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El lunes 7 de noviembre, a las 9 horas, la Sala 26 de abril de la sede institucional acogió el acto de bienvenida a los 5 profesionales de Enfermería de Mauritania que van a participar en la segunda edición del Curso de iniciación teórico-práctico sobre enfermería en cuidados intensivos, organizado conjuntamente por la Universidad de Las Palmas de Gran Canaria (ULPGC) y la Consejería de Economía, Conocimiento y Empleo del Gobierno de Canarias, a través de la Dirección General de Asuntos Económicos con África.
Más información: www.ulpgc.es/noticia/2022/11/07/ulpgc-forma-alumnado-maur...
Genova, Palazzo Ducale - Forme del Pensiero che Ride
Moni Ovadia, Dario Fo, Don Andrea Gallo, Franca Rame
Moni, voce dei perseguitati. Dice che capisco perchè sento e la cosa mi onora, molto
Dario, il Nobel
Andrea, a cui voglio molto bene, da cui mi piace farmi abbracciare, che mi commuove sempre e mi convince che la direzione giusta è quasi sempre ostinata e contraria
Franca, l'altra metà del Nobel
Formé à Helsinki en 1997, FINNTROLL propose un style folklorique combiné à des sonorités variant du Death Metal au Black Metal. Les titres revisitent contes et légendes finnoises entourant le roi troll fictif « Rivfader » et les trolls combattant contre l'invasion chrétienne de leurs terres afin de répandre leurs croyances.
Originaire du Danemark, HATESPHERE évolue dans un Death Thrash tranchant reconnaissable dès les premières notes. Outre ses guitares énervées, solos et batterie martelante, le quintette se démarque avec ses performances live saluées par de nombreux magazines spécialisés, au point d’être consacré Meilleur Groupe Live au Danemark à l'occasion des Metal Awards.
Groupe de Death n’ Roll finlandais, PROFANE OMEN voit le jour en 1999. Après plusieurs démos sorties entre 2000 et 2004, le combo divulgue sont premier album « Beaten into Submission » en 2006, album qui combine des titres agressifs aux riffs groovy et passages allant du Thrash au Death Metal mélodique. En 2007 le groupe est nominé comme « Nouveau venu de l’Année » aux Finnish Metal Awards. Depuis les Finnois ont donné naissance à 3 nouveaux albums studio, dont le dernier « Reset » est sorti en Mars 2014.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Cut from a sheet of 1" 40# tooling board, these will be vac formed with .10" PETG plastic to make up the transparent parts of the Transistor
Port Grimaud French Riviera
is a seaside town forms That portion of the town of Grimaud. It is located seven kilometers (4.3 miles) (oven mi (6.4 km)) west of Saint-Tropez and seven kilometers (4.3 miles) south-west of Sainte Maxime. This seaside town Was created by architect Francois Spoerry in the 1960s by-modifying the marshes of the river Giscle on the bay of Saint Tropez. Built with channels in a Venetian Manner, aim with French "Fishermans" style houses Resembling Those in Saint Tropez.
The Mainly traffic free town is popular with boat owners as MOST properties come with Their Own berth. The success of the first stage of the development Meant That Grimaud 2 (Extending the town further Top East) Was completed in the 1970s and then again in Port Grimaud 3 Was in the 90s. The Church of St Francis of Assisi in the hand instead of church contains stained glass by Victor Vasarely.
Located 5 minutes from the harbor is the big campsite "The Praries sea" which HAS 1500 caravan and tent pitches.
Managing exchanges between residents, boaters and visitors
Port Grimaud I hosts many merchants and professionals in its three places: the place des Artisans, the Market Square, instead of six guns. During the summer, the street markets are held every Thursday and Sunday as well as art markets. Thus, as desired by François Spoerry, this condominium is also a space for exchange between land and sea opened to boaters.
In a lakeside town such as Port Grimaud, it is faster to travel by boat than by car or motorbike, so water buses, water checkmarks are available to residents to move into the city.
The Grimaldines shuttles allow to go to Saint-Tropez by sea from June to September.
To ensure harmony between owners, merchants, sailors and visitors, certain rules of living together apply throughout the lakeside village: non-residents are invited to park their vehicles in the parking lot reserved for them at entrance to the city, the visit taking place on foot (bikes are also banned). Proper dress is required, observing the peace of the owners is required as well as respect for the cleanliness of common areas. The display of the machine to passers or neighbors is forbidden. Dogs must be leashed. Also prohibited within the city: rollerblades and skateboards, and picnics and barbecues
Core-formed glass, 5th century B.C.E.
Vessel made of dark green core-formed glass. The body is cylindrical and flat round tray-shaped mouth rim has been attached to its short neck. A pair of dark green glass handles of the same type as those seen above on cat. No. 33 are attached just below the shoulders of the vessel (one handle has partial later additions). The base is relatively rounded. Yellow and turquoise threads wrap in threads around the body from directly below the mouth to the base and shifts up and down into a zigzag pattern. There is also one thread of yellow glass around the mouth of the jar. Modeled after the Greek vessel type the alabastron, this jar would have been used to hold the perfumed oils. Greek ceramics depict images of women carrying this type of jar suspended from a cord run through the two handles.
Text and image from the website of the Miho Museum.
Fountains Abbey is one of the largest and best preserved ruined Cistercian monasteries in England. It is located approximately 3 miles (5 kilometres) south-west of Ripon in North Yorkshire, near to the village of Aldfield. Founded in 1132, the abbey operated for 407 years becoming one of the wealthiest monasteries in England until its dissolution in 1539 under the order of Henry VIII.
The abbey is a Grade I listed building owned by the National Trust and part of the designated Studley Royal Park including the Ruins of Fountains Abbey UNESCO World Heritage Site.
Foundation
After a dispute and riot in 1132 at the Benedictine house of St Mary's Abbey, in York, 13 monks were expelled (among them Saint Robert of Newminster) and, after unsuccessful attempts to form a new monastery were taken under the protection of Thurstan, Archbishop of York. He provided them with land in the valley of the River Skell, a tributary of the Ure. The enclosed valley had all the natural features needed for the creation of a monastery, providing shelter from the weather, stone and timber for building, and a supply of running water. After enduring a harsh winter in 1133, the monks applied to join the Cistercian order which since the end of the previous century was a fast-growing reform movement that by the beginning of the 13th century was to have over 500 houses. So it was that in 1135, Fountains became the second Cistercian house in northern England, after Rievaulx. The Fountains monks became subject to Clairvaux Abbey, in Burgundy which was under the rule of St Bernard. Under the guidance of Geoffrey of Ainai, a monk sent from Clairvaux, the group learned how to celebrate the seven Canonical Hours according to Cistercian usage and were shown how to construct wooden buildings in accordance with Cistercian practice.
Consolidation
After Henry Murdac was elected abbot in 1143, the small stone church and timber claustral buildings were replaced. Within three years, an aisled nave had been added to the stone church, and the first permanent claustral buildings built in stone and roofed in tile had been completed.
In 1146 an angry mob, annoyed at Murdac for his role in opposing the election of William FitzHerbert as archbishop of York, attacked the abbey and burnt down all but the church and some surrounding buildings.The community recovered swiftly from the attack and founded four daughter houses. Henry Murdac resigned as abbot in 1147 upon becoming the Archbishop of York and was replaced first by Maurice, Abbot of Rievaulx then, on the resignation of Maurice, by Thorald. Thorald was forced by Henry Murdac to resign after two years in office. The next abbot, Richard, held the post until his death in 1170 and restored the abbey's stability and prosperity. In 20 years as abbot, he supervised a huge building programme which involved completing repairs to the damaged church and building more accommodation for the increasing number of recruits. Only the chapter house was completed before he died and the work was ably continued by his successor, Robert of Pipewell, under whose rule the abbey gained a reputation for caring for the needy.
The next abbot was William, who presided over the abbey from 1180 to 1190 and he was succeeded by Ralph Haget, who had entered Fountains at the age of 30 as a novice, after pursuing a military career. During the European famine of 1194 Haget ordered the construction of shelters in the vicinity of the abbey and provided daily food rations to the poor enhancing the abbey's reputation for caring for the poor and attracting more grants from wealthy benefactors.
In the first half of the 13th century Fountains increased in reputation and prosperity under the next three abbots, John of York (1203–1211), John of Hessle (1211–1220) and John of Kent (1220–1247). They were burdened with an inordinate amount of administrative duties and increasing demands for money in taxation and levies but managed to complete another massive expansion of the abbey's buildings. This included enlarging the church and building an infirmary.
Difficulties
In the second half of the 13th century the abbey was in more straitened circumstances. It was presided over by eleven abbots, and became financially unstable largely due to forward selling its wool crop, and the abbey was criticised for its dire material and physical state when it was visited by Archbishop John le Romeyn in 1294. The run of disasters that befell the community continued into the early 14th century when northern England was invaded by the Scots and there were further demands for taxes. The culmination of these misfortunes was the Black Death of 1348–1349. The loss of manpower and income due to the ravages of the plague was almost ruinous.
A further complication arose as a result of the Papal Schism of 1378–1409. Fountains Abbey along with other English Cistercian houses was told to break off any contact with the mother house of Citeaux, which supported a rival pope. This resulted in the abbots forming their own chapter to rule the order in England and consequently they became increasingly involved in internecine politics. In 1410, following the death of Abbot Burley of Fountains, the community was riven by several years of turmoil over the election of his successor. Contending candidates John Ripon, Abbot of Meaux, and Roger Frank, a monk of Fountains were locked in conflict until 1415 when Ripon was finally appointed, ruling until his death in 1434. Under abbots John Greenwell (1442–1471), Thomas Swinton (1471–8), John Darnton (1478–95), who undertook some much needed restoration of the fabric of the abbey, including notable work on the church, and Marmaduke Huby (1495–1526) Fountains regained stability and prosperity.
At Abbot Huby's death he was succeeded by William Thirsk who was accused by the royal commissioners of immorality and inadequacy and was dismissed as abbot. He was replaced by Marmaduke Bradley, a monk of the abbey who had reported Thirsk's supposed offences, testified against him and offered the authorities six hundred marks for the post of abbot. In 1539 it was Bradley who surrendered the abbey when its seizure was ordered under Henry VIII at the Dissolution of the Monasteries.
The abbey precinct covered 70 acres (28 ha) surrounded by an 11-foot (3.4 m) wall built in the 13th century, some parts of which are visible to the south and west of the abbey. The area consists of three concentric zones cut by the River Skell flowing from west to east across the site. The church and claustral buildings stand at the centre of the precinct north of the Skell, the inner court containing the domestic buildings stretches down to the river and the outer court housing the industrial and agricultural buildings lies on the river's south bank. The early abbey buildings were added to and altered over time, causing deviations from the strict Cistercian type. Outside the walls were the abbey's granges.[citation needed]
The original abbey church was built of wood and "was probably" two stories high; it was, however, quickly replaced in stone. The church was damaged in the attack on the abbey in 1146 and was rebuilt, in a larger scale, on the same site. Building work was completed c.1170.[11] This structure, completed around 1170, was 300 ft (91 m) long and had 11 bays in the side aisles. A lantern tower was added at the crossing of the church in the late 12th century. The presbytery at the eastern end of the church was much altered in the 13th century. The church's greatly lengthened choir, commenced by Abbot John of York, 1203–11, and carried on by his successor terminates, like that of Durham Cathedral, in an eastern transept, the work of Abbot John of Kent, 1220–47. The 160-foot-tall (49 m) tower, which was added not long before the dissolution, by Abbot Huby, 1494–1526, is in an unusual position at the northern end of the north transept and bears Huby's motto 'Soli Deo Honor et Gloria'. The sacristry adjoined the south transept.
The cloister, which had arcading of black marble from Nidderdale and white sandstone, is in the centre of the precinct and to the south of the church. The three-aisled chapter-house and parlour open from the eastern walk of the cloister and the refectory, with the kitchen and buttery attached, are at right angles to its southern walk. Parallel with the western walk is an immense vaulted substructure serving as cellars and store-rooms, which supported the dormitory of the conversi (lay brothers) above. This building extended across the river and at its south-west corner were the latrines, built above the swiftly flowing stream. The monks' dormitory was in its usual position above the chapter-house, to the south of the transept. Peculiarities of this arrangement include the position of the kitchen, between the refectory and calefactory, and of the infirmary above the river to the west, adjoining the guest-houses.
The abbot's house, one of the largest in all of England,is located to the east of the latrine block, where portions of it are suspended on arches over the River Skell.It was built in the mid-twelfth century as a modest single-storey structure, then, from the fourteenth century, underwent extensive expansion and remodelling to end up in the 16th century as a grand dwelling with fine bay windows and grand fireplaces. The great hall was an expansive room 52 by 21 metres (171 by 69 ft).
Among other apartments, for the designation of which see the ground-plan, was a domestic oratory or chapel,
1⁄2-by-23-foot (14 by 7 m), and a kitchen, 50-by-38-foot (15 by 12 m)
Medieval monasteries were sustained by landed estates that were given to them as endowments and from which they derived an income from rents. They were the gifts of the founder and subsequent patrons, but some were purchased from cash revenues. At the outset, the Cistercian order rejected gifts of mills and rents, churches with tithes and feudal manors as they did not accord with their belief in monastic purity, because they involved contact with laymen. When Archbishop Thurstan founded the abbey he gave the community 260 acres (110 ha) of land at Sutton north of the abbey and 200 acres (81 ha) at Herleshowe to provide support while the abbey became established. In the early years the abbey struggled to maintain itself because further gifts were not forthcoming and Thurstan could not help further because the lands he administered were not his own, but part of the diocesan estate. After a few years of impoverished struggle to establish the abbey, the monks were joined by Hugh, a former dean of York Minster, a rich man who brought a considerable fortune as well as furniture and books to start the library.
By 1135 the monks had acquired only another 260 acres (110 ha) at Cayton, given by Eustace fitzJohn of Knaresborough "for the building of the abbey". Shortly after the fire of 1146, the monks had established granges at Sutton, Cayton, Cowton Moor, Warsill, Dacre and Aldburgh all within 6 mi (10 km) of Fountains. In the 1140s the water mill was built on the abbey site making it possible for the grain from the granges to be brought to the abbey for milling.Tannery waste from this time has been excavated on the site.
Further estates were assembled in two phases, between 1140 and 1160 then 1174 and 1175, from piecemeal acquisitions of land. Some of the lands were grants from benefactors but others were purchased from gifts of money to the abbey. Roger de Mowbray granted vast areas of Nidderdale and William de Percy and his tenants granted substantial estates in Craven which included Malham Moor and the fishery in Malham Tarn. After 1203 the abbots consolidated the abbey's lands by renting out more distant areas that the monks could not easily farm themselves, and exchanging and purchasing lands that complemented their existing estates. Fountains' holdings both in Yorkshire and beyond had reached their maximum extent by 1265, when they were an efficient and very profitable estate. Their estates were linked in a network of individual granges which provided staging posts to the most distant ones. They had urban properties in York, Yarm, Grimsby, Scarborough and Boston from which to conduct export and market trading and their other commercial interests included mining, quarrying, iron-smelting, fishing and milling.
The Battle of Bannockburn in 1314 was a factor that led to a downturn in the prosperity of the abbey in the early fourteenth century. Areas of the north of England as far south as York were looted by the Scots. Then the number of lay-brothers being recruited to the order reduced considerably. The abbey chose to take advantage of the relaxation of the edict on leasing property that had been enacted by the General Chapter of the order in 1208 and leased some of their properties. Others were staffed by hired labour and remained in hand under the supervision of bailiffs. In 1535 Fountains had an interest in 138 vills and the total taxable income of the Fountains estate was £1,115, making it the richest Cistercian monastery in England.
After the Dissolution
The Gresham family crest
The Abbey buildings and over 500 acres (200 ha) of land were sold by the Crown, on 1 October 1540, to Sir Richard Gresham, at the time a Member of Parliament and former Lord Mayor of London, the father of Sir Thomas Gresham. It was Richard Gresham who had supplied Cardinal Wolsey with the tapestries for his new house of Hampton Court and who paid for the Cardinal's funeral.
Gresham sold some of the fabric of the site, stone, timber, lead, as building materials to help to defray the cost of purchase. The site was acquired in 1597 by Sir Stephen Proctor, who used stone from the monastic complex to build Fountains Hall. Between 1627 and 1767 the estate was owned by the Messenger family who sold it to William Aislaby who was responsible for combining it with the Studley Royal Estate.
Burials
Roger de Mowbray, 1st Baron Mowbray
John de Mowbray, 2nd Baron Mowbray
Abbot Marmaduke Huby (d. 1526)
Rose (daughter of Richard de Clare, 6th Earl of Gloucester), wife of Roger de Mowbray, 1st Baron Mowbray
Henry de Percy, 1st Baron Percy
William II de Percy, 3rd feudal baron of Topcliffe
Becoming a World Heritage Site
The archaeological excavation of the site was begun under the supervision of John Richard Walbran, a Ripon antiquary who, in 1846, had published a paper On the Necessity of clearing out the Conventual Church of Fountains.In 1966 the Abbey was placed in the guardianship of the Department of the Environment and the estate was purchased by the West Riding County Council who transferred ownership to the North Yorkshire County Council in 1974. The National Trust bought the 674-acre (273 ha) Fountains Abbey and Studley Royal estate from North Yorkshire County Council in 1983. In 1986 the parkland in which the abbey is situated and the abbey was designated a World Heritage Site by UNESCO. It was recognised for fulfilling the criteria of being a masterpiece of human creative genius, and an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history. Fountains Abbey is owned by the National Trust and maintained by English Heritage. The trust owns Studley Royal Park, Fountains Hall, to which there is partial public access, and St Mary's Church, designed by William Burges and built around 1873, all of which are significant features of the World Heritage Site.
The Porter's Lodge, which was once the gatehouse to the abbey, houses a modern exhibition area with displays about the history of Fountains Abbey and how the monks lived.
In January 2010, Fountains Abbey and Studley Royal became two of the first National Trust properties to be included in Google Street View, using the Google Trike.
Film location
Fountains Abbey was used as a film location by Orchestral Manoeuvres in the Dark for their single "Maid of Orleans (The Waltz Joan of Arc)" during the cold winter of December 1981. In 1980, Hollywood also came to the site to film the final scenes to the film Omen III: The Final Conflict.Other productions filmed on location at the abbey are the films Life at the Top, The Secret Garden, The History Boys, TV series Flambards, A History of Britain, Terry Jones' Medieval Lives, Cathedral, Antiques Roadshow and the game show Treasure Hunt. The BBC Television series 'Gunpowder' (2017) used Fountains Abbey as a location.
Technical Details
Nikon D7000
AF-S Nikkor 18-105mm f/3.5-5.6 ED DX
f/5.3 1/100sec 75mm ISO2000
Software: Adobe Lightroom 3.5
This is only some of the forms, income slips and receipts I received during 2011 to report my 2011 income tax. It's so freaking complicated and annoying.
The Hong Kong expat community has a sarcastic nickname for Canada's tax recenue agency -- the Land of Ten Thousand Taxes.
You're given so many income slips, receipts and forms to file. When I used to do it using paper, pen and calculator, it used to take me at least one day to go through all of them, and that's because I'm very well-organised and have all the forms in a folder already. I know people who spend days and weeks to gather all the forms.
In Hong Kong, there's no sales tax, no VAT, no tax on interest and investment income (to encourage people to save and invest, rather than rely on the government). People pay a uniform 16% tax on employment income in Hong Kong. That's it, end of story.
Here in Canada, you report all kinds of income, then the government gives you a number of tax credits to offset the tax deducted, and some tax refunds. But it's so complicated! I get a headache just thinking about it each spring : (
Statue of Amun in the form of a Ram protecting King Taharqa (the small statue between the Ram's legs). At least three Ancient Egyptian granitic gneiss statues of Amun in the form of a ram protecting King Taharqa were displayed at the Temple of Amun at Kawa in Nubia. Construction of the stone temple was started in 683 BC by the pharaoh Taharqa. The ram is one of the animals sacred to Amun, and several temples dedicated to Amun, including the one at Karnak featured ram or ram-headed sphinx statues.
Recent wall work in slate, glass and found materials including bone and lead. Had some great tips on fb for a title....looking at something spacey/lunar/arc-ish. Still working on an overall view.
This is inside one of the casting forms for a pontoons that will support a new floating bridge across Lake Washington. Showing the scale of this project in a photo is challenging, but there's room to play football inside these walls:
"The National Railway Museum is a museum in York forming part of the Science Museum Group. The museum tells the story of rail transport in Britain and its impact on society. It is the home of the national collection of historically significant railway vehicles such as Mallard, Stirling Single, Duchess of Hamilton and a Japanese bullet train. In addition, the National Railway Museum holds a diverse collection of other objects from a household recipe book used in George Stephenson’s house to film showing a "never stop railway" developed for the British Empire Exhibition. It has won many awards, including the European Museum of the Year Award in 2001.
As of 2019 the museum is about to embark on a once-in-a-generation site development. As part of the York Central redevelopment which will divert Leeman Road, the National Railway Museum will be building a new entrance building to connect the two separate parts of the museum together. At the same time, the space around the museum will be landscaped to provide public spaces.
In 2020 architectural practice Feilden Fowles won an international competition to create the museum’s new £16.5 million Central Hall building—a key element of the museum’s Vision 2025 masterplan.
York is a cathedral city and unitary authority area in North Yorkshire, England. The population of the council area which includes nearby villages was 208,200 as of 2017[citation needed] and the population of the urban area was 153,717 at the 2011 census. Located at the confluence of the Rivers Ouse and Foss, it is the county town of the historic county of Yorkshire. The city is known for its famous historical landmarks such as York Minster and the city walls, as well as a variety of cultural and sporting activities, which makes it a popular tourist destination in England. The local authority is the City of York Council, a single tier governing body responsible for providing all local services and facilities throughout the city. The City of York local government district includes rural areas beyond the old city boundaries. It is about 25 miles north-east of Leeds and 34 miles north-west of Kingston upon Hull. York is the largest settlement in the ceremonial county of North Yorkshire.
The city was founded by the Romans as Eboracum in 71 AD. It became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria and Jórvík. In the Middle Ages, York grew as a major wool trading centre and became the capital of the northern ecclesiastical province of the Church of England, a role it has retained. In the 19th century, York became a major hub of the railway network and a confectionery manufacturing centre, a status it maintained well into the 20th century. During the Second World War, York was bombed as part of the Baedeker Blitz. Although less affected by bombing than other northern cities, several historic buildings were gutted and restoration efforts continued into the 1960s.
The economy of York is dominated by services. The University of York and National Health Service are major employers, whilst tourism has become an important element of the local economy. In 2016, York became sister cities with the Chinese city of Nanjing, as per an agreement signed by the Lord Mayor of York, focusing on building links in tourism, education, science, technology and culture. Today, the city is a popular tourist attraction, especially for international visitors from America, Germany, France and China. In 2017, York became UK's first human rights city, which formalised the city's aim to use human rights in decision making." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
4/9/2017 - Curso “A Importância da Formação Humanística do Magistrado – Uma comparação filosófica Europa/América Latina” - Emagis TRF4 - Foto: Sylvio Sirangelo/TRF4
I must be getting old as I've gone for function over form by fitting mudguards to my Pompino. Maybe I'll actually get some road miles in this winter, I normally head off-road if the roads are damp.
Cattleya walkeriana variedad flamea. Une variété peu commune (avec l'extrémité des pétales rappelant la couleur du labelle) de cette superbe espèce odorante, endémique du Brésil. De plus, une plante présentant une bonne forme, bonne couleur et de bonne taille. Cultivée á la maison. Photo avec le téléphone.
Cattleya walkerian variedad flamea. Una variedad poco común (con la punta de los pétalos recordando el color del labio) de esta magnifica especie fragante, endémica de Brasil. Ademas con buena forma, buen color y tamaño algo grande. Cultivada en casa. Foto con el celular.
Stromboli is a small island in the Tyrrhenian Sea, off the north coast of Sicily, containing one of the three active volcanoes in Italy. It is one of the eight Aeolian Islands, a volcanic arc north of Sicily. This name is derived from the Ancient Greek name Strongulē which was given to it because of its round swelling form. The island's population is between 400 and 850. The volcano has erupted many times and is constantly active with minor eruptions, often visible from many points on the island and from the surrounding sea, giving rise to the island's nickname "Lighthouse of the Mediterranean". The most recent major eruption was on 13 April 2009. Stromboli stands 926 m (3,034 ft) above sea level, and over 2,700 m (8,860 ft) on average above the sea floor.There are three active craters at the peak. A significant geological feature of the volcano is the Sciara del Fuoco ("Stream of fire"), a big horseshoe-shaped depression generated in the last 13,000 years by several collapses on the northwestern side of the cone. Two kilometers to the northeast lies Strombolicchio, the volcanic plug remnant of the original volcano.Mt. Stromboli has been in almost continuous eruption for the past 2,000 years. A pattern of eruption is maintained in which explosions occur at the summit craters, with mild to moderate eruptions of incandescent volcanic bombs, at intervals ranging from minutes to hours. This Strombolian eruption, as it is known, is also observed at other volcanoes worldwide. Eruptions from the summit craters typically result in a few short, mild, but energetic bursts, ranging up to a few hundred meters in height, containing ash, incandescent lava fragments and stone blocks. Mt. Stromboli's activity is almost exclusively explosive, but lava flows do occur at times when volcanic activity is high: an effusive eruption occurred in 2002, the first in 17 years, and again in 2003, 2007, and 2013-14.The two villages San Bartolo and San Vincenzo lie in the northeast while the smaller village Ginostra lies in the southwest. Administratively, they are one of the frazione of Lipari.In the early 1900s a few thousand people inhabited the island, but after several emigrations the population numbered a few hundred by the mid-1950s.
Stromboli è un'isola dell'Italia appartenente all'arcipelago delle isole Eolie, in Sicilia. Si tratta di un vulcano attivo facente parte dell'Arco Eoliano. Posta nel bacino Tirreno del mare Mediterraneo occidentale, l'isola è la più settentrionale delle Eolie e si estende su una superficie di 12,2 km².L'edificio vulcanico è alto 926 m s.l.m. e raggiunge una profondità compresa tra 1300 m e 2400 m al di sotto del livello del mare. Stromboli ha una persistente attività esplosiva ed è uno dei vulcani più attivi del mondo. A poche centinaia di metri a nord-est dell'isola di Stromboli si trova il neck di Strombolicchio, residuo di un antico camino vulcanico. L'isolotto ospita un faro della Marina, disabitato e automatizzato.Lo Stromboli è un vulcano esplosivo e le sue eruzioni avvengono con una frequenza media di circa una ogni ora. La sua attività "ordinaria" ha luogo ad una quota di 750 m s.l.m. dalle diverse bocche eruttive presenti nell'area craterica e allineate in direzione NE-SW. Tale attività consiste in esplosioni intermittenti di media energia, della durata di pochi secondi ad intervalli di 10–20 minuti, durante le quali vengono emesse piccole quantità di bombe scoriacee incandescenti, lapilli, cenere e blocchi, con velocità di uscita compresa tra 20 a 120 metri al secondo ed altezze comprese tra poche decine fino ad alcune centinaia di metri. L'attività eruttiva è associata ad un degassamento pressoché continuo dall'area craterica, il cui volume stimato è di 6000-12000 t/gi, e che consiste principalmente di H2O (3200-6300 t/g), CO2 (2900-5800 t/g), SO2 (400-800 t/g) e quantità minori di HCl e HF.Periodi di totale inattività, senza lanci di materiale, sono piuttosto rari. Il più lungo tra quelli registrati si è protratto per circa due anni, dal 1908 al 1910. Periodi di prolungata quiescenza, della durata di qualche mese, sono stati registrati più volte.
L'attività normale può essere periodicamente interrotta da esplosioni di maggiore energia, dette "esplosioni maggiori". Questi eventi consistono di brevi ma violente esplosioni, durante le quali vengono prodotti lanci balistici di blocchi e bombe di dimensioni anche metriche a distanze di alcune centinaia di metri, associati a piogge di lapilli e cenere; la distribuzione dei prodotti è solitamente confinata all'interno dell'area craterica. Sono distribuite non omogeneamente nel tempo, ma si tratta mediamente di 2,1 eventi ogni anno.
Le eruzioni stromboliane più violente mai accadute in tempi storici risalgono al 1919 e al 1930, ed entrambe (pare) furono causate da grandi infiltrazioni d'acqua marina nel camino vulcanico: il magma, a contatto con l'acqua, avrebbe causato violente esplosioni con grande emissione di vapori e scorie, accompagnate da violenti terremoti. Per la prima e finora unica volta nella storia del vulcano, delle colate laviche si riversarono anche al di fuori della Sciara del Fuoco, arrivando a lambire i centri abitati (Piscità fu sfiorata ad appena 20 metri), causando ingenti danni e numerose vittime, e causando un piccolo tsunami che generò un'onda di 2–3 m che arrivò a far danni fino a Capo Vaticano, in Calabria.I parossismi rappresentano le manifestazioni più energetiche del vulcano di Stromboli; consistono in violente ed improvvise esplosioni "tipo cannonata", durante le quali avviene l'emissione sostenuta di scorie incandescenti, ceneri, bombe e blocchi litici a distanze considerevoli, fino ad interessare le zone abitate dell'isola. Tali esplosioni possono produrre nubi convettive che raggiungono quote di 10 km. Durante i parossismi sono emessi volumi sensibilmente maggiori di materiali rispetto alle eruzioni normali e a quelle maggiori e frequentemente possono avvenire profonde modificazioni dell'area craterica. L'ultimo evento parossistico è avvenuto il 15 marzo 2007 all'interno dell'eruzione di febbraio-aprile 2007.Il 27 febbraio 2007, con un'iniziale effusione di lava dal cratere di NE, durata alcune ore e seguita dall'apertura di una bocca effusiva nella Sciara del Fuoco, a quota 400 m s.l.m. circa. Il 9 marzo 2007 si è aperta una seconda bocca sempre sulla Sciara del Fuoco, ma posizionata a circa 500 m s.l.m.; l'attività di questa bocca è stata comunque breve (circa 24 ore). Il 2 aprile 2007 è infine terminata anche l'effusione di lava dalla bocca di quota 400 m s.l.m. Il 4 maggio 2009 il vulcano ha ripreso l'attività eruttiva.
Nell'ultimo secolo sono riportati circa 26 episodi durante i quali si sono avute emissioni laviche. I prodotti emessi sono rappresentati principalmente da colate di spessore variabile; la morfologia del vulcano obbliga le colate di lava a riversarsi sul versante nord-occidentale, dove sono confinate all'interno della Sciara di Fuoco e quindi non rappresentano un pericolo per la popolazione dell'isola. Le colate fuoriescono generalmente attraverso fratture eruttive nella zona craterica o all'interno della Sciara del Fuoco, ma possono generarsi anche per tracimazione dal bordo craterico.La storia geologica dell'isola di Stromboli comincia circa 200.000 anni fa, quando un primo vulcano attivo di grandi dimensioni emerge dal mare, in posizione NE rispetto all'isola; di questo vulcano antico rimane soltanto il condotto solidificato (neck) rappresentato da Strombolicchio (vedi sotto).Il vero e proprio vulcano di Stromboli emerge dal mare circa 160.000 anni fa. Inizialmente i centri di emissione sono nella parte meridionale dell'isola, dove affiorano le unità più antiche appartenenti ai complessi del Paleostromboli I e II.Circa 35.000 anni fa il centro di emissione migra leggermente verso nord e le emissioni di lava e i depositi piroclastici legati a eruzioni esplosive danno origine ad un cono che raggiunge quota 700 m s.l.m. (Paleostromboli III).Le fasi successive della storia di Stromboli vedono la formazione ed il collasso calderico di vari edifici vulcanici. In particolare, a circa 34.600 anni fa risale il complesso eruttivo di Scari, osservabile presso Scari e a sud del paese sotto forma di spesse sequenze di bombe vulcaniche, lapilli e lahar. Mentre successivo (circa 26.000 anni fa) è il complesso del Vancori, caratterizzato da depositi piroclastici e basalti shoshonitici. In questa fase, la cima del vulcano era occupata probabilmente da una grande caldera. Il ciclo Scari-Vancori si conclude con il collasso laterale (una grande frana) del settore occidentale e nordoccidentale dell'edificio vulcanico.La fase successiva, a partire da circa 13.800 anni fa, vede la ricostruzione dell'edificio nel settore nordoccidentale. Il nuovo centro eruttivo, detto Neostromboli, è ubicato a nord del costone dei Vancori. Contemporaneamente, alcuni centri eruttivi secondari danno origine al "Timpone del Fuoco" presso Ginostra, alle lave di San Bartolo e di San Vincenzo.All'incirca tra 10000 e 5000 anni fa il settore nordoccidentale subisce nuovi collassi laterali (frane), lasciando una profonda depressione a forma di ferro di cavallo che si estende dalla cima fino ad una profondità di circa 2.000 m sotto il livello del mare: la Sciara del Fuoco. Lentamente la depressione viene riempita da materiale piroclastico e colate di lava. Il centro eruttivo attuale è rappresentato da un grande cono piroclastico che si trova nella parte sommitale della Sciara del Fuoco, a quota inferiore rispetto al Pizzo Sopra la Fossa, ed è caratterizzato, come detto sopra, dalla presenza di tre crateri allineati parallelamente alla Sciara, in direzione NE-SW.
Stromboli è nota, frequentata ed abitata fin dall'antichità remota, e la sua economia si è sempre fondata sulle produzioni agricole tipicamente mediterranee: olivo, vite (malvasia coltivato basso in giardini terrazzati), fichi - e poi sulla pesca e sulla marineria. Fino al XIX secolo questa economia fu fiorente e Stromboli arrivò a contare circa 2700 abitanti, precisamente nel 1891, secondo i dati ufficiali a disposizione (fonte Mastriani e ISTAT ).Il peggioramento delle condizioni economiche seguito all'unità d'Italia, il ripetersi di eruzioni e terremoti (in particolare l'eruzione del 1930) e infine l'attacco della peronospora che negli anni trenta sterminò la più redditizia coltura locale, quella della vite, fecero sì che una grandissima maggioranza degli strombolani prendesse la via dell'emigrazione, soprattutto verso l'Australia e l'America e l'isola rischiò seriamente di restare abbandonata.Venne riscoperta dopo la guerra da Roberto Rossellini che, con il film del 1949 Stromboli terra di Dio (con protagonista femminile la giovane Ingrid Bergman), portò l'isola e la sua straordinarietà all'attenzione del pubblico.Il vulcano è chiamato dai suoi abitanti (gli stombolani) Struògnoli, o anche Iddu (Lui in siciliano), in riferimento alla natura divina che un tempo era attribuita ai fenomeni naturali incontrollabili.Il nome proviene dal greco antico Στρογγύλη (rotondo) per via della sua forma. In siciliano strummulu significa trottola.Stromboli dà il nome a un tipo di vulcani caratterizzati da un'attività vulcanica effusiva detta Stromboliana.I principali borghi abitati sono San Vincenzo (o semplicemente il paese di Stromboli, anticamente era borgo degli agricoltori) con l'approdo storico di Scari, Piscità e Ficogrande, che anticamente era il borgo degli armatori.A sudovest, raggiungibile solo via mare, c'è Ginostra dove d'inverno restano circa 30 o 40 abitanti e dove l'unico mezzo di trasporto è il mulo.A Stromboli c'è una scuola elementare e media per i pochi ragazzi abitanti dell'isola. Dopo le scuole solitamente i ragazzi vanno a Lipari dove sono presenti alcune scuole secondarie di secondo grado.Da Napoli, Lipari, Milazzo e Messina Stromboli è raggiungibile col traghetto e, d'estate, anche in aliscafo da Messina, Reggio Calabria, Vibo Valentia e Tropea.Il flusso turistico verso l'isola, che costituisce la principale risorsa economica di Stromboli, fino agli anni settanta fu rappresentato soprattutto da persone alla ricerca di un ambiente particolare, naturale ed integro e non privo di scomodità come mancanza di elettricità, scarsità d'acqua. Nei decenni successivi le scomodità sono molto diminuite e il turismo è molto cresciuto, anche se resta limitato prevalentemente ai mesi centrali estivi.L'isola è meta di turisti in cerca di tranquillità: anche per questo nei locali dell'isola è vietato diffondere musica oltre le due di notte.Giornalmente, inoltre, si organizzano escursioni al vulcano con guide esperte, che portano ad oltre 900 metri sul livello del mare. Tramite imbarcazioni è inoltre possibile raggiungere nelle ore notturne la vicina e movimentata Panarea, lo scoglio di Strombolicchio e Ginostra, caratteristica località sull'isola di Stromboli dove l'unico mezzo di trasporto sono i muli (ne sono presenti una decina in tutto) e che è irraggiungibile per via terrestre dall'altra parte abitata dell'isola.Stromboli è anche meta, seppur in misura minore, di molti giovani, che si recano nei locali e nelle feste sulla spiaggia periodicamente organizzate nella stagione estiva.Caratteristica dell'isola, oltre alle stradine strette percorribili solo dal motocarro e dai motorini elettrici, che i turisti affittano sull'isola stessa, è la mancata illuminazione notturna nelle strade, che il Comune a cui l'isola fa riferimento, ovvero quello di Lipari, vuol mantenere come importante attrattiva turistica. Dall'Osservatorio, infine, si può vedere la lava del vulcano, l'unico delle Isole Eolie perennemente in attività e il cielo stellato evidenziato dalla mancanza di illuminazione.Durante la stagione turistica partono imbarcazioni per permettere ai turisti di fare il bagno presso lo scoglio di Strombolicchio.
Font : Wikipedia
Form 5 Confirmation Mass 2021
English session 1
16 Confirmants
Celebrated by Father Andrew Wong
Instruction: Look at the Priest
L'intérieur de la mosquée Juma Masjid, construite au 18ème siècle.
De nombreuses colonnes en bois sculpté soutiennent le plafond de la "mosquée du vendredi" Juma Masjid.
Certains piliers sont très anciens, leur style décoratif est caractéristique de Khiva.
Sur la partie inférieure de ce pilier consacré aux religions, on décèle la forme du Bouddha.
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This form of sales kept the tradition of the old days when farmers from the surrounding villages came to town to sell their goods. Since ancient times there were no freezers and refrigerators goods could last no longer than one week. So in most cities once a week was organized that kind of public sale of goods.
Nowadays majority are sold good craftsmen and small tradesmen.
Some of the vendors travel from one city to another.
Photographed on June 20, 2014. in Karlovac, Croatia, Europe.
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Victorian Kitchens
Dry Larder
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hand formed clay bead necklace, available in the shop..
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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.
The limestone forming Batu Caves is said to be around 400 million years old. Some of the cave entrances were used as shelters by the indigenous Temuan people (a tribe of Orang Asli).
As early as 1860, Chinese settlers began excavating guano for fertilising their vegetable patches. However, they became famous only after the limestone hills were recorded by colonial authorities including Daly and Syers as well as American Naturalist, William Hornaday in 1878.
Batu Caves was promoted as a place of worship by K. Thamboosamy Pillai, an Indian trader. He was inspired by the 'vel'-shaped entrance of the main cave and was inspired to dedicate a temple to Lord Murugan within the caves. In 1890, Pillai, who also founded the Sri Mahamariamman Temple, Kuala Lumpur, installed the murti (consecrated statue) of Sri Murugan Swami in what is today known as the Temple Cave. Since 1892, the Thaipusam festival in the Tamil month of Thai (which falls in late January/early February) has been celebrated there.
Wooden steps up to the Temple Cave were built in 1920 and have since been replaced by 272 concrete steps. Of the various cave temples that comprise the site, the largest and best known is the Temple Cave, so named because it houses several Hindu shrines beneath its high vaulted ceiling.