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Taken at Light Thoughts, LEA15 (maps.secondlife.com/secondlife/LEA15/185/134/22)
Some songs I listened to on the funky dance floor
- "Can You See Me" by Roy Ayers
- "Grindhouse (Danton Eeprom remix)" by Radio Slave
- "Around The World" by Daft Punk
- and of course "You Should Be Dancing" by The Bee Gees
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
The Baths of Caracalla (Thermae Caracallae or Thermae Antoninianae - in Italian Terme di Caracalla) were public baths inaugurated by the emperor Caracalla - after plans drawn up under the reign of the previous emperor Septimius Severus. The baths were built about 212-216 A.D. and were the second largest Roman baths (the biggest being Baths of Diocletian). The baths were in use up to the sixth century, when the Ostrogoths got there and destroyed parts of it. Like all public baths of the time it was not just for bathing but also included exercise grounds (gymnasium) and libraries (with texts both in Latin and Greek). Much of the original decorations have been removed over the centuries (for example sculptures and marble details and wall cladding - you should not thing the Romans were looking at brick walls when visiting this place), but some of the pieces can be viewed at other places and parts of the floor mosaics remain.
Rio Vista House was designed for William Benjamin Chaffey by architects Sharland and Edmonds and built by Adelaide builder John Williams.
Williams completed the construction in 1891. A variety of local and imported materials were used.
The bricks were from local kilns while the Murray Pine and Red Gum woodwork came from Risbey’s Sawmills. All floors were made from Western Australian Jarrah with the hallway featuring Italian tiles. Wall panelling features local Murray Pine panelling and imported wallpaper. The main staircase is of cedar and blackwood.
© All Rights Reserved Please don't use this image on websites, blogs or other media without my explicit permission. best on black. click image to view on flickr black or see it somewhere on my stream in flickriver: www.flickriver.com/photos/msdonnalee/
Our Daily Challenge ~ In the Woods
Looking down to the forest floor provided me with this shot of the various Spring flowers nestled amongst the fallen branches. You can just see the emerging bluebells in the background.
Thank you to everyone who pauses long enough to look at my photo. All comments and Faves are very much appreciated
Light show very vivid
Saturated paving
But no Wet Floor Warning
Luminosity trickling in cracks and crevices
The ground shimmers with colour
Don’t slip on the composition
Even the most mundane texture
Undergoes transformation with the Introduction
Of Light and Colour
Etta is very comfortable down stair on the lounge or on the warm floor (under-floor heating for Winter)
Detail eines Boden-Mosaikbildes von Tauben, die eine Halskette aus einem Schmuckkästchen ziehen, fotografiert im Atrium in Pompeij.
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Detail of a floor mosaic picture of doves pulling a necklace out of a jewellery box, photographed in the atrium in Pompeii.
Clarksburg, WV. June 2016.
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bamboo scaffolding raised on the outside wall of our apartment building - Jiangxi University of Science and Technology - mid-afternoon - Ganzhou, Jiangxi, China
I jumped on this small pedestal to be a living statue. In the previous photos you could see me standing upright, yet here I'm kneeling down. Normally this would make my long ballgown skirts touch the floor, but not here because I'm on the pedestal. In this case my skirts flow down naturally and gracefully and you can admire them in all their beauty. Just look al all these delicate layers of endless softness, surely a pleasure to see and most definitely a delight to wear.
This photo was shot from a hot air balloon.
UNESCO World Heritage Site.
From Wikipedia:
c. 15th century BC
The mortuary temple of Hatshepsut (Egyptian: Ḏsr-ḏsrw meaning "Holy of Holies") is a mortuary temple built during the reign of Pharaoh Hatshepsut of the Eighteenth Dynasty of Egypt. Located opposite the city of Luxor, it is considered to be a masterpiece of ancient architecture. Its three massive terraces rise above the desert floor and into the cliffs of Deir el-Bahari. Hatshepsut's tomb, KV20, lies inside the same massif capped by El Qurn, a pyramid for her mortuary complex. At the edge of the desert, 1 km (0.62 mi) east, connected to the complex by a causeway, lies the accompanying valley temple. Across the river Nile, the whole structure points towards the monumental Eighth Pylon, Hatshepsut's most recognizable addition to the Temple of Karnak and the site from which the procession of the Beautiful Festival of the Valley departed. Its axes identify the temple's twin functions: its central east-west axis served to receive the barque of Amun-Re at the climax of the festival, while its north-south axis represented the life cycle of the pharaoh from coronation to rebirth.
The terraced temple was constructed between Hatshepsut's seventh and twentieth regnal years, during which building plans were repeatedly modified. In its design, it was heavily influenced by the adjacent Temple of Mentuhotep II of the Eleventh Dynasty built six centuries earlier.[d] In the arrangement of its chambers and sanctuaries, though, the temple is wholly unique. The central axis, customarily reserved for the mortuary complex, is occupied instead by the sanctuary of the barque of Amun-Re, with the mortuary cult being displaced south to form the auxiliary axis with the solar cult complex to the north. Separated from the main sanctuary are shrines to Hathor and Anubis, which lie on the middle terrace. The porticoes that front the terrace here host the most notable reliefs of the temple; those of the expedition to the Land of Punt and the divine birth of Hatshepsut, the backbone of her case to rightfully occupy the throne as a member of the royal family and as godly progeny. Below, the lowest terrace leads to the causeway and the valley temple.
The state of the temple has suffered over time. Two decades after Hatshepsut's death, under the direction of Thutmose III, references to her rule were erased, usurped, or obliterated. The campaign was intense but brief, quelled after two years when Amenhotep II was enthroned. The reasons behind the proscription remain a mystery. A personal grudge appears unlikely as Thutmose III had waited twenty years to act. Perhaps the concept of a female king was anathema to ancient Egyptian society, or a dynastic dispute between the Ahmosid and Thutmosid lineages needed resolving. In the Amarna Period, the temple was incurred upon again when Akhenaten ordered the images of Egyptian gods, particularly those of Amun, to be erased. These damages were repaired subsequently under Tutankhamun, Horemheb and Ramesses II. An earthquake in the Third Intermediate Period caused further harm. During the Ptolemaic period, the sanctuary of Amun was restructured, and a new portico was built at its entrance. A Coptic monastery of Saint Phoibammon was built between the 6th and 8th centuries AD, and images of Christ were painted over original reliefs. The latest graffito left is dated to c. 1223.
The temple resurfaces in the records of the modern era in 1737 with Richard Pococke, a British traveller, who visited the site. Several visitations followed though serious excavation was not conducted until the 1850s and 60s under Auguste Mariette. The temple was fully excavated between 1893 and 1906 during an expedition of the Egypt Exploration Fund (EEF) directed by Édouard Naville. Further efforts were carried out by Herbert E. Winlock and the Metropolitan Museum of Art (MMA) from 1911 to 1936, and by Émile Baraize and the Egyptian Antiquities Service (now the Supreme Council of Antiquities (SCA)) from 1925 to 1952. Since 1961, the Polish Centre of Mediterranean Archaeology (PCMA) has carried out extensive consolidation and restoration works throughout the temple, and it was opened to the public in March 2023.
If I put a pillow on the floor my cats will immediately and dutifully sit on it until dinner time as if they are holding down the pin on a hand grenade.
Still in amazement by how rad the desert.
I for some reason always wanted to go there, never really had a "favorite" desert, or part of the world, though. I just wanted to go somewhere no one else was, and to be on my own with nothing but horizon and sky.
I was surprised that the sand in the desert is nothing like the sand at the beach. It's much more coarse, larger, almost like salt. Can't wait to head back again in a few months when I'm back in California.