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Valle de Neiba formado por los aluviones del rÃo Yaque del Sur y llamado asà por los indÃgenas está localizado en la Hoya del Lago Enriquillo. Neiba es la capital de la Provincia de Bahoruco con una superficie de 1,282.23 kilómetros Km.² Sobre su fundación existen dos posibles fechas 1546 y 1735.
Neiba, se encuentra situada en la región sur de la República Dominicana próximo a la Sierra de Bahoruco la cual se prolonga hasta territorio haitiano con el nombre Masif de la Selle.
Antes de la conquista de La Española, Neiba era el Cacicazgo de Jaragua, Neiba es conocida en la historia de nuestro paÃs como un caudal de patriotismo y valentÃa, asà lo demuestra su participación en la Independencia de la República.
Neiba fue escenario también de las luchas restauradoras, donde se inició la primera jornada bélica con el asalto a la comandancia de Neiba, acción dirigida por Cayetano Velásquez.
Una Ley del Congreso Nacional del año 1942 elevó a Neiba a la categorÃa de cabecera de la Provincia de Bahoruco, siendo inaugurada el 18 de marzo de 1943.
©2011 Carlos A. Objio Sarraff, All Rights Reserved.
This image is not available for use on websites, blogs or any other media without the explicit written permission of the photographer.
©2011 Carlos A. Objio Sarraff, Todos los derechos reservados. Esta imagen no está disponible para su uso en sitios web, blogs o cualquier otro medio sin la autorización expresa y por escrito del fotógrafo.
The Pyramid/Tesla Energy Connection
Nikola Tesla regarded the Earth as one of the plates of a capacitor, the ionosphere forming the other plate. Recent measurements have shown that the voltage gradient between the two is 400,000 volts. With this principle, he said he was able, through his invention, to provide free energy to anyone, inexhaustible in quantity, anywhere on earth. That is why he had built a first prototype, the Wardenclyffe Tower, in which was to apply his famous pyramid effect. What is it exactly?
"The lines of force of the electric charge additioned to the fields from the sun act on the walls of a pyramid.The magnetic equipotentials show a high magnetic density in the summit. The voltage of the electric field increases of 100 V per meter. The terrestrial negative field reaches its maximum value at the summit of the pyramid; at the top of the pyramid of Giza, the voltage is 14,600 V. This pyramid is itself a capacitor, it accumulates an electrical charge. If an excess load is added, a discharge occurs at the top, and, as we know currently, that top was adorned with a solid gold capstone, an excellent conductor."Tesla wanted his tower to be high to increase the voltage at the top. He wanted to create an artificial lightning in the tower. In the discharge tube of a natural flash , the temperature rises to 30 000 ° C. Tesla did not want to manage such high temperatures because it is a waste of energy. Tesla's Wardenclyffe tower would have used a transformer to produce a high voltage, which would have generated, instead of a natural lightning, a "discharge of high energetic ion abundance".To accentuate the pyramid effect, he had imagined to give the tower the octagonal shape of a pyramid topped by a half sphere. Why octogonal? Tesla does not explain, but when we read his memoirs, we understand that he sensed a scientific discipline that did not yet exist, geobiology, and the theory of waves of forms. From the perspective of traditional physics, the fact that the tower is octagonal is insignificant. It could be square or have an infinite number of faces, that is conic. "In all cases the voltage would have been the same, its shape just gave it stability." This raises two objections. The octagonal shape is not a guarantee of stability comparing to the square shape. If he was really looking for stability, a hyperbolic rise, like that of the Eiffel Tower, would have been better suited. The octagonal shape has very special wave characteristics, it is possible that this pure genius sensed it without being able to theorize it.As for the square shape of the pyramids, the engineer Gustave Eiffel has chosen it for his tower, precisely because it is a guarantee of stability, as the four legs and the widening elevation. Built in 1889, our national tower was already fairly well known to be his model. As Wardenclyffe Tower, the Eiffel Tower has a pyramid effect which makes it pick at the top, even without a storm, a DC current. Its lightning rod "makes" thus some electricity that goes down in a cable to be delivered to the earth.This waste is not limited to the Eiffel Tower. All roofs and metal frames make the same production, stupidly given to the earth. The Vril energy is free, it is its biggest flaw in a world of profit. The fact that it is completely environmentally friendly and inexhaustible has no interest for the capital. The fact that it is beneficial for both the human mind and the health of people, animals and plants thanks to the virtues of water of lightning, has even much less interest for profiteers. Unfortunately, Tesla was never able to finish his tower. He did not have the opportunity to carry out the planned experiments on Long Island that sought to bring rain in the deserts. Others before him had managed that. We know that Egypt has not always been desertic. The Greek historian Herodotus wrote that "Egypt is a gift of the Nile." But it was in the 5th century BC. Since then, its climate has not changed much, and yet it has not always been so. The predynastic Egypt was rather a gift of the pyramids... "In the pre-dynastic period, the Egyptian climate is much less arid than it is nowadays. Large areas of Egypt are covered with savanna and traversed by herds of ungulates. The foliage and wildlife then are much more prolific and the Nile region is home to large populations of waterfowl. Hunting is a common activity for the Egyptians and it is also during this period that many animals are domesticated for the first time."
www.apparentlyapparel.com/news/the-pyramid-energy-tesla-c...
"....If we could produce electric effects of the required quality, this whole planet and the conditions of existence on it could be transformed. The sun raises the water of the oceans and winds drive it to distant regions where it remains in state of most delicate balance. If it were in our power to upset it when and wherever desired, this mighty life-sustaining stream could be at will controlled. We could irrigate arid deserts, create lakes and rivers and provide motive power in unlimited amount. This would be the most efficient way of harnesing the sun to the uses of man......" ( Nikola Tesla, June 1919 )
Nikola Tesla, inventor of alternating current motors, did the basic research for constructing electromagnetic field lift-and-drive aircraft/space craft. From 1891 to 1893, he gave a set of lectures and demonstrations to groups of electrical engineers. As part of each show, Tesla stood in the middle of the stage, using his 6' 6" height, with an assistant on either side, each 7 feet away. All 3 men wore thick cork or rubber shoe soles to avoid being electrically grounded. Each assistant held a wire, part of a high voltage, low current circuit. When Tesla raised his arms to each side, violet colored electricity jumped harmlessly across the gaps between the men. At high voltage and frequency in this arrangement, electricity flows over a surface, even the skin, rather than into it. This is a basic circuit which could be used by aircraft / spacecraft.
The hull is best made double, of thin, machinable, slightly flexible ceramic. This becomes a good electrical insulator, has no fire danger, resists any damaging effects of severe heat and cold, and has the hardness of armor, besides being easy for magnetic fields to pass through.
The inner hull is covered on it's outside by wedge shaped thin metal sheets of copper or aluminum, bonded to the ceramic. Each sheet is 3 to 4 feet wide at the horizontal rim of the hull and tapers to a few inches wide at the top of the hull for the top set of metal sheets, or at the bottom for the bottom set of sheets. Each sheet is separated on either side from the next sheet by 1 or 2 inches of uncovered ceramic hull. The top set of sheets and bottom set of sheets are separated by about 6 inches of uncovered ceramic hull around the horizontal rim of the hull.
The outer hull protects these sheets from being short-circuited by wind blown metal foil (Air Force radar confusing chaff), heavy rain or concentrations of gasoline or kerosene fumes. If unshielded, fuel fumes could be electrostatically attracted to the hull sheets, burn and form carbon deposits across the insulating gaps between the sheets, causing a short-circuit. The space, the outer hull with a slight negative charge, would absorb hits from micrometeorites and cosmic rays (protons moving at near the speed of light). Any danger of this type that doesn't already have a negative electric charge would get a negative charge in hitting the outer hull, and be repelled by the metal sheets before it could hit the inner hull. This wouldn't work well on a very big meteor, I might add.
The hull can be made in a variety of shapes; sphere, football, disc, or streamlined rectangle or triangle, as long as these metal sheets, "are of considerable area and arranged along ideal enveloping surfaces of very large radii of curvature," p. 85. "My Inventions", by Nikola Tesla.
The power plant for this machine can be a nuclear fission or fusion reactor for long range and long-term use to run a steam engine, which turns the generators. A short range machine can use a hydrogen oxygen fuel cell to run a low-voltage motor to turn the generators, occasionally recharging by hovering next to high voltage power lines and using antennas mounted on the outer hull to take in the electricity. The short-range machine can also have electricity beamed to it from a generating plan on a long-range aircraft / spacecraft or on the ground.
(St. Louis Post-Dispatch, Nov. 24, 1987, Vol 109, No. 328, "The Forever Plane" by Geoffrey Rowan, p. D1, D7.)
("Popular Science", Vol 232, No. 1, Jan. 1988, "Secret of Perpetual Flight? Beam Power Plane," by Arthur Fisher, p. 62-65, 106)
One standard for the generators is to have the same number of magnets as field coils. Tesla's preferred design was a thin disc holding 480 magnets with 480 field coils wired in series surrounding it in close tolerance. At 50 revolutions per minute, it produces 19,400 cycles per second.
The electricity is fed into a number of large capacitors, one for each metal sheet. An automatic switch, adjustable in timing by the pilot, closes, and as the electricity jumps across the switch, back and forth, it raises it's own frequency; a switch being used for each capacitor.
The electricity goes into a Tesla transformer; again, one transformer for each capacitor. In an oil tank to insulate the windings and for cooling, and supported internally by wood, or plastic, pipe and fittings, each Tesla transformer looks like a short wider pipe that is moved along a longer, narrower pipe by an insulated non-electric cable handle. The short pipe, the primary, is 6 to 10 windings (loops) of wire connected in series to the long pipe. The secondary is 460 to 600 windings, at the low voltage and frequency end.
The insulated non-electric cable handle is used through a set of automatic controls to move the primary coil to various places on the secondary coil. This is the frequency control. The secondary coil has a low frequency and voltage end and a maximum voltage and frequency end. The greater the frequency the electricity, the more it pushes against the earth's electrostatic and electromagnetic fields.
The electricity comes out of the transformer at the high voltage end and goes by wire through the ceramic hull to the wide end of the metal sheet. The electricity jumps out on and flows over the metal sheet, giving off a very strong electromagnetic field, controlled by the transformer. At the narrow end of the metal sheet, most of the high-voltage push having been given off; the electricity goes back by wire through the hull to a circuit breaker box (emergency shut off), then to the other side of the generators.
In bright sunlight, the aircraft / spacecraft may seem surrounded by hot air, a slight magnetic distortion of the light. In semi-darkness and night, the metal sheets glow, even through the thin ceramic outer hull, with different colors. The visible light is a by-product of the electricity flowing over the metal sheets, according to the frequencies used.
Descending, landing or just starting to lift from the ground, the transformer primaries are near the secondary weak ends and therefore, the bottom set of sheets glow a misty red. Red may also appear at the front of the machine when it is moving forward fast, lessening resistance up front. Orange appears for slow speed. Orange-yellow is for airplane-type speeds. Green and blue are for higher speeds. With a capacitor addition, making it oversized for the circuit, the blue becomes bright white, like a searchlight, with possible risk of damaging the metal sheets involved. The highest visible frequency is violet, like Tesla's stage demonstrations, used for the highest speed along with the bright white. The colors are nearly coherent, of a single frequency, like a laser.
A machine built with a set of super conducting magnets would simplify and reduce electricity needs from a vehicle's transformer circuits to the point of flying along efficiently and hovering with little electricity.
When Tesla was developing arc lights to run on alternating current, there was a bothersome high-pitched whine, whistle, or buzz, due to the electrodes rapidly heating and cooling. Tesla put this noise in the ultrasonic range with the special transformer already mentioned. The aircraft / spacecraft gives off such noises when working at low frequencies.
Timing is important in the operation of this machine. For every 3 metal sheets, when the middle one is briefly turned off, the sheet on either side is energized, giving off the magnetic field. The next instant, the middle sheet is energized, while the sheet on either side is briefly turned off. There is a time delay in the capacitors recharging themselves, so at any time, half of all the metal sheets are energized and the other half are recharging, alternating all around the inner hull. This balances the machine, giving it very good stability. This balance is less when fewer of the circuits are in use.
Fairly close, the aircraft / spacecraft produces heating of persons and objects on the ground; but by hovering over an area at low altitude for maybe 5 or 10 minutes, the machine also produces a column of very cold air down to the ground. As air molecules get into the strong magnetic fields that the machine is transmitting out, the air molecules become polarized and from lines, or strings, of air molecules. The normal movement of the air is stopped, and there is suddenly a lot more room for air molecules in this area, so more air pours in. This expansion and the lack of normal air motion make the area intensely cold.
This is also the reason that the aircraft / spacecraft can fly at supersonic speeds without making sonic booms. As air flows over the hull, top and bottom, the air molecules form lines as they go through the magnetic fields of the metal sheet circuits. As the air molecules are left behind, they keep their line arrangements for a short time; long enough to cancel out the sonic boom shock waves.
Outside the earth's magnetic field, another propulsion system must be used, which relies on the first. You may have read of particle accelerators, or cyclotrons, or atomsmashers. A particle accelerator is a circular loop of pipe that, in cross-section, is oval. In a physics laboratory, most of the air in it is pumped out. The pipe loop is given a static electric charge; a small amount of hydrogen or other gas is given the same electric charge so the particles won't stick to the pipe. A set of electromagnets all around the pipe loop turn on and off, one after the other, pushing with one magnetic pole and pulling with the next, until those gas particles are racing around the pipe loop at nearly the speed of light. Centrifugal force makes the particles speed closer to the outside edge of the pipe loop, still within the pipe. The particles break down into electrons, or light and other wavelengths, protons or cosmic rays, and neutrons if more than hydrogen is put in the accelerator.
At least 2 particle accelerators are used to balance each other and counter each other's tendency to make the craft spin. Otherwise, the machine would tend to want to start spinning, following the direction of the force being applied to the particles. The accelerators push in opposite directions.
As the pilot and crew travel in space, outside the magnetic field of a world, water from a tank is electrically separated into oxygen and hydrogen. Waste carbon dioxide that isn't used for the onboard garden, and hydrogen (helium if the machine is using a fusion reactor) is slowly, constantly fed into the inside curves of both accelerators.
The high-speed particles go out through straight lengths of pipe, charged like the loops and in speeding out into space, push the machine along. Doors control which pips the particles leave from. This allows very long-range acceleration and later deceleration at normal (earth) gravity. This avoids the severe problems of weightlessness, including lowered physical abilities of the crew.
It is possible to use straight-line particle accelerators, even as few as one per machine, but these don't seem as able to get the best machine speed for the least amount of particles pushed out.
Using a constant acceleration of 32.2 feet per second per second provides earth normal gravity in deep space and only 2 gravities of stress in leaving the earth's gravity field. It takes, not counting air resistance, 18 minutes, 58.9521636 seconds to reach the 25,000 miles per hour speed to leave the earth's gravity field. It takes about 354 days, 12 hours, 53 minutes and 40 seconds (about) to reach the speed of light - 672,487,072.7 miles per hour. It takes the same distance to decelerate as it does to speed up, but this cuts down the time delay that one would have in conventional chemical rocketry enormously, for a long journey.
A set of super conducting magnets can be charged by metal sheet circuits, within limits, to whatever frequency is needed and will continue to transmit that magnetic field frequency almost indefinitely.
A short-wave radio can be used to find the exact frequencies that an aircraft / spacecraft is using, for each of the colors it may show whole a color television can show the same overall color frequency that the nearby, but not extremely close, craft is using This is limited, as a machine traveling at the speed of a jet airliner may broadcast in a frequency range usually used for radar sets.
The craft circuits override lower frequency, lower voltage electric circuits within and near their electromagnetic fields. One source briefly mentioned a 1941 incident, where a short-wave radio was used to override automobile ignition systems, up to 3 miles away. When the short-wave radio was turned off, the cars could work again. How many UFO encounters have been reported in which automobile ignition systems have suddenly stopped?
I figure that things would not be at all pleasant for drivers of modern cars with computer controlled engine and ignition systems. Computer circuitry is sensitive to small changes in voltage and a temporary wrong-way voltage surge may wipe the computer memory out. It could mean that a number of drivers would suddenly be stranded with their cars not working should such a craft fly low over a busy highway. Only diesel engines, already warmed up, and Stanley Steamer type steam engine cares are able to continue working in a strong electromagnetic field. In May, 1988, it was reported that the U.S. Army had lost 5 Blackhawk helicopters and 22 crewmen in crashes caused by ordinary commercial radio broadcasting overriding the computer control circuits of those helicopters. Certainly, computer circuits for this aircraft / spacecraft can and must be designed to overcome this weakness.
One construction arrangement for this craft to avoid such interference is for the metal sheet circuits to be more sharply tuned. Quartz or other crystals can be used in capacitors; in a very large number of low-powered, single frequency circuits, or as part of a frequency control for the metal sheet circuits.
The aircraft / spacecraft easily overrides lower frequency and lower voltage electric circuits up to a 6 mile wide circle around it, but the effect is usually not tuned for such a drastic show. It can be used for fire fighting: by hovering at a medium-low height at low frequency, it forms a double negative pole magnet of itself and the ground, the sides being a rotation of positive magnetic pole.
It polarizes the column of air in this field. The air becomes icy cold. If it wouldn't put the fire out, it would slow it down.
Tesla went broke in the early 1900's building a combination radio and electric power broadcasting station. The theory and experiments were correct but the financiers didn't want peace and prosperity for all.
The Japanese physicist who developed super conducting material with strong magnetism allows for a simplified construction of the aircraft / spacecraft. Blocks of this material can be used in place of the inner hull metal sheets. By putting electricity in each block, the pilot can control the strength of the magnetic field it gives off and can reduce the field strength by draining some of the electric charge. This allows the same amount of work to be done with vastly less electricity used to do it.
It is surprising that Jonathan Swift, in his "Gulliver's Travels", 1726, third book, "A Voyage to Laputa", described an imagined magnetic flying island that comes close to being what a large super conducting aircraft / spacecraft can be build as, using little or no electric power to hover and mover around.
www.thelivingmoon.com/41pegasus/02files/Tesla_Saucer.html
Before our study group, Summerville, South Carolina #2, made a trip to A.R.E headquarters in Virginia Beach, Va., in April, 2009, Jerry Ingle, set into motion an ideal that generated a monumental synchronicity. For years, Jerry, a long-time member of our group, had been interested in Nikola Tesla. He saw many parallels between his talents and those of Edgar Cayce and hoped to somehow connect them. As a psychic, Edgar Cayce had been consulted by engineers about their inventions. Cayce was willing to help as long as it would ultimately be of service to humanity. While there are suggestions that both Thomas Edison and his former associate, Nikola Tesla, consulted Cayce separately; there is no documentation in the A.R.E. archives.
Nikola Tesla was an electrical engineer who invented the alternating current Niagara power system that made Edison's direct current obsolete. He sold Westinghouse 40 patents that broke the General Electric monopoly. In 1893 he demonstrated the use of wireless radio control with a torpedo-like boat. He invented wireless transmission of electricity, an electric car that ran by tapping into the electricity of the Earth, the microwave, and the TV remote control, just to name a few. A court recently ruled that while Marconi had been given credit for the invention of the radio and made a fortune on it, Tesla was the true inventor.
Tesla was concerned with harnessing nature to meet the needs of humankind and foresaw the end of World War I as a synthesis of history, philosophy, and science,. He had the amazing ability to construct a machine in his mind and then, by operating the device in his mind, make improvements to the design. He could develop and perfect his inventions by drawing only upon the creative forces, without actually touching anything material. Just as the Cayce readings suggest, "Mind is the builder, physical is the result."
Another inventor that Edgar Cayce met was a man named Marion L. Stansell. During World War I, while stationed in France, Stansell had a near death experience with a vision. During the experience, a "spirit guide" escorted him to another dimension where he was given a formula for a mechanical device. He was told that this device would save the planet from environmental destruction in the next millennium.
On February 1, 1928, Edgar Cayce gave a reading which confirmed that Stansell was able to see the blueprints for a revolutionary type of motor in his dreams and visions. According to the readings, the motor was designed in the spirit realm by De Witt Clinton, deceased governor of New York, who in his last incarnation was the force behind the development of the Erie Canal.
Stansell needed the assistance of Edgar Cayce to relay precise technical information from Clinton in the spirit realm to Stansell and a team of like-minded entrepreneurs in the material world. The Stansell motor readings were conducted over a two-year period. One could speculate that Mr. Cayce did the same for Nikola Tesla, and that these readings were a continuation of that work, but if so, there is no record of it.
Jerry believed that there was a deep connection between the work of Cayce and Tesla and their interest in the connection between electricity and psychic phenomena. At A.R.E., Jerry found his way to the vault, where the Cayce records are kept, hoping to discover a way to get these plans into the hands of present-day inventors.
There, he and an A.R.E. volunteer named Harry talked excitedly for some time about Tesla. Suddenly, a man came to the door of the vault. "Does anybody know if there was ever a connection between Edgar Cayce and Nikola Tesla?"
"Here is the guy who can tell you," said Harry as he pointed toward Jerry. Jerry turned to face Nikola Lonchar — the President of Nikola Tesla's Inventors Club, a man who was dedicated to locating and preserving Tesla's work. The organization was made up of scientists who wanted to be sure Tesla's work was not lost! This was the first visit to A.R.E. by anyone from the Tesla organization.
Jerry was able to supply the visitor with the information he needed. The two sat in the lobby of the A.R.E. Visitor Center, oblivious to their surroundings, talking about an interest that held them both captive. Jerry was invited to speak at the next Nikola Tesla Inventors conference.
Nikola Lonchar was at A.R.E. for only one day. During this small window of time, he and Jerry had converged at the same place, at the same time, both equipped with a desire to be of service to Cayce, to Tesla, and to humanity. That's synchronicity in motion.
www.edgarcayce.org/about-us/blog/blog-posts/synchronicity...
Este pequeño, y escondido normalmente debajo de arbustos y escobas, llamó mi atención por su blancura y elegantes formas, y me demandaba por sus detalles dedicarle un macro y asà lo hice, para que pudiera brillar en todo su esplendor. Hay ocasiones en que la naturaleza te pide la fotografÃa, ¡ A los demás no os sucede esto?.
why do I collect stupid stuff, here is most of my concrete collection!
Peace and Noise!
/ MushroomBrain the concrete collector
Le cap de la Chèvre est le cap méridional de la presqu'île de Crozon, dans l'ouest de la Bretagne. Orienté vers le sud, ce cap fait face à la côte nord du cap Sizun et ferme la baie de Douarnenez. Ce site classé pour son paysage exceptionnel, faite partie du Parc naturel régional d'Armorique.
I broke down and got a new Fashionista ken cus I’m still lacking Ken clothes and Rare Form still hasnt come home with me yet.
It’s competently made but it’s not great, but expecting the bare minimum from Mattel seems to be a rare occurance.
Deep turquoise forms a popular color pair with navy blue and sets the scene against crisp white and silver finishes. This theme of rich blue and green carries throughout the room and make an appearance in both the seating and accessories---creating a stylish, refreshing setting for all your dolls affairs.
Set Includes (16 pieces +):
1 Table
6 chairs
1 Side buffet cabinet (The buffet doors are fully functional.)
1 wall art
1 wall sculpture mirror
1 silver sculptured tree and planter
1 rug
1 Sunburst wall sculpture
1 pair (2) of curtains with cornice box
1 Set of accessories (1 small sculpture, 3 candleholders, tall flowers and vase, set of 3 silver planters and greenery.
1 Background set (diorama)
All items are handmade. (except for plates, glasses, silver tray, and wine bottles. ) All Furniture are made out of solid wood.
FM me if you are intrested.
Taranaki Anglican Cathedral, 37 Vivian St.
This newish cathedral is situated in the cathedral church of St Mary. Taranaki was part of the Diocese of Waikato (Hamilton) when it was formed in 1926. Then it became a pro cathedral church in 1976 with the first Bishop of Taranaki being appointed in 1999 but there were two bishops in the one diocese. Taranaki Cathedral was only created in 2010 for the Diocese of Waikato and Taranaki. In 2013 the current bishop Philip Richardson was ordained as the archbishop of New Zealand Aotearoa and Polynesia. Reverend William Bolland was appointed as the first vicar in 1842 after Bishop Selwyn obtained a free land grant for the church from the Crown. Rev Bolland opened the first St Mary’s church in 1846 but he contracted a fever and died in 1847(aged 27 years) whereupon he was buried in the new cemetery surrounding the church. The first part of St Mary’s Anglican Church was built in 1845/46 making it the oldest stone church in New Zealand. The original church was a small rectangular church designed by architect Frederick Thatcher, an architect used for many ecclesiastical buildings by Bishop Selwyn (remember buildings in Parnell in Auckland). The nave was extended between 1859 and 1862 when the porch was also added in the same style of Frederick Thatcher’s original nave. In 1893 another major NZ architect Benjamin Mountford of Christchurch added the apse, the chancel, the sanctuary and the organ chamber. In 1915 another architect designed All Saints side chapel and the northern transept. The grounds include the historic New Plymouth cemetery with grand English trees. During the Taranaki Wars the British troops took over the cemetery and penned their bullocks here! The cemetery includes memorials for the Boer War, the Maori chiefs, the Taranaki Militia, etc.
What forms lurk in the mists of the Carina Nebula? The dark ominous figures are actually molecular clouds, knots of molecular gas and dust so thick they have become opaque. In comparison, however, these clouds are typically much less dense than Earth's atmosphere. Featured here is a detailed image of the core of the Carina Nebula, a part where both dark and colorful clouds of gas and dust are particularly prominent. The image was captured last month from Siding Spring Observatory in Australia. Although the nebula is predominantly composed of hydrogen gas -- here colored green, the image was assigned colors so that light emitted by trace amounts of sulfur and oxygen appear red and blue, respectively. The entire Carina Nebula, cataloged as NGC 3372, spans over 300 light years and lies about 7,500 light-years away in the constellation of Carina. Eta Carinae, the most energetic star in the nebula, was one of the brightest stars in the sky in the 1830s, but then faded dramatically. via NASA ift.tt/1ThxMNQ
En la laguna glaciar de Jökulsárlón. Donde el glaciar al terminar por ese lado en laguna, provoca un desprendimiento de icebergs que tienen este magnÃfico colorido turquesa por ser el único que refleja el hielo. Las capas negras son debidas a la ceniza volvánica.
Buds, Flowers, Forming berries, Ripe berries and finished stalks. All on one plant! With an autumnal Hazel in the background.
Henry Moore - Form and Material - Museum Beelden aan Zee - The Hague
In collaboration with the Henry Moore Foundation, Museum Beelden aan Zee has made a selection of works from the artist's substantial oeuvre. Around 70 objects and sculptures portray the artistic vision and creative process of one of the most important innovators of modern sculpture. The exhibition in Beelden aan Zee focuses on the influence of nature on his work and his growth and development as a sculptor. From promoting direct carving – carving without using preparatory sketches and studies – to experimenting with casting in lead and bronze. Henry Moore (1898-1986) is one of the most important British artists of the twentieth century. His sculptures balance on the boundary between figurative and abstract art and continue to be a source of inspiration to artists. His work has a recognisable and characteristic formal language. Important themes in his oeuvre are ‘mother and child’ and his reclining figures, which he explored extensively.
From the 1920s, Moore participated in countless British and international exhibitions, with solo as well as group exhibitions, he sold work on a regular basis, and so made a name for himself as an important modernist sculptor. However, the Second World War called a halt to these positive developments. Henry Moore left his teaching post and took up a commission as a war artist. It was in this capacity that he produced his deeply moving Shelter Drawings of Londoners crowding the city's underground stations sheltering from the Blitz. In the 1950s he created larger groups of figures. The prices for his works increased considerably and his fame as an international artist continued to grow. In later years he served as a trustee at both the Tate Gallery and the National Gallery and he was the recipient of a large number of prizes and honours.
Positive Runway Global Catwalk African Fashion Show. African Ambassadors & Diaspora Interactive Form AAIF United Nations buildings International Maritime Organization HQ IMO London.
This series was a departure from my usual shoot style. I was looking to capture and highlight the contrast in the 3 key elements of form, texture and flow. That is, the natural form of the model, the abstract textures of the rock and the flow of the water. We were both pretty happy with how the shots turned out in the end!
Free form embroidery using chain, satin, running stitches and French knots on recycled upholstery sample fabric
PS - OK, can you tell - I've been watching the Universe TV series, -- I think that one thing might be a Lyman-alpha blob.
PGB Photographer & Creative - © Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
Saint-Tropez est une ville côtière située sur la Côte d'Azur, dans la région Provence-Alpes-Côte d'Azur au sud-est de la France. Les yachts sont désormais plus nombreux que les bateaux de pêche dans le Vieux Port.
Rochester Cathedral has been transformed by ‘Peace Doves’ an artwork by Peter Walker Sculptor
Bringing a message of peace and hope, the Peace Doves artwork has been created from around fifteen thousand individually hand made paper doves, together they collectively form this beautiful artwork which as a whole reflects joining together in unity, peace and hope moving forward.
Peace Doves is an artwork that has been re-curated for different spaces as it tours the UK, adaptations have been seen in Liverpool, Lichfield, Derby, Sheffield and now at Rochester.
The Peace Doves project has incorporated educational engagement with many schools and community groups in the local area and each person has written individual messages of peace and hope onto each dove.
Throughout history the dove has been viewed as a symbol of peace in many different cultures. For example in Greek mythology the dove is a symbol of the renewal of life, and liturgically within the Bible the dove appears at the Baptism of Jesus in the river Jordan and in the teachings of Noah and the Ark as a symbol of the Holy Spirit.
www.rochestercathedral.org/peacedoves
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The church is the cathedral of the Diocese of Rochester in the Church of England and the seat (cathedra) of the Bishop of Rochester, the second oldest bishopric in England after that of the Archbishop of Canterbury. The edifice is a Grade I listed building (number 1086423)
The Rochester diocese was founded by Justus, one of the missionaries who accompanied Augustine of Canterbury to convert the pagan southern English to Christianity in the early 7th century. As the first Bishop of Rochester, Justus was granted permission by King Æthelberht of Kent to establish a church dedicated to Andrew the Apostle (like the monastery at Rome where Augustine and Justus had set out for England) on the site of the present cathedral, which was made the seat of a bishopric. The cathedral was to be served by a college of secular priests and was endowed with land near the city called Priestfields.[3][a][b]
Under the Roman system, a bishop was required to establish a school for the training of priests.[4] To provide the upper parts for music in the services a choir school was required.[5] Together these formed the genesis of the cathedral school which today is represented by the King's School, Rochester. The quality of chorister training was praised by Bede.
The original cathedral was 42 feet (13 m) high and 28 feet (8.5 m) wide. The apse is marked in the current cathedral on the floor and setts outside show the line of the walls. Credit for the construction of the building goes to King Æthelberht rather than St Justus. Bede describes St Paulinus' burial as "in the sanctuary of the Blessed Apostle Andrew which Æthelberht founded likewise he built the city of Rochester."[c][7]
Æthelberht died in 617 and his successor, Eadbald of Kent, was not a Christian. Justus fled to Francia and remained there for a year before he was recalled by the king.[8]
In 644 Ithamar, the first English-born bishop, was consecrated at the cathedral.[d] Ithamar consecrated Deusdedit as the first Saxon Archbishop of Canterbury on 26 March 655.[9]
The cathedral suffered much from the ravaging of Kent by King Æthelred of Mercia in 676. So great was the damage that Putta retired from the diocese and his appointed successor, Cwichelm, gave up the see "because of its poverty".[10]
In 762, the local overlord, Sigerd, granted land to the bishop, as did his successor Egbert.[e][11] The charter is notable as it is confirmed by Offa of Mercia as overlord of the local kingdom.
Following the invasion of 1066, William the Conqueror granted the cathedral and its estates to his half-brother, Odo of Bayeux. Odo misappropriated the resources and reduced the cathedral to near-destitution. The building itself was ancient and decayed. During the episcopate of Siward (1058–1075) it was served by four or five canons "living in squalor and poverty".[12] One of the canons became vicar of Chatham and raised sufficient money to make a gift to the cathedral for the soul and burial of his
Gundulf's church
Lanfranc, Archbishop of Canterbury, amongst others, brought Odo to account at the trial of Penenden Heath c. 1072. Following Odo's final fall, Gundulf was appointed as the first Norman bishop of Rochester in 1077. The cathedral and its lands were restored to the bishop.
Gundulf's first undertaking in the construction of the new cathedral seems to have been the construction of the tower which today bears his name. In about 1080 he began construction of a new cathedral to replace Justus' church. He was a talented architect who probably played a major part in the design or the works he commissioned. The original cathedral had a presbytery of six bays with aisles of the same length. The four easternmost bays stood over an undercroft which forms part of the present crypt. To the east was a small projection, probably for the silver shrine of Paulinus which was translated there from the old cathedral.[f] The transepts were 120 feet long, but only 14 feet wide. With such narrow transepts it is thought that the eastern arches of the nave abuted the quire arch.[14] To the south another tower (of which nothing visible remains) was built. There was no crossing tower.[15] The nave was not completed at first. Apparently designed to be nine bays long, most of the south side but only five bays to the north were completed by Gundulf. The quire was required by the priory and the south wall formed part of its buildings. It has been speculated that Gundulf simply left the citizens to complete the parochial part of the building.[16] Gundulf did not stop with the fabric, he also replaced the secular chaplains with Benedictine monks, obtained several royal grants of land and proved a great benefactor to his cathedral city.
In 1078 Gudulf founded St Bartholomew's Hospital just outside the city of Rochester. The Priory of St Andrew contributed daily and weekly provisions to the hospital which also received the offerings from the two altars of St James and of St Giles.[17]
During the episcopates of Ernulf (1115–1124) and John (I) (1125–1137) the cathedral was completed. The quire was rearranged, the nave partly rebuilt, Gundulf's nave piers were cased and the west end built. Ernulf is also credited with building the refectory, dormitory and chapter house, only portions of which remain. Finally John translated the body of Ithamar from the old Saxon cathedral to the new Norman one, the whole being dedicated in 1130 (or possibly 1133) by the Archbishop of Canterbury, assisted by 13 bishops in the presence of Henry I, but the occasion was marred by a great fire which nearly destroyed the whole city and damaged the new cathedral. It was badly damaged by fires again in 1137 and 1179. One or other of these fires was sufficiently severe to badly damage or destroy the eastern arm and the transepts. Ernulf's monastic buildings were also damaged.
Probably from about 1190, Gilbert de Glanville (bishop 1185–1214) commenced the rebuilding of the east end and the replacement on the monastic buildings. The north quire transept may have been sufficiently advanced to allow the burial of St William of Perth in 1201, alternatively the coffin may have lain in the north quire aisle until the transept was ready. It was then looted in 1215 by the forces of King John during siege of Rochester Castle. Edmund de Hadenham recounts that there was not a pyx left "in which the body of the Lord might rest upon the altar".[14] However, by 1227, the quire was again in use when the monks made their solemn entry into it. The cathedral was rededicated in 1240 by Richard Wendene (also known as Richard de Wendover) who had been translated from Bangor.[14][18]
The shrines of Ss Paulinus and William of Perth, along with the relics of St Ithamar, drew pilgrims to the cathedral. Their offerings were so great that both the work mentioned above and the ensuing work could be funded.
Unlike the abbeys of the period (which were led by an abbot) the monastic cathedrals were priories ruled over by a prior with further support from the bishop.[19] Rochester and Carlisle (the other impoverished see) were unusual in securing the promotion of a number of monks to be bishop. Seven bishops of Rochester were originally regular monks between 1215 and the Dissolution.[20] A consequence of the monastic attachment was a lack of patronage at the bishop's disposal. By the early 16th century only 4% of the bishop's patronage came from non-parochial sources.[21] The bishop was therefore chronically limited in funds to spend on the non-monastic part of the cathedral.
The next phase of the development was begun by Richard de Eastgate, the sacrist. The two eastern bays of the nave were cleared and the four large piers to support the tower were built. The north nave transept was then constructed. The work was nearly completed by Thomas de Mepeham who became sacrist in 1255. Not long after the south transept was completed and the two bays of the nave nearest the crossing rebuilt to their current form. The intention seems to have been to rebuild the whole nave, but probably lack of funds saved the late Norman work.
The cathedral was desecrated in 1264 by the troops of Simon de Montfort, during sieges of the city and castle. It is recorded that armed knights rode into the church and dragged away some refugees. Gold and silver were stolen and documents destroyed. Some of the monastic buildings were turned into stables.[22] Just over a year later De Montfort fell at the Battle of Evesham to the forces of Edward I. Later, in 1300, Edward passed through Rochester on his way to Canterbury and is recorded as having given seven shillings (35p) at the shrine of St William, and the same again the following day. During his return he again visited the cathedral and gave a further seven shillings at each of the shrines of Ss Paulinus and Ithamar.
The new century saw the completion of the new Decorated work with the original Norman architecture. The rebuilding of the nave being finally abandoned. Around 1320 the south transept was altered to accommodate the altar of the Virgin Mary.
There appears to have been a rood screen thrown between the two western piers of the crossing. A rood loft may have surmounted it.[23] Against this screen was placed the altar of St Nicholas, the parochial altar of the city. The citizens demanded the right of entrance by day or night to what was after all their altar. There were also crowds of strangers passing through the city. The friction broke out as a riot in 1327 after which the strong stone screens and doors which wall off the eastern end of the church from the nave were built.[24] The priory itself was walled off from the town at this period. An oratory was established in angulo navis ("in the corner of the nave") for the reserved sacrament; it is not clear which corner was being referred to, but Dr Palmer[25] argues that the buttress against the north-west tower pier is the most likely setting. He notes the arch filled in with rubble on the aisle side; and on nave side there is a scar line with lower quality stonework below. The buttress is about 4 feet (1.2 m) thick, enough for an oratory. Palmer notes that provision for reservation of consecrated hosts was often made to the north of the altar which would be the case here.
The central tower was at last raised by Hamo de Hythe in 1343, thus essentially completing the cathedral. Bells were placed in the central tower (see Bells section below). The chapter room doorway was constructed at around this time. The Black Death struck England in 1347–49. From then on there were probably considerably more than twenty monks in the priory.
The modern paintwork of the quire walls is modelled on artwork from the Middle Ages. Gilbert Scott found remains of painting behind the wooden stalls during his restoration work in the 1870s. The painting is therefore part original and part authentic. The alternate lions and fleurs-de-lis reflect Edward III's victories, and assumed sovereignty over the French. In 1356 the Black Prince had defeated John II of France at Poitiers and took him prisoner. On 2 July 1360 John passed through Rochester on his way home and made an offering of 60 crowns (£15) at the Church of St Andrew.[27]
The Oratory provided for the citizens of Rochester did not settle the differences between the monks and the city. The eventual solution was the construction of St Nicholas' Church by the north side of the cathedral. A doorway was knocked through the western end of the north aisle (since walled up) to allow processions to pass along the north aisle of the cathedral before leaving by the west door.[27][28]
In the mid-15th century the clerestory and vaulting of the north quire aisle was completed and new Perpendicular Period windows inserted into the nave aisles. Possible preparatory work for this is indicated in 1410–11 by the Bridge Wardens of Rochester who recorded a gift of lead from the Lord Prior. The lead was sold on for 41 shillings.[g][29] In 1470 the great west window at the cathedral was completed and finally, in around 1490, what is now the Lady Chapel was built.[27] Rochester Cathedral, although one of England's smaller cathedrals, thus demonstrates all styles of Romanesque and Gothic architecture.[30]
In 1504 John Fisher was appointed Bishop of Rochester. Although Rochester was by then an impoverished see, Fisher elected to remain as bishop for the remainder of his life. He had been tutor to the young Prince Henry and on the prince's accession as Henry VIII, Fisher remained his staunch supporter and mentor. He figured in the anti-Lutheran policies of Henry right up until the divorce issue and split from Rome in the early 1530s. Fisher remained true to Rome and for his defence of the Pope was elevated as a cardinal in May 1535. Henry was angered by these moves and, on 22 June 1535, Cardinal Fisher was beheaded on Tower Green.
Henry VIII visited Rochester on 1 January 1540 when he met Ann of Cleves for the first time and was "greatly disappointed".[31] Whether connected or not, the old Priory of St Andrew was dissolved by royal command later in the year, one of the last monasteries to be dissolved.
The west front is dominated by the central perpendicular great west window. Above the window the dripstone terminates in a small carved head at each side. The line of the nave roof is delineated by a string course above which rises the crenelated parapet. Below the window is a blind arcade interrupted by the top of the Great West Door. Some of the niches in the arcade are filled with statuary. Below the arcade the door is flanked with Norman recesses. The door itself is of Norman work with concentric patterned arches. The semicircular tympanum depicts Christ sitting in glory in the centre, with Saints Justus and Ethelbert flanking him on either side of the doorway. Supporting the saints are angels and surrounding them are the symbols of the Four Evangelists: Ss Matthew (a winged man), Mark (a lion), Luke (an ox) and John (an eagle).[52] On the lintel below are the Twelve Apostles and on the shafts supporting it King Soloman and the Queen of Sheba.[53] Within the Great West Door there is a glass porch which allows the doors themselves to be kept open throughout the day.
Either side of the nave end rises a tower which forms the junction of the front and the nave walls. The towers are decorated with blind arcading and are carried up a further two stories above the roof and surmounted with pyramidal spires. The aisle ends are Norman. Each has a large round headed arch containing a window and in the northern recess is a small door. Above each arch is plain wall surmounted by a blind arcade, string course at the roof line and plain parapet. The flanking towers are Norman in the lower part with the style being maintained in the later work. Above the plain bases there are four stories of blind arcading topped with an octagonal spire.[54]
The outside of the nave and its aisles is undistinguished, apart from the walled up north-west door which allowed access from the cathedral to the adjacent St Nicholas' Church.[28] The north transept is reached from the High Street via Black Boy Alley, a medieval pilgrimage route. The decoration is Early English, but reworked by Gilbert Scott. Scott rebuilt the gable ends to the original high pitch from the lower one adopted at the start of the 19th century. The gable itself is set back from the main wall behind a parapet with walkway. He also restored the pilgrim entrance and opened up the blind arcade in the northern end of the west wall.[55]
To the east of the north transept is the Sextry Gate. It dates from Edward III's reign and has wooden domestic premises above. The area beyond was originally enclosed, but is now open to the High Street through the memorial garden and gates. Beyond the Sextry Gate is the entrance to Gundulf's Tower, used as a private back door to the cathedral.
The north quire transept and east end are all executed in Early English style, the lower windows light the crypt which is earlier. Adjoining the east end of the cathedral is the east end of the Chapter Room which is in the same style. The exact form of the east end is more modern than it appears, being largely due to the work of Scott in the 19th century. Scott raised the gable ends to the original high pitch, but for lack of funds the roofs have not been raised; writing in 1897 Palmer noted: "they still require roofs of corresponding pitch, a need both great and conspicuous".[56]
On the south side of the cathedral the nave reaches the main transept and beyond a modern porch. The aisle between the transepts is itself a buttress to the older wall behind and supported by a flying buttress. The unusual position of this wall is best explained when considering the interior, below. The southern wall of the presbytery is hidden by the chapter room, an 18th-century structure.
he western part of the nave is substantially as Gundulf designed it. According to George H. Palmer (who substantially follows St John Hope) "Rochester and Peterborough possess probably the best examples of the Norman nave in the country".[60] The main arcade is topped by a string course below a triforium. The triforium is Norman with a further string course above. The clerestory above is of perpendicular style. From the capitals pilasters rise to the first string course but appear to have been removed from the triforium stage. Originally they might have supported the roof timbers, or even been the springing of a vault.[61]
The easternmost bay of the triforium appears to be Norman, but is the work of 14th-century masons. The final bay of the nave is Decorated in style and leads to the tower piers. Of note is the north pier which possibly contains the Oratory Chapel mentioned above.[62]
The aisles are plain with flat pilasters. The eastern two bays are Decorated with springing for vaulting. Whether the vault was ever constructed is unknown, the present wooden roof extends the full length of the aisles.
The crossing is bounded to the east by the quire screen with the organ above. This is of 19th-century work and shows figures associated with the early cathedral. Above the crossing is the central tower, housing the bells and above that the spire. The ceiling of the crossing is notable for the four Green Men carved on the bosses. Visible from the ground is the outline of the trapdoor through which bells can be raised and lowered when required. The floor is stepped up to the pulpitum and gives access to the quire through the organ screen.
The north transept is from 1235 in Early English style. The Victorian insertion of windows has been mentioned above in the external description. Dominating the transept is the baptistery fresco. The fresco by Russian artist Sergei Fyodorov is displayed on the eastern wall. It is located within an arched recess. The recess may have been a former site of the altar of St Nicholas from the time of its construction in 1235 until it was moved to the screen before the pulpitum in 1322. A will suggests that "an altar of Jesu" also stood here at some point, an altar of some sort must have existed as evidenced by the piscina to the right of the recess.[64] The vaulting is unusual in being octpartite, a development of the more common sexpartite. The Pilgrim Door is now the main visitor entrance and is level for disabled access.
he original Lady Chapel was formed in the south transept by screening it off from the crossing. The altar of the Blessed Virgin Mary was housed in the eastern arch of the transept. There are traces of painting both on the east wall and under the arch. The painting delineates the location of the mediaeval north screen of the Lady Chapel. Around 1490 this chapel was extended westwards by piercing the western wall with a large arch and building the chapel's nave against the existing south aisle of cathedral. From within the Lady Chapel the upper parts of two smaller clerestory windows may be seen above the chapel's chancel arch. Subsequently, a screen was placed under the arch and the modern Lady Chapel formed in the 1490 extension.
The south transept is of early Decorated style. The eastern wall of it is a single wide arch at the arcade level. There are two doorways in the arch, neither of which is used, the northern one being hidden by the memorial to Dr William Franklin. The south wall starts plain but part way up is a notable monument to Richard Watts, a "coloured bust, with long gray beard".[65] According to Palmer there used to be a brass plaque to Charles Dickens below this but only the outline exists, the plaque having been moved to the east wall of the quire transept.[66] The west wall is filled by the large arch mentioned above with the screen below dividing it from the present Lady Chapel.
The Lady Chapel as it now exists is of Decorated style with three lights along southern wall and two in the west wall. The style is a light and airy counterpart to the stolid Norman work of the nave. The altar has been placed against the southern wall resulting in a chapel where the congregation wraps around the altar. The window stained glass is modern and tells the gospel story.
The first, easternmost, window has the Annunciation in the upper light: Gabriel speaking to Mary (both crowned) with the Holy Spirit as a dove descending. The lower light shows the Nativity with the Holy Family, three angels and shepherds. The next window shows St Elizabeth in the upper light surrounded by stars and the sun in splendour device. The lower light shows the Adoration of the Magi with Mary enthroned with the Infant. The final window of the south wall has St Mary Magdelene with her ointment surrounded by Tudor roses and fleurs-de-lis in the upper light with the lower light showing the Presentation in the Temple. The west wall continues with St. Margaret of Scotland in the upper light surrounded by fouled anchor and thistle roundels. The reference is to the original dedication of the cathedral as the Priory of St Andrew. The lower light shows the Crucifixion with Mary and St Peter. The final window is unusual, the upper light is divided in three and shows King Arthur with the royal arms flanked by St George on the left and St Michael on the right. The lower light shows the Ascension: two disciples to the left, three women with unguents to the right and three bare crosses top right.
Canon AE-1
FCS C-41 BW film (400)
Old picture that I recently rediscovered. Am planning on getting back some of my cameras because I may have access to a dark room/lab. So watch out!
A handle for a bronze patera takes the form of Lasa, a generic Etruscan deity or spirit with the power of prophecy. Lasas often appear on engraved mirrors in the company of other gods or as companions of Turan (Aphrodite). This winged female stands on a low triangular base, the edges of which are decorated with a tongue design between beaded moldings. Her left leg is relaxed in an easy contrapposto pose, causing her right hip to project and creating a sinuous S-curve within her body. She is nude except for a pair of tongued slippers and elaborate jewelry: a necklace made up of cylindrical beads, with three large bulla-shaped pendants that frame her breasts, a bracelet with three pendants on her upper left arm, and a flat rectangular object above, the nature of which is uncertain. A pair of large outspread wings are attached to her back with a bronze pin. The feathers on the wings are detailed with modeling and incision on the front only. The girl rests her right hand on her head and holds a large alabastron in the left. From her head rises a curving attachment plate to which a bowl-shaped patera was originally joined. The support for the bowl of the patera ends in two simple rosettes in front. On the back, its curved form is decorated with a pair of facing ribbed elements.
Etruscan, made in Etruria, ca. 350-300 BCE. Bronze.
Getty Villa Museum (96.AC.34)
Currently I am fascinated by light, artificial light. I am working on the set light . color . form
This picture has all three elements.