buddha was at Isipatana, Māra visited him but had to go away discomfited.
A stone pillar marks the spot where the Buddha preached his first sermon. Nearby was another stupa on the site where the Pañcavaggiyas spent their time in meditation before the Buddha's arrival, and another where five hundred Pacceka Buddhas entered Nibbāna. Close to it was another building where the future Buddha Metteyya received assurance of his becoming a Buddha.
Buddhism flourished in Sarnath in part because of kings and wealthy merchants based in Varanasi. By the third century Sarnath had become an important center for the arts, which reached its zenith during the Gupta period (4th to 6th centuries CE). In the 7th century by the time Xuan Zang visited from China, he found 30 monasteries and 3000 monks living at Sarnath.
Sarnath became a major centre of the Sammatiya school of Buddhism, one of the early Buddhist schools. However, the presence of images of Heruka and Tara indicate that Vajrayana Buddhism was (at a later time) also practiced here. Also images of Brahminist gods as Shiva and Brahma were found at the site, and there is still a Jain temple (at Chandrapuri) located very close to the Dhamekh Stupa.
At the end of the 12th century Sarnath was sacked by Turkish Muslims, and the site was subsequently plundered for building materials.
Sarnath has been developed as a place of pilgrimage, both for Buddhists from India and abroad. A number of countries in which Buddhism is a major (or the dominant) religion, among them Thailand, Japan, Tibet, Sri Lanka and Myanmar, have established temples and monasteries in Sarnath in the style that is typical for the respective country. Thus, pilgrims and visitors have the opportunity to experience an overview of Buddhist architecture from various cultures.
WIKIPEDIA
Contemplating the vastness and beauty of our home galaxy.
11/26/11
Ocotillo Wells, CA
1x13 second exposure ISO 6400 f/3.5
Canon Rebel T3 DSLR
"The human nervous system evolved in an environment where seeing change -- the slightest difference in the surrounding environment -- could mean the difference between life and death. So it is not surprising that our most developed cultural forms are practices of the visual. But we didn't stop there. So much of life occurs outside the range of visible light. Through scientific tools and methods we have reached far beyond this narrow slice of the electromagnetic spectrum to colonize its full range, from radio waves and infrared to x-rays, gamma radiation and cosmic rays. Now existence in all its glorious complexity, from the dynamic division of living cells to the vastness and vibrancy of the entire universe, has been rendered accessible to our visual capacity. Meanwhile, the democratization of the means for making and sharing images in the cultural realm continues to explode exponentially. As cost approaches zero and access to image production and dissemination becomes universal, new possibilities begin to emerge. Our insatiable embrace of the image knows no bounds."
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.
i wasn't going to upload this because it's crappy, but it's way too personal and it took me way too long to edit not to upload. also this is my first self-portrait on here. i don't believe in ghosts, or reincarnations, or god, but i do believe that as long as you think what who they were, or who they could have been regularly, they still have an existence, in your mind, and that's something.
The existence of Warangal Fort in the present-day Indian state of Andhra Pradesh traced back to at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.[1]
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital.[2] The Archaeological Survey of India has listed the remains as a Monument of National Importance.[3]..Courtesy Wikipedia
History of Kraków
First indications of the existence of Krakow approximately stem from the 7th century. In the next following centuries the tribe of Vistulans (Wislanie) populated Krakow, after they centuries ago in the as "Lesser Poland" or Malopolska known region had settled down. From the year 965 stems the first document from Krakow, as Abraham ben Jacob of Cordova, a Jewish merchant, in his book referred to the trading center of Krakow.
In 1000, the Diocese of Krakow was founded and in 1038 declared capital of the Piast dynasty. The Wawel castle and several churches were built in the 11th century and thus the town rapidly grew. 1241 the Mongols invaded the city and burned down Krakow without exception. 1138 Krakow became the seat of the senior prince. 1257 Kraków was awarded its town charter and a city map was drawn up, which remained until today. This one included the arrangement of the checkerboard street configuration with a centrally located market. On the market following the seat of the city government was built. From the historical trading functions until today only the Cloth Halls remained. But on the market not only trade agreements were closed but also courtly and urban festivities celebrated. Furthermore, the urban center served for executions. The defensive walls were built, which surrounded the city and linked it to the Wawel. In the south of Wawel Castle in 1335 the city of Kazimierz was created. By Royal command it was surrounded by defense walls and the churches of St. Catherine, of Corpus Christi and the "Na Skalce" were built. End of the 15th century, Jews settled the later Cracow district. 1364 the Cracow Academy of King Kazimierz Wielki was founded, the famous Polish Jagellonen-University.
With the last king of Jagellonian dynasty, Krakow flourished. The Wawel castle was rebuilt in Renaissance style, the well known Zygmunt chapel was built and the Cloth Halls as well as the patrician houses have been restored. During the reign of King Sigismund III. Vasa the baroque style received introduction in Krakow. The Baroque University Church of St. Anne and the Church of Saints Peter and Paul were built in this period. In 1607 Warsaw was declared headquarters of the King, but Krakow retained its title of the Royal capital. Furthermore, it remained the place of coronations and funerals. Middle of the 17th century, the city was devastated by the Swedes, what at the beginning of the 18th century was produced again.
After the first partition of Poland, Krakow became a frontier town. Austria declared the settlement Podgorze separated city. After the second division in 1794, began the Polish national uprising. After its decline and the third partition of Poland the town fell to the Austrians, which on Wawel Hill caused numerous devastations and adapted buildings to the wishes and needs of the Army. 1809 Cracow was affiliated to the Grand Duchy of Warsaw. After the defeat of Napoleon, Krakow in the Vienna Convention of 1815 was declared Free City of Kraków. Then the remains of folk hero Tadeusz Kosciuszko and of Prince Jozef Poniatowski were brought back to the city. 1820-1823 on the rise of St. Bronislava a hill in honor of the leader of the popular uprising was built. Instead of the city walls, which were largely destroyed, they laid out supporting beams. 1846 Krakow lost its independence and the Austrians erected again on the Wawel barracks and they surrounded the Wawel with fortification complexes. However, Austria but has proved less tyrannical and so the city enjoyed a certain degree of growing cultural and political freedom. 1918 Krakow became the independence back.
Before the outbreak of the Second World War, in Krakow lived about 260,000 inhabitants, of which 65,000 belonged to the Jewish religion. During the war, also Krakow became witness of German war crimes. The for the greater part Jewish district of Kazimierz was eradicated. The Jews from now on lived in ghettos where they either were deported from there to Auschwitz or immediately shot. In spite of the plundering of the Nazis, Krakow became no scene for military combat operations and thus the only large Polish town escaping this fate. Therefore, its old architecture still almost completely is intact.
After the surrender of Germany and the Polish liberation, hastened the Communist government to inspire the traditional life and the city with a large steel plant in Nowa Huta. But the intensive rebuilding of the economy and industry rather promoted an ecological disaster. Buildings that had survived the war undamaged were now devoured and destroyed by acid rain and toxic gases. Carbon dioxide emissions grew so powerful that this has remained a serious and grave problem of the city. After the fall of the Communists and the fall of the Iron Curtain Krakow has benefited greatly from tourism and has adapted itself to a large extent to the Western culture.