View allAll Photos Tagged Humility
A quiet sunset. No loud colors, no day that ends with a bang. Maybe more of a sigh.
I met a man this evening. I still don't know his name. But I do know, I took one look at the beer in his hand, his cut off dripping shorts, the late model car with cracked tail lights and held together with plastic where the rust had removed the rest, and I judged. And I was angry. I had come looking for solitude and it wouldn't be found here.
But then he spoke. And he shared with me the joy he had in coming out to this spot when he wasn't working, just to watch the sun set. And to play with the dog he found abandoned along the road. She liked swimming. And he liked pleasing her. And as he spoke, he walked around the small area of the shore, gathering the trash of others and carrying it to a barrel; close, but too far for some.
I found myself embarrassed in my own judgment. In my own self absorption. And in my own busy-ness; forgetting to enjoy the reason I was here, worried instead by the mechanics.
And so I left with a pretty view, but a much better lesson. And I drove away humbled.
31/52 - The Big Five Two
"Life is a long lesson in humility."
//J.M. Barrie
"Humility, that low, sweet root
From which all heavenly virtues shoot."
//Thomas Moore
"Humility provides everyone, even him who despairs in solitude, with the strongest relationship to his fellow man, and this immediately, though, of course, only in the case of complete and permanent humility."
//Franz Kafka
“See that you do not despise one of these little ones, for I say to you that their Angels in Heaven always look upon the face of my heavenly Father...” Matthew 18:10
MEDITATION
"Whose glory do you seek?"
“Jesus made a dramatic gesture by placing a child next to Himself to show His disciples who really is the greatest in the kingdom of God. What can a little child possibly teach us about greatness? Children in the ancient world had no rights, position, or privileges of their own. They were socially at the "bottom of the rung" and at the service of their parents, much like the household staff and domestic servants. What is the significance of Jesus' gesture? Jesus elevated a little child in the presence of His disciples by placing the child in a privileged position of honor at His right side…”
PRAYER
"Lord Jesus, teach me YOUR way of humility and simplicity of heart that I may find perfect Joy in YOU. May YOUR Light shine through me that others may see YOUR Truth and LOVE and find Hope and Peace in YOU."
dailyscripture.servantsoftheword.org/readings/2018/aug14.htm
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Filename - The Angels in Heaven - IMG_0570 2016
Following the Son...
Blessings,
Sharon 🌻
God's Beauty In Nature is calling us into a deeper relationship with Him...
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Bloggers are welcome to use my artwork with, “Image from Art4TheGlryOfGod by Sharon under Creative Commons license”, and a link back to the images you use and please let me know in the comment section below, thank you...
Art4TheGlryOfGod Photography by Sharon
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Faith, Hope & Love in daily Art meditations...
Twitter ~ www.twitter.com/Art4ThGlryOfGod
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Music Videos (from my Art Photography) ~
www.youtube.com/user/4ThGlryOfGod
#prints available upon request
In all humility this thought I wont deny . I became a photographer very late in life ..but I always possessed a seeking eye ..
To add to my imagery God gave me words though held captive in the dictionary of my mind..
He gave them a power to fly ...
Photography is the science that heals ...provided your vision you apply ..
Life is nothing but demand and supply ..
All you need is the gift of the Eye
#photography
"Sense shines with a double luster when it is set in humility. An able yet humble man is a jewel worth a kingdom" ~William Penn
Dad came by the house after his soccer game to drop his notebook because him and mom think there it has a virus, (I warned them about checking out porn sites…hahahaha). So he got suckered into this shot and I had to be quick about too. This is the second shot I have done of him and as much as he hates having his picture taken he is always a good sport about it..Oh the humility.
Don't worry before this project is up my mom is gonna be in one of the shots, just got to figure out a way to sucker her into it..hahahaha
on the setup shot, unfortunately I didn't have time to take one but it is the same setup done for Day 299/365. The only change to the setup was power settings, Mer held a silver reflector below, and the direction he was looking, hence the light falloff on his face.
Strobists:
AB800 camera front boomed up on axis from dad in beauty dish with sock @stop between 1/16 and 1/8
1/160 @F/9
ISO 100
Nikon 80-200mm 2.8
Triggered with Cybersync
From Wikipedia, the free encyclopedia
Marycrest College Historic District
U.S. National Register of Historic Places
U.S. Historic district
Davenport Register of Historic Properties
Marycrest International University.jpg
Marycrest College Historic District is located in Iowa
Marycrest College Historic District
Show all
LocationPortions of the 1500 and 1600 blocks of W. 12th St., Davenport, Iowa
Coordinates41°31′51.60″N 90°35′55.43″WCoordinates: 41°31′51.60″N 90°35′55.43″W
Area15 acres (6.1 ha)
Built1938, 1939, 1941
ArchitectFrederick G. Clausen
Temple and Temple
Raymond C. Whitaker
Architectural styleQueen Anne
Jacobean Revival
Late Gothic Revival
Collegiate Gothic
Modern
MPSDavenport MRA
NRHP reference No.04000341[1]
Significant dates
Added to NRHPApril 14, 2004
Designated DRHPJanuary 1, 2004[2]
Marycrest College Historic District is located on a bluff overlooking the West End of Davenport, Iowa, United States. The district encompasses the campus of Marycrest College, which was a small, private collegiate institution. The school became Teikyo Marycrest University and finally Marycrest International University after affiliating with a private educational consortium during the 1990s. The school closed in 2002 because of financial shortcomings. The campus has been listed on the Davenport Register of Historic Properties and on the National Register of Historic Places since 2004. At the time of its nomination, the historic district consisted of 13 resources, including six contributing buildings and five non-contributing buildings.[3] Two of the buildings were already individually listed on the National Register.
History
Marycrest was founded as a Catholic women's college in 1939 by the Congregation of the Humility of Mary (CHM) at the request of Bishop Henry Rohlman of Davenport. Mother Mary Geraldine Upham, CHM, who had been the congregation's Mother Superior at that time, became the school's first president. She had previously founded St. Joseph's Junior College, later renamed Ottumwa Heights College, in 1925. Sister Hazel Marie Roth, CHM was the first Dean.
Initially, Marycrest was organized as a division of St. Ambrose College, and it was incorporated as a separate college in 1954. The North Central Association of Colleges and Secondary Schools independently accredited Marycrest in 1955 and said it "has the potential to be the Vassar of Catholic colleges."[3] St. Ambrose and Marycrest planned to merge in the early 1970s. They chose a new name for the school, Newman College, before the merger was discontinued and both schools remained independent of each other.
Marycrest opened with 76 students in 1939 and it grew to 935 students in 1961, the year that Mother Geraldine died.[4] The faculty in the same time period grew from 21 members to 67. As early as the mid-1940s, international students were welcomed to the campus. In 1969, educational opportunities were extended to men when the college became coeducational. In 1990, Marycrest College became affiliated with the Teikyo Yamanashi Education and Welfare Foundation of Japan and was renamed Teikyo Marycrest University.[5] It was networked with Teikyo campuses around the world and its mission was dedicated to international education without prejudice. The institution ended its formal association with the Catholic Church at this time, though many of the Sisters continued to teach and work at the university.
During the early 1990s, Japanese students formed a substantial part of the enrollment of the university. When Japan's economy declined in the mid-1990s,[6] enrollment at Marycrest also declined. In 1996, the institution's name was changed to Marycrest International University. This was an attempt to more fully reflect the global mission of the institution. It was also part of an effort to re-market the university in order to boost enrollment, which by this time had declined to approximately 500 students.
The campus was closed at the end of its 2001–2002 school year, as a result of continued enrollment declines and persistent financial difficulties.[5] Many of the remaining students transferred to nearby schools, including Augustana College in Rock Island, Illinois. All of the academic records are now housed at the University of Iowa in Iowa City.
Marycrest International University was respected for its solid programs in education, social work, and nursing. In its later years, the university also developed an interdisciplinary program in computer graphics and web design. The campus newspaper was The Crest. Marycrest athletic teams were called the Eagles and included men and women's soccer, basketball, volleyball, and women's softball, competing in the National Association of Intercollegiate Athletics (NAIA). Annual traditions included Pig Roast, midnight breakfast, and A Taste of Culture.
Although the university is closed, the campus continues to serve an important role in the local community. In 2006, a residential community for senior citizens known as Marycrest Senior Campus was established in the residence halls. The Marycrest Campus became unified under common ownership and management in 2010.
Athletics
The Marycrest International athletic teams were called the Eagles. The university was a member of the National Association of Intercollegiate Athletics (NAIA), primarily competing in the Midwest Collegiate Conference (MCC) from 1988–89 to 2001–02.
Campus
The Marycrest College campus was located on the crest of a bluff 16 blocks west of downtown Davenport and 15 blocks north of the Mississippi River. It was bounded on the east by the Riverview Terrace neighborhood, which contains medium to large single-family homes. To the north is a residential neighborhood of mostly frame single-family houses that were built in the late 19th century and early 20th century. The former German-American commercial district was further north along Washington Street. Division Street was the campus' western boundary where the Putnam Museum and Fejervary Park are located. The south side of the campus is a steep bluff that rises 80 feet (24 m) from West 10th Street.[3]
Buildings
The Marycrest campus itself was made up of 13 buildings. The earliest buildings were built around a rectangular-shaped open space. Newer buildings were built down the slope of the bluff, along West 12th Street to the east and finally across West 12th Street. The two oldest buildings were built as single-family homes that predate the establishment of the college. The Max Petersen House, known as Clifton Hill, is the place the Rev. Thomas Lawlor from St. Ambrose College acquired in 1937 for $50,000 for the new school.[4] It is a 2½-story, dark red brick, Queen Anne style house designed by Davenport architect Frederick G. Clausen. It was built in 1888 for Max Petersen who was a partner in his family's prosperous retail store, the J.H.C. Petersen's Sons' Store.[7] The house served a variety of purposes including a convent, dining hall, and music classrooms. The second house is the Dr. Kuno Struck House, which was also called Clifton Manor. It was acquired by Marycrest in 1978 and served the college as a community center. This house is also 2½-stories but is covered in pink-red brick and a rock-faced stone that is smoothly dressed.[8] It is the only house in Davenport built in the Jacobean Revival style.[3] Built in 1910, the house was designed by Clausen & Clausen of Davenport. The Struck's garage, built in 1927 and used as a maintenance building by the college, is also a contributing property in the historic district. Both houses are individually listed on the National Register of Historic Places.
Residence Halls
The first building built specifically for a dormitory was West Hall. It was built as a two-story structure in 1941 by the John C. Tunnicliff Construction Company for $23,950. It is possible that it was designed by Davenport architect Seth Temple, but that cannot be substantiated.[3] A third floor was added in 1958. The building is connected to the Max Petersen House by a narrow single-story corridor. Measuring 39 by 86 feet (12 by 26 m), the building follows a rectangular plan. Like all buildings built for the college through the 1960s, its exterior was composed of a mottled red face brick that was manufactured by the Hydraulic Press Brick Company of St. Louis. It sits on a poured concrete foundation. The main facade faces to the north and is divided into three bays. The center bay projects slightly forward. The east and west elevations are divided into eight bays. Belt courses separate floors on the end bays and the center bays are slightly recessed. Bedford stone is used for the belt courses between the floors, the plain coping, the vestibule trim, and the lintels and window sills. A stone cross is located on the center of the parapet above the main entrance vestibule. It is a contributing building.
Lawlor Hall
The first building that did not front the central campus on top of the hill was Lawlor Hall.[3] It sits 10 feet (3 m) to 20 feet (6 m) down the slope of the bluff from the Max Petersen House and West Hall. Designed by Davenport architect Raymond C. Whitaker, the first two floors were built in 1955 for $150,000 to house freshmen students, hence its original name was Freshman Hall. Once again John C. Tunnicliff Construction Company served as contractor. The third floor was added four years later with Whitaker again serving as architect and Tunnicliff and MacDonald as general contractors. The 164-by-36-foot (50 by 11 m) building follows a rectangular plan and has an exposed basement, which gives it the appearance as a four-story building from the south. While it is a Modern architectural style building its exterior is composed of the same brick as West Hall. The flat coping of the parapet is covered with brushed aluminum. The main entrance is located in a recessed bay in a single-story section on the east side of the building and faces to the north. The north elevation is 10 bays and the south elevation is 13 bays. Most bays have a paired three-light window group. A few of the bays on the south side have single windows. It is a contributing building.
Rohlman Hall
Raymond Whitaker and Ken Wagner designed Rohlman Hall, which was completed in 1966 by O. Jorgensen & Sons of Clinton, Iowa. It is 30 feet (9 m) down the slope from Lawlor Hall and 50 feet (15 m) lower than the center of campus.[3] The 197-by-123-foot (60 by 37 m) building has a total of six floors in two wings that form an L-shaped plan. The east-west oriented wing is three stories above grade and a partially exposed basement visible on the south side. The north-south oriented wing sits lower than the other wing and includes two floors plus a ground floor on the east elevation and a lower floor plus a basement floor beneath the ground floor on the south and west elevations. In many ways, Rohlman Hall is similar in design to Lawler Hall. It is built of the same brick, it does not feature a standard main facade, the coping is covered with brushed aluminum, and most bays have a paired three-light window group. Like Lawlor, the main entrance is located on the east side of the building and faces north, but here it is located in a separate wing rather than a single story entryway. Two flights of concrete steps on the eastern side of Lawlor Hall connect to a 10 feet (3 m) wide suspended concrete bridge that leads to the main entrance of Rohlman Hall. It is a non-contributing building.
Mixed-Use Halls
Upham Hall
The first building built specifically for college purposes was Upham Hall. It was originally named the Administration Building when it was built in 1939 and was also known as Liberal Arts Hall before it was named after Mother Mary Geraldine in 1963. The building was designed by Seth Temple and his son Arthur Temple in the Collegiate Gothic style. It was built by John C. Tunnicliff Construction Company for $165,000.[3] Upham Hall rises three floors on the north facade, which faces the center of the campus, and four flours and a tall foundation level on the south elevation. The foundation of the building is poured concrete, the walls are of the mottled red face brick used in other Marycrest buildings, and Bedford stone trim. The rectangular building features a central pavilion of four bays that is faced with Bedford stone to the third floor. Extending to the east and west are wings of five bays each whose brick is laid in an English cross bond with alternating courses of headers and stretchers. The Tudor arched main entrance is flanked by simple stone buttresses with vertical ornamentation. Simple brick buttresses separate the bays on the west wing. The east wing is dominated by four two-story Tudor arched windows. They denote the location of the 300-seat auditorium whose stage is against the central pavilion. Upham Hall has been used for a variety of purposes including as administrative offices, classrooms, some of which were used temporarily as dormitory rooms, faculty offices, the first chapel, an auditorium, and a gymnasium.[3] It is a key contributing building, and a utility shed immediately south of Upham Hall (c. 1940) is also a contributing building.
Petersen Hall
Temple and Temple designed the concept of Petersen Hall to be built in three stages, which it was.[3] The building embraces the Late Gothic Revival and Jacobethan Revival styles. The Temples completed the drawings for the first phase that was built in 1948 and for the second phase that was completed three years later. Raymond Whitaker completed drawings for the third phase that was completed in 1962. The first phase of the building is located in the center and is denoted by its four-story tower. The 186-by-40-foot (57 by 12 m) structure was built by John C. Tunnicliff for $250,000.[3] It housed dormitory rooms on the west, a lounge and business offices in the center, the primary kitchen was located in the basement, and a cafeteria and a chapel on the east. The west wing forms the second phase that was completed in 1951 by Tunnicliff for $160,000. The 50-by-70-foot (15 by 21 m) section contained dormitory rooms. Priester Construction Company of Davenport completed the third section for $280,000 in 1962. It provided additional space for the cafeteria and chapel on the first two floors and dormitory rooms on the third floor. The building was originally named North Hall and was renamed in honor of the Petersen family around 1964. It is a key contributing building.
Single-Use Buildings
Cone Library
Apart from residence halls, the Cone Library is the first single-purpose academic building constructed on campus.[3] Raymond Whitaker designed the building that was constructed by H. George Schloemer in 1958 for $250,000. The 186-by-40-foot (57 by 12 m) Modern structure follows an irregular rectangular plan and is dominated by large plate glass windows. The main facade of the building is divided into eight bays with the main entrance just off center. The entrance bay is set off by stone. The building's mottled red face brick is laid in American bond with a header course on every sixth course. Another dominate feature of the building are the deep eaves that overhang the walls. Along the upper part of the wall is a wide band of stone. The window lintels are likewise stone. There are also three basement level windows in each bay, save for the entrance bay. The east side of the south elevation is composed of solid brick with no windows. It features a decorative cut stone design that portrays Marycrest's insignia that is embedded in the wall. It was created by Sister Mary Clarice Ebert, CHM, who taught in the college's art department. The front section of the main level of the interior was divided into three large rooms. They were separated by wood and glass panel walls. The periodical reading room was on the north, the main desk and card catalog were in the center, and the reference reading room was on the south. The stacks were located across the back of the building. The basement originally housed the student union in the south half and an audio-visual room, alumnae office, and receiving room on the north. It is a non-contributing building.
Walsh Hall
Raymond Whitaker was already in retirement when he designed Walsh Hall with the assistance of Kenneth Wagner. It was completed in 1964 by O. Jorgensen & Sons of Clinton for $650,000.[3] The four-story structure housed science classrooms and laboratories. The 162-by-72-foot (49 by 22 m) building follows a rectangular plan with its main facade on the west elevation. The exterior brick is laid in American bond with a header course set between every fifth course. Parapet walls capped with stone rise above a flat roof. Brick piers separate the bays. The main facade is five bays while the side elevations are eight bays. The west elevation is composed of the main entrance in the center bay with windows similar to others found in the building above it. The center bay is flanked by two bays with a single column of windows centered in the bay. There is a combination of single, paired and triple window units in the building. The east elevation features window groupings similar to those found on the north elevation. The south elevation features an unusual arrangement of windows and stone panels that form a cross in the center bay. The clustered window groups have stone sills, frames and mullions. The stone belt courses on each floor double as window lintels. It is a non-contributing building.
Nursing Education Building
The Davenport architectural firm of Charles Richardson Associates designed the building that was built by Priester Construction in 1973 for $1.9 million.[3] The 103-by-71-foot (31 by 22 m), three-story structure follows a rectangular plan. There is a single-story lecture hall-auditorium that is attached to the west side of the building on the basement level. The exterior walls are composed of reinforced concrete and are partially faced with reddish-brown brick that is laid in a running bond. Both the north and south elevations are divided into seven bays and the east and west elevations are divided into three bays. The most dominant feature is the building's third floor that cantilevers around the entire perimeter of the structure. It is supported by square, pre-cast concrete columns. The building reflects the influence of the Miesian and New Formalism architectural styles.[3] The windows on the first and second floor are panels of tinted glass, with vertical window pairs on the third floor. Matching entrances are located in the center bay on the north and south elevations. The building housed a television studio and control room, lecture halls, offices, classrooms, a student lounge, study rooms, a laboratory, faculty lounge, media workroom and conference rooms. It is a non-contributing building.
Activities Center
The Activities Center was the only building constructed on the north side of West 12th Street. Designed by the Des Moines architectural firm of Frevent, Ramsey & Dray, it was constructed by Priester Construction Company in 1978. The 225-by-192-foot (69 by 59 m) single-story structure followed a T-shaped plan. Unlike all of the other buildings on the Marycrest campus, its exterior is covered with brown corrugated steel. It features a broad gable that faces the street. The roof over the gymnasium portion of the building is also corrugated steel. The facility housed four combination basketball/volleyball/tennis courts, a ⅛-mile jogging track, a fitness center, and the student center. The larger gymnasium section is joined to a smaller wing off of the east side that housed offices. It is faced with mottled tan and brown brick over concrete block on the lower portion of the walls and corrugated steel above. The office wing is divided into three bays, and it is capped by a shed roof that extends along the south side. The recessed main entrance is located in the center bay. The building continues to house a sports complex known as Beyond The Baseline. It is a non-contributing building.
Notable alumni
Kevin O'Neill (MA 1983), NBA and collegiate basketball coach, formerly the coach of the USC Trojans
“God and I have no quarrels, madame. The Almighty conceived the cactus plant. If God would choose a plant to represent him, I think he would choose of all plants the cactus. The cactus has all the blessings he tried, but mostly failed, to give to man. Let me tell you how. It has humility, but it is not submissive. It grows where no other plant will grow. It does not complain when the sun bakes it back or the wind tears it from the cliff or drowns it in the dry sand of the desert or when it is thirsty. When the rains come it stores water for the hard times to come. In good times and in bad it will still flower. It protects itself against danger, but it harms no other plant. It adapts perfectly to almost any environment. It has patience and enjoys solitude. In Mexico there is a cactus that flowers only once every hundred years and at night. This is saintliness of an extraordinary kind, would you not agree? The cactus has properties that heal the wounds of men and from it come potions that can make man touch the face of God or stare into the mouth of hell. It is the plant of patience and solitude, love and madness, ugliness and beauty, toughness and gentleness. Of all plants, surely God made the cactus to his own liking. It has my enduring respect and is my passion.”—Bryce Courtenay, “The Power of One”
Detail from The Parable of the Wise and Foolish Virgins: Painted by Friedrich Wilhelm Schadow ( 1789-1862) Städel Museum: Frankfurt am Main, Germany
Name: Toya Dominique LaJax
Hometown: La Puente, California
Likes: Genuine people, humility, music, cosmetics, and tacos.
Dislikes: Fame-whores, cockiness, political incorrectness, and bigots.
Why I Should Be Picked For BFF 5: "I want to be a part of #BFF5 because I feel that Maxine and I would vibe really well. I used to be a member of a popular teen-pop group with my six other siblings called LaJax7, but we disbanded in 2009 due to creative differences and our record label folding. I had become too old to maintain relevance in the limelight. I started gaining weight and turned to reality television to escape my own reality. Ever since I started watching BFF, I knew that I would have an instant connection with Maxine if I was ever on the show and dreamed of one day being on it. I decided two years ago to create a better version of myself and try to fulfill my dream of becoming one of Maxine's friends. Plus, I want to add diversity in a room full of bleach-blonde suck ups."
Faceclaim: Vanessa Morgan
Humility is the gateway into the grace and the favor of God. ~
Harold Warner
Thanks again to www.flickr.com/photos/skeletalmess/ for His aged parchment texture.
"He cultivated peace and love, purity and humility; he was above anger and greed, and despised pride and conceit; he set himself to keep and teach the laws of God, and was diligent in study and in prayer...I greatly admire all these things about Aidan."
- St Bede the Venerable.
31 August is the feast of St Aidan, apostle to the Angles of Northumbria.
Aidan (c. 600-651) became one of the first Celtic monks on the island of Iona, c.630. In 635, at the request of King Oswald of Northumberland, Aidan founded a monastery on Lindisfarne, and from here he evangelised the north of England.
This window is in the Catholic chapel on Lindisfarne.
All Saints, Bingley, West Yorkshire.
East Window, 1890 - detail.
Charity - Purity - Love - Truth - Humility.
Designed by Henry Holiday (1839-1927).
Made by James Powell & Sons.
Henry George Alexander Holiday entered the Royal Academy Schools at the age of 15 and was soon drawn to the ideas, and the artists, of the Pre-Raphaelite movement. He succeeded Edward Burne-Jones as the chief designer for the stained glass firm James Powell & Sons in 1863 and his style had a long-lasting effect on their production into the 1920s. Some of his windows were made by Lavers & Barraud and Heaton, Butler & Bayne, and after eventually ending his association with Powells, he established his own workshop in 1890. From about 1900 he even made his own glass at the workshop. His later work was made at the Glass House, Fulham.
Henry Holiday also worked as a painter, illustrator and sculptor, and his broad range of interests led to involvement in the campaign for Irish Home Rule, women's suffrage and dress reform.
January 18, 2011. Spent orchids.
"It was not poverty that led Lazarus to heaven, but humility; nor was it wealth that prevented the rich man from attaining eternal rest but rather his egoism and his infidelity."
-Saint Gregory the Great
Original photo January 18,, 2011. Re-edited in 2021.
This evening at the Mass of the Lord's Supper, the priest will repeat Christ's act of service and humility, and wash the feet of twelve men.
In this sermon online I ponder its meaning, and ask why Jesus chose to wash feet.
This detail is from a 15th-century reredos in the Marktkirche in central Hannover, Germany.
A Dutch artist of Eurasian ancestry, Christiaan Bastiaans (b. 1951) makes multilayered, metaphorical works of art that investigate extremes of the human condition in a variety of mediums.
Christiaan Bastiaans The Madonna of Humility Hurt model Series 2002
The Textile Museum is housed in the former textile factory of the company C. Mommers & Co., once one of the largest employers in Tilburg. The museum displays present and past of textile manufacturing. You will see authentic and modern textile machines.
Opening times:
Tuesday to Friday: 10am – 5pm
Saturday & Sunday: 12am – 5pm
Address:
Goirkestraat 96
5046 GN Tilburg
Official website: www.textielmuseum.nl/en/
7392 MuseumNLTilburgTextile, Textile Museum, Goirkestraat 96, 5046 GN, Tilburg, TextielMuseum, Dutch textile museum in Tilburg, Nizozemska, 20191018 PhotosNLTilburg
The Madonna of Humility (Replacement Item for autopsy bodies in the Lear zone 1), from the serie Hurt Models by Christiaan Bastiaans, 2003
Dimension: h204 x w170 x d150 cm
Collection TextielMuseum: BK0795
Do nothing out of selfish ambition or vain conceit, but in humility consider others better than yourselves. Each of you should look not only to your own interests, but also to the interests of others.
Your attitude should be the same as that of Christ Jesus:
Who, being in very nature a God,
did not consider equality with God something to be grasped,
but made himself nothing,taking the very nature of a servant,
being made in human likeness.
And being found in appearance as a man,
he humbled himself
and became obedient to death—even death on a cross!
Therefore God exalted him to the highest place
and gave him the name that is above every name,
that at the name of Jesus every knee should bow,
in heaven and on earth and under the earth,
and every tongue confess that Jesus Christ is Lord,
to the glory of God the Father.
Ramadan (Arabic : رمضان Ramaḍān, Arabic pronunciation: [rɑmɑˈdˤɑːn] ) (also Ramadhan, Ramadaan, Ramazan) is the ninth month of the Islamic calendar , which lasts 29 to 30 days. It is the Islamic month of fasting , in which participating Muslims refrain from eating and drinking [1] and is intended to teach Muslims about patience, humility, and spirituality. Muslims fast for the sake of God (Arabic : الله, trans: Allah ) and to offer more prayer than usual. Compared to the solar calendar , the dates of Ramadan vary, moving backwards by about eleven days each year depending on the moon ; thus, a person will have fasted every day of the calendar year in 34 years' time. Muslims believe Ramadan to be an auspicious month for the revelations of God to humankind, being the month in which the first verses of the Qur'an were revealed to the Islamic prophet , Muhammad .
Contents
[hide ]
· 1 Origins of Ramadan
· 2 The Beginning of Ramadan
· 3 Practices during Ramadan
o 3.1 Fasting
o 3.2 Prayer and reading of the Qur'an
o 3.3 Iftar
o 3.4 Charity
o 3.5 Laylat al-Qadr
· 4 Eid ul-Fitr
· 5 Cultural aspects
o 5.1 Decorations
· 6 Economic aspects
· 7 See also
· 8 References
· 9 External links
[edit ] Origins of Ramadan
The word Ramadan is derived from an Arabic root rmḍ, as in words like "ramiḍa" or "ar-ramaḍ" denoting intense heat,[2] scorched ground and shortness of rations. Ramadan, as a name for the month, is of Islamic origin. Prior to Islam and the exclusion of intercalary days from the Islamic calendar, the name of the month was Natiq and the month fell in the warm season.[3] The word was thus chosen as it well represented the original climate of the month and the physiological conditions precipitated from fasting. In the Qur'an, God proclaims that "fasting has been written down (as obligatory) upon you, as it was upon those before you". According to a hadith , it might refer to the Jewish practice of fasting on Yom Kippur .[4] [5]
[edit ] The Beginning of Ramadan
Hilāl (the crescent ) is typically a day (or more) after the astronomical new moon. Since the new moon indicates the beginning of the new month, Muslims can usually safely estimate the beginning of Ramadan.[6]
There are many disagreements each year however, on when Ramadan starts. This stems from the tradition to sight the moon with the naked eye and as such there are differences for countries on opposite sides of the globe.[7] More recently however, some Muslims are leaning towards using astronomical calculations to avoid this confusion.
For the year of 1432 Hijri , the first day of Ramadan was determined to be August 1, 2011.
[edit ] Practices during Ramadan
[edit ] Fasting
Main article: Sawm
During the month of Ramadan, Muslims fast from dawn to dusk.
The month of Ramadan is the one in which the Qur'an was sent down - right Guidance to mankind, and clear signs of Guidance and Distinction of truth from falsehood. Those among you who witness it, let him fast therein. Whoever is sick or on a journey, then a number of other days. God desires ease for you, and desires not hardship. Thus may you fulfil the number of days assigned, magnify God for having guided you, and perhaps you will be thankful.
Ayah 185, Sura 2 (Al-Baqara ), translation by Tarif Khalidi see:[2] [8]
Ramadan is a time of reflecting, believing and worshiping God. Muslims are expected to put more effort into following the teachings of Islam and to avoid obscene and irreligious sights and sounds. Sexual intercourse among spouse is allowed after one has ended the fast. During fasting intercourse is prohibited as well as eating and drinking, one is also encouraged to resist all temptations while you are fasting. Purity of both thoughts and actions is important. The act of fasting is said to redirect the heart away from worldly activities, its purpose being to cleanse the inner soul and free it from harm. It also teaches Muslims to practice self-discipline, self-control,[9] sacrifice, and empathy for those who are less fortunate; thus encouraging actions of generosity and charity (Zakat ).[10]
Muslims should start observing the fasting ritual upon reaching the age of puberty , so long as they are healthy, sane and have no disabilities or illnesses. The elderly, the chronically ill, and the mentally ill are exempt from fasting, although the first two groups must endeavor to feed the poor in place of their missed fasting. Also exempt are pregnant women if they believe it would be harmful to them or the unborn baby, women during the period of their menstruation, and women nursing their newborns. A difference of opinion exists among Islamic scholars as to whether this last group must make up the days they miss at a later date, or feed poor people as a recompense for days missed.[11] While fasting is not considered compulsory in childhood , many children endeavour to complete as many fasts as possible as practice for later life. Lastly, those traveling (musaafir) are exempt, but must make up the days they miss.[12] More specifically, Twelver Shī‘ah define those who travel more than 14 mi (23 km) in a day as exempt.[10]
[edit ] Prayer and reading of the Qur'an
In addition to fasting, Muslims are encouraged to read the entire Qur'an. Some Muslims perform the recitation of the entire Qur'an by means of special prayers, called Tarawih , which are held in the mosques every night of the month, during which a whole section of the Qur'an (Juz' , which is 1/30 of the Qur'an) is recited. Therefore the entire Qur'an would be completed at the end of the month.
Ramadan is also a time when Muslims are to slow down from worldly affairs and focus on self-reformation, spiritual cleansing and enlightenment; this is to establish a link between themselves and God through prayer, supplication, charity, good deeds, kindness and helping others. Since it is a festival of giving and sharing, Muslims prepare special foods and buy gifts for their family and friends and for giving to the poor and needy who cannot afford it; this can involve buying new clothes, shoes and other items of need. There is also a social aspect involving the preparation of special foods and inviting people for Iftar .
[edit ] Iftar
Main article: Iftar
Iftar in Sultan Ahmed Mosque in Is Istanbul ,Turkey
Muslims all around the world will abstain from food and drink, through fasting, from dawn to sunset. At sunset, the family will gather the fast-breaking meal known as Iftar . The meal starts with the eating of a date — just as Prophet Muhammad used to do. Then it's time for the Maghrib prayer, which is the fourth of the five daily prayers, after which the main meal is served. [13]
Over time, Iftar has grown into banquet festivals. This is a time of fellowship with families, friends and surrounding communities, but may also occupy larger spaces at mosques or banquet halls, where a hundred or more may gather at a time.[14]
Most markets close down during evening prayers and the Iftar meal, but then re-open and stay open for a good part of the night. Muslims can be seen shopping, eating, spending time with their friends and family during the evening hours. In many Muslim countries, this can last late into the evening, to early morning. However, if they try to attend to business as usual, it can become a time of personal trials, fasting without coffee or water.
[edit ] Charity
Charity is very important in Islam, and even more so during Ramadhan. According to tradition, Ramadhan is a particularly blessed time to give in charity, as the reward is 700 times greater than any other time of the year. For that reason, Muslims will spend more in charity (sadaqa), and many will pay their zakat during Ramadhan, to receive the blessings (reward). In many Muslim countries, it is not uncommon to see people giving food to the poor and the homeless, and to even see large public areas for the poor to come and break their fast. It is said that if a person helps a fasting person to break their fast, then they receive a reward for that fast, without diminishing the reward that the fasting person got for their fast.
[edit ] Laylat al-Qadr
Main article: Laylat al-Qadr
Sometimes referred to as "the night of decree or measures", Laylat al-Qadr is considered the most holy night of the year.[15] Muslims believe that Laylat al-Qadr is the night in which the Qur'an was first revealed to the Prophet Muhammad . Also, it is believed to have occurred on an odd-numbered night during the last 10 days of Ramadan, either the night of the 21st, 23rd, 25th, 27th or 29th. Shiites also commemorate the attack on Imam `Ali ibn Abi Talib and his subsequent martyrdom every year on the 19th, 21st and 23rd of Ramadan.
[edit ] Eid ul-Fitr
Main article: Eid ul-Fitr
The holiday of Eid ul-Fitr (Arabic : عيد الفطر) marks the end of the fasting period of Ramadan and the first day of the following month, after another new moon has been sighted. The Eid falls after 29 or 30 days of fasting, per the lunar sighting. Eid ul-Fitr means the back to the fitrah ; usually a special celebration is made. Food is donated to the poor (Zakat al-fitr ); everyone puts on their best, usually new, clothes; and communal prayers are held in the early morning, followed by feasting and visiting relatives and friends. The prayer is two Raka'ah only, and it is sunnah muakkad [16] as opposed to the compulsory (Fard) five daily prayers. Muslims are expected to do this as an act of worship, and to thank God.
[edit ] Cultural aspects
[edit ] Decorations
Ramadan is met with various decorations throughout the streets. In Egypt , lanterns are known to be a symbol of Ramadan. They are hung across the cities of Egypt, part of an 800 year old tradition, the origin of which is said to lie in the Fatimid era where the Caliph Al-Muizz Lideenillah was greeted by people holding lanterns to celebrate his ruling. From that time lanterns were used to light mosques and houses throughout the city.
In other Muslim countries, lights are strung up in public squares, and across city streets, to add to the festivities of the month. In the West, many Muslim households have taken to decorating the inside of their homes to make Ramadhan a more special time for their children.
[edit ] Economic aspects
In Egypt, national statistics have pointed to substantial increase in consumption of food, electricity, and medications related to digestive disorders during the month of Ramadan as compared with the monthly average in the rest of the year.[17]
The Green Mamba is a tree snake.
Hloirëa Lóke, the venomous ranger, has guarded her part of the forest for so long that even the elves treat her almost as a legend.
Fiercely territorial and protective of her land, Lóke is merciless in its defense, but has been known to hear out intruders who address her with proper reverence and humility. The elves occasionally send some of their own people to Lóke to learn ranger craft - traps, survivalist techniques, camouflage, poison, and marksmanship - though it is not guaranteed that she will accept them and might instead harm them if they do not approach her in a way that she likes. Notably, Lóke taught Aspen, who seems to hold a lot of affection for the old serpent.
Sachin Parab
Dear Sir/Madam
It's with every sense of humility, sincerity and fairness do I implore this
medium to reach you at this time. In the first place, my names are
SACHIN PARAB
28 Years of age.
My ground parents migrated from India to the UK in 1954 and my parents and
his siblings were all born here in the UK.
My father Mr. RAVIKANT PARAB Died in the hospital as a result of heart
attack and injury he heard after
losing his GARMENT FACTORY here during the London Riot in 2011 by the Angry
street guys and claimed a lot of our belonging including lives and
property.Read more
here,http://www.guardian.co.uk/uk/gallery/2011/aug/09/london-riots-croydon-
hackney#/?picture=377701294&index=17
This occurrence led me to talk with my father's Lawyer over the Will of my
father and he gave me a blue print which stated that I am the apparent heir
of his Account with the ROYAL BANK OF SCOTLAND and at present, I don't
feel safe or
secure anymore here in the UK.
I deem it necessary for me to come to India which is the Country of my
Fathers and settle down and also get married and settle instead of staying
in the UK and peradventure lose the remaining inheritance willed to me by
my late father.
I need an honest and truthful citizen of India who shall help me in area of
Investment of my fortune which is the sum of Two Million, Five Hundred
Thousand Pounds
My proposal is a profit oriented venture. Therefore, I do need your
corporation and do update me with the norms that has to do with an
investment like in Real Estate or founding and Academic Institution or any
other venture that will be profit incline.
Our sharing formula is negotiable though I have drafted it to be 70/30% in
the profit sharing!
Conversely, your utmost corporation is required since I am ready to
dispatch this fund as peace and order has been restored here in the UK.
It's necessary for us to work as a formidable team and build a business
that will yield and better our future.
Kindly reply me and do not fail to write your bio data shortly.
1,Full Name
2,Complete Address
3,Direct Mobile No
4,Id Card of any kind
5,Occupation
6,Age
Here is my no,+447010071301.I can also speak in hindi
Email sachinparaspb28@gmail.com
Faithfully
SACHIN PARAB.
The extension.
(A lesson in humility)
When John and Mary won the multi-million Lotto jackpot in March 2007, they did not let it go to their heads.
They have kept their simple life style.
Their only concession to their new-found immense buying power was to build Mary's dream extension at the back of the house.
It's handy when the children and grandchildren come home for Christmas.
"With fascination and humility, animals remind us how many feelings, instincts, postures and even facial expressions we regard as typically human are actually typically animal." - Diane Ackerman
"What’s supernormal? Don’t you need to have super returns or normal returns? What’s a supernormal return? One would rather expect the honourable member to be more precise in his use of language [shrugs].”
Rev Richard Coles (pictured with Dog Collar) talking about a quote from Jacob Rees-Mogg MP, 'Have I Got News For You', BBC 1, April 10 2020.
Supernormal returns/profits are actually not that impressive in economic terms but the term does exist and has been used by economists, for some time.
If you are going to get up on a high horse, first make sure you know how to ride it. One would rather expect more humility and better judgment from a Minister of the Christian Church. Either that or that he sticks to the maxim “render unto Caesar that which is Caesar’s…”
However, it is not the first time in the last few decades that the BBC has had someone on talking nonsense.
However, the programme threw up (in so many ways) the many shortcomings of the BBC in the face of disruption. The quality of the programme still looked five years behind the standard achieved by independent creators of media content, despite the BBC receiving billions in funding each year. The show, stripped of its usual willing audience, had its ‘jokes’ fall flat. The veneer is peeling off Aunty.
I might try a joke of my own. Did anyone else feel the panellists just phoned in their performances? (I’ll get my coat).
#AbolishTheBBC.
Lily of the valley is the birth flower for the month of May. It represents humility, chastity, sweetness, and purity.
In the field of city planning the limitations on artistry of arrangement have, to be sure, narrowed greatly in our day. Today such a masterpiece of city planning as the Acropolis of
Athens is simply unthinkable. That sort of thing is for us, at the moment, an impossibility. Even if the millions were provided that such a project would entail, we would still be unable to create something of the kind, because we lack both the artistic basis for it and any universally valid
philosophy of life that has sufficient vigor in the soul of the people to find physical expression in the work.
Yet even if the commission be devoid of content and merely decorative—as is the case with art today—it would be frightfully difficult for our realistic man of the nineteenth century. Today's city builder must, before all, acquire the noble virtue of an utmost humility, and, what is remarkable in this case, less for economic considerations than for really basic reasons.
Assuming that in any new development the cityscape [Stadtbild] must be made as splendid and pictorial as possible, if only decoratively in order to glorify the locality—such a purpose cannot be accomplished with the ruler or with our geometrically-straight street lines. In order to produce the effects of the old masters, their colors as well must form part of our palette. Sundry curves, twisted streets and irregularities would have to be included artificially in the plan;
an affected artlessness, a purposeful unintentionalness. But can the accidents of history over the course of centuries be invented and constructed ex novo in the plan?
Could one, then, truly and sincerely enjoy such a fabricated ingenuousness, such a studied naturalness? Certainly not. The satisfaction of a spontaneous gaiety is denied to any cultural level in which building does not proceed at apparent random from day to day, but instead constructs its plans intellectually on the drawing board. This whole course of events, moreover, cannot be reversed, and consequently a
large portion of the picturesque beauties we have mentioned will probably be irretrievably lost to use in contemporary planning. Modern living as well as modern building techniques no longer permit the faithful imitation of old townscapes, a fact which we cannot overlook without falling
prey to barren fantasies. The exemplary creations of the old masters must remain alive with us in some other way than through slavish copying; only if we can determine in what the essentials of these creations consist, and if we can apply these meaningfully to modern conditions, will it be
possible to harvest a new and flourishing crop from the apparently sterile soil. […] Works of art cannot be created by a committee or through office activity, but only by a
single individual; an artistically effective city plan is also a work of art and not merely an administrative matter. This is the crux of the whole situation. Granting that each individual
member of a municipal building office, by virtue of his ability and knowledge, his numerous travels and other studies, as well as his innate artistic sensibility and lively imagination, could design an excellent town plan, yet several in association in the office will never produce anything
but dry, pedantic stuff that smacks of the dust of documents.
The head of the office has, of course, no time to do the job himself, because he is inundated with meetings, reports,
committees, administration, etc.; his subordinate, on the other hand, would not dare to have ideas of his own; he must stick to the official norms, and his drafting board will always reflect only these, not because he cannot do any better, no!—but because it is an official drafting board on
which he is working, and his personal ambition, his individuality as a creative and sensitive being, and his enthusiasm for a thing for which he alone will be responsible before the world, do not, for reason of his official function, enter into the matter. Yes, strictly speaking, any such
tendencies would represent a breach of discipline. […]
No! These shortcomings will not be eliminated merely by leaving matters of city planning to chance. It is absolutely essential to make a positive formulation of the requirements
of art because today we can no longer count on an instinctive taste in art; this no longer exists. It is imperative to study the works of the past, and for the artistic tradition that we have lost there must be substituted a theoretical understanding of the reasons for the excellence of ancient layouts.
Their effective bases must be spelled out as positive requirements, as rules for city planning: only this can really advance the cause, if it is still possible to do so. Having examined our predecessors' works in the first part of this book it is clear that, as a final result of our whole analysis, we must try to establish rules for today. In so doing, one thing must be borne in mind: artistically satisfactory parceling of a new section of town cannot be attempted without first having some idea as to what purpose this section will serve in the long run and what public buildings and plazas might be intended for it.
Without any idea at all about what buildings and plazas are to make up a part of town or what purpose it is ultimately to serve, one cannot begin either to make a distribution in keeping with the site and its conditions or to attain any measure of artistic effectiveness. It is just as if a patron were to show a building lot to his architect and say to him: 'Build something on this for me for about one hundred thousand florins: 'You mean an apartment house?' 'No!' 'Or a villa?' 'No!' 'Perhaps a factory?' 'No!' etc.—This would be simply ridiculous, indeed crazy, and could not really happen because nobody builds without a purpose, and nobody approaches a builder without very definite intentions or without a building program.
Only in town planning is it considered reasonable to go ahead with a building plan without a definite program, and this derives from the fact that one simply does not know how any specific new district will develop. The consequence of this absence of a program is the familiar building-block system, which tells us in all bluntness: 'We could perhaps create something beautiful and useful here, but we do not know just what, so we humbly decline to deal with such a vague problem, and therefore present merely a division of the surface area so that its sale by the square foot can begin: What a contrast to the ideal of old! But this is no joke. It faithfully portrays reality. In Vienna such a gridiron plan was drawn up for the X District and turned out as one might expect; right now an identical one is on paper for the so-called New Donaustadt, and it could not be more inadequate and awkward.
Our assumption that a lack of program is one of the reasons for such unimaginative layouts is confirmed by the very largest parceling known—the division of North America into
states. That vast new land has been everywhere divided according to the same rectangular .system, its straight lines corresponding to latitude and longitude. This is obviously due to the fact that the terrain was not well-known at the time and its future development could not be predicted, since America lacked a past, had no history, and did not yet signify anything else in the civilization of mankind but so many square miles of land. For America, Australia, and other unopened lands, the gridiron plan may for the time being still suffice. Wherever people are concerned merely with colonizing land, live only for earning money, and earn money only in order to live, it may be appropriate to pack people into blocks of buildings like herring in a barrel. […] When this [program] has been decided, then the most advantageous siting, grouping, and necessary inter-relationships should be worked out. With this the designing of the city plan proper begins, and for it public competitions would certainly have to be held. Apart from the preliminary data already mentioned, the program for the competition would have to include an exact survey of the terrain (showing all existing roads and other details) as well as information about wind-directions, important water-table data, and whatever else might be of local significance. The task of the contestants would first be to arrange the required public buildings,gardens, etc., in proper relationship to each other and at the most appropriate spots.
For example, several public gardens should be placed at an equal distance from each other if possible. None of these large garden areas should be left open to the street, but instead ought to be surrounded by buildings (for reasons cited earlier* and made accessible through two or more gateways that ar in keeping with their surroundings but in any case not identical. The gardens would thereby be as sheltered as possible, and long building frontages of considerable value would result, the whole serving as a bulwark against the spread of the block system.
In contrast to the dispersal recommended for gardens, buildings ought to be united in a suitable manner, for instance, parish house, public school, and related buildings adjoining the church. Certainly monuments, fountains, and public buildings should be integrated as far as possible, so as to produce plazas of more impressive effect. If there are to be several plazas it is best to combine them as a group instead of scattering them. Each plaza should through its site, its
size, and its shape possess distinct and unique character, and at the same time attention should be paid to the correct opening of streets into it and to the enclosed character of the plaza-wall.
Perspective vistas are to be considered as well as the exploitation of natural panoramas. The commendable horse-shoe format of the Baroque, a system of fore-courts after the manner of ancient atriums, etc., known to be unfailingly effective, should be kept in mind for occasional
use. Churches and monumental buildings should certainly not be isolated, but rather built into the plaza-wall, thereby creating suitable spots for the future placement of fountains and monuments around the edge of the plaza. Irregularities of terrain, existing waterways and roads should not be
forcibly eliminated simply to achieve a banal rectangularity, but should instead be preserved as a
welcome excuse for crooked streets and other diversities. These irregularities, nowadays so often
eliminated at great expense, are, in fact, most essential. Without them even the most exquisitely designed plan would seem stiff and stilted in its total effect. Furthermore it is precisely these factors which afford one an easy orientation within the maze of streets.
They can also be heartily recommended from the point of view of public health, since it is the curvature and crookedness of streets in the old parts of town which stop and deflect the prevailing winds, so that the
strongest storms, however violent, only sweep over the roof tops, while in the regularized sections of town they blow right along the straight streets in a highly disagreeable and unhealthy manner. This is easy to observe wherever new and old parts of town coexist, perhaps best of all in Vienna which is more than blessed with winds. While anyone can cross the inner city in a medium wind without annoyance, he is immediately enveloped in clouds of dust on entering any new part. […] Using this argument one might more likely be able to convince our predominantly materialistic age about the virtues of an artistically-developed town plan. To be sure, much has already been written about the economic importance of the fine arts to a nation, and this has become a generally accepted fact. This is significant because the purely ideal value of art as an end in itself—as perhaps the highest aspiration of our cultural endeavors and of human activity in general—is, on the other hand, not at all so universally accepted. However, since the arts also possess a social and economic significance, it might be that even hardheaded city officials will eventually discover that it would not be so bad for once to invest some sums in the artistry of town layouts in hopes of reaping civic sentiment, local pride, and, perhaps, more tourism. […] Our study has certainly demonstrated that it is not at all necessary to design modern city plans in as stereotyped a fashion as is the custom, that it is quite unnecessary to forego in them all the beauties of art and the attainments of the past. It is not true that modern traffic forces us to do so; it is not true that hygienic requirements compel us. It is downright laziness, a lack of imagination and of good intentions, which condemn us modern city dwellers to pass our lives in formless mass- housing with the depressing sight of eternally similar apartment house blocks and unbroken frontage lines. It is probably the gentle force of habit that hardens us to them. We ought to consider, however, the impression we receive upon returning home from Venice or Florence—how painfully our banal modernity affects us. This may be one of the basic reasons why the fortunate inhabitants of those marvelously artistic cities have no need to leave them, while we every year for a few weeks must get away into nature in order to be able to endure our city for another year.
By Camillo Sitte
Took this picture awhile back when birding Canaveral area. John is still in Greece so I'm still sending the Sunday School lessons along to him via internet.
(Luke 20:1a) “And it came to pass, that on one of those days, as he taught the people in the temple, and preached the gospel…”
A.) Jesus had cleansed the temple of the vendors and moneychangers.
1.) Now in these last few days before His betrayal and crucifixion Jesus teaches in the temple.
2.) Jesus does not just teach, but notice, the Bible said that He also preached the Gospel.
a.) The Greek word for Gospel, (Euaggalizo), from which we get “Evangelize” is defined as “Announce Good News”.
b.) God’s Word clearly delineates between teaching and preaching.
3.) Jesus taught many different things to the people over the course of His ministry; (As Luke here says He did in those last days.)
a.) The golden rule, humility, and how to pray, just name three;
(Luke 6:31) And as ye would that men should do to you, do ye also to them likewise.
(Luke 14:8) When thou art bidden of any man to a wedding, sit not down in the highest room; lest a more honourable man than thou be bidden of him;
(Luke 11:2-4) And he said unto them, When ye pray, say, Our Father which art in heaven, Hallowed be thy name. Thy kingdom come. Thy will be done, as in heaven, so in earth. Give us day by day our daily bread. And forgive us our sins; for we also forgive every one that is indebted to us. And lead us not into temptation; but deliver us from evil.
4.) Jesus also preached the Gospel to them throughout His ministry.
(John 6:35) And Jesus said unto them, I am the bread of life: he that cometh to me shall never hunger; and he that believeth on me shall never thirst.
(John 6:47) Verily, verily, I say unto you, He that believeth on me hath everlasting life.
(John 7:38) He that believeth on me, as the scripture hath said, out of his belly shall flow rivers of living water.
(John 11:25) Jesus said unto her, I am the resurrection, and the life: he that believeth in me, though he were dead, yet shall he live:
(John 14:1-3) Let not your heart be troubled: ye believe in God, believe also in me. In my Father's house are many mansions: if it were not so, I would have told you. I go to prepare a place for you. And if I go and prepare a place for you, I will come again, and receive you unto myself; that where I am, there ye may be also.
(John 14:6) Jesus saith unto him, I am the way, the truth, and the life: no man cometh unto the Father, but by me.
(Luke 20:1b-2) “…the chief priests and the scribes came upon him with the elders, And spake unto him, saying, Tell us, by what authority doest thou these things? or who is he that gave thee this authority?”
A.) While Jesus was teaching and preaching in the temple the head men of the Jews came to Him with this question.
1.) “Where do you get the power and authority to come in here and usurp our authority and power?”
a.) The people wanted Jesus for King, the leaders wanted to keep the status quo.
b.) Even though the Romans ruled militarily, they allowed these Jewish leaders to continue their own little fiefdom.
c.) This was their biggest problem, Jesus was a threat to their prestige, power, and position.
(Luke 20:3-4) And he answered and said unto them, I will also ask you one thing; and answer me: The baptism of John, was it from heaven, or of men?
(Matthew 21:24) And Jesus answered and said unto them, I also will ask you one thing, which if ye tell me, I in like wise will tell you by what authority I do these things.
A.) Jesus poses a test for them, which if they pass He will in turn answer their query.
1.) Remember where they are;
a.) They’re in the temple surrounded by Jesus’ followers.
b.) Many of whom have been with him since John Baptist’s ministry and subsequent death.
c.) These folk have seen the miracles, accepted the preaching, and heard the teaching.
d.) This is not a crowd that the leaders can trifle with.
(Luke 20:5-6) And they reasoned with themselves, saying, If we shall say, From heaven; he will say, Why then believed ye him not? But and if we say, Of men; all the people will stone us: for they be persuaded that John was a prophet.
A.) John had been a prophet with the people from his youth, they had great respect for him.
1.) The people held his memory with great regard.
B.) The priests, Pharisees, politicos, and pitiful pretenders were not stupid.
1.) They knew exactly how the people felt about John.
C.) They were between the proverbial “Rock and a hard spot.”
1.) The hard spot was John, the Rock was, of course, Jesus.
(Luke 20:7-8) And they answered, that they could not tell whence it was. And Jesus said unto them, Neither tell I you by what authority I do these things.
A.) The fact is, that their question was already answered by Jesus previously, and coincidentally, when speaking of John.
(John 5:36) But I have greater witness than that of John: for the works which the Father hath given me to finish, the same works that I do, bear witness of me, that the Father hath sent me.
(Luke 20:9) Then began he to speak to the people this parable; A certain man planted a vineyard, and let it forth to husbandmen, and went into a far country for a long time.
A.) Jesus doesn’t really change the subject here when He starts this parable.
1.) The parable is aimed directly at the men who have been questioning Him.
a.) The “certain man” is God the Father.
b.) The “vineyard” is kingdom of God.
c.) The “husbandmen” is Israel.
d.) The “far country” is heaven.
e.) The “long time” is Israel’s time to up to the parable.
(Luke 20:10-12) And at the season he sent a servant to the husbandmen, that they should give him of the fruit of the vineyard: but the husbandmen beat him, and sent him away empty. And again he sent another servant: and they beat him also, and entreated him shamefully, and sent him away empty. And again he sent a third: and they wounded him also, and cast him out.
A.) The certain man sends servants to get fruit from the vineyard.
1.) The “servants” are the prophets.
2.) The “fruit” is growth in God’s kingdom.
B.) We know from the history of the O.T. that, with very few notable bright spots, Israel grew methodically away from God.
1.) She bore no fruit in the world, and in fact, the vine became an eyesore.
(Luke 20:13) Then said the lord of the vineyard, What shall I do? I will send my beloved son: it may be they will reverence him when they see him.
A.) God the “certain man and lord of the vineyard” asks Himself a question; “What am I going to do now?”
1.) Here is God’s problem; He loves mankind, and He is not willing that any should perish. II Peter 3:9
a.) God wants to see fruit in His vineyard. Souls for His kingdom.
B.) The “certain man, the lord of the vineyard” decides to send his beloved son whom he hopes will be respected by the husbandmen.
1.) The “beloved son” is, of course Jesus.
(Luke 20:14) But when the husbandmen saw him, they reasoned among themselves, saying, This is the heir: come, let us kill him, that the inheritance may be ours.
A.) The husbandmen do not want to bow to the authority of the “lord of the vineyard” they want the power and the kingdom for themselves.
1.) Their decision is to kill the son.
2.) Their logic is that the “lord of the vineyard” will give up on his desire for fruit.
a.) They believe that if they just get rid of the “son” they can continue with the “status quo” and their “little fiefdom”.
B.) Thus far in the parable Jesus has laid the groundwork for what will happen in the next few days in Jerusalem.
(Luke 20:15a) “So they cast him out of the vineyard, and killed him…”
A.) The husbandmen kill the son.
(Luke 23:20-21) Pilate therefore, willing to release Jesus, spake again to them. But they cried, saying, Crucify him, crucify him.
(Luke 20:15b-16a) "…What therefore shall the lord of the vineyard do unto them? He shall come and destroy these husbandmen, and shall give the vineyard to others…”
A.) Jesus asks a question and answers it Himself;
1.) The “lord of the vineyard” will destroy the “husbandmen” and let out the “vineyard” to other caretakers.
(Luke 20:16b) “…And when they heard it, they said, God forbid.”
A.) The men that the parable is aimed at miss the point completely.
1.) They judge the husbandmen’s actions to be horrible, shake their heads, and say; “God forbid such a thing to happen to that certain lord’s business and family.”
B.) Jesus, on the other hand, decides to quote Scripture to them which He knows will help them to “get the point”.
(Luke 20:17-18) And he beheld them, and said, What is this then that is written, The stone which the builders rejected, the same is become the head of the corner? Whosoever shall fall upon that stone shall be broken; but on whomsoever it shall fall, it will grind him to powder.
A.) Jesus uses the Sword of the Word of God in both Psalm 118:22 & Daniel 2:34-35 to send the point of the blade home.
(Psalms 118:22) The stone which the builders refused is become the head stone of the corner.
(Daniel 2:34-35) Thou sawest till that a stone was cut out without hands, which smote the image upon his feet that were of iron and clay, and brake them to pieces. Then was the iron, the clay, the brass, the silver, and the gold, broken to pieces together, and became like the chaff of the summer threshingfloors; and the wind carried them away, that no place was found for them: and the stone that smote the image became a great mountain, and filled the whole earth.
B.) Look back at the first part of verse 16;
1.) In Matthew’s account of this scene he records Jesus as saying this as well;
(Matthew 21:43) Therefore say I unto you, The kingdom of God shall be taken from you, and given to a nation bringing forth the fruits thereof.
a.) The “nation” is the Church, and we must not fail in our duty to bear fruit to God.
(Luke 20:19) And the chief priests and the scribes the same hour sought to lay hands on him; and they feared the people: for they perceived that he had spoken this parable against them.
A.) Those in power would like to have taken Jesus away right then and there, but were powerless because of the people.
The Seven Heavenly Virtues are righteous qualities that all good mortals should at least try to uphold. They are Charity (counterpart Greed), Chastity (counterpart Lust), Diligence (counterpart Sloth), Humility (counterpart Pride), Kindness (counterpart Envy), Patience (counterpart Wrath) and Temperance (counterpart Gluttony). They are the opposite of the Seven Deadly Sins, and like the sins each have their own representative Archfiends, each of the virtues has its own representative Archangel. Archangels are more powerful than Archfiends, being more comparable to Primal Deities, and exist in similarly limited numbers (to Archfiends). There are no Greater/Lesser Beings/Beasts for the virtues; this is made up for by there being a greater number of non–virtue–related angel types than non–sin–related demon types. Each Archangel has a unique pair of "Charms" that float around it and grant special powers. Here we present three of the seven Archangels in part one of a two–part guide to them.
• Seralphet (Archangel of Temperance): Embodying honor, justice and self–control, as well as aspects of some of the other virtues, the Seralphet is the most powerful of all Archangels. It is a tall, elderly–looking and bearded, floating, legless and winged being that wields powerful Rainbow Energy magic and is immeasurably wise. Not necessarily knowledgeable, like the Conscapt or the Custodian, but rather, mindful, perceptive and able to judge people and things objectively. The Seralphet's "Charms" allow it to look into the soul of any being anywhere (usually they are called upon by the being in question first, as they don't just go around looking into people's souls at random all day) and view the content of their character in its purest form. If the person is relatively pure of heart, the Seralphet may bring good fortune to them. But if they are purely evil, the Archangel will either strike them down then and there or do everything in its power to make their life a living Hell. Note that it only does this when it is truly justified. Most of the time, the Seralphet leaves people alone after looking into their souls.
Its other powers include emitting a blinding glow from the pure golden magical crown on top of its head (which is actually part of its body) and forming powerful supernatural barriers/force fields. In combat, the Seralphet fires massive burning energy blasts from its hands that expand as they move through the air to the point that they could destroy a planet if shot at it from a great enough distance.
The Seralphets are among the few permanent residents of the Temple of Infinity, another being Vaynmizs. They are present at all the great heavenly meetings held by the aforementioned lord. Their durability value is 35,000 and about 200 of them exist.
• Cherumose (Archangel of Kindness): One of two female Archangels. The Cherumose is a benevolent entity that embodies love, compassion and friendship. Some of her qualities are shared with the Archangel of Charity. Beautiful and constantly jovial, Cherumoses have long, tall, floating forms with hollow lower bodies that start out solid and pot–like at the waist, but transition into patchwork cloth near the bottom. Directly below the body is a perpetual cloud of rather colorful smoke that keeps the angel afloat and will immediately reform if disrupted. One eye is located on the face, and another on the forehead. Their arms branch out into three pairs of hands, and they have oversized, sensitive ears. They are somewhat vain, but always good–natured and attentive when someone else needs their help; they assist the souls in Paradise with resolving any problems that come up in the afterlife. The "Charms" of the Cherumose resemble eyes and shoot hot pink beams of love that bring out the kindness and subdue the hostility in anyone they hit for a considerable length of time. This ability is used both to cheer up and comfort people and to neutralize hostiles, and it is next to impossible to kill a Cherumose as a result of the latter function; not to mention that only a horribly despicable monster would ever want to do such a thing. Her durability value is about 20,000, which adds further difficulty to harming her.
• Lavkight (Archangel of Diligence): The other female Archangel, and the most powerful type of female creature in the largely male–dominated Nava–Verse. Lavkights are glowing blue–bodied humanoids with magical armor attached to their bodies and headdresses that are almost as large as the heads themselves. This is not a problem for them, as they are so physically strong that they can carry them on their heads without being encumbered whatsoever. The same goes for their armor, which is also quite heavy. The Lavkights embody enthusiasm for the cause of good, fortitude, willpower and honor in battle. As such, they are dedicated fighters who are at the very top of the Heavenly Realms' hierarchy of warriors and would serve as the high generals in an organized army of angels, directly under Bestamiak. They can fight with their claws, which can cut through the thickest of metals, but are also automatically highly proficient in wielding any and all weapons given to them. Their "Charms" are throwing star–like objects which circle around their heads and can be shot at enemies at will, moving through the air at hundreds of miles per hour. After they hit (or miss) their target, they disappear and re–materialize in their orbit around the Lavkight's head. The black orbs of light surrounding their arms, on the other hand, are just for show.
Unlike other angels, the Lavkight's face is scarred and rugged, which reflects her dedication and sacrifice. Her durability value is 25,000.
This entry will be supplemented with presentations of three additional, lesser angels:
• Dorbuilec: A flying, "drone–like" angel made by Vaynmizs that is considered the "middle child" among the "trinity" of airborne, combative, non–humanoid angels consisting of itself, the Yuyonarf and the Harus–Ovactus; that is, it is in–between the tiny Yuyonarf and the massive Harus–Ovactus in size and strength. It can be found in both the Temple of Infinity and Neo–Skyhold, and, on rare occasions, in the mortal realm. The Dorbuilec has a very unique and rather strange form, but a surprisingly functional one nonetheless. Its upper body is an elaborate, ornate semi–sphere outfitted with several aerodynamic gizmos that allow it to fly, which brings us to one of the first peculiarities of the Dorbuilec: its flying abilities are mechanical, rather than magical as with basically all other flying angels. That being said, though, the mechanisms that provide its flight do seem inordinately powerful given their sizes, and they are considered to have some magical properties, albeit of the kind which boosts driving force, rather than that which inherently, specifically grants flight. Atop the Dorbuilec's upper body is a small "head" with no features besides a single eye that can shoot paralyzing but non–lethal Rainbow Energy beams. Atop this "head" is an attached, aesthetic "crown" piece.
Dorbuilecs' lower bodies are also roughly spherical, but slightly smaller (barring the massive arms which will be elaborated on shortly) and much more compactly solid, lacking any aerodynamic mechanisms or hollowed airways. Near the bottom of this "trunk", and from the lone visible cavity in it, the Dorbuilec's lower eyepiece juts out. Resembling a camera or small telescope, this eyepiece is far more flexible than the one at the very top of the angel's body, and can shoot beams that are smaller than the ones fired from said other eye but also more lethal. Protruding from the sides of the Dorbuilec's lower body are perhaps the most noticeable components of its body, its two large, beefy arms. These arms boast positively extra–mortal strength in terms of both punching and lifting, and end in large, rainbow–crystalline hands that are ingrained with a form of Rainbow Energy that burns demonic and other inherently wicked beings to the touch. While moving on the ground, either by choice or due to its flight mechanisms being damaged, a Dorbuilec will use its arms as "legs", walking lumberingly with them.
The Dorbuilec's exact, extra–corporeal durability value is 2,000; there are few discernible differences between specimens. They are voiceless, possessing only basic sentience/sapience.
• Sibiowich: A female creation of Bestamiak with a perpetually youthful, unique humanoid form and a shy, withdrawn personality that is considered imperfect in a way uncharacteristic of angelic beings and more in line with the nature of mortals. Sibiowiches consider themselves, and are considered by others, their "father" included, to be literal "daughters" of Bestamiak, and they, in the historically small but presently growing numbers in which they exist, reside in large academy–like estates in the innermost circle of Paradise, where all sixteen of the plane's coexisting, parallel versions converge into one. There, they are trained in an art that only they are truly capable of effectively using: White Magic.
White Magic is to Rainbow Energy as Dark Magic is to Infernal Energy, being a separate but related form of power that is usually manifested in the form of "spells" whose only tangibility lies in their effects, as opposed to more "solid" projectiles and other masses of pure energy. Its major applications include healing of both physical and spiritual varieties as well as other beneficial enchantments to living things. White Magic's scarcely–glanced "form" appears to be that of pure, blindingly white light, which contrasts with the multicolored glow characteristic of Rainbow Energy. Though Sibiowiches are the only beings that can utilize White Magic to its full potential, Bestamiak, the Bivangrantes and the Lavkights all possess knowledge of how to use it that the potential users of the unique power themselves initially lack, and these beings were the first to pass that knowledge on to the earliest Sibiowich trainees. Since then, most further instruction has been conducted by older Sibiowiches who have already mastered the art of White Magic, though Bivangrantes, Lavkights and even Bestamiak himself still occasionally step in and participate to ensure that the knowledge originating in them remains fully intact and does not "deteriorate" from being handed down too many times.
Physically, Sibiowiches are consistently near five feet in height, being lean and lanky and with their heads and faces having a particular "longness". They have dimly–glowing pink skin and possess all the bodily features shared among young (twenty–ish) mortal women of most races. Born naked, their "clothing", unlike that of most other angels humanoid which is actually part of those beings' bodies, is truly clothing, and consists of a uniform, originally hand–crafted by Bestamiak himself but subsequently "manufactured" by other skilled angelic beings based on his designs, that has many aesthetic variations but a consistent basic form. The most key feature of the Sibiowich uniform is a tall, distinctively pointed hat with a large, circular brim. The uniforms themselves have no magical properties, their special functions being limited to standard formfitting and the symbolic aspect of their basic design being meant to instill discipline and humility. The bodies of the Sibiowiches themselves are corporeal, with durability values of 700–1,000. While still in the initial stages of her training, a Sibiowich possesses and uses a magical, curved baton to assist in casting spells. By the time she has reached a near–peak level of White Magic mastery, this accessory is no longer needed nor discernibly beneficial and is handed down to another, younger Sibiowich as she begins her own studies. In addition, another magical tool, known as a "Wiccha–Charm", is sometimes temporarily attuned to Sibiowiches during parts of their training, floating above their heads in halo–like fashion and augmenting the potency of any spells they cast while equipped with it. Unlike the training baton, the Wiccha–Charm continues to be useful and provide benefit even when a wearer's natural White Magic proficiency is fully–realized. However, Sibiowiches who have completed their primary training are seldom given access to it outside of emergencies and otherwise heated situations. The Sibiowich specimen pictured here is shown with both of these accessories.
As alluded to previously, the Sibiowich is perhaps the most "mortal–like" of all angels in multiple respects, much like the Labeiqers are considered the most angel–like mortals. As stated above, Sibiowiches are imperfect beings who are almost as prone to fault as most mortals and need to be heavily disciplined in order to become proper adherents of their purpose (that being the practice and mastery of White Magic). There is great nuance and variation among their personalities and learning abilities, and they have tendencies to become bored and/or depressed, though usually only for short whiles. Their corporeal, full–featured bodies which need to be covered with clothing are also atypical of angelic beings. There have been more cases of Sibiowiches "going rogue" than with any other type of angel except the unstable and exploitable Harus–Ovactus, though these cases are still rare overall; far more common are instances of Sibiowiches committing, out of genuine lapses of consciousness rather than deliberately turning to evil, isolated transgressions for which they repent soon after and are eventually forgiven.
• Lomshosia: A (roughly) humanoid angelic warrior that serves as a guard in both Paradise and the Temple of Infinity and, in theory, as a stalwart defensive unit among an angelic army. The Lomshosia is a plump, armored figure with both corporeal and extra–corporeal bodily components. It possesses a halo, a relative rarity among "pure" angels that were never mortal humanoids, which is, in its particular, unique case, surrounded by a small aura of fiery Rainbow Energy which is also present on the angel's shoulders and in its lower legs, the latter of which are literally made out of this unique form of Rainbow Energy. The nature of its legs allows (and requires) the Lomshosia to levitate indefinitely, though it lacks free–flight powers and can only float a few feet above the ground. If subjected to a drop from a high altitude, it would fall like any regular object for most of the vertical distance but stop in midair just short of hitting the ground, going unharmed. Lomshosias carry with them at all times handheld shields of moderate size but unparalleled fortitude, the tools being almost completely unbreakable by virtue of obviously magical properties. However, the body of a Lomshosia itself, while hardier than almost any normal mortal, is not nearly so invincible, and the angel must be skilled in moving its shield around itself to block attacks that come its way. When and if a Lomshosia is killed, its shield swiftly evaporates along with its body, preventing enemies from taking and using the mighty tool. The lone eye socket on this angel's face is empty, its actual visual receptors (of which there are usually far more than a single pair) instead being located on the front surface of its shield. This makes proper shield operation an even greater necessity for the Lomshosia, as the tool constitutes not only its source of protection, but its source of vision as well. Note that this angel's eyes are not a vulnerable point, as they are just as nigh–indestructible as the shield itself. The empty eye socket on its face, however, is quite vulnerable if successfully struck. The Lomshosia's durability value, excluding its shield, is 1,800. Although the organic, corporeal components of all Lomshosias are nearly identical, this is not the case with shield and armor designs, which vary greatly between specimens. These angels are intelligent and fully capable of speech, but not very talkative.
Please view large.
Mamiya 6, 75mm Mamiya Lens, Tri-X, Minolta Scan Multi Pro Scanner
© All rights reserved.
The following essay is offered as a pathway to the heart and soul of my photographic images. The photograph to which this essay is attached symbolizes that the dilemma we currently face is spiritual in nature and can only be resolved through proportionate means.
The Concreteness of Spirituality by Gerald L. Campbell
No one in America today, or so it seems, can escape the ubiquitous impact of cynicism and distrust, violence and fear, intemperance and injustice, and the isolation and aloneness that ravages so much of our national life. Statistics on homelessness, substance abuse, youth violence, and corruption within the family -- not to mention the litany of social and economic inequities -- have long told this tale. But they have done so primarily through cold numbers and lifeless correlations.
Yet, lurking in the shadows hides the specter of the autonomous individual. Anthropological atomism is embedded in American culture, and it acts as the wellspring of spiritual alienation. It rages unabated like a firestorm across the land. Its alluring dynamic fragments and distorts the nation’s institutions. It corrupts the lives of present and future generations. More than most realize, its impact mounts a serious spiritual, intellectual, moral, and cultural challenge to an integral America.
Faced with this predicament, Americans carry a greater burden in their hearts than they do on their backs. Alienation or love, pride or humility, indifference or compassion, judgment or mercy – these disjunctive qualities give form to the decisions we make in every aspect of our lives. Whether rich or poor, socially placed or displaced, educated or uneducated, religious, agnostic, or atheist -- whether Caucasian, African-American, Hispanic, Asian, or Native American -- each person wrestles with the transcendent nature of decision. At every juncture, we act to make incarnate qualities that enrich our being and our relations with others -- or we act not to do so. The decision is ours to make.
No matter how we choose, the universality intrinsic to decision offers an enduring reminder that spiritual qualities are the substance of every thought we consider, every action we undertake, every relationship we establish, and every form we make concrete. For this reason, it matters greatly whether our thoughts, actions, relations, or creations are suffused with alienation or love, indifference or compassion, judgment or mercy. For it is out of the dialectical clash of these contradictions that decisions are made and outcomes are formed. No matter how we choose, a force is unleashed by our decision that impacts the quality of our being and the integrity of every person and object we engage.
Even the slightest tinge of spiritual indifference has the potential to sour one’s own life. But it can do much more. It can cause radical and enduring disruptions in the lives of others. Even more, were the dynamics of spiritual alienation to gain sufficient strength, its effects would ripple throughout society. Eventually, its collective intensity would corrupt the living dynamics of the individual, the integrity of institutional life, and the moral fabric of the nation. Already, as statistics indicate, spiritual alienation reflects the heart and soul of our national life.
Given this, what desperately needs healing in America is not just this or that individual, or this or that group. Nor is it this or that value, or this or that institution. Nor is it this or that policy, or this or that leader. No, it is the very soul and culture of America itself that cries out most loudly to be healed, a soul and culture whose ethos pours from the autonomous individual and erupts into the dynamics of spiritual alienation.
To heal America, it is necessary to realize that an affliction of the spirit can never be alleviated through institutional reform. Nor can it be substantially lessened by a reaffirmation of traditional values or the cardinal virtues. Even less can it be assuaged by an effort to restore traditions and customs. Such stratagems have been tried and found wanting. Yet it is interesting to note that in every instance where there was failure, the impediment to success was the same – social atomism.
America’s predicament transcends the reach of such perfunctory solutions. Social, economic, institutional, and moral legitimacy can only be restored through a collective process of healing spiritual alienation. Ultimately, this involves a social, economic, moral, intellectual, cultural, and spiritual transformation.
Short of such dazzling change, certain habits can be nurtured in the meantime that will make a profound difference in our lives. Especially relevant is the forging of quality relations with one another. Each of us, and all together, have the capacity to extend the gift of self to others through simple acts of love, compassion, understanding, and mercy, and to do so without any condition or expectation whatsoever. The building of such relations would truly honor the work of the Spirit in the hard march of man. And it would help alleviate what has become our national predicament … spiritual alienation.
Gerald L. Campbell
Christmas Day 2010
Giorgione Workshop, active in Venice
Adoration of the Shepherds, around 1510
An evening atmosphere full of peace and pastoral magic embeds the miracle of Christ incarnate in a natural setting. Most of the painting is taken up by this poetic depiction. The shepherds and parents are united by awe and humility whilst in their midst Christ lies on the ground, defenceless and naked, about to begin his earthly life. The picture is an incomplete copy of the "Adoration" in Washington considered to be an authentic early work of Giorgione.
Giorgione Werkstatt, tätig in Venedig
Anbetung der Hirten, um 1510
Eine abendliche Stimmung voll Frieden und pastoralem Zauber bettet das Wunder der Menschwerdung Christi in die Natur. Ihre poetische Schilderung nimmt den größten Teil des Gemäldes ein. Ehrfurcht und Demut eint Hirten und Eltern, in deren Mitte am Boden liegend, schutzlos und nackt, Christus sein Erdenleben beginnt. Das Bild ist eine unvollendet gebliebene Wiederholung der als eigenhändiges Frühwerk Giorgiones geltenden "Anbetung" in Washington.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
2009-2019: Sabine Haag as general director
2019– : Eike Schmidt (art historian, designated)
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
1. Ask God to illuminate your heart so you can begin to see the fruits of pride in your life. Ask friends to point out the fruits of pride in your life realizing your heart is exceedingly deceitful. Be self-suspicious.
2. Ask God to convict you point by point (Psalm 139:23-24) and trust that He will. You don't want or need general condemnation, only specific, godly conviction.
3. Confess your pride to God point by point and ask for His forgiveness. Just as importantly, ask Him to cleanse you of all unrighteousness (1 John 1:9).
4. Don't ask God to humble you – the Scripture says to humble yourself (1 Peter 5:6). Humility isn't an emotion; it's a decision of the will to think and act differently.
5. Confess your sins of pride to those you have affected and to your friends. They can help to hold you accountable and bring the on-going encouragement and correction you will need.
6. Ask God to give you a holy hatred for pride and its fruits in your life. Be continually on the alert. Don't allow pride to grow in your heart.
7. Ask God to give you a love for anonymity. Encourage and serve others each and every day. Associate with the lowly.
8. Think much about God and little about yourself. Regularly study the goodness and greatness of God.
9. Live to promote the reputation of God and not your own. Be impressed with God – don't be impressed with yourself. Find your satisfaction in Him and not in your vain accomplishments. 10. Remember your war against pride is life-long. It is not a battle won in a day. But as you faithfully put pride to death and put on humility, you will experience greater freedom and more importantly greater conformity to image and likeness of Christ. In so doing, God will be glorified in your life!
Reference: Reference: The Fifty Fruits of Pride. For the Complete List Please See: www.bethanycommunitychurch.org/resources/docs/1409-the_fi...
Thank you Life for keeping me humble and honest. Thank you for reminding me constantly that self-growth and self-improvement is an ongoing process. Thank you for putting me in situations where I can self-reflect and make adjustments accordingly. Thank you for instilling love and strength in my heart so I can preserver through necessary trails and tribulations.
Vatican Museums, Viale Vaticano, 00165 Roma, Italy
"Behold, what I longed for, I now see. What I hoped for, I now have. On earth I loved him devotedly; now, in heaven, I am united with him."
- Benedictus antiphon for the feast of St Agnes.
This stained glass window by Burne Jones and executed by Morris is in Harris Manchester College, Oxford. It shows a virginal girl holding a lamb, and is meant to be a personification of Humility. But in each of his depictions of the virtues he chose a saint or Biblical figure, and in hagiographical art the saint holding the lamb is Saint Agnes of Rome, whose feast is celebrated on 21 January.
SOMEWHERE IN A PAWNSHOP
I don’t often feel this way, about writing about someone, so soon after they pass. My heart often has felt like writing about someone’s death, but it was never acceptable to do so. What makes this situation different, I cannot explain, perhaps it’s got to do with a recent story I read by John Steinbeck about his good friend Ed Ricketts who died suddenly, tragically, he hung around with Ed on Cannery Row, this was in the 30s. I read the story on the bus ride home to Peterborough just after spending a solemn afternoon with my ill brother Kevin and well reading it seemed to open up some writing tool that doesn’t like to be bothered all the time. And well to be truthful, the place I know Willie the most for, ACME Art and SAILBOAT COMPANY is our Cannery Row.
Willie P. Bennett was a good man, I never knew him to swat a fly, or say a bad thing about anything except the rules that govern the whims of the music industry. Once he spoke derogatorily about a person who brought shame and humility to a good friend, and that is what we all would do in those circumstances. Willie lived for almost eleven years with my good friend Joe, Joe the Hippy. They shared an almost five thousand square foot loft in downtown Peterborough. It was real neat having a celebrity in our midst, albeit an undiscovered diamond. Once, many years ago Willie said, “Chas, it sure would be nice if one of those American Record Companies would give me a contract.” We all know he was at that level, that the music he produced was special, but for some odd reason, he remained a quiet star, which is like the lot a slew of artists must endure. This was right after he was awarded a Juno for the CD Heartstrings. When his co-musician Fred put out a new CD for the ‘Label’ called Dusty a few years back, I asked Willie what he thought of it, after I had endorsed the ‘different’ Fred sound. Willie said, “Chuck, Fred has paid his dues in this business, and if this is what he needs to do to earn a few extra bucks, good for Fred”. Willie thought it was a great album, even though, for whatever reason he did not participate on it.
There’d be times when I would drop into the Acme Art and Sailboat Company (the loft) unannounced, sometimes I’d be playing with a new camera. Willie, sensing my need to take pictures posed in whatever ridiculous situation I found him in. Lying in bed remote control in hand at 1 in the afternoon, sitting by the computer with a dubie and a glass of fine red wine, playing cards with his buddies, Joe and Joe. There were times I’d show up and he’d be wearing cowboy boots and a towel just after a shower and I would say, ‘where the fuck is my camera when I need it’. Such was our folly, he would always smile and tolerate my intrusions,. Sometimes, he’d invite me in to the section of the loft that was his. It was full of instruments, instruments occupied every corner of the huge space. There were two types of organs, a dozen or so guitars, all sizes, a full drum set, an accordion, a leather belt with many harmonicas, I suppose in the differing keys that a musician understands, the stand up bass was on loan to someone, ukuleles, mandolins, antique banjoes, and medium sized guitars with metal fronts, some he was very proud of, microphones, and amplifiers, and such that for myself, it was a real privilege to be allowed access to this mans studio. Once he posed for a photo and mimed some words for me, so that I would get a good shot, he was very conscientious of my need to capture images, he knew that this was just me being a Paparazzi for a few moments, he knew without saying it that I was balancing my careers.
We shared a common past. If I am not mistaken we both come from working class Toronto neighbourhoods. One time I mentioned that I had to fight to be accepted at times and he said he never had anything to do with violence, and while listening to his tunes I don't ever hear words that would deceive this.
A year or so back Willie had a yard sale in his room. Being one of the few visitors to his digs, I was given the opportunity to take gratis what I wanted from a half dozen large banana boxes, things he was discarding. “I’m cleaning up, things I have no longer any use for”. There were VHS tapes, one called Fifty Odd Dollars or something like that shot in a country bar in the Prairies with Fred, another tape was a concert with Emmy Lou Harris, I remember asking, ‘did you ever meet her, what was she like’? Willie said, “Chas, she’s like a bird, she’s so tiny”. So few words, but the exactness of them is unique. At the giveaway I picked up some books, one interested me in particular. It was written by a con, a man who had robbed banks and spent decades in jail, they had met on a ‘train gig’ out west, I read the book and questioned Willie about it later that fall, he could be terribly honest, as he said “I never read it, the topic didn’t interest me”. There were some other books I have in this library from that day, and now I know I will open them up. Many of the titles had to do with Canada, in times gone by, about lumberjacks, and miners and living off the land. There were times that I had to really set my phrases correctly with Willie as he was like a beacon of truth, he could reach a point of truth without mincing words. Of course this was after we got to know each other.
One time I went to ACME with some fine Bass, to cut up and cook then present to Joe and Willie for a dinner. Willie, stumbled out of his quarters, I must admit he could hardly speak, may have been the wine soaked Hashish, anyways, I said, “Willie, I’m going to cut these fish up, you wanna watch”? He just said, and this surprises me that he could speak, “I’m opposed” he ate the fish dinner the next day, but he was opposed to witnessing their slaughter.
From time to time I would be the bearer of fine gifts from the east, articles with exotic names, like Afghan Rifles, Mazar e Sharif, Romeo and Juliet, Birds of Buddha and other such fine things that one could only imagine originated in Asia, and He was a willing participant in the analysis of such fine articles. At the funky kitchen table, with the black speckle painted chairs he, myself, and the Hippy would sit, engrossed in the fine art of testing these rare objects. This was a skill that few can claim to have been involved in. By nights end, we would have chosen the more likely candidate to please the audiences in bigger cities. Lately, this type of work had been limited to ‘local’ sources, and I witnessed some fine ‘goods’ that had been brought from a recent trip he had taken to Duncan B.C. He said, “they make it using a sandwich press, they stand on it to get the needed pressure’. I was happy to pass on something soon after from a garlic press experiment.
Willie had a small heart attack in May 07, on the Twofour Weekend after a gig in Midland. He drove home, but felt weak, all of us were tremendously worried for him. I can witness the things he did to change his life, to encourage living. This summer he rode bike, he kayaked, he walked, he drank and smoked less, ate better, took up Yoga, stretched his muscles relentlessly. He was a new man, a new rebuilt Willie. Part way through the year, I asked bluntly, as I usually do, how it was coming along, and he stopped his exercises to explain his goals, the objective and for the first time I understood, the complexity of his business, as he spoke unerringly about the degree of energy that was required to play his music. Willie at that time, it was mid summer, said, “I get tired easily, and I have a ways to go”. There was no worry, whatsoever in his face, just determination.
Not to many weeks ago, a strange thing happened. Willie asked me my shoe size, I replied, “Joe told me you were giving away shoes, don’t think you have anything that would fit me, I don’t have feet, I have hooves, size 12 six EEEEEE. Besides, I don’t wear cowboy boots”. As it had been a fine pair of leather cowboy boots he had given to Joe. Willie said, “I didn’t have cowboy boots in mind” and left it at that, I was too shy to ask what he was intending for me. But, in reflection, and maybe I am being a little sentimental here, he may have seen my weathered black two year old Chuck Taylors and thought I could use something else. He knew intuitively what a struggle it is to meet the bills, to keep the roof up.
Past spring, I was feeling the pinch as they say, I intentionally waited to the last minute to buy tickets for the Fred and Willie show and the Six Strings Nation fundraiser. One week before the show Julia went to get seats at Moondance Records, bad news, they were sold out. Joe the Hippy petitioned Willie on our behalf, we were put on the complimentary list. It was a great show. Later this summer Blackie and the Rodeo Kings, and Fred Eaglesmith, Washboard Hank and others put on a benefit for Willie in the same room, the Market Hall. This time, I didn’t wait till the show was sold out. As usual Julia and I and Joe the Hippy and Nicole a female friend of Joes sat beside the sound man. What a great night it was. Billy Heffernan who had opened for Willie years earlier was there, as were many luminaries, but mostly I just recall all of this love being in the room. Willie came on towards the end and a hush came over the crowd after the applause had settled down. There he was, alive and kicking, a big white smile to match the glowing whites of his eyes. Fred was at his best, like a modern day Gene Autry in that big ten gallon hat. Some quite close to Willie told me ‘when Willie went on the road to play with Fred, to stand at his side, it was like asking Gretzky to play goal’. I was so happy, I could have cried. There was more action at the Moho afterwards, but I am too far removed from using stimulants to keep me going that I passed.
As we drove downtown, I couldn’t get the car going, in our excitement to get to the show I had left the lights on and killed the battery. Joe the Hippy saw that his girl got to her car safely and come over and gave us the saddest news about his gig at the Canary, then the CAA came and in this mountain of emotion, the joy of the show, the sadness of Joe losing his gig, we passed down the main drag of George a Street and there was Fred, standing alone, at the corner of George and Simcoe, wearing the big white hat, and a cowboy shirt waiting for the light to change. I stuck my head out the window and shouted, “great show tonight Fred” to which he nodded, “thank yaa’ll it was for Willie”. Then he smiled and gently raised his hand to the big hat and gave it a small tip.
Pardon Me For Interrupting
I was last in Willies company this past Wednesday afternoon. Joe the Hip and I were having our usual chat about things, Joe had wanted to see some photos I had recently taken, so I had brought some copies. Joe the Hippy, Joe Hall and Willie P were just finishing up a short poker game, they were counting their chips each chip equals ten cents, the big winner that day was Joe Hall, Willie had lost a whopping $3.30 and the Hippy came way back to lose only .70 cents. Some afternoons lately I would drop into ACME and someone might be there playing cards on the big old pool table. It had been a long time since anyone had shot a game of pool. Cards and table top hockey were the popular pastimes. Smoke circled in the air, Willie was putting away his change in a yellow Altoids tin, I sat down beside him and noticed a flashy eyeglass case that read VERSACE. “Are those real Versaces”? I asked. Willie grinned and when I put them on he showed me how to use them, the top part for distance, the bottom for close-ups, we discussed our similar sight difficulty in seeing the computer screen with out strong glasses and Willie explained why, but I’m not technically wound and I still don’t know what he meant. I put the glasses on, for some reason I asked if he ever wore the glasses on stage as I thought these would look cool, he replied by saying, “Chas I never wear glasses on stage because they fall down my nose (at this he let the glasses fall down on his beak and changed his sound to a nasal tone) and I sound like Willie Nelson”. I replied, “that’s not all that bad a way to sound”. We all smiled.
Joe Hall had to go do some work and he promised to come back that night, as Wednesdays are the night for the big weekly game. I moved over to an old comfortable easy chair by a window, the sun was beaming in, I pointed to Joe the Hippy the dead plants to my left, Joe said, “they’ve been dead for years” Their branches had mostly fallen on to the ochre red painted floor. I commented on what a wonderful room it was to sit in when the sun was shining in and Joe Hall, responded by saying he often sat in here alone when he’d come over, just pick up a book and relax. As Joe left he said, ‘goodbye friends’ and he was gone.
Joe Stable took the photos I had brought and put them in his room to look at later. When he came back from his room he had with him a small bottle of port from the year 1988. He placed it by my black winter coat. I thanked him and made a comment something like, ‘at least I’ll have something to drink next week’. We continued gabbing, and I don’t think it’s so wrong to say that both of us spoke about our woes, Joe talked about his financial situation, myself I didn’t perk things up much as my last living brother Kevins failing health was added to the chat. The sun shone in. From Willies room the sound of an instrument being plucked carried through the hallway to us and then Willie strolled in like a wandering minstrel, gently plucking the tiny instrument, he spoke some soft words, “how beautiful a sound the ukulele makes, is that a twenty year old bottle of port?” he turned and left the room, at the doorway, he turned back took a small bow and said with a Cheshire grin, “Pardon me for Interrupting”.
Shortly after, Joe and I were continuing our chat, our business completed and Willie the rascal padded gently into the sun filled room, this time he was plucking the missing strings of an odd looking instrument he called a ukejo. There was a silly grin on his face, that came from his eyes, he offered me a glass of wine, I declined saying it was a little early in the day for me. We admired the small instrument, he handed it to me. The white leather skin taughtly covered the circular section, I tapped on it like a drum and asked if it could be used for that and Willie said, “it could, but I have lots of drums, I would not have to use this”. Our attentions then went to the construction of this fine old piece of American folk History. I asked where it came from, ‘oh some pawn shop in the States’. I knew of Willies penchant for collecting old instruments. Willie said, “it looks as if the string turners are made of Bakelite and that will help me catalog it and find out its origins, all it needs is a bridge and some strings and it will work just fine, collecting these things is a good way to stay out of the bars when you are on the road”. As he left the room, again, he turned and said, “Pardon me for Interrupting”.
I had gotten up at one point to put my coat on and the bottle of Port that Joe had given me sort of softly fell to the carpeted section of the floor, a small fall that did no damage to the bottle. Willie told me, “you can’t drink that right away, you’ll have to let that sit a week to settle, you’ve bruised it. If you don’t believe me, take any bottle of booze that you have and give it a shake then pour yourself a shot, you’ll see, it won’t taste any good”. Willie knew much more about spirits than I. Joe stated, “we’re going to pick up Willies laundry”. Willie asked how the weather was, I said, ‘about thirty F, real nice’, “so I won’t need these pair of pants to go out”? ‘No it’s beautiful out’. I said goodbye, ‘see you guys soon’.
The sun was shining, I was full of friendship, there is no greater feeling.
Made for Macro Mondays: Humility (the snails are just handy models in this setup)
The story behind this tricky task: The Olympic Winter Games took place in Nagano in 1998. One of the event, 15 kilometer cross-country skiing, was won by the norwegian Bjørn Daehlie (by the way the greatest cross-country skier in the world ever). After the race he waited for the contender that finished in last place, Philip Boit, and congrated him with the race. Not very unusual except that Boit came from Kenya (Africa) and not exactly very used to snow. Bjærn acknowledged Boit´s achievement. The flower ceremony for the winners had to wait that day.
Boit later named his newborn son Dæhlie Boit. In this year the World Championship where held in Oslo, Norway. Bjærn Dæhlie attended Boit´s final championship in the stands together with the Boit´s family.
"It bent its head in joy and humility.
“Beautiful Flower!” said the Sunbeams, “how graceful and delicate you are!
You are the first, you are the only one!
You are our love! You are the bell that rings out for summer, beautiful summer, over country and town.
All the snow will melt; the cold winds will be driven away; we shall rule; all will become green, and then you will have companions, syringas, laburnums, and roses;
but you are the first, so graceful, so delicate!”
I watched these two women walk on their knees all the way to the front of this Catholic cathedral in Mexico. This was a little more than two weeks before Christmas. Amazing devotion.
Keywords: worship, worshiping, celebrate, celebration, christ, church, colima, crucifix, dedication, deity, esteem, glorify, glory, heavenly, homage, honor, humble, humility, jesus, kneel, kneeling, pray, praying, people, religion, religious, respect, respectful, sacrament, sacrifice,, solemn, submission, submit, tribute,