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The grave of Edward and Sarah Scholefield in Wardsend Cemetery, Hillsborough, Sheffield. Resembling something of a lost world and the home of a juicy ressurectionist scandal, Wardsend is one of my very favourite graveyards.
All Saints - Toussaint - Allerheiligen
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Alter nördlicher Friedhof, Schwabing, Munich
Alter südlicher Friedhof, Munich
Like the old North Cemetary the old South Cemetary is no longer
"active". They both are beautiful and peaceful places in the heart of the city...
Something different for today.
I found this "old" photo in my archive yesterday - I like it a lot...
More to see in my set "Statues and Sculptures"
Michael the Archangel statue marking the Starks family plot in the Catholic Mount Calvary section of the Salt Lake City Cemetery.
SCAN 9X12 TOILE D ARAIGNEE
CAMERA NIKON F801S 135 24x36 obj 35-70 2.8
FILM ADOX CMS 20 + ADOTECH IV EXPO 20ASA 1+14 11 MIN 24C AGITATION 2 MINS
TIRAGE PAPIER MEOPTA MAGNIFAX IV NIKKOR 50MN
9x12 FOMABROM VARIANT G 00 + GDL 1+4
SCANN EPSON 4990 PHOTO
SLVERFAST 8
Arte funerario romántico.
Escultura de Asorey. Vigo.
www.goear.com/listen/8505862/federic-chopin-etude-op-103-...
Italian street artist Blu decided to erase 20 years of his graffiti in Bologna as protest against an exposition about Street Art.
CAMERA NIKON F801S 35 MN
FILM 135 KODAK TMAX 400 EXP 400I SO TMAX 1+3
PAPER 30X40 FOMASPEED N GLOSSY PEN BRUSHED REVELATION
MEOPTA MAGNIFAX 4 NIKKOR 50MN
REPRO WITH NIKON D801E 60MN
REPRO LIGHT 4000K 90 DEGRES
+ND3 +ND6 +ND9
INPROUVE ON NX2
Da pauperibus et habebis thesaurum in coelo
Daj biednym, a będziesz miał skarb w niebie
Give to the poor, and thou shalt have treasure in heaven
(Mt 19:21)
The tombstone of a Knight Hospitaller in the St. John's Co-Cathedral in Valletta, Malta.
The polychrome marble inlaid floor is one of the many baroque splendours of the St. John's Co-Cathedral, the former conventual church of the Knight Hospitallers in Valletta, Malta.
Spread over the grand floor of the church, the rich designs, colours, textures and exquisite veining of 383 marble ledger stones create the effect of a painting. The Co-Cathedral is lavishly paved with the finely crafted tombstones of high-ranking Knights of the Order of St. John, who lived and died in Malta during the Order’s reign over the island from the 16th to the 18th century.
1. Derrière ses rideaux, 2. entrelacs de feuilles, 3. Douce Marie, 4. Flores de Sangre, 5. Pharaona, 6. Beau Gosse, 7. Déco, 8. Trinité, 9. Like a jewel, 10. Monsieur Herman, 11. Saint Louis, 12. Marie or Alphonsine ?, 13. The Beauty of Nature in your Face14. Not available15. Not available16. Not available
Created with fd's Flickr Toys
St. John's Co-Cathedral in Valletta, Malta.
The tombstone of Joachim Navarro, the librarian to the Knights Hospitaller (Order of St. John, Knights of Malta).
The polychrome marble inlaid floor is one of the many baroque splendours of the St. John's Co-Cathedral, the former conventual church of the Knight Hospitallers in Valletta, Malta.
Spread over the grand floor of the church, the rich designs, colours, textures and exquisite veining of 383 marble ledger stones create the effect of a painting. The Co-Cathedral is lavishly paved with the finely crafted tombstones of high-ranking Knights of the Order of St. John, who lived and died in Malta during the Order’s reign over the island from the 16th to the 18th century.
St. John's Co-Cathedral in Valletta, Malta.
Emblem on the tombstone of Don Gaspar de Figuer, a knight of the Order of St. John.
Venit hora eius
Veniet et tua
(His hour has come, and yours will come)
The epitaph says:
To God, Supreme and Almighty.
Fra. Don Gaspar de Figuera is covered by this marble.
You are seeking his titles of honour, he has none.
He was the Castellan of Amposta, now he is no longer.
Look for his virtues, better still, read so that you may emulate them,
without doubt Death cannot carry away these strengths,
which ought to be preserved all in him forever.
You will discover which are the ones suitable for a Jerusalemite Knight,
especially the extraordinary love for one’s Order
and the observance of [its] laws.
He died on the 24th day of October in the year 1729, at the age of 76.
Chevalier Don Vincente de Figuera, in almost unbearable grief,
bestowed upon his most beloved uncle
the honour of a tombstone, which he had denied for himself.
The polychrome marble inlaid floor is one of the many baroque splendours of the St. John's Co-Cathedral, the former conventual church of the Knight Hospitallers in Valletta, Malta.
Spread over the grand floor of the church, the rich designs, colours, textures and exquisite veining of 383 marble ledger stones create the effect of a painting. The Co-Cathedral is lavishly paved with the finely crafted tombstones of high-ranking Knights of the Order of St. John, who lived and died in Malta during the Order’s reign over the island from the 16th to the 18th century.
Source: www.danemunro.com/
One of the numerous marble tombstones in St. Paul's Cathedral in Mdina, Malta.
The St. Paul's Cathedral is the architectural crown of the elegant, walled city of Mdina. A late 17th century masterpiece of Maltese architect Lorenzo Gafa', it lies on the site of a much earlier Norman church that was destroyed by the violent earthquake of 1693. According to tradition, the earlier church had been built on the site of the house of Publius, the Roman's chief man on the Islands, who was converted to Christianity by St. Paul in A.D. 60.
Lovers of church architecture will definitely admire the cathedral's exterior for its simple but imposing design. More admirable is however the cathedral's vast interior which houses lavish displays of marble, splendid ceiling frescoes and a profusion of artistic works in silver and wood.
Once inside, the first thing that strikes the attention of visitors is the splendid array of fine marble tombstones that cover completely the floor of the cathedral. Decorated with coloured inserts of rich Italian marble and artistic displays of first-class workmanship, they echo more than 300 years of history. Examine the epitaphs written in Latin on the gravestones and you will find out numerous names of former Maltese bishops, barons and noblemen who have in some way or another contributed towards the embellishment of the cathedral.
I think I've urned that!
Was that krater a winner's trophy? He appears to be holding something in his right hand. What?
Victor et Jacqueline Brauner
"""""""Victor Brauner (1903 - March 12, 1966) was a Romanian Jewish painter, the brother of Harry Brauner (a known folklorist who was a political prisoner in Communist Romania, and who later married Lena Constante).
He was born in Piatra Neamţ, the son of a timber manufacturer who subsequently settled in Vienna with his family for a few years. It is there that young Victor attended elementary school. When his family returned to the country in 1914, he continued his studies at the Evangelical school in Brăila;
In 1925 he undertook his first journey to Paris, from where he returned in 1927. In the period 1928-1931 he was a contributor of the Unu magazine (an avant-garde periodical with Dadaist and Surrealist tendencies), which published reproductions of most of his paintings and graphic works: "clear drawings and portraits made by Victor Brauner to his friends, poets and writers" (Jaques Lessaigne - Painters I Knew).
In 1930 he settled in Paris, where he met Constantin Brancusi, who instructed him in methods of art photography. In that same period he became a friend of the Romanian poet Benjamin Fondane and met Yves Tanguy, who would later introduce him to the circle of the Surrealists. He lived on Moulin Vert Street, in the same building as Alberto Giacometti and Tanguy. He painted Self-portrait with a plucked eye, a premonitory theme.
In 1933, André Breton opened Brauner's first personal exhibition in Paris, at the Pierre Gallery. The theme of the eye was omnipresent: Mr. K's power of concentration and The strange case of Mr. K are paintings that Breton compared with Alfred Jarry’s play Ubu Roi, "a huge, caricature-like satire of the bourgeoisie".
ted to protect Esteban and was hit by a glass thrown by Domínguez: the premonition became true.
That same year, he met Jaqueline Abraham, who was to become his wife. He created a series of paintings called lycanthropic or sometimes chimeras.
He left Paris during Nazi Germany's invasion of France in 1940, together with Pierre Malbille. He lived for a while in Perpignan, at Robert Rius', then at Cant-Blage, in the Eastern Pyrenees and at Saint Feliu d'Amont, where he was forcibly secluded. However, he kept in touch with the Surrealists that had taken refuge in Marseille.
In 1959, he settled in the workshop on Lepic St. In 1961 he traveled to Italy again. In the same year, New York City's Bodley Gallery mounted a solo exhibition of Brauner's work. He settled in Varengeville in Normandy, where he spent most of his time working.
He died in Paris as a result of a prolonged illness. The epitaph on his tomb from the Montmartre cemetery is a phrase from his notebooks: "Peindre, c'est la vie, la vraie vie, ma vie" ("Painting is life, the real life, my life").""""
The bum's rush towards that final sunset, as tastefully presented here. Also, as advertised on WKRP AM radio, in the late 70's and 80's.
Mausoleum of vicomte Hubert Ysebrant de Lendonck, with a very original and unique painting technique. To be restored, otherwise this sgraffiti of the damned is also condemned...
Aartsengel Michael jaagt met zijn zwaard de verdoemden naar de eeuwig brandende hel.
Sgrafitto-achtige beschildering, omstreeks 1929, kunstenaar onbekend : op de cementen ondergrond werd een laag cement aangebracht van een halve tot één cm dik, waarin de figuren zijn uitgesneden. dit gebeurde voor deze cementlaag droog was en geeft een sgrafitto-effect, toen erg in de mode. Op deze onderlaag werd de beschildering aangebracht, rekening houdend met de uigesneden tekening.
De behandeling van de gezichten is volgens Marjan Buyle van Monumenten en Landschappen volstrekt uniek en hoogst origineel, nergens anders gebruikt : op de plaats van het gezicht is eerst een zinken plaatje aangebracht, waarop een beschilderd karton en een stukje doorschijnend vensterglas werden gelegd. Dit diende om de gezichten te beschermen tegen insijpelend vocht. Vandalen hebben echter het glas stukgegooid en het karton gestolen, met dit spookachtige resultaat. Slechts enkele gezichten zijn bewaard gebleven en moeten dringend beschermd worden tegen verdere beschadiging!!!