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Zwart Water is a serene nature reserve located just north of Venlo in the province of Limburg, Netherlands. Spanning approximately 160 hectares, the area is defined by its central feature, De Venkoelen, which is a large, picturesque pond formed from an old meander of the Meuse River. This geological history has created a diverse landscape where water, marshland, and forest converge, providing a peaceful escape that feels worlds away from the nearby urban bustle.
The ecological diversity of Zwart Water is one of its most striking attributes. The transition from the open waters of the pond to the surrounding reed beds and damp grasslands creates a perfect habitat for various amphibians and water birds. As you move further from the water, the landscape shifts into dense forests of oak, birch, and pine. This variety supports a rich array of wildlife, including black woodpeckers, kingfishers, and several rare species of dragonflies that thrive in the nutrient-poor, stagnant waters.
Historically, the area was much wetter, but drainage and land management over the centuries have shaped it into its current form. The soil is predominantly sandy, a characteristic of the high terraces of the Meuse, which allows for specific vegetation like lily-of-the-valley and various mosses to flourish on the forest floor. The management of the site is currently overseen by Stichting Het Limburgs Landschap, which focuses on preserving the delicate balance between the wetland ecosystems and the surrounding woodlands.
For visitors, Zwart Water offers a well-maintained network of hiking trails that allow for easy exploration of the diverse terrain. The area is particularly beautiful in the autumn when the changing leaves reflect off the still surface of the Venkoelen, or in the spring when the woodland flowers are in full bloom. Because of its proximity to the city, it serves as a vital "green lung" for the region, balancing easy accessibility with the quiet isolation necessary for local biodiversity to thrive.
El coworking (cotrabajo) es una manera de trabajar que permite que varios profesionales independientes de sectores distintos compartan una misma oficina o un mismo espacio de trabajo (con características similares a las de un café) donde se fomenta la colaboración, el trabajo en un espacio comunitario y multidisciplinario, y el networking.
Está basado en el concepto de "espacio abierto" donde la heterogeneidad de perfiles y la libertad, dan rienda suelta al espiritu de colaboración aumentando la energía, motivación y productividad. Este mismo concepto lleva implicito el fomento de la vida social y profesional en colaboración, la conectividad, la transparencia, el intercambio de información, la cooperación y una atención especial a la comunidad.
El coworking ofrece una solución para el problema de aislamiento que supone para muchos trabajadores independientes, o incluso microempresas, la experiencia del trabajo en casa. Con cientos de espacios ubicados por todos los países, es también utilizado por profesionales nómadas que viajan por todo el mundo y llevan consigo sólo ordenadores portátiles para llevar a cabo su labor.
trabajo coworking nuevas formas de organizacion camon alicante
Más info: www.tucamon.es/contenido/nuevas-formas-de-organizacion-en...
"Colour Form View Dress"
rapu caluson x mayako nakamura
MODESTE cafe・gallery / Hachioji, Tokyo
2013.08.20-25
www.modeste.info/mayako.rapu.tenji.html
いろ かたち みる まとう
rapu caluson x mayako nakamura
MODESTE cafe・gallery / 八王子
2013.08.20-25
www.modeste.info/mayako.rapu.tenji.html
ワークショップを開催いたします
Los cuentos, mitos y leyendas son una forma de transmisión de la cultura popular a lo largo de los años. La profesora titular del área de Didáctica de la lengua y literatura de la Facultad de Ciencias de la Educación de la Universidad de Almería, Nieves Gómez, en uno de sus trabajos etnográficos, llevó esta semana a las aulas de los futuros graduados de Educación Primaria el entusiasmo por la transmisión de estas historias tradicionales con una actividad perfectamente combinada con las nuevas tecnologías. Con la colaboración de Juan Díaz Sánchez, responsable del portal de podcasting Sin Guion, donde se alberga el programa dirigido por la propia Nieves Gómez, Leyendeando, realizó una actividad en la que los alumnos participaron contando de forma espontánea los mitos, leyendas y supersticiones que conocían sobre sus diferentes lugares de procedencia o por herencia popular. Gracias al equipo de Sin Guion estas historias se grabaron en el mismo aula y se divulgarán en forma de podcast dentro del programa Leyendeando en su portal web.
Muchos estudiantes mostraron su interés y gran conocimiento en esta materia y colaborarán en próximas ediciones del podcast Leyendeando, con temáticas como los mitos dentro del fútbol o centradas en localizaciones como Mojácar o Granada. Nieves destacó a sus alumnos la importancia de estas historias transmitidas mediante el boca a boca, llenas de tradición y coloquialismos propios de cada pueblo, como forma de llamar la atención de los más pequeños y cómo a través de puntos clave de estos cuentos se pueden extrapolar otras ideas para desarrollar originales actividades educativas en el aula.
Sin Guion es una iniciativa almeriense que busca promover el podcasting, forma digital de transmisión de datos, generalmente asociada a la radio digital. Este portal web alberga canales con diferentes temáticas. Además de Leyendeando, se encuentra el canal La Tercera Fase, sobre videojuegos; For Dummies, de ciencia y biología; Los Danko, de tono cómico; Noches insomnes y Expreso, ambos a cargo del responsable del portal, Juan Díaz, sobre música y reflexiones respectivamente, y que surgieron tras el germen del magazine Café y noche, podcast que Juan Díaz realiza desde 2008 y que es la piedra angular del emprendedor portal SinGuion.es, que también tiene su versión en texto escrito en su fanzine descargable del mismo nombre.
Escrito por Celia S. Cañabate
Concrete construction in Venezuela using aluminum concrete formwork. For more information on formwork visit www.wallties.com
The Buildings On The RAF Swinderby Technical Site Have Been Demolished. However, The Foundations, Roads, Street Lights and Road Signs Remain
This are some shots of the first valezina form Silver-washed that I've ever seen. She was absolutely stunning and very fresh. I couldn't get a full open wing shot as she was feeding on bramble at the side of one of the rides in Bentley Wood and quite mobile. I was delighted to catch up with this beautiful variant as she is far more beautiful in the flesh than I'd imagined.
The Sky Form of Shaynim only available in Pokemon Platinum and can be captured on the Pokemon Ranger tracks of light(not release yet)
Site from the same site seen in my Latias and Latios pic at the bottom
The OLd MILL Chesterton Ind.
Date: Circa 1907-1909
Source Type: Postcard
Publisher, Printer, Photographer: Unknown
Postmark: Unknown
Collection: Steven R. Shook
Remark: H. L. Cooper, proprietor. Manufacturer of winter wheat flour, whole wheat flour, Graham flour, rye and buckwheat flour, cornmeal, and feed. Chesterton Roller Mills was a flouring mill located at the northeast corner of present day intersection of Calumet Avenue and Porter Avenue in Chesterton. Coffee Creek ran east of the mill and provided the mill's source of power. The mill site was originally called Ingraham's Mill after Daniel P. Ingraham, who established the mill site on what later would be referred to as Lot 4 of Block 4 in the Quick's Addition. Ingraham was extensively engaged in the stumpage and lumber business in the townships of Jackson, Liberty, and Westchester. Thomas Blackwell purchased the milling business in December 1875, and the mill's name was changed to Blackwell's Mill. During Blackwell's ownership, the mill included a three-run grist operation, a sawmill, a planar mill, a matcher, and machine shop, which was valued at more than $2,000 in 1882. John A. Kettring would purchase the mill from Blackwell, which he then sold to H. L. Cooper of Morgan Park, Cook County, Illinois, in 1903. Cooper leased the mill property to James E. Flynn in September 1907. Flynn had moved to Chesterton from Rensselaer, Jasper County, Indiana.
Copyright 2009. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
VENEZA - BASILICA DI SAN MARCO - Mosaico do arco superior, lado esquerdo, em detalhe.
Em forma de cruz grega e coroada com cinco enormes domos, a famosa Basílica de Veneza mistura os estilos arquitetônicos e decorativos de Oriente e Ocidente, para criar uma das mais gloriosas construções da Europa. Mosaicos de distintas épocas adornam os cinco portões em arcos, e o portal principal é emoldurado por belos entalhes românticos feitos entre 1240 e 1265. Os mosaicos do interior, que ocupam 4.240m², são, na maioria, dos séculos 12 e 13. Alguns foram substituídos mais tarde por obras de Ticiano e Tintoretto. Até 1807, a Basílica era a capela particular do Doge, usada para cerimônias oficiais. Depois, sucedeu San Pietro di Castello como a Catedral de Veneza. Algo curioso: em 1075, os navios que voltavam do exterior eram obrigados por lei a trazer um presente precioso para enfeitar “a Casa de São Marcos”, o que tornou a Basílica uma das mais ricas da Europa.
A primeira Igreja construída no local foi um edifício temporário, construído em 828, quando mercadores venezianos adquiriram de Alexandria (Egito) as supostas relíquias de São Marcos Evangelista. Em 832, um novo edifício foi erguido, no local da atual Basílica, mas uma rebelião em 976, a Igreja foi incendiada. Reconstruída em 978 e, mais uma vez, em 1063. A sua consagração se deu em 1094, no mesmo ano da descoberta milagrosa em um pilar da Basílica do corpo de São Marcos, que havia sido escondido durante o trabalho em algum lugar, em seguida, esquecido. Em 1231, um incêndio destrói a Basílica mais uma vez, e restaurada imediatamente.
A Basílica de hoje, cujas cinco cúpulas misturam estilos bizantinos, românticos e renascentistas, é muito semelhante ao da antiga Basílica dos Santos Apóstolos em Constantinopla, destruída alguns anos após a conquista Otonama. Ricamente decorada com mosaicos, frisos de mármore, esculturas, revestimento interno com milhões de peças de ouro, dizia-se que grande parte da poeira em suspensão no ar da Basílica, era de ouro, e talvez fosse mesmo. Os cavalos de bronze que decoram a fachada, trazidos do Hipódromo de Constantinopla, atual Istambul, são réplicas, os originais encontram-se no interior da Basílica, no museu. (Em 1797, Napoleão invade a cidade e leva os cavalos para Paris, colocando-os em cima do Arco do Triunfo, mas já devolvidos à Basílica em 1815). Os majestosos cavalos foram acrescentados à decoração em torno de 1254, onde permaneceram (os originais) até 1990. (Os colares decorativos foram adicionados em 1204 pelos venezianos para esconder o corte devido à decapitação dos cavalos, para facilitar o transporte efetuado por via marítima de Constantinopla, durante o saque patrocinado pela Quarta Cruzada).
OS TESOUROS DE SÃO MARCOS: Uma coleção brilhante que consiste de 283 peças, incluindo ícones, jóias e taças preciosas, a maioria delas roubadas durante o saque de Constantinopla. A peça mais famosa e a mais preciosa do mundo, chama-se: PALA D’ORO. Esta preciosa peça coberta de jóias fica atrás do Altar-Mor. São 250 pinturas esmaltadas sobre folhas de ouro com uma moldura gótica de prata dourada, encomendada em Bizâncio em 976. É um grande “pano de ouro e prata”, uma espécie de “tapeçaria” criada da fusão de obras de diferentes períodos ao longo dos séculos. O frontal, decorado com mais de 500 pérolas, 300 safiras, esmeraldas, ametistas, rubis... é considerado, juntamente com os cavalos, um dos tesouros mais importantes de Veneza. (Napoleão também roubou algumas dessas pedras preciosas em 1797, mas a tela “Pala d’Oro”, ainda brilha, e que brilho!).
Third day of the festival. Program: performance of DoN't Eat Group and Bodylotion co-dance.
Photos: Barbara Antal
0-16450 in "Heavy left" formation with A2-488 as number 1, 0-60809 as number three and A2-485 as number 4 on 23 August 1982. Photo taken from A2-488 S/L Wood RNZAF, Cpl K Manuel RAAF.
Concrete construction in Venezuela using aluminum concrete formwork. For more information on formwork visit www.wallties.com
rundontwalk formed in 2002 as one of the earliest art collectives to begin painting after the economic crisis of 2001 and has become one of the most prolific in Buenos Aires. It consists of stencil artist Federico Minuchin and self-taught visual artist Tester.
The residents of Casacuberto, an two block passageway between Gral Urquiza and 24 de Noviembere in Parque Patricios, invited bs.as.stncl, rundontwalk and Stencil Land to turn the fronts of their houses into an open air stencil art gallery.
Wayang kulit is a traditional form of puppet-shadow play originally found in the cultures of Java, Bali and Lombok in Indonesia. In a wayang kulit performance, the puppet figures are rear-projected on a taut linen screen with a coconut-oil (or electric) light. The dalang (shadow artist) manipulates carved leather figures between the lamp and the screen to bring the shadows to life.
Wayang kulit is one of the many different forms of wayang theatre found in Indonesia; the others include wayang beber, wayang klitik, wayang golek, wayang topeng, and wayang wong. Wayang kulit is among the best known, offering a unique combination of ritual, lesson and entertainment. Today, it is spread out, in various forms and guises, across Asia - from Turkey and China to Thailand and Malaysia. On November 7, 2003, UNESCO designated wayang kulit from Indonesia as one of the Masterpieces of the Oral and Intangible Heritage of Humanity.
ETYMOLOGY
The term wayang is the Javanese word for "shadow" or "imagination". Its equivalent in standard Indonesian is bayang.
In modern daily Javanese and Indonesian vocabulary, wayang can refer to the puppet itself or the whole puppet theatre performance. Kulit means "skin" or "leather", the material from which the figures are carved.
HISTORY
Wayang kulit originated in southern India as Tholpavakoothu.[citation needed] Tholpavakoothu was dedicated to a goddess to witness the slaying of Ravana in the Hindu epic Ramayana. Hinduism arrived in Indonesia from India before the Islamic and Christian era. Sanskrit became the literary and court language of Java and later of Bali. Wayang kulit was later assimilated into local culture with changes to the appearance of the characters to resemble cultural norms.
When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from Muslim religious leaders.
Religious leaders attempted to skirt the Muslim prohibition by converting the wayang golek into wayang purwa made from leather and displayed only the shadow instead of the puppets themselves.
WAYANG PUPPET FIGURES
The wayang comes in sizes from 25 cm to 75 cm. The important characters are usually represented by several puppets each. The wayang is usually made out of water buffalo hide and goat hide and mounted on bamboo sticks. However, the best wayang is typically made from young female buffalo parchment, cured for up to ten years. The carving and punching of the rawhide, which is most responsible for the character's image and the shadows that are cast, are guided by this sketch. A mallet is used to tap special tools, called tatah, to punch the holes through the rawhide. Making the wayang sticks from horn is a complicated process of sawing, heating, hand-molding, and sanding until the desired effect is achieved. When the materials are ready, the artist attaches the handle by precisely molding the ends of the horn around the individual wayang figure and securing it with thread. A large character may take months to produce.
There are important differences between the three islands where wayang kulit is played (due to local religious canon):
In Java (where Islam is predominant), the puppets (named ringgit) are elongated, the play lasts all night and the lamp (named blencong) is, nowadays, almost always electric. A full gamelan with (pe)sinden is typically used.
In Bali (where Hinduism is predominant), the puppets look more real, the play lasts a few hours and, if at night, the lamp uses coconut oil. Music is mainly by the four gender wayang, with drums only if the story is from the Ramayana. There are no sinden. The dalang does the singing. Balinese dalangs are often also priests (amangku dalang). As such, they may also perform during daylight, for religious purposes (exorcism), without lamp and without screen (wayang sakral, or "lemah").
In Lombok (where Islam is predominant and Bali's influence is strong), vernacular wayang kulit is known as wayang sasak, with puppets similar to Javanese ringgits, a small orchestra with no sinden, but flutes, metallophones and drums. The repertoire is unique to the island and is based on the Muslim Menak Cycle (the adventures of Amir Hamzah).
PERFORMANCE
The stage of a wayang performance includes several components. A stretched linen canvas (kelir) acts as a canvas, dividing the dalang (puppeteer) and the spectator. A coconut-oil lamp (Javanese blencong or Balinese damar) – which in modern times is usually replaced with electric light – casts shadows onto the screen. A banana trunk (Javanese gedebog, Balinese gedebong) lies on the ground between the screen and the dalang, where the figures are stuck to hold them in place. To the right of the dalang sits the puppet chest, which the dalang uses as a drum during the performance, hitting it with a wooden mallet. In a Javanese wayang kulit performance, the dalang may use a cymbal-like percussion instrument at his feet to cue the musicians. The musicians sit behind the dalang in a gamelan orchestra setting. The gamelan orchestra is an integral part of the Javanese wayang kulit performance. The performance is accompanied by female singers (pesinden) and male singers (wirasuara).
The setting of the banana trunk on the ground and canvas in the air symbolizes the earth and the sky; the whole composition symbolizes the entire cosmos. When the dalang animates the puppet figures and moves them across the screen, divine forces are understood to be acting in his hands with which he directs the happening. The lamp is a symbol of the sun as well as the eye of the dalang.
A traditional wayang kulit performance begins after dark. The first of the three phases, in which the characters are introduced and the conflict is launched, lasts until midnight. The battles and intrigues of the second phase last about three hours. The third phase of reconciliation and friendship is finished at dawn.
Wayang shadow plays are usually tales from the two major Hindu epics, the Ramayana and Mahabharata. The puppet master contextualizes stories from the plays, making them relevant to current community, national or global issues. Gamelan players respond to the direction of the dalang.
WIKIPEDIA
This oldest castle in the form of a square corresponds to the current Swiss Court. There is also located the Gothic (in the 15th century rebuilt) Hofburg chapel as well as the Clergy and the Secular Treasury (both belong administratively to the Kunsthistorisches Museum), in the latter, inter alia, being kept the insignia of the Holy Roman Empire (Reichskleinodien) and the Empire of Austria. Also the Court Orchestra is located there. This Schweizerhof was at the time of Emperor Charles V by his brother, the Holy Roman King Ferdinand (1558 Emperor Ferdinand I), rebuilt in Renaissance style. Particularly well known is the red-black Swiss Gate, on which the titles of Emperor Ferdinand I are enumerated and the insignia of the Order of fleece depicted. This gate including painting was built by Pietro Ferrabosco 1552. In a lateral niche of the gate is situated the Swiss Court well from 1552 with the imperial eagle. The basin is made of hard, white Kaiserstein (Emperor Stone) from Kaisersteinbruch (quarry in Lower Austria). The fountain formed the conclucion of an already in 1534 laid out aqueduct that was conducted from the suburbs of St. Ulrich into the castle. Below this tract for a long time the Royal kitchen was housed. Overall, this part of the Hofburg is called "Swiss Wing" including the Hofburg Chapel. The name stems from the troupe formed of Swiss mercenaries providing at the time of Emperor Franz I Stephan (Lorraine) and Maria Theresa the gate guard.
Via the Pillar staircase in Swiss tract one reaches the National Heritage Agency, which has its headquarters here. Here is the ancestral hall with the Habsburg imperial portraits, established about 1874 for Crown Prince Rudolf:
Rudolf I (1281-1291)
Maximilian I (1459-1519)
Charles V (1500-1558)
Ferdinand I (1503-1564)
Maximilian II (1527-1576)
Ferdinand II (1578-1637)
Leopold I (1640-1705)
Charles VI (1685-1740)
Maria Theresa (1717-1780)
Joseph II (1741-1790)
Franz II (1768-1835)
Franz Joseph I (1830-1916)
The ante chamber leads to the Marble Hall in Ceremonial hall tract which dates from the 19th century. The particularly thick walls still originate from one of the defensive towers of the ancient fortifications. The term Ante Chamber refers to the former use as a vestibule.
Near the Swiss Gate direction St. Michael's square in March of 2013 remains of 6 by 20 meters wide foundation of built 1558-1563 Kunstkammer (Art Chamber) of Emperor Ferdinand I were discovered, the first museum building north of the Alps. The discovery by the art historian Renate Holzschuh-Hofer followed by evaluating partially already longer known sources which were just misinterpreted.
Hofburg chapel
The Imperial Chapel is the oldest and main chapel of the Hofburg and was the private chapel of the Habsburgs. Presumably to 1287/88 Albrecht I had build a late Romanesque chapel which was first mentioned documentarily in 1296. From 1423 to 1426 was carried out under Albrecht V an extension; the wood of the current roof structure dates from 1421. Albrecht, who ordered in this year a large-scale persecution of the Jews in Vienna, probably also disposed that in the foundation of the chapel Jewish grave stones were inserted (they were later removed and kept in a Jewish cemetery).
From 1447 to 1449, Emperor Friedrich III the chapel had reconstructed in the Gothic style and expanded. Maria Theresia ordered a late Baroque reconstruction of the chapel. In the course of classicism it was 1802 again re-gothicised. In it concerted the Court Orchestra founded by Emperor Maximilian I whose tradition is continued by the Viennese Philharmonic and the Vienna Boys Choir.
Diese älteste Burg in Form eines Vierecks entspricht etwa dem heutigen Schweizerhof. Dort befinden sich auch die gotische (im 15. Jahrhundert umgebaute) Hofburgkapelle sowie die Geistliche und die Weltliche Schatzkammer (beide gehören administrativ zum Kunsthistorischen Museum), wobei in letztgenannter unter anderem die Herrschaftsinsignien des Heiligen Römischen Reiches (Reichskleinodien) und des Kaisertums Österreich aufbewahrt werden. Auch die Hofmusikkapelle hat dort ihren Sitz. Dieser Schweizerhof wurde zur Zeit Kaiser Karls V. durch seinen Bruder, den römisch-deutschen König Ferdinand (ab 1558 Kaiser Ferdinand I.) im Renaissancestil umgebaut. Besonders bekannt ist das rot-schwarze Schweizertor, auf dem die Titel Kaiser Ferdinands I. aufgezählt und die Insignien des Vliesordens abgebildet sind. Dieses Tor inklusive Bemalung wurde von Pietro Ferrabosco 1552 errichtet. In einer seitlichen Nische des Tores befindet sich der Schweizerhofbrunnen aus dem Jahr 1552 mit dem kaiserlichen Adler. Das Becken besteht aus hartem, weißem Kaiserstein aus Kaisersteinbruch. Der Brunnen bildete den Abschluss einer bereits 1534 angelegten Wasserleitung, die aus der Vorstadt St. Ulrich in die Burg geleitet wurde. Unterhalb dieses Traktes war über lange Zeit die Hofküche untergebracht. Insgesamt wird dieser Teil der Hofburg inklusive der Hofburgkapelle „Schweizertrakt“ genannt. Der Name stammt von der aus Schweizer Söldnern gebildeten Truppe, die zur Zeit des Kaiserpaares Franz I. Stephan (von Lothringen) und Maria Theresia die Torwache stellte.
Über die Säulenstiege im Schweizertrakt erreicht man das Bundesdenkmalamt, das hier seinen Sitz hat. Hier befindet sich der Ahnensaal mit den Habsburger Kaiserporträts, eingerichtet um 1874 für Kronprinz Rudolf:
Rudolf I. (1281–1291)
Maximilian I. (1459–1519)
Karl V. (1500–1558)
Ferdinand I. (1503–1564)
Maximilian II. (1527–1576)
Ferdinand II. (1578–1637)
Leopold I. (1640–1705)
Karl VI. (1685–1740)
Maria Theresia (1717–1780)
Joseph II. (1741–1790)
Franz II. (1768–1835)
Franz Joseph I. (1830–1916)
Die Antekammer führt zum Marmorsaal im Zeremoniensaaltrakt, welcher aus dem 19. Jahrhundert stammt. Die besonders dicken Mauern stammen noch von einem der Wehrtürme der alten Burgbefestigung. Der Begriff Antekammer weist auf den ehemaligen Verwendungszweck als Vorraum hin.
Nahe dem Schweizertor Richtung Michaelerplatz wurden im März 2013 Reste des 6 mal 20 Meter großen Fundaments der zwischen 1558 und 1563 erbauten Kunstkammer Kaiser Ferdinands I. entdeckt, der erste Museumsbau nördlich der Alpen. Die Entdeckung durch die Kunsthistorikerin Renate Holzschuh-Hofer erfolgte durch Auswertung teilweise schon länger bekannter Quellen, die nur falsch interpretiert worden seien.
Hofburgkapelle
Siehe auch: Hofburgkapelle
Innenansicht der Hofburgkapelle
Die Hofburgkapelle ist die älteste und Hauptkapelle der Hofburg und war die Hauskapelle der Habsburger. Vermutlich um 1287/88 ließ Albrecht I. eine spätromanische Kapelle errichten, die urkundlich 1296 erstmals erwähnt wurde. Von 1423 bis 1426 erfolgte unter Albrecht V. eine Erweiterung; das Holz des aktuellen Dachstuhls stammt aus dem Jahr 1421. Albrecht, der in diesem Jahr eine großangelegte Judenverfolgung in Wien in Auftrag gab, veranlasste wahrscheinlich auch, dass in das Fundament der Kapelle jüdische Grabsteine eingelassen wurden (sie wurden später entfernt und in einem jüdischen Friedhof aufbewahrt).
Von 1447 bis 1449 ließ Kaiser Friedrich III. die Kapelle im gotischen Stil um- und ausbauen. Maria Theresia veranlasste einen spätbarocken Umbau der Kapelle. Im Zuge des Klassizismus wurde sie 1802 wiederum regotisiert. In ihr konzertierte die von Kaiser Maximilian I. gegründete Hofmusikkapelle, deren Tradition von den Wienern Philharmonikern und den Wiener Sängerknaben fortgeführt wird.
One thing that drives me bonkers is the ordering of form fields. Place form fields in a logical order that makes sense to the user. This example shows an incorrect ordering of fields. The order of fields should have been Address, State, Postcode (matches how people expect to see and write addresses).
Rapid Industrialized concrete housing construction using handset aluminum concrete forms. For more information visit www.wallties.com/securetech.htm
Brook lies about a quarter mile from the start of Wye Down, I can see it in the spring when I am orchid hunting, but never really thought about what the village was like, or even called.
After looking at John Vigar's book, I realised there were a few churches in east Kent I had missed out, and Brook was one. I dd not read up on it, so did not know what to expect. In fact, it seems of similar construction to Brabourne, with a stocky tower, and inside, sadly locked, the tower has a private chapel built into it.
But what is obvious is the hole in the north side facing the road. This clearly needed further inspection.
You reach the church via a bridge over a stream, presumably after which the village is named, and there is a path leading to the church door, which was unlocked.
On closer inspection, the recess in the north wall lead to a door, and inside the church, there was an oval door. This is a hagioscope (or squint), but I have never seen one in the outside wall of a church before.
Once home, I did some research, and found out about anchorites, people who decided to leave the cares of the world, lived like hermits attached to a church, with a window into the church so to witness the services.
If this wasn't remarkable enough, elsewhere inside the church had been re-ordered in the 1980s so it now resembles a 12th century Norman church, and has a remarkable collection of wall paintings on top of all that.
To call it breathtaking would be an understatement.
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An anchorite or anchoret (female: anchoress; adj. anchoritic; from Ancient Greek: ἀναχωρητής, anachōrētḗs, "one who has retired from the world",[2][3] from the verb ἀναχωρέω, anachōréō, signifying "to withdraw", "to retire"[4]) is someone who, for religious reasons, withdraws from secular society so as to be able to lead an intensely prayer-oriented, ascetic, and—circumstances permitting—Eucharist-focused life. Whilst anchorites are frequently considered to be a type of religious hermit,[5] unlike hermits they were required to take a vow of stability of place, opting instead for permanent enclosure in cells often attached to churches. Also unlike hermits, anchorites were subject to a religious rite of consecration that closely resembled the funeral rite, following which—theoretically, at least—they would be considered dead to the world, a type of living saint. Anchorites had a certain autonomy, as they did not answer to any ecclesiastical authority other than the bishop.[6]
The anchoritic life is one of the earliest forms of Christian monastic living. In the Roman Catholic Church today, it is one of the "Other Forms of Consecrated Life" and governed by the same norms as the consecrated eremitic life.[7] From the 12th to the 16th centuries, female anchorites consistently outnumbered their male equivalents, sometimes by as many as four to one (in the 13th century), dropping eventually to two to one (in the 15th century). The gender of a high number of anchorites, however, is not recorded for these periods.
The anchoritic life became widespread during the early and high Middle Ages.[9] Examples of the dwellings of anchorites and anchoresses survive. A large number of these are in England. They tended to be a simple cell (also called anchorhold), built against one of the walls of the local village church.[10] In the Germanic lands, from at least the 10th century, it was customary for the bishop to say the office of the dead as the anchorite entered his cell, to signify the anchorite's death to the world and rebirth to a spiritual life of solitary communion with God and the angels. Sometimes, if the anchorite were walled up inside the cell, the bishop would put his seal upon the wall to stamp it with his authority. Some anchorites, however, freely moved between their cell and the adjoining church.[11]
Most anchoritic strongholds were small, perhaps no more than 12 to 15 ft (3.7 to 4.6 m) square, with three windows. Viewing the altar, hearing Mass, and receiving Holy Communion was possible through one small, shuttered window in the common wall facing the sanctuary, called a "hagioscope" or "squint". Anchorites would also provide spiritual advice and counsel to visitors through this window, as the anchorites gained a reputation for wisdom.[12] Another small window would allow access to those who saw to the anchorite's physical needs, such as food and other necessities. A third window, often facing the street, but covered with translucent cloth, would allow light into the cell.[6]
Anchorites were supposed to remain in their cell in all eventualities. Some were even burned in their cells, which they refused to leave even when pirates or other attackers were looting and burning their towns.[13] They ate frugal meals, spending their days both in contemplative prayer and interceding on behalf of others. Anchorites' bodily waste was managed by means of a chamber pot.[14]
In addition to being the crucial physical location wherein the anchorite could embark on the journey towards union with God and the culmination of spiritual perfection, the anchorhold also provided a spiritual and geographic focus for many of those people from the wider society who came to ask for advice and spiritual guidance. It is clear that, although set apart from the community at large by stone walls and specific spiritual precepts, the anchorite also lay at the very centre of that same community. The anchorhold was clearly also a communal 'womb' from which would emerge an idealized sense of a community's own reborn potential, both as Christians and as human subjects.[8]
An idea of their daily routine can be gleaned from an anchoritic Rule. The most widely known today is the early 13th century text known as Ancrene Wisse.[15] Another, less widely known, example is the rule known as De Institutione Inclusarum written in the 12th century, around 1160–62, by Aelred of Rievaulx for his sister.[16] It is estimated that the daily set devotions detailed in Ancrene Wisse would take some four hours, on top of which anchoresses would listen to services in the church, and engage in their own private prayers and devotional reading.
en.wikipedia.org/wiki/Anchorite
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Since its re-ordering in 1986 Brook church has shown the visitor what a church interior might have looked like in the twelfth century. The chancel is empty except for the medieval stone altar, discovered a few years ago in the churchyard, and now set on two ragstone pillars. The church is large, for throughout the medieval period it belonged to Christ Church, Canterbury. There is much Norman work to be seen, including the three-stage west tower which contains a purpose-built chapel or `westwerk`. The church has a comprehensive series of thirteenth-century wall paintings, overlain by some fourteenth- and seventeenth-century murals, although the early paintings are not as well preserved as in some other churches. In the north wall of the chancel is a small almond-shaped hagioscope to the exterior. It may have connected to an anchorite's cell, but is more likely to have been associated with the exposition of a relic on the high altar. It is certainly not a low side window as the tower bell would have been used for this purpose.
www.kentchurches.info/church.asp?p=Brook
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LIES the next parish southward from Wye. It is written in antient records both Broc and Broke, and takes its name from its low situation on the stream which runs through it, baroca in Saxon signifying a rivulet. It seems once to have been accounted a hundred of itself; but at the time of taking the survey of Domesday, in the year 1080, it was reputed to be in the hundred of Wye, as it is now.
The parish is very small, and is but little known, lying out of the way of all traffic and throughfare. It is not more than a mile across each way, and has in it about twenty houses. It lies very low and wet, in a deep miry soil. There is some coppice wood in the southern part of it, about forty-three acres, of which twenty-eighty belong to the dean and chapter of Canterbury. The village is nearly in the centre of the parish, having the church at the north end of it. There is a small hamlet, called Little Bedleston, consisting of only two houses, in the eastern part of the parish, close under the high ridge of hills called Braborne-downs, to the foot of which this parish extends eastward.
BROOKE was given, long before the conquest, by Karlemann, a priest, to the church of Canterbury; but it was wrested from the church in the troublesome times which soon after followed, by reason of the Danish wars, and it continued in lay hands at the accession of the Conqueror; soon after which it appears to have been in the possession of Hugh de Montfort, from whom archbishop Lanfranc recovered Brooke again to his church in the solemn assembly of the whole county, held on this occassion by the king's command, at Pinenden-heath in 1076; and then on the division which the archbishop made of the lands of his church, this manor was allotted by him, among others, to the share of the priory of Christ-church, Canterbury; accordingly it is thus entered among the possessions of it, in the survey of Domesday, under the general title of Terra Monachorum Archiepi, i. e. lands of the monks of the archbishops;
In the hundred of Wi, the archbishop himself holds one manor, which was taxed at one suling, in the time of king Edward the Confessor, and now, for half a suling. The arable land is two carucates. In demesne there is one, and three villeins, with four borderers having two carucates and an half. There is a church, and one mill of two shillings, and two servants, and seven acres of meadow. Wood for the pannage of ten hogs. In the time of king Edward the Confessor, and afterwards, it was worth fifty shillings, now four pounds.
This manor was soon after this let to farm, by the monks, to Robert de Rumene, at the above rent, and was allotted de cibo eorum, that is, to the use of their refectory; and the possession of it was confirmed to them both by king Henry I. and II. (fn. 1) King Edward II. in his 10th year, granted to the prior and convent free warren in all their demesne lands in Broke, among other places which they were in possession of at the time of the charter of liberties granted to them by his grandfather Henry III. about which time this manor was valued at 22l. 1s. 10d. In which state it afterwards continued till the dissolution of the priory of Christchurch in the 31st year of Henry VIII. when it came into the king's hands, where it did not remain long, for the king settled it by his dotation-charter, in his 33d year, on his new-erected dean and chapter of Canterbury, part of whose possessions it still remains.
The demesne lands have been constantly let by the dean and chapter on a beneficial lease, at the yearly rent of 13l. 6s. 8d. in money, and four quarters of wheat. The present lessee is Mr. John Berry, of Newbery, Berkshire; but the manerial rights they retain in their own hands.
A court baron is regularly held for this manor. There are no parochial charities.
BROOKE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge. The church, which is dedicated to St. Mary, is but small, consisting of one isle and a chancel, with a low square tower at the west end, in which are two bells. There are no memorials of any account in it.
The church of Brooke has always been accounted an appendage to the manor, and as such passed with it from the priory of Christ-church into the hands of the crown, and from thence to the dean and chapter of Canterbury, who are the present patrons of it. The woods belonging to the dean and chapter here, claim an exemption from paying tithes.
¶This rectory is valued in the king's books at 7l. 7s. 3d. and is of the clear yearly certified value of thirty pounds. In 1588 it was valued at thirty pounds. Communicants ninety-two. In 1640 at sixty pounds. Communicants sixty. There are now only ten communicants. In 1724 it was augmented with the sum of 200l. given by the governors of queen Anne's bounty, on the gift of 100l. from the dean and chapter of Canterbury, and the like sum from Dr. Godolphin, dean of St. Paul's; with which there was purchased a piece of land, containing nine acres, called Great Chequer field, adjoining to the town of Wye.
Mikke van Hool. P1 Engineering Reynard 933 Mugen-Honda F3.
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The Basilica, a splendid example of Romanesque Verona, taking the current form in 1398 after many vicissitudes. The first church, the one that hosted the wedding between the king and the queen of the Lombards, was destroyed and immediately rebuilt by Bishop Raterio who had the funds Emperor Otto I of Germany.
This new church was however destroyed by the Hungarians in the tenth century and the remains of St. Zeno were transported in the Cathedral of Santa Maria Matricolare to return a little later in the crypt of the church restored. Later in 1117 a violent earthquake damaged the church was restored and enlarged in 1138. The final touches were on the ceiling and the apse which were included in 1398, only elements in the Gothic style.
The façade includes several elements that have had the function of models for the construction of other Veronese Romanesque cathedrals: they tell and testify different historical narratives and religious or traditional.
It is very unique rosette: many do not know that this rose is the "Wheel of Fortune".
The function of paintings and bas-reliefs is to educate the illiterate people.
Returning to earth, the sides of the porch, there are eighteen bas-reliefs of the twelfth century: on the left is the master William religious themes taken from the Old and New Testament, especially from the genesis, while on the right the Master Nicholas passes from the sacred to the profane recounting the exploits of Theodoric the Great. too, the portal of the church, closed for security reasons, tells stories of saints and historical figures: forty-eight panels, the clock to the door door, of which it is composed are St. Peter, St. Paul, Saint Zeno, Saint Helena, Matilda of Tuscany with her ââhusband Geoffrey, authors of large donations to the Abbey of San Zeno historically adjacent to the Basilica (it was later destroyed and remains Today only the cloister) and the sculptor himself. In principle the panels, some of which merged into Saxony other school in Verona, followed a logical but following the widening of the facade have been replaced randomly.
San Zeno, eighth bishop of Verona, has lived in the fourth century. C. (died in 380), and was a native of Mauritania. Precisely for this reason it is often called "the Bishop Moro", from which also the dark color of his statue. Very little is known of his life: the historical describe him as a person of great culture (he studied at the school of rhetoric Africa whose exponents are Madaura of Apuleius, Tertullian, Cyprian and Lactantius) who lived in austerity and simplicity tant 'it is true that fished his daily meal in the nearby waters of the Adige, and gave a great impetus to Catholicism in Verona fighting the rampant paganism and Arianism.
Its holiness stems not only from the works done in life, his miraculous actions later. The first miraculous event would be a bet that the bishop would have done with the devil: they played ball with the tip of a mountain and once won, San Zeno would bring a baptismal font in the shoulder to the devil from Rome to Verona. The second is the expulsion of demons by the daughter of the magistrate Gallieno of Raetia and, finally, the most striking is the rescue of the people affected by the flood of the Adige in Verona in the Middle Ages: during the king's marriage with the Princess Autari Theodolinda l ' Adige burst its banks and flooded the city, but arrived at the gates, open the Basilica of San Zeno stopped.
A functional chain with print supports still attached to the build platform after being 3D printed with a Formlabs Form 2 SLA 3D Printer using Tough Resin.
Free for use under Creative Commons license. If you use this image, please link to "formlabs.com/3d-printers/" in your attribution.
"The station was opened as Moorgate Street by the Metropolitan Railway as the first eastwards extension from the original terminus at Farringdon. Parliamentary power had been obtained to build a station at Moorgate in 1861, two years before the initial section, and it was completed on 23 December 1865. Increased traffic from other companies, including goods traffic from the Great Northern Railway, led to the line between King's Cross and Moorgate being widened to four tracks; the route was called the City Widened Lines and included a new tunnel at Clerkenwell which was 16 feet (4.9 m) lower than the original. The Widened Lines were open from Moorgate to Farringdon on 1 July 1866, and to King's Cross on 17 February 1868. Suburban services from the Midland Railway ran via Kentish Town and the Great Northern Railway ran via King's Cross. In 1874, director of the Metropolitan, Edward Watkin, described Moorgate Street as 'your great terminus' and recommended a 100-bedroom hotel should be built on top of the station.
"The now Northern line platforms were originally part of an extension of the City & South London Railway (C&SLR) beyond Borough towards Angel, forming the northern terminus of its services from Stockwell south of the River Thames. An act for the extension had been authorised in 1893 and included an eastern diversion of the original line underneath the Thames. The new station opened on 25 February 1900. The line was extended to Angel on 17 November the following year.
"The Northern City Line to Moorgate was opened by the Great Northern & City Railway (GN&CR) on 14 February 1904 offering a service to Finsbury Park. It had an escalator connection to the other Moorgate platforms. The route was constructed in tube tunnels, but they were constructed at a diameter capable of accommodating main-line trains (in contrast to the majority of London tube tunnels which are much smaller). The line was the first to use automatic signalling throughout its length without any moving parts. Though a popular route, it went into decline after the Metropolitan Railway purchased the route on 1 July 1913. Consequently, the planned through services to the Great Northern Railway's main line were never implemented.
"The CS&LR line (taken over by the Underground Group in 1913) closed services between Moorgate and Euston on 9 August 1922 in order to widen tunnels to 11 feet 8 1⁄4 inches (3.56 m). The section from Moorgate to Clapham Common was worked on during the night while daytime services remained running, but closed completely on 28 November 1923 following a roof collapse at Newington Causeway the day before. Services to Euston opened on 20 April 1924, along with a connection to Camden Town and stations further north. Services to Clapham Common resumed on 1 December. The station was renamed from Moorgate Street to Moorgate on 24 October that year."
Source: Wikipedia
Hathor sous plusieurs formes (Hathor in several forms).
From Wikipedia:
"Hathor was an Ancient Egyptian goddess who personified the principles of love, beauty, music, motherhood and joy. She was one of the most important and popular deities throughout the history of Ancient Egypt. Hathor was worshiped by Royalty and common people alike in whose tombs she is depicted as "Mistress of the West" welcoming the dead into the next life.
In other roles she was a goddess of music, dance, foreign lands and fertility who helped women in childbirth, as well as the patron goddess of miners.
The cult of Hathor pre-dates the historical period and the roots of devotion to her are, therefore, difficult to trace, though it may be a development of predynastic cults who venerated the fertility, and nature in general, represented by cows.
Hathor is commonly depicted as a cow goddess with head horns in which is set a sun disk with Uraeus. Twin feathers are also sometimes shown in later periods as well as a menat necklace. Hathor may be the cow goddess who is depicted from an early date on the Narmer Palette and on a stone urn dating from the 1st dynasty that suggests a role as sky-goddess and a relationship to Horus who, as a sun god, is "housed" in her.
The Ancient Egyptians viewed reality as multi-layered in which deities who merge together for various reasons, whilst retaining divergent attributes and myths, were not seen as contradictory but complementary.
In a complicated relationship Hathor is at times the mother, daughter and wife of Ra and, like Isis, is at times described as the mother of Horus, and associated with Bast.
The cult of Osiris promised eternal life to those deemed morally worthy. Originally the justified dead, male or female, became an Osiris but by early Roman times females became identified with Hathor and men with Osiris.
The Ancient Greeks identified Hathor with the goddess Aphrodite and the Romans as Venus."