View allAll Photos Tagged Forms
form |fôrm| noun
the visible shape or configuration of something : the form, color, and texture of the tree. • arrangement of parts; shape : the entities underlying physical form. • the body or shape of a person or thing : his eyes scanned her slender form. • arrangement and style in literary or musical composition : these videos are a triumph of form over content.
line |līn|
noun
[as adj. ] Printing & Computing denoting an illustration or graphic consisting of lines and solid areas, with no gradation of tone : a line block | line art.
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The Karlstad sofa, an Ikea sofa inspired by the Florence Knoll sofa.
I wanted to get back to the set I started earlier, Form @ Home, where I try to capture the mood and feeling of some things we’ve got at home. This time I tried to use a cooler, blueish toned color instead of the sepia. Again, I'm trying to find form and details, capturing the mood and feeling of the object. For this I used the 5D with the 100mm L IS macro lens. All shot handheld with available light.
Una forma inusual para un hongo, ¿verdad?. incluso hay algunos de colores muy brillantes como amarillos o rojos. No son plantas, no son animales.... son hongos.
Creo que esta especie es Lentaria byssiseda... ¿sera?.
En estos días los bosques se convierten en buenos lugares para buscar estos organismos, La Estanzuela es uno de ellos.
We are not particularly rich in fungus or mushrooms, I was so surprised to see this one on the forest ground in La Estanzuela Park. I think this is a very unusual shape for a mushroom.
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
sign
Exposition
Du 14/06/2017 au 10/09/2017
L’exposition Le Rêve des formes, présentée à l’occasion du vingtième anniversaire du Fresnoy – Studio national des arts contemporains, est conçue comme un paysage imaginaire, un jardin monstrueux où se cultivent des formes périssables et des surfaces en germination, des organismes protubérants et de plates silhouettes.
Les artistes et chercheurs rassemblés dans Le Rêve des formes témoignent de leur rencontre avec de nouvelles possibilités de représentation, issues de découvertes scientifiques et techniques récentes, qui bouleversent notre façon de voir et de montrer. En renouvelant grâce à cela le champ du perceptible – nanotechnologies, imagerie de synthèse, scan 3D, stéréolithographie… –, ces nouvelles visualisations nous laissent présumer de géométries encore inconnues.
Des images, des transcriptions, des modélisations, des formes spéculatives produites par les inventeurs et savants des sciences prospectives, issues des mathématiques, de la physique, de la biologie, de l’optique ou de la chimie par exemple, rejoignent ou inspirent des œuvres qui résultent des greffes opérées entre art et science, entre spéculation et invention, par une vingtaine d’artistes contemporains.
Avec : Francis Alÿs, Hicham Berrada & Sylvain Courrech du Pont & Simon de Dreuille, Michel Blazy, Juliette Bonneviot, Dora Budor, Damien Cadio, Julian Charrière, Sylvie Chartrand, Clément Cogitore, Hugo Deverchère, Bertrand Dezoteux, Mimosa Echard, Alain Fleischer, Fabien Giraud & Raphaël Siboni, Bruno Gironcoli, Spiros Hadjidjanos, Patrick Jouin, Ryoichi Kurokawa, Annick Lesne & Julien Mozziconacci, Adrien Missika, Jean-Luc Moulène, Marie-Jeanne Musiol, Katja Novitskova, Jonathan Pêpe & Thibaut Rostagnat & David Chavalarias, Olivier Perriquet & Jean-Paul Delahaye, Arnaud Petit, Jean-François Peyret & Alain Prochiantz, Gaëtan Robillard, Gwendal Sartre, SMITH & Antonin-Tri Hoang, Anicka Yi
spent the weekend at a workshop for studio lighting for the figure. 12 photographers, 3 models, 3 assistants, 1 instructor, and 2 days worth of images to process.
This is the obama birth cetificate of birth released April 25th on www.whitehouse.gov/sites/default/files/rss_viewer/birth-c...
here it is with the layers moved from the background together.
as you can see the original comes directly from the official whitehouse website.
to see the layers open the pdf on adobe illustrator and 'release clipping mask' with a right click of the mouse.
alternatively you can see the parts that make up the document here:
www.flickr.com/photos/62313570@N08/5662568091/in/photostr...
www.flickr.com/photos/62313570@N08/5663134412/in/photostream
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www.flickr.com/photos/62313570@N08/5662567513/in/photostream
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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.
La neve deriva dall'acqua e come tale non ha una forma, assume quella accumulata sopra e contro gli ostacoli.
In the Sailor Moon universe, the team eventually gets upgraded into their super forms during the aptly named SuperS series. it would have been great to get all the Super ones, but I'd be happy with a team of the regular form ladies as, well, I'm cheap. But, as fate would have it, I recently came upon an well priced ad for one of the Senshi that I did not have, and it happened to be in her Super form.
Presenting the SH Figuarts Super Sailor Jupiter figure, purchased off Kijiji for $55 CAD.
For the uninitiated, what is a Super Sailor Senshi? Well, like all series, new elements are introduced to reinvigorate interest in a franchise. In the fourth season of Sailor Moon (SuperS), Usagi, Chibi Moon, and the rest of the Inner Senshi are upgraded by a benevolent creature called Pegasus. I've seen enough bits and pieces throughout the years to visually all this in my head, but I can't exactly say I ever actually watched it on screen. The ladies get snazzier costumes and of course, new ways to unleash hell on their enemies. So what does this mean in terms of the figures?
Well, naturally the Super Senshi would have their outfits updated to reflect the new look as per the anime. But the bigger change is that Bandai crammed these Super Senshi with more accessories, including much needed attack effects because honestly, with the exception of one or two of the Senshi, hand to hand wasn't really their strength. These upgrades were I'd say very much a necessity to get a collecting public to basically buy the same figure again.. or maybe they just tried harder back then because it's not like they're trying that hard with Dragon Ball that have multiple iterations across the timeline.
So in addition to snagging a pimped out figure for a good price, this one also happens to be Sailor Jupiter, who just happens to be my favourite Inner Senshi in terms of personality and design. Her civilian form is Kino Makoto (Wiki says she's Lita in the DiC dub.. I honestly can't remember). She's easily the most adept at hand to hand asswhooping amongst the group, built like a brawler, but with the dream of settling down and having a family of her own one day. IIRC one of her more humourous traits is that she's one of the more competent cooks in the series, because in anime you're either decent or you effectively cook poison. Being aligned with the planet Jupiter, she exercises control over lightning and plant life.
With that out of the way, lets dive into the figure itself.
Contents of the box shouldn't surprise you at this point seeing how I glossed over it. There's the figure, five total face plates (neutral, smiling, eyes closed, focused attack, winking), 11 additional hands including one dedicated to holding her Crystal Change Rod, the Rod itself, a base, two dynamic stand arms (one for the claw attachment that will hold the figure, the other for supporting the Jupiter Oak Evolution effect), the aforementioned affect, and an additional hair piece with a green energy effect on the peak of the tiara. Based on my reading, effects aside, this set has two extra faces as compared to the first release, and one extra hand, specifically the one that holds the Rod.
Sailor Jupiter is officially 5' 6", which puts her about half a foot shorter than Sailor Uranus, the tallest at 6' even. Perhaps its this shorter stature (by comparison), but Jupiter doesn't seem as stretched out as Uranus is in terms of limb length. Horribly malnourished, sure, but at least she doesn't look like the Kareem Abdul Jabbar of the Sailor Moon universe. As with many of the older lines, it seems that Tamashii Nations stuck to one face shape for ease of production - that's not to say it's horribly off, but it certainly doesn't seem bang on even at the most casual glance. Better than those OG Dragon Ball Figuarts though, mind you. Like all the other Senshi, Jupiter has small, nonsensical feet that make posing or even standing, a test of patience, though at least a challenge that can be completed unlike some other figures in my collection. Her ponytail is sculpted in mid motion, which makes for generally more dynamic poses.
Between the figure in my hand, the figures I own, and recall from an article or two I've read, here's a run down of the differences between the actual pre and post Super figures.
1. Bow on the back are significantly larger and have articulated translucent tails
2. IIRC the colour of the tiaras are different
3. Shoulders of the outfits now have semi clear non coloured plastic extensions
4. it seems to me that, at least on Super Sailor Jupiter, that the skirt material is thinner compared to all the other ladies in my collection, allowing for greater range of motion in the legs
Other than that, the actual figure itself appears to be consistent with the rest of the squad.
Continuing our usual path, we first talk about articulation, and yes, nothing new to report here other than the skirt allowing for more movement. So there's ankles, single jointed knees, hips with the pull down function for more range of motion, waist, mid torso, shoulders, bicep swivel, single jointed elbows. wrist, head, as well as a single point for her pony tail and one point for each of the bow tails. Combine this with the various hands, especially the dedicated attack pose hands, stand, and actual attack effects, you end up with a good range of display options for the bestest Inner Senshi of them all.
Paint, for better or worse, is the same as with all the other Senshi. Generally strong paint applications across the board, with some really clean detailed paint applications on areas such as her choker and the tiara, but suffering from some lacklustre paint masking in areas involving white paint, most notable being where her top meets her skirt. The white on her is predominately a pearl finish coat of paint, with the greens having a metallic finish, and the remainder generally being a flat finish. Her Jupiter Oak Evolution effect is predominately a clear green plastic with some paint applications on the ends of the energy balls. Decals are applied accurately and aren't crooked. As always, I'm overcritical when it comes to things like this, and the short version is that while it's not perfect, you can tell it's not a bootleg.
Build quality is solid. For starters, the arms aren't meant to come off like Uranus and Neptune, and as such there are no issues with limbs falling off. Otherwise, joints hold your position, limbs do not have issues with uneven lengths, tolerances are good, and finishes, while a bit crude on some parts, are generally acceptable overall and do not feel rough to the touch. Moulding of parts is crisp, with all the fine details still present after the application of paint.
So overall, the figure is of the quality one would expect from the Figuarts lineup, which.. makes sense. Having said that, what about value? Well, the original was 4,200 yen in 2014 and Super was 5,500 yen in 2017. Overall, if anything I'd say that original series was probably overpriced, though I guess you could argue that maybe the tooling being already developed made the Super line cheaper to make. There's no doubt that from a presentation perspective, the Super lineup gives you more to play around with, but whether or not its worth the extra $20 - $30 USD (roughly.. your mileage will vary) is up the collector. While I personally don't regret paying the surcharge for Jupiter as she's my favourite, I'm not hardcore enough to go MSRP for the remaining Super Senshi, or to double dip on any of them unless I find them at fire sale prices.
But, regardless, no matter how you look at it, Sailor Jupiter does the Sailor Moon Figuarts lineup proud, and I eagerly continue my hunt across the globe for the rest of the ladies at prices that give my luck a workout.
A book formed of seven pages enclosed by a cover with a veiled woman's head and a bearded man. On the inside pages, engraved on both sides, a couple of human and animal figures are depicted probably at a latter date. Even the date, rich of magic signs (charaktères), does not seem to make sense.
Origin unknown, already in the Kircherian museum - IV-V century AD?
(text from museum placard)
ryanfb.github.io/etc/2015/02/10/a_curious_metal_codex_in_...
Basilique romane de Sant’ Angelo in Formis ; commune de Capoue, province de Caserte, région de Campanie, Italie
C’est un édifice basilical sans transept, subdivisé en trois nefs, suivies de trois absides, par deux rangées de colonnes libres (sept de chaque côté) sur lesquelles retombent huit arcs en plein cintre.
La construction est précédée d’un porche à cinq arcs brisés soutenus par de grosses colonnes de remploi; l’arc central est sensiblement plus haut et plus large que les arcs latéraux. Les fenêtres des absides, trois dans l’abside centrale et une dans les latérales, ont été obturées afin de disposer de toute la surface pour la décoration picturale à l’intérieur. Il s’agit évidemment d’une modification du projet originel exécutée à une époque immédiatement postérieure à l’achèvement de construction, comme le montre (au moins pour l’abside centrale et celle de gauche) la parfaite identité du matériau employé. …
… Avant d’en venir à l’analyse de la décoration du porche et de l’intérieur, jetons un bref regard sur le clocher. Construit sur plan carré en retrait par rapport à la façade du porche, ce campanile semble contemporain de la basilique. C’est en effet à un moment assez voisin de la renaissance classiciste de l’art figuratif, survenue en Campanie vers la fin du XIe siècle, que renvoient les motifs décoratifs sculptés le long de la corniche qui sépare le premier registre du second. La présence de certains éléments de nature nettement dassicisante (denticules, cordelière et oves), parfaitement combinés avec des motifs végétaux de divers genres, offre des points de comparaison précis avec des solutions analogues (par exemple sur les portails de la cathédrale d’Aversa) datables avec certitude des vingt dernières années du XIe siècle. Une telle combinaison, légèrement simplifiée toutefois, se retrouvera dans les corniches extérieures de la nef et du transept de la cathédrale de Calvi, de trente ou quarante ans plus tardive. …
Ne subsistant qu’aux deux tiers de sa hauteur, le campanile avait un troisième étage légèrement en retrait (d’après certaines aquarelles de G. Carelli) et se terminait par une « petite coupole ou chapeau d’une très grande beauté à son sommet et par une croix ».
Les fresques qui ornent l’église à l’intérieur constituent la manifestation la plus importante, en quantité et en qualité, des tendances formelles apportées au Mont-Cassin par les mosaïstes byzantins. Homogènes entre elles, c’est-à-dire certainement de la même époque, on en peut fixer la date avec certitude entre 1072 et 1087. En effet, sur l’abside, l’abbé Desiderius est figuré avec un nimbe rectangulaire qui, dans la coutume médiévale, voulait dire explicitement que le personnage en question était vivant …. Le riche programme de la campagne décorative, qui recouvre encore aujourd’hui la presque totalité des parois disponibles, s’articule de la façon suivante : dans l’abside centrale, entouré des symboles des évangélistes, trône le Christ en majesté donnant la bénédiction (sur son livre le verset à nette référence eschatologique montre une des « incompréhensions » … dues à des peintres locaux, de celle sorte que l’oméga qui, en même temps que l’alpha, est le symbole du commencement et de la fin des temps, est figuré à tort comme un omicron. Au registre inférieur sont figurés en vraie grandeur les trois archanges, l’abbé Desiderius offrant le modèle architectural réduit de l’église, et (entièrement repeint) saint Benoît. Sur les écoinçons de l’arc d’entrée de l’abside, deux séraphins. Les trois registres de chacune des parois de la nef centrale se subdivisent en cadres où sont (ou étaient) représentées des scènes au contenu christologique, disposées dans leur ensemble comme dans les basiliques paléochrétiennes (par exemple à Saint-Paul-hors-les-Murs), Ces scènes commençaient au registre supérieur du mur de droite près de l’abside. De là, se développant dans le sens de l’écriture, elles arrivaient au mur d’entrée et de là, passant sur le mur opposé, elles retournaient vers l’abside. De nouveau sur le mur de droite elles se
poursuivaient au registre médian pour se terminer enfin, en suivant la même progression, auprès de l’abside au terme du troisième registre. Bien que les scènes initiales soient totalement perdues, on peut faire crédit à l’hypothèse que formule avec justesse M. de Jerphanion, et qui voit dans l’Annonciation la première scène et dans les autres récits de l’enfance du Christ les scènes qui suivent immédiatement; ce qui termine la longue séquence, c’est l’Ascension, développée sur les deux registres inférieur et médian. Au revers de la façade, sur la paroi tout entière est peinte une majestueuse représentation du jugement dernier (la figure du Christ-Juge y est malheureusement repeinte de façon irrémédiable), Sur les écoinçons entre les arcs sont figurés des prophètes, parmi lesquels trouve place même la sibylle Éri- thrée. Chaque prophète tient un cartouche dont les versets permettent des références précises aux scènes qui les surmontent, présentant ainsi cette concordantia Veteris et Novi Testament qui, dans l’art chrétien, nous est connue dès ses réalisations monumentales originelles (à Rome comme à Ravenne) mais qui, dans le milieu oriental et particulièrement dans le célèbre manuscrit syriaque (VIe siècle) aujourd’hui à Rossano Calabro, se présente dans les formes les plus proches de cette concordance campanienne (de Francovich). Sur l’absidiole de droite (celle qui lui correspondait à gauche a disparu) figure le buste de la Vierge à l’Enfant entre deux anges, au-dessus d’un registre inférieur avec des saints martyrs. Sur les murs des collatéraux (en y incluant les parties latérales du revers de la façade) se déploie, fort incomplet, sur deux registres le cycle vétéro-testamentaire. Une scène y est étrangère par son thème : le martyre de saint Pantaléon, sur le registre inférieur au mur occidental du côté gauche (en entrant dans l’église). Sur les écoinçons des deux collatéraux sont peints enfin les figures de saints de l’ordre bénédictin et de saintes. L’état de conservation des fresques, bien que bon en général (les zones altérées ayant été repeintes), a été cependant gâché par les restaurations des années 30, En effet, comme on l’a révélé seulement récemment (Thiery) et comme le prouve la comparaison entre les photos antérieures aux années 30 et l’état actuel, à cette occasion, on a enlevé par un lavage malheureux les glacis à la détrempe qui faisaient partie intégrante de la contexture dernière de l’œuvre. Il s’ensuit que les scènes maltraitées en question (de la partie droite de la Crucifixion jusqu’à l’Ascension, y compris les figures des prophètes) présentent un caractère estompé et une légèreté de couleur nullement voulus par le peintre. Malgré cela subsiste la possibilité de distinguer les « mains » des nombreux peintres qui, tous membres d’une équipe unique d’où émergent quelques « maîtres » plus vigoureux (parmi lesquels ceux qui ont travaillé, par exemple, sur le cul-de-four de l’abside ou dans la scène de la Samaritaine au puits) durent exécuter le travail en un temps relativement court. Leur formation artistique, pour la compréhension de laquelle la perte de la décoration cassinaise est sans remède, est substantiellement d’origine byzantine, teintée cependant de reflets provenant des manières de faire occidentales (tant dans l’iconographie, par exemple dans le thème même de l’abside, que pour les composantes du style, par exemple dans les bandes polychromes servant de fond aux scènes). … A l’extérieur, le décor pictural couvre les deux tympans au fond de l’arcade centrale et les quatre qui correspondent aux arcades latérales du porche. Le tympan supérieur, … porte l’image de la Vierge en majesté à l’intérieur d’une gloire soutenue par deux anges en plein vol (celui de droite est entièrement repeint); le tympan inférieur, encore en place, représente l’archange Michel en buste. Les étroites coïncidences de style entre l’un et l’autre ont toujours porté les historiens de l’art à leur donner une même date. Celle-ci doit se situer en un second temps par rapport à la campagne désidérienne de travaux, du fait que la fresque de la Vierge se superpose à une autre dont des traces fragiles ont été révélées à la suite de la dépose (dans la partie basse du tympan sur la droite). …
(extrait de : Campanie romane ; Mario d’Onofrio, Ed. Zodiaque, Coll. La nuit des Temps, 1981, pp. 169-178)
Coordonnées GPS : N41.118396 ; E14.260211
The Massed Pipes and Drums of The Edinburgh Military Tattoo, 2006.
BBC highlight video of the Massed Pipes and Drums.
Dutch postcard by M.B. & Z., no. 1049. Photo: Metro Goldwyn Mayer. Sent by mail in 1942.
The only career Nelson Eddy (1901-1967) ever considered was singing. The classically trained baritone achieved his greatest popularity through eight films with Jeanette MacDonald, with whom he formed a regular screen couple in the 1930s and 1940s. At the height of his career, he received more fan mail than any other star on the MGM payroll.
Nelson Ackerman Eddy was born in 1901 in Providence, Rhode Island, USA. He was the son of Isabel (Kendrick) and William Darius Eddy. His parents were singers, and his grandparents were musicians. Nelson studied singing as a child, and in 1924, he won a competition and was allowed to perform with the Philadelphia Opera Society. The conductor of the Philadelphia Civic Opera, Alexander Smallens, began to train and promote Eddy. In the late 1920s, Eddy performed with the Philadelphia Civic Opera Company and sang a broad repertoire of 28 operatic roles, including Le nozze di Figaro. Eddy also appeared with the Savoy Company, which produced popular operettas by Gilbert & Sullivan. Eddy studied briefly with noted teacher David Bispham, a former Metropolitan Opera singer, and switched after his death to William Vilonat. Dr. Edouard Lippe coached him and loaned him money in 1927 to study in Dresden and Paris. Dresden was considered an essential training centre for American singers at the time. Eddy turned down an offer of an engagement with a small German opera house and returned to the United States. He gave his first concert recital in 1928 in Philadelphia. When Eddy went on his first tour, he hired Theodore Paxson, who remained his accompanist for four decades. In 1933, he did 18 encores for an audience in Los Angeles that included an assistant to MGM studio chief Louis B. Mayer, who signed him to a seven-year contract, which allowed him three months of concert tours per year. Mayer ordered Eddy to test for his debut in the film Broadway to Hollywood (Willard Mack, Jules White, 1933). The 33-year-old newcomer took a record 58 takes before the exasperated test director gave up. Despite this failure, Mayer overruled the consensus about Eddy's acting talent, non-existent, and ordered him to be used for a singing sequence in the film only. The producers at MGM didn't know what to do with Eddy and only allowed him to appear for individual songs in his following films. But the audience reacted favourably to this.
After MGM acting lessons, Nelson Eddy's first real success came as the Yankee scout to Jeanette MacDonald's French princess in the Operetta Naughty Marietta (Robert Z. Leonard, W.S. Van Dyke, 1935). It was a huge box-office hit made on a small budget. The film was nominated for an Oscar, received a Photoplay Award and was voted one of the ten best films of 1935 by the New York Film Critics. Eddy made six more films with Jeanette MacDonald, including Rose-Marie (W.S. Van Dyke, 1936), and Maytime (Robert Z. Leonard, Edmund Goulding, 1937), which grossed over 4 million US dollars at the box office. Concert appearances became increasingly lucrative for Eddy with his film fame, but he only sang occasionally on the opera stage. His last film with MacDonald was I Married an Angel (W.S. Van Dyke, 1942). Nelson Eddy also appeared with other leading ladies over the years, such as in Rosalie (W.S. Van Dyke, 1937) with Eleanor Powell and Balalaika (Reinhold Schünzel, 1939), where he appeared alongside Ilona Massey. The Chocolate Soldier (Roy Del Ruth, 1941) was an adaptation of a Viennese operetta by Ferenc Molnár. Eddy appeared in a double role alongside Met singer Risë Stevens. Critics nearly always panned his acting. After the financial failure of I Married an Angel, Nelson Eddy and Jeanette MacDonald left MGM. In 1943, Eddy signed a contract with Universal for two films: Phantom of the Opera and Follow the Boys. The musical Phantom of the Opera (Arthur Lubin, 1943), lavishly produced in Technicolour, was based on the well-known novel by Gaston Leroux and songs by Edward Ward. Eddy appeared in it alongside Susanna Foster and Claude Rains but was so dissatisfied with the film afterwards that he abandoned the filming of Follow the Boys, in which he would have appeared again alongside Jeanette MacDonald, and left Universal. In his home studio, he recorded three-part harmonies (tenor, baritone, & bass) for his role as a multiple-voiced singing whale in the animated Walt Disney feature, 'The Whale Who Wanted to Sing at the Met', the concluding sequence in the animated musical anthology film Make Mine Music (Jack Kinney, Clyde Geronimi, a.o., 1946). Eddy appeared with Ilona Massey in his last film, the musical Western Northwest Outpost (Allan Dwan, 1947), produced by Republic. Nelson Eddy had a large radio following. His theme song was 'Shortnin' Bread'. In 1959, Eddy and MacDonald issued a recording of their film hits, which sold well. In 1953, he had a fairly successful nightclub routine with Gale Sherwood, which ran until he died in 1967. He suffered a fatal stroke while performing in concert. He was interred at Hollywood Memorial Cemetery, now called Hollywood Forever. Nelson Eddy and his wife, Anne Denitz, had no children. He had one child, Jon, with ex-girlfriend Maybelle Marston, born in the early 1930s, and he had a stepson, Sidney Franklin Jr.
Source: Ed Stephan (IMDb), Wikipedia (Dutch, German and English) and IMDb.
And, please check out our blog European Film Star Postcards.
PGB Photographer & Creative - © 2022 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
MUSEO FORMA DE EL SALVADOR
Ubicado en las proximidades del monumento a El Salvador del Mundo, punto clave de la trama urbana de la ciudad, el Museo FORMA abre sus puertas a espacios y actividades para la educación cultural de los salvadoreños. Su enorme compromiso está hacia el público nacional en pos de contribuir en su educación y en el cultivo de su valoración hacia el significado de las artes plásticas nacionales.
Fundado en 1983, tras la iniciativa de la prestigiosa pintora Julia Díaz primera dama en la profesión, el proyecto FORMA se planteo como el misionero para resguardar con celo y altruismo las creaciones salvadoreñas con el fin de legarlas a las futuras generaciones. Por otra parte su fundadora tenía como precepto dedicar salas o galerías (no importa su término o función arquitectónica) para la incorporación de exposiciones temporales de nuevos talentos.
Dirección: Alameda Manuel Enrique Araujo,pasaje Senda Florida sur, costado poniente de AFP/CONFIA, San Salvador, El Salvador Centroamérica.
Telefono: (503) 22984269
Email: info@museoforma.com
Web: www.museoforma.com
Horarios:
De lunes a viernes de 8:00 a.m. a 5:00 p.m.
Sábados de 8:00 a.m. a 12:00 p.m.
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 Compass Point development around Saunders Ness Road and taking in Mariners Mews and Sextant Avenue was built in the mid-80s forming a quiet, neat upmarket estate on the Isle of Dogs.
As part of the development, two tall blocks of flats are abutted by full height cylindrical towers, framing and echoing the view of silos across the Thames and acting as a small reminder of the estate's industrial past.
Architect Sir Jeremy Dixon's Georgian-inspired designs were built on Dudgeon's Wharf, reclaimed after the closure of the docks.
At the end of Sextant Avenue, a memorial remembers the old Wharf - not for its years of hard labour in the service of heavy industry - but for a reason more poignant and tragic.
Forty years ago the world was looking skywards for news of Nasa's audicious mission to take Buzz Aldrin, Neil Armstrong and Mike Collins to the moon.
On July 17, a day after Apollo 11 shot into the skies atop a cone of fire, another explosion took the lives of five fireman, the biggest loss of life suffered by the London Fire Brigade in peace time.
Dudgeon's was a ship building firm in the 1800s and was one of a cluster that prospered on the island - including names such as Ash, Stewart's and Samuda's. At its height, in the early 1860s, it is estimated that the firms on the Isle of Dogs employed up to 15,000 men and boys in the shipyards and engineering firms.
The most iconic of the ships built at these docks was Isambard Kingdom Brunel's SS Great Eastern, the largest ship ever built at the time of her launch in 1858.
But the Great Eastern was a last hurrah for ship building on the Thames. The rivers of the North were more efficient and labour and materials were cheaper and in double-quick time large firms of the Thames went bankrupt and tens of thousands were out of a job.
People starved, shipyards became wastelands and revival would take many long painful years.
Some shipbuilding survived by specialising - Yarrow built steam-powered gunboats while other firms turned to ship repair. Shipbuilding skills evolved. Workers produced a diverse range of goods including parts for major civil engineering projects - bridges and gas holders - as well as boilers, engine parts, tanks, propellers and wire rope. Other skills were cannabilised into new industries - sacks and tarpaulins, woodworking and paint, varnishes and chemicals.
Industry survived one way and another for another 100 years of so until the docks and their associated works began disappearing in the 1960s.
The arrival of containers - which London couldn't handle - in the late 60s finally rendered the docklands obsolete.
By the time of the 1969 tragedy, the wharf was a redundant "tank farm" with an array of a hundred or so containers for storing oils and spirit, some up to 200,000 gallons in size. However, these tanks were destined to go as part of the regeneration of the land and demolition contractors had received advice on how to take apart these structures safely.
The demolition was rife with danger and difficulties and firefighters had frequently attended the site after sparks from cutting gear ignited small fires.
Less than two weeks before the fatal explosion, 40 men with eight pumps had tackled a fire on waste oil in a derelict tank and now another call arrived at Millwall Fire Station at 11.21am alerting the emergency services to another fire.
Two appliances were sent from Millwall in F Division and another from Brunswick Road. A foam tender from East Ham was sent later along with a fireboat from Greenwich.
Station Officer Innard, believing the fire to be out when he arrived, decided to put a curtain of water into the open top manhole of Tank 97.
Four other officers joined him on top of the tank to feed in the water. Later reports concluded that this pull of water drew air into the tank, mixing with the flammable vapours.
SO Innard then decided to ensure there was no further fire by opening the bottom manhole. Unable to find a spanner to undo the nuts, it was suggested they should be burned off.
As soon as a workman applied the cutting flame of his torch to the first nut, the vapours inside the tank ignited immediately, blowing the roof off the tank, together with the five firefighters and a work man.
The explosion happened at 11.52. Three appliances were sent from Bethnal Green and Bow. Their role was to collect the bodies.
Remembering the tragedy on a brigade forum, one ex-firefighter wrote: "I had been in the job for seven years when this happened and it really shook us. As you say 'Never forgotten' especially from us guys who could have been involved. Rest easy, mates."
THE VICTIMS
- Temporary Sub Officer Michael Gamble of F23 Millwall, 28, married, 10 years in the brigade.
- Fireman John Victor Appleby of F22 Brunswick Road, aged 23, married, three children, almost five years' service.
- Fireman Terrance Breen of F22 Brunswick Road, aged 37, married with three children, 12 years' service.
- Fireman Paul Carvosso of C25 Cannon Street, aged 23, married, one child, four years' service.
- Fireman Alfred Charles Smee of F23 Millwall, aged 47, one son, 24 years' service.
For Take a Class with Dave and Dave Assignment: "Photographer's Choice", I went right to abstract. When you don't have to take a picture of "something", you might as well take a picture of "nothing"!
BTW, this particular "nothing" is a rusted hub on a piece of farm equipment in a junkyard. i have no idea what it actually was - feel free to venture a guess.
Retirement - photographer Helen Duvall: "This mannequin was sold at a farmer's auction in Devon as a job lot with a trailer and general junk. Her name, Julie, was written on her forehead. Tucked under my arm, with a camera in my hand, I took her into the woods near my home feeling rather concerned at what the neighbours might think if they were to see me. As I walked through the woodland, I came across this old council window frame buried underneath the ivy. I lifted it up, opened the window and it seemed a perfect marriage for Julie - the transition, as I imagined it, from a flashy high fashion window to the end of her modelling career."
Photographer Helen Duvall
When a modelling career is over for a mannequin what comes next? They are sculptured and designed for both function and beauty, yet the anonymity of whoever created these gracious paragons of beauty remains a mystery. Overtly flirtatious, provocative and yet distant with a fixed gaze that never engages the viewer. One small mark, scratch or chip can render redundancy, at which point the body is often dismantled for storage or disposal and limbs are lost along the way. The vulnerability of these delicate works of art is exposed as a perfect form is dismantled and discarded.
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Dipper on the Exe in an ideal habitat, a weir which diverts water to a mill stream. More shots to follow but I'm on limited WiFi with analogue TV and no phone signal being all of 20 miles from a major British city in a river valley
Club membership application form included as part of a full-page advertisement in the Buster children's comic.
The Airfix Modellers Club was launched in May 1974 by Fleetway Publications in conjunction with the Airfix Company. The club ran from May 1974 to March 1981 and was promoted through Fleetway's comic titles such as Valiant, Lion, Battle Picture Weekly and Buster ( www.bustercomic.co.uk/features.html ). By the end of the club's lifetime, it achieved a cumulative membership of over 150,000.
The club heavily promoted new Airfix products through the comics by advertisements and competitions for club members and for those who remember the adverts which featured Dick Emery, who was the club's president. Every new member received their membership pack comprising of a certificate, voucher stamps for Airfix kits, sticker, membership card and the club badge.
Airfix is a British company founded by Nicholas Kove (1891-1958) in 1939 and famous for their scale plastic model kits. In the late 1940’s the company began to experiment with the mass production of scale self-assembly plastic (polystyrene) kits and in 1952 launched their first mass produced kit of the Golden Hind ship. It was an immediate success and within a year Airfix followed with the release of the Spitfire aircraft. Their first retail outlet was Woolworth stores and this in no small way contributed to Airfix’s success. The plastic scale model kit flourished during it’s peak during the 1960’s and 1970’s but the hobby went into decline during the 1980’s and the Airfix company too until they became bankrupt. However, such was the fame of the Airfix brand-name that the company was bought by Hornby Hobbies Lid in 2006 and so the Airfix name continues on.
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For more information:
www.airfix.com/official-airfix-club-membership/
www.collectors-club-of-great-britain.co.uk/magazines/arti... (a short historical article about Airfix).
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Thank you for reading.
Stuart.
When the resin was about 90% cured, I wrapped it around a piece of steel pipe to get the correct diameter
Franciscan Seminary in Krakow
Formed thirteenth century
Country Poland
Address ul. Franciscan 4
31-004 Krakow
Number of students 99
(data for the academic year 2006/2007 including the year propedeutycznym )
Rector Fr Peter Gryziec OFM Conv .
Membership Franciscans - Province of the Order of Friars Minor Conventual Church St . Anthony Franciscan Seminary (OFMConv) them St . Maximilian Kolbe in Krakow at the Franciscan monastery in Krakow.
History
In Krakow monastery in the thirteenth century, there was a religious study. With the will of Bl. Salome tells us that in 1268, the Franciscan seminarians is studying theology. It employed the three teachers or professors of theology, who held office teaching. At the beginning of the seventeenth century was one of the eight colleges of general law with the law award their own degrees. The work was interrupted by deletion study of the Polish Province in 1864, and although the Monastery of Krakow survived, clerics have to study at the Jesuit College in Krakow.
The end of the nineteenth century brought the Galician province of reform of religious life, the fruit of which was, among others decision to set up studies in Krakow monastery. In 1892, there was reerekcja philosophical and theological studies in Krakow. Maintenance has always rested on the study of the whole province, the various monasteries and benefactors of the Order. In the more than century-old history of some vintages studied outside Krakow (especially philosophy). The reason most often was difficult housing situation, after World War II, the division of law in Poland in two provinces. In the 70s last century opened in Lodz Lagiewniki study for seminarians province of Warsaw and Krakow returned to conduct a study of the entire program of study in Krakow. Initially Krakow study was 5 years: two years of philosophy and theology three years, but quickly extended the study of theology to four years. In legal terms, the study was based on the provisions of the constitution and regulations generals of religious law.
In 1969/1970 was adopted the new Ratio Institutionis Sacerdotalis (study program) approved by the Holy See for seminars in Poland. In 1981, a study was affiliated to the Pontifical Academy of Theology in Krakow. This allowed the study of Franciscan graduates earn degrees PAT . Since 1988, under the Law of the parliamentary seminar also gained legal status in the forum state. To study the candidates admitted to the sixth grade high school, and since 1930, after graduating from high school. In a study carried out in Krakow always effective program seminars. From the time of Pope Leo XIII was the Thomism .
For the year 1955/56 lectures were held in Latin. Number of teaching hours was 24, and with the development of the curriculum reached as high as 30 per week. The study is headed by the rector of the Provincial Chapter elected or appointed by the Provincial of his advice. Initially, it was called the Regent, later prefect of studies or master of the major seminary. Since 1969, operates the title of rector .
Preparation of professors was effected by sending fathers to study in Polish and foreign universities: in Lviv, in Rome (Seraphicum, Biblicum, Gregorian, Lateranum, marianum ), in Warsaw, Lublin (KUL ), Poznan and Krakow (UJ ) in Freiburg (Switzerland ) and Louvain (Belgium). The core team of professors were always Franciscans, most with doctoral titles. The seminar was taught by professors or other religious orders, congregations, diocesan priests and lay people. The study Krakow educated Polish Franciscan friars of the province of Galicia (until 1918), then the Polish province (1919-1939), Krakow and Warsaw (1939-1981) and Gdansk (since 1986), and the Franciscans of the United States, Romania, Italy, Yugoslavia , Belgium, Czech Republic, Austria and even Korea. The main occupation of the professors were lecturing and conducting exercises. Before World War I took place in philosophical discourse - two times a year.
After World War II introduced seminars for students of theology who participated in these classes were required to write a thesis work. It was a condition of admission to the final exam "ex universa theologia" and ordination.
Since 1981, when it became a subsidiary of the study of the Pontifical Academy of Theology, seminarians receive a Master-Thesis of the Academy. In addition to the spiritual and intellectual formation of seminarians seminary of Krakow engaged in the work of various groups: since 1918 there is a seminar near MI (Militia of the Immaculata ) founded by St. Maximilian Kolbe. His body is "brotherly Call" magazine, which began to appear in 1936, the brothers started their business clerics blind ministry and catechesis of children with special needs. In 1968, at a seminar in Lodz - Lagiewniki formed the band Fioretti, who in the next year, through a combination of seminars moved to Krakow and works here today. In 1981 he established Ecological Movement of St . St. Francis of Assisi ( Refa ). In 1980 was founded the Franciscan CRAS development team, which comprised of young poets of the three Franciscan families .
In 2006, the conference adopted the name St . Maximilian M. Kolbe, a student and a professor of that seminar .
The most famous seminary students and educators to the Franciscans: Bl. Chyliński Raphael, Saint Maximilian Kolbe, Bl. Pius Bartosik, Bl. Antonin Bajewski, Michael Tomaszek Servant of God, Venerable Zbigniew Strzałkowski .
pl.wikipedia.org/wiki/Wy%C5%BCsze_Seminarium_Duchowne_Fra...
When you announce to your teacher at the moment she is starting to position you for the class photo that you need to visit the lavatory, expect some form of revenge after the accident.
Where originally it might have been intended to have a row of eight boys at the front row and a second row of ten girls, a rather uneven second row of ten girls and one boy is the final result.
The accident has been made more evident after the boy has been made to keep the hands by the side by the teacher, rather than to fold them like the other boys, thus bringing the attention of the problem to all parents and friends who later see the photograph.
Showing up a child was always a more lasting punishment than a quick hit with the plimsoll or cane.
Some of the teachers at a junior school I was at, would forbid many of us from the Children's Home to leave a classroom in the middle of a lesson if we needed a pee.
Often short of money, a few would use these unsupervised moments to search other children's coats for money or sweets (as they were not allowed in the classroom, so they were left in coat pockets), if no actual need for a pee had been there, ten minutes alone could bring good pickings.
To be fair it was not just the kids that were from the Children's Home that had this rule, but also a couple of other boys who might also might not be trusted were also included in the ban of leaving the classroom during a lesson.
Those of us who suffered this lack of trust, tried to make sure that all our breaks were used for visits to the lavatory, both at the start and at the end of our play times.
Once we knew that asking certain teachers if we could leave the room resulted in the NO answer, we didn't bother asking and tried to hold on to the end of the lesson.
Whilst other children might tease us a little when we did wet ourselves, it was mild compared to the reception we would receive when returned to the Home.
At the end of the day and returning to the Home, there was no point in trying to hide the matter from Sister, it would only get you into more trouble. There was no punishment, just the comment that it might be best if you wore waterproof pants to school to stop the matter happening, and then going to school in them until she decided otherwise was not too much of a problem.
More mild teasing from our friends, but you dare not take them off and hide them, had they become lost the punishment for loosing them would be unthinkable. Eventually the teasing would end. The worst time to be in them was when it came to change for PE or games.
You became happy that the teacher could no longer torture you in class, with the problem of wet stains on your shorts, and a puddle under your chair. The fear of needing to visit the toilet vanished, you had no worries that you might need to go. Wearing waterproofs for many became an everyday event in primary school and there were only a few accidents.
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Those of us from the Children's Home were always short of money, a dare from friends if they promised to put in a penny each for you to do something daft, often ended with the slipper when you were found out if the dare had not been too stupid.
Getting in around 1/- (that would buy a very large bar of chocolate or two Mars bars) from your group of friends was a decent amount of money, it made up for the pain. Fail to complete the dare meant you had to give your friends the penny each instead.
When the stakes were higher, you needed friends to put in 3d each if it would probably end in the cane for your deed if you were caught. 2/6 - 3/- for a dare was always worth the risk.
Holding a lighted banger in your hand, removing the teachers lesson from the blackboard when it was clearly marked DO NOT REMOVE, and making a puddle on the Headmasters carpet, were among the higher dares.
If you were to be seen by the headmaster at morning break. You were first made to drink your one third of a pint milk, then taken straight to see the headmaster due your latest bit of bad behaviour, waiting outside his office until he was ready to see you, and not allowed to a pay a visit to the toilet until you had been seen. I never did make a puddle in his office, other friends did out of fear or for a dare. Due to a long wait outside his office, my shorts and the door mat did suffer.