View allAll Photos Tagged FERTILITY
If you look closely at stained glass, you can see all sorts of themes: religion, flowers, art, music and even fruit. When considering the theme of fruit, in ecclesiastical stained glass, a bunch of grapes may signify the sacrament of Holy Communion. Grapes and vines can also represent the church itself. Pomegranates have diverse cultural-religious significance, as a symbol of life and fertility owing to their many seeds but also as a symbol of power (imperial orb), blood and death. Pomegranates already symbolised fertility, beauty and eternal life, in Greek and Persian mythology. The apple of course is the forbidden fruit in the Book of Genesis that Adam and Eve ate from the forbidden tree in the Garden of Eden. With Art Nouveau being the predominant architectural and design influence between 1880 and the start of the Great war in 1914, there was a great interest in portraying both stylised flowers and fruit in stained glass.
This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.
This week the theme, “fruit” was chosen by Gary, Gazman_AU.
I thought a collage of some of the examples of fruit themed windows I have photographed in Churches and private houses over the years might be suitable.
Top row far left, second and third from left: Detail of the King David window of St John’s Church of England, Heidelberg, designed and manufactured by William Montgomery.
Top row right: Detail of the Suffer the Little Children window of Holy Trinity Church of England, Balaclava, attributed to I. A. Gibbs and Howard, London.
Middle row left: Detail of a dressing room window of “The Gables”, Malvern, painter and manufacturer unknown.
Middle row second from left: Detail of a shop window, corner Brunswick and Bell Streets, Collingwood, painter and manufacturer unknown.
Middle row third from left: Detail of a window from the former Sassafras Methodist Church, Sassafras, manufactured by Brooks Robinson and Company.
Middle row second from right: Detail of the “Lay of the Last Minstrel” window, “Warwilla” (formerly “Redholme”), St Kilda Road, painted and manufactured by William Montgomery.
Middle row right: Detail of the King David window of St John’s Church of England, Heidelberg, designed and manufactured by William Montgomery.
Bottom row far left: Detail of an entrance hall window of “The Gables”, Malvern, painter and manufacturer unknown.
Bottom row second from left: Detail of the Virgin Mary window of St Ambrose’s Catholic Church, Brunswick, manufactured by Brooks Robinson and Company.
Bottom row third from left: Detail of a dining room window of “The Gables”, Malvern, painter and manufacturer unknown.
Bottom row second from right: Detail of the “Lay of the Last Minstrel” window, “Warwilla” (formerly “Redholme”), St Kilda Road, painted and manufactured by William Montgomery.
Bottom row far left: Detail of an entrance hall window of “The Gables”, Malvern, painter and manufacturer unknown.
Built to the specifications of architect George Reilly Cox, Saint John\'s Church of England in Burgundy Street Heidelberg, is a fine example of simple Early English Gothic architecture. The building was completed by April 1851. Comprising of a gabled nave, without aisles, a narthex below the west tower and a sanctuary and vestry at the east end, Saint John\'s Church of England is simple, unpretentious and elegant in its design. The nave and chancel are constructed of handmade bricks laid on a bluestone rubble plinth. The church features lancet windows in Early English Gothic style. It has a square tower surmounted by four pinnacles and crenulations. The roof is slated and contains small gable vents, and the roof drains to galvanised steel quad section eaves gutters. The gable parapets are fitted with galvanised sheet steel cappings. The formal opening of Saint John\'s Church of England took place on the 26th of October 1861. The church was dedicated by Bishop Perry the first Bishop of Melbourne on the 30th of September 1861 and named the Church of Saint John the Evangelist. The roof was completely replaced around 1856 with slate after the original shingles had deteriorated. The interior was plastered and the exterior brickwork was covered with cement. Another renovation took place in 1965 at the cost of $56,000.00. The vestry, choir room, chapel and new entrance porch were added at the original back of the church. Interestingly, the congregation today no longer use the 1965 entrance and have reverted to the original entrance. The choir room now serves as a Sunday school for the children of the congregation, whilst the newer chapel is not generally used at all.
William Montgomery (1850 - 1927) was an artist who specialised in stained glass painting and design. He was born in England in 1850, and studied at the School of Art in Newcastle-on-Tyne. In his final year William was awarded one of only three National Art Scholarships that year to study at South Kensington School of Art (now the Royal College of Art). He was employed by the leading London stained glass firm, Clayton and Bell, before joining Franz Mayer and Company in Munich, Germany. Over the next seven years he not only designed windows he also trained others in the English style of glass painting. William arrived in Melbourne, Australia, in 1886 during the Boom Period provided by the Gold Rush. Melbourne was at the time one of the wealthiest cities in the world, and was in the throes of a building boom. He quickly set up his studio at 164 Flinders Street in the heart of Melbourne, bringing with him the latest in European style and design and achieving instant success amongst wealthy patrons. He worked equally for Catholic and Protestant denominations, his windows being found in many churches as well as in mansions, houses and other commercial buildings around the city. This extended to the country beyond as his reputation grew. A painter as well as stained glass window designer William was a founding member of the Victorian Art Society in Albert Street, Eastern Hill. William became President of its Council in 1912, a position he held until 1916. He was a trustee of the National Gallery of Victoria. His commissions included; stained glass windows at Christ Church, Hawthorn: St. John\'s, Heidelberg, St. Ignatius\', Richmond: Christ Church, St Kilda: Geelong Grammar School: the Bathurst Cathedral and private houses "Tay Creggan", Hawthorn (now Strathcona Baptist Girls Grammar), and "Earlsbrae Hall", Essendon (now Lowther Hall Anglican Grammar School). The success of William Montgomery made Melbourne the leading centre of stained glass in the Southern Hemisphere. William Montgomery died in 1927.
The first Church of England built on the triangular site in Balaclava bordered by Brighton Road and Dickens Street was opened by Bishop Perry on January 29, 1871. It was a timber building accommodating about three hundred people. It stood where the Parish Hall now stands. Its designer was the architect Francis Maloney White (1819-1888) who lived nearby in William Street. In 1882 the architects Reed and Barnes, soon to become Reed, Henderson and Smart, were commissioned to design a new church. The first service took place on December 6, 1883. Due to the Parish\'s efforts to reduce the large debt that had been incurred in the construction of the church and the vicarage, the building of the spire was delayed. Regrettably this was never to be built. However, it gives Holy Trinity the feeling of an English country parish church.
The firm of I. A. Gibbs and Howard was established in England in the 1870s. Isaac Alexander Gibbs (1849 - 1899) was the youngest son of Isaac Alexander Gibbs (senior) and brother of the stained glass artists Alexander and Charles Alexander Gibbs. His partnership with William Wallace Howard (born 1856) was established before 1879 in London. The firm continued after the death of Gibbs under Howard until about 1915.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, “The Gables” is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. “The Gables” remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted “The Gables” into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie “Squizzy” Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house\'s billiards room). “The Gables” became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, “The Gables” ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o\'clock at night. Throughout its history, “The Gables” has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of “The Gables” have been retained for the future generations.
The former Sassafras Methodist Church, perched on the upper side of the hill, overlooking the Sassafras township had its foundation stone laid on the 18th of October 1902. A plaque records: Sassafra Church - the original of - this block was laid - by - Mrs D Stones - on October 18th 1902 - John Storrie. A Gothic Carpenter church, it is made of wood and is of simple design with simple stained glass windows. The church ceased in the 1970s and was eventually sold. For many years it was “Brother John’s”, a restaurant and wedding venue. Today it is “Dine Divine” a café that specialises in light luncheons and Devonshire cream teas, the latter being quite delicious.
Surrounded by modern office and apartment blocks the grand red brick mansion “Warwillah”, built on the corner of Beatrice Street and St Kilda Road, is one of the few remaining examples of a time Melbourne’s St Kilda Road was still a grand boulevard of elegant residences. In March 1875 the government announced that the land on the western side of St Kilda Road would be alienated from parkland and that the land would be sold for residential purposes. Following the subdivision, a gentleman of means named Rudolph D. Benjamin purchased the land on which he planned to build an elegant residence as befitting his station. Designed by well known Melbourne architect John Beswicke, “Redholme” was a sixteen-roomed brick mansion built on Mr. Benjamin’s block in 1896 by the builder James Downie. Although not in the Benjamin family, “Redholme” survived the death taxes that came after the Great War and the Great Depression of 1929. It was still a privately owned home in its entirety in 1939 when it was owned by Mr. and Mrs. C. J. Reddish. Sadly, after the Second World War, “Redholme” changed ownership, usage and even name. From the early 1950s, the red brick building became the “Warwilla Guest House”. The name “Warwilla” is what the house has been known as ever since. “Warwilla” is an unusual mansion as it is an early example of a transition from Modern Gothic to Queen Anne design. The red brick tuckpointed facade is asymmetrical with picturesque massing, but the larger half-timbered gable and cantilevered banked window on the south side is balanced by the octagonal corner tower and ‘candle snuffer’ roof on the north. The Modern Gothic is suggested by the depressed pointed arches to main openings, and engaged colonettes at the porch entrance, whilst the half-timbered gable, octagonal tower with ‘candle snuffer’ roof and Art Nouveau stained glass windows are very much stylistic elements of Queen Anne architecture. These elements were to remain popular for at least another decade. The tall banded brick chimneys (done in the style of Henry Kemp) dominate the terracotta tile roof, as do the decorative finials which include a dragon.
In 1869 the foundation stone was laid for Saint Ambrose\'s Church at 287 Sydney Road, Brunswick. The land for the church was donated by Mr. Michael Dawson, a resident of the neighbourhood. In 1873 the church was completed at a cost of £6,000.00. Parishioners Sebastian Danielli and his wife Harriet Bagatti, who had arrived in Brunswick in 1859 after being married in Milan the previous year, suggested the name Saint Ambrose\'s as the name for the church because St Ambrose was a much loved bishop in Milan in the 4th Century. All their children were born in Brunswick and baptised at Saint Ambrose’s. In 1888 Brunswick was proclaimed a town and it had a population of 14,792. In 1890, Saint Ambrose\'s became a parish in its own right, being made independent from the Coburg parish. With the need for a larger church, the present church was extended in 1899 when the transepts, with the sanctuary and the two chapels, the porch and the baptistry were added. The memorial stone was laid near the door of the northern transepts on 19 February, 1899. The parish church building is of a late Gothic style and is one of the finer churches of Melbourne, built in bluestone, with a timber supported ceiling, a 19th century organ and high quality stained glass windows.
Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne\'s St Paul\'s Cathedral\'s stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne\'s Spring Street, in St John\'s Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.
For my sl sister who will be giving birth very soon, she asked me to be God of Fertility. To Bless the new lives (she is having twins) coming forth.
Found at the La Venta site, presumably a floor utilized in sacrifices or other practices linked to fertility.
Infinite Gratitude
Infinite Love
May all the colors of Love and of the Light embrace those babies and all of us.
In South India, people worship trees because they hope that the power and fertility contained in them may be transferred into their lives.
Trees are decorated with silk garments in shining colours. They are the gifts from devotees who come to thank the Deity for whatever wishes were fulfilled. Others place miniature cradles on the branches in the hope that they might be granted an offspring.
The lands of Bengal is one of the most (if not the most) fertile lands in mother earth. Three crop yields in a single calender year, which is hard to comprehend for people from many other locations. However, are we grateful for this blessing? Are we willing to sustain whatever blessings we were bestowed with?
Time will tell.
Deuli, Delduar, Tangail,
Bangladesh.
Les Thaumatomyia sont de toutes petites mouches d’environ 2 mm, à dominante jaune et noire. On en recense huit espèces en France, et 42 dans le monde. En automne, des millions d’individus peuvent parfois envahir les murs des habitations.
La durée de vie moyenne d’un adulte est d’environ 45 jours. La femelle pond de petits œufs ovales jaune pâle. La larve qui en sort au bout de 4 à 5 jours est d’abord jaune translucide avant de devenir verdâtre. Durant son développement, qui dure en moyenne 16 jours, elle consomme une grande quantité (plus d’une centaine) de pucerons des racines (Pemphigus bursarius), ce qui a conduit à envisager de l’attirer vers les cultures maraîchères. Elle s’immobilise ensuite pour se transformer en pupe (c’est à cet état qu’elle hiverne), d’où émergera l’adulte 11 à 14 jours plus tard si les conditions sont favorables (ce délai peut atteindre une quarantaine de jours dans le cas contraire). L’adulte se nourrit essentiellement de pollen et de nectar. Des expérimentations ont montré que le pollen avait une incidence significative sur la reproduction et la fécondité des Thaumatomyia.
Leurs principaux prédateurs sont les petits oiseaux, les petits reptiles, les amphibiens et les araignées.
Thaumatomyia are very small flies of about 2 mm, predominantly yellow and black. There are eight species in France, and 42 in the world. In autumn, millions of individuals can sometimes invade the walls of homes.
The average lifespan of an adult is about 45 days. The female lays small, pale yellow oval eggs. The larva that emerges after 4 to 5 days is first translucent yellow before becoming greenish. During its development, which lasts an average of 16 days, it consumes a large quantity (more than a hundred) of root aphids (Pemphigus bursarius), which has led to the idea of attracting it to vegetable crops. It then stops to turn into a pupa (it is in this state that it winters), from which the adult will emerge 11 to 14 days later if the conditions are favorable (this period can reach about forty days in the opposite case). The adult feeds mainly on pollen and nectar. Experiments have shown that pollen has a significant impact on the reproduction and fertility of Thaumatomyia.
Their main predators are small birds, small reptiles, amphibians and spiders.
Sources : Fédération régionale de défense contre les organismes nuisibles (FREDON) Nord-Pas-de-Calais et Bestioles.ca
Bengal Fertility Rites generally apply to women and men are mere priests. A feisty young Bengali maiden however threatens to drag the bhadra lok Bengali male in a bout of sindurr smearing and he is seen here trying to avoid the advances of this beautiful young lady.
A Bengali woman celebrates 'Sindur Khela' -smearing of vermilion on Durga Puja's last day. They pray for long and happy married life. It is believed that 'Sindur khela' dates back about 400 years .
Sindur Khela was celebrated on 15th October and this was shot in Delhi in Chittaranjan Park. It is only married women who apply vermillion on each other after offering prayers to Durga. It is very rare to see vermillion being applied to a man :)
Dates
Taken on October 14, 2013 at 12.37PM IST (edit)
Posted to Flickr October 16, 2013 at 1.24AM IST (edit)
Exif data
Camera Nikon D800
Exposure 0.02 sec (1/50)
Aperture f/3.2
Focal Length 24 mm
ISO Speed 200
Exposure Bias 0 EV
Flash Off, Did not fire
_DSC3911 nef
The European hare (Lepus europaeus), also known as the brown hare, is a species of hare native to Europe and parts of Asia. It is among the largest hare species and is adapted to temperate, open country. Hares are herbivorous and feed mainly on grasses and herbs, supplementing these with twigs, buds, bark and field crops, particularly in winter. Their natural predators include large birds of prey, canids and felids. They rely on high-speed endurance running to escape predation, having long, powerful limbs and large nostrils.
Generally nocturnal and shy in nature, hares change their behaviour in the spring, when they can be seen in broad daylight chasing one another around in fields. During this spring frenzy, they sometimes strike one another with their paws ("boxing"). This is not just competition between males, but also a female hitting a male, either to show she is not yet ready to mate or to test his determination. The female nests in a depression on the surface of the ground rather than in a burrow and the young are active as soon as they are born. Litters may consist of three or four young and a female can bear three litters a year, with hares living for up to twelve years. The breeding season lasts from January to August.
The European hare is listed as being of least concern by the International Union for Conservation of Nature because it has a wide range and is moderately abundant. However, populations have been declining in mainland Europe since the 1960s, at least partly due to changes in farming practices. The hare has been hunted across Europe for centuries, with more than five million being shot each year; in Britain, it has traditionally been hunted by beagling and hare coursing, but these field sports are now illegal. The hare has been a traditional symbol of fertility and reproduction in some cultures and its courtship behaviour in the spring inspired the English idiom mad as a March hare.
Flat pottery fertility figurine. The face is not carefully modelled as the artist's main concern was to emphasize the sexual parts of the body: the slight breasts and the large and heavily marked pubic area.
From at least the Badarian Period onwards, figurines of women, made of clay, wood, ivory, or stone were included among the funerary equipment. These were often highly stylized and generally emphasized one or more of the sexual characteristics. Until recently these figures were called erroneously "concubine figures" as they were thought to magically act as a sexual partner for the dead man. However, female fertility figures occur in burials of women as well as men. Accordingly, most Egyptologists believe now that the function of the female figurines within the tomb was to guarantee rebirth in the afterlife.
Terracotta
Luxor
New Kingdom
BAAM 1056
Antiquities Museum of Bibliotheca Alexandrina
... further research could clarify whether women have evolved special adaptations to signal estrus through such cues—or whether the cues are “leaking” to sexually discriminating men as unselected side effects of cycle physiology. Distinguishing between estrous “signals” and “leaked cues” may be difficult in practice because estrous females (seeking extra-pair copulations with good-gene males) and extra-pair males (offering good genes) may have shared interests in female fertility signals being “conspiratorial whispers” that are accurate but inconspicuous (Pagel, 1994). In serially monogamous species such as ours, women's estrous signals may have evolved an extra degree of plausible deniability and tactical flexibility to maximize women's ability to attract high-quality extra-pair partners just before ovulation, while minimizing the primary partner's mate guarding and sexual jealousy. For these reasons, we suspect that human estrous cues are likely to be very flexible and stealthy—subtle behavioral signals that fly below the radar of conscious intention or perception, adaptively hugging the cost–benefit contours of opportunistic infidelity.
From at least the Badarian Period onwards, figurines of women, made of clay, wood, ivory, or stone were included among the funerary equipment. These were often highly stylized and generally emphasized one or more of the sexual characteristics. Until recently these figures were called erroneously "concubine figures" as they were thought to magically act as a sexual partner for the dead man. However, female fertility figures occur in burials of women as well as men. Accordingly, most Egyptologists believe now that the function of the female figurines within the tomb was to guarantee rebirth in the afterlife.
Terracotta
Antiquities Museum of Bibliotheca Alexandrina
St. Margaret's Daughters Home (abandoned hospital/nursing home)
Bywater, New Orleans
fuji natura 1600
nikon FE / 105mm f/2.5
Pura Ulun Danu Bratan, or Pura Bratan, is a major Shivaite and water temple on Bali, Indonesia — the other major water temple being Pura Ulun Danu Batur. The temple complex is located on the shores of Lake Bratan in the mountains near Bedugul. Water temples serve the entire region in the outflow area; downstream there are many smaller water temples that are specific to each irrigation association (subak).
Built in 1663, this temple is used for offerings ceremony to the Balinese water, lake and river goddess Dewi Danu, due to the importance of Lake Bratan as a main source of irrigation in central Bali. The 11 stories of pelinggih meru dedicated for Shiva and his consort Parvathi. Buddha statue also present inside this temple.
Pura Ulun featured in Indonesian banknote
Lake Bratan is known as the Lake of Holy Mountain due to the fertility of this area. Located 1200 m above sea level, it has a cold tropical climate.
From Wikipedia, the free encyclopedia
"In chaos, there is fertility."
Anaïs Nin
"All the most powerful emotions come from chaos - fear,anger,love - especially love. Love is chaos itself. Think about it! Love makes no sense. It shakes you up and spins you around. And then, eventually, it falls apart."
Kirsten Miller, The Eternal Ones
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Analogica con la Balda Super Baldina ( 1955 ) a telemetro priva di esposimetro, obiettivo fisso Schneider-Kreuznach Radionar da 50 mm 2.8 f, kodak color plus 200 asa. Un fiume di spermatozoi mentre partecipa entusiasta al Fertility day, una foto bruttissima per un ' iniziativa di pessimo gusto che offende le donne e gli uomini che non possono avere figli e che mi ricorda la politica sull' incremento demografico della dittatura comunista di Ceaucescu in Romania e in qualche modo la tassa sul celibato fascista istituita il 13 febbraio 1927 in Italia concepita con lo stesso scopo, cambia l' ideologia ma le "teste" sono le stesse.
Olympus OM-1 w M.Zuiko 40-150/2.8 Pro
ISO200 f/4 150mm -2ev
Single frame raw developed in DxO PhotoLab 9, colour graded in Nik 8 Color Efex, finished off back in PhotoLab.
Cowra, NSW
I can't quite believe this, but a flickr bot rated this image unsafe within seconds of uploading it. Can anyone be triggered by a couple of battered mannequins? If they work at flickr, maybe.
A collection of fertility figurines made of pottery representing women illustrated in a non-realistic form based on highlighting the areas related to fertility in the body. Fertility figurines were usually found in tombs dating back to the age of Badari (5500-4000 BC) to ensure the new birth of the deceased.
Antiquities Museum of Bibliotheca Alexandrina
How did people come to a point where killing lions, chopping up their carcasses to expose their skeletons, grinding up the bones and then selling this 'product', along with their teeth, nails and other parts on the Chinese market come to be, so that they can mix it in with their dinner to increase fertility, wear it around their neck to show how powerful they are or for some other insane superstitious purpose? How has the world come to this, that we allow this to happen? How did the 'people' there develop into such heartless and cruel beings to create such a demand? It is beyond my comprehension.
Please if you can, support these organizations trying to combat this sick practice, as well as all the other threats lions are facing. An Africa without lions is equivalent to a human without a soul. Every donation, no matter how small will help:
kevinrichardsonfoundation.org/support-us/
www.africat.org/support/donate-online
give.buildaboma.org/give/28271/#!/donation/checkout
www.awf.org/wildlife-conservation/lion
lionconservationfund.org/donate.html
www.leonardodicaprio.org/lion-recovery-fund/
Work fields usually over the high lands of Costa Rica. Its fertility is make for the volcano origin.
A collection of fertility figurines made of pottery representing women illustrated in a non-realistic form based on highlighting the areas related to fertility in the body. Fertility figurines were usually found in tombs dating back to the age of Badari (5500-4000 BC) to ensure the new birth of the deceased.
Antiquities Museum of Bibliotheca Alexandrina
Press "L".
Pentax 67, 45mm f4, Lee 0.6GND, Heliopan SH-PMC CPL,Fujifilm Provia 400X (RXP), self-developed with Fuji Hunt Chrome 6X 6-bath E6 processing kit, IT8 calibrated+wetmounted drumscan (through photomultiplier tubes - PMTs, not CCD nor CMOS)