View allAll Photos Tagged Inclusivity
Der unverbaute Balkonblick nach Süden ins Cuxhaven-Hinterland – hier im Mietpreis inbegriffen.
Die freie Aussicht ist in Cuxhaven nicht selbstverständlich. Die Zahl großer mehrgeschossiger Gebäude ist in den Touristenzentren von Döse und Duhnen beachtlich. Und an etlichen Stellen sieht man aktuell Bauaktivitäten erheblicher Größenordnungen.
All inclusive, like the hotel I have stayed in. With views like this just meters away, I had to see it to believe it. And so, I hope, one day will you.
Watch this with passion of “Amado Mio” www.youtube.com/watch?v=sCbzWiJLVhk
A Hindu pilgrim sits in the sun at the premises of Pashupatinath Temple in Kathmandu, Nepal. One of the greatest fears in life is the fear of getting old and being rejected. “Love you when you’re standing tall, but nobody knows you when you're falling. All you have to do is call, but nobody ever hears the silent scream.”
Andreas Bahn 2009___acrylic on canvas___80x100cm___andreasbahn.blogspot.com/
I love living on Portland, because no one cares who you are or what you've done... or what you are likely to do.
I hope you enjoy this...
In Free Portland News... delivered to every house.. September 2016
"This Inclusive Playground has been named as a National Demonstration Site for meeting best practices in design and program elements" (from the sign posted next to the playground)
More info from Playcore.
Go North East's Washington-based Volvo B9TL/Wright Eclipse Gemini 2 6050 (NK12 GDE) is pictured here at, , whilst on a promotional photoshoot, after being repainted and branded in a commemorative rainbow livery. 25/06/20
During the Coronavirus (COVID-19) crisis, Go North East colleagues have demonstrated some exceptional team spirit, shown across the whole company, with colleagues coming together like never before to face many challenges with great strength, pragmatism and positivity.
To take everyone’s great efforts to the next level in working to make Go North East's company culture kinder, more inclusive and mutually supportive, whilst also improving engagement with the communities we serve, the company is launching a new internal initiative called ‘One Team GNE’.
Bus 6050, which was already planned for repaint due to the impending delivery of new vehicles for the "Red Arrows" X1 service, has been adorned in a striking ‘retro’ multi-coloured scheme.
Inspired by a re-work of the company’s infamous 1985 'don't judge a bus by its colour' initiative alongside the rainbow image that has been so prevalent during the coronavirus crisis.
The vehicle will become a visual symbol of the company’s ‘One Team GNE’ colleague and community network being launched to build upon the great strength and team spirit shown by its team during the depths of the crisis, to work together to build even better relations across the company and the communities it serves.
They love nettles and this little swarm of mini munchers has managed to strip a patch.
www.ukbutterflies.co.uk/species.php?species=io
Larva
The behaviour of the larva is very similar to that of the Small Tortoiseshell, the two species often being seen together. In the first instar, Peacock larvae are very similar to those of the Small Tortoiseshell. However, mature Peacock larvae are jet black for the most part, whereas Small Tortoiseshell larvae are typically dark green with a pair of yellow stripes running down the length of their sides.
On emerging from their eggs, Peacock larvae build a communal web near the top of the plant and from which they emerge to bask and feed and are usually highly conspicuous. As the larvae grow, they move to new plants, building new webs along the way. Webs are decorated with shed larval skins and droppings and are easily found.
Larvae have several techniques to avoid predation. When disturbed, a group of larvae will often jerk their bodies from side to side in unison, which must be a formidable sight to any predator. The larvae will also regurgitate green fluid and will, if necessary, curl up in a ball and drop to the ground. Larvae feed both during the day and at night. There are 5 instars in total.
The primary larval foodplant is Common Nettle (Urtica dioica). Hop (Humulus lupulus) and Small Nettle (Urtica urens) are also used.
1st Instar
"The larva eats away the crown of the egg, and all hatch at once. Those at the bottom of the batch immediately start feeding through the leaf, and all live in a dense mass, spinning a web over the leaf. Directly after emergence the larva measures only 1.6 mm. long; the body is cylindrical; the head large, black and shining, beset with fine black hairs. On the body are four longitudinal rows of long, fine, black, simple hairs with bulbous bases; they are slightly curved and have the extreme tips very slightly clubbed and whitish. On the ventral surface and claspers are paler fine straight hairs; the spiracles are outlined with black. The surface is finely granular, with minute, raised, dark points. The colour is a very light ochreous-green, almost white-green." - Frohawk (1924)
2nd Instar
"The first moult was on June 5th, 1908, the first stage lasting six days. Before the second moult, nine days old, it measures 8 mm. in length. It is a good deal similar to the previous stage; the base of the longest hairs now form black conical tubercles, which are beset with bristles, and each terminates in a long, slightly serrated black hair. There are numerous black serrated hairs of different lengths, some extremely small, scattered over the body, which is granulated with fine black points. The head is shining black, with minute black bristles. The surface of the body is very shining, of a mottled olive-brown, blotched with pale ochreous round each of the largest tubercles. They live and feed in company. Preparatory to moulting they all assemble in a dense mass on a thick carpet of web spun over the eaten part of the plant, and thereon, packed together, undergo the second moult. When disturbed they all throw up the anterior half of their bodies in the form of a hook (thus c__) and remain so for a few minutes." - Frohawk (1924
3rd Instar
"The second moult occurred on June 9th, 1908, the second stage occupying four days. Before the third moult, thirteen days old, it measures from 12.7 mm. to 14.8 mm. long. In this stage a further development in the size of the tubercles is noticeable, especially the two dorsal rows, which are of considerable length and terminate, as all the shorter ones do, with long, slightly curved hairs. The ground colour is purplish-dark-brown, the longer hairs, which are scattered over the body, are placed on white dots. The head and other details of the surface are as in the previous stage; the claspers are pale olive-ochreous. They still live gregariously, and, as in the previous stage, prior to moulting they all assemble in a dense pack, forming a conspicuous black mass. In this stage they consume a great quantity of food; and when touched or irritated exude from the mouth a comparatively large drop of green liquid; and when slightly disturbed they throw up their heads and fore part of the body as in the last stage, and if still further annoyed or shaken they fall to the ground with much wriggling, at the same time lowering themselves by a silk thread." - Frohawk (1924)
4th Instar
"The third moult June 13th, 1908. The third stage also lasted four days. Before fourth moult, eighteen days old, the larva is 25.4 mm. in length; very similar to the previous stage. All the tubercles are well developed, the two dorsal rows being about twice the length of the sub-dorsal and lateral series. The white spots are now more distinct and numerous. The head and legs are shining black, as well as the anal pair of claspers. The ground colour is a purple-black; in other respects the details are the same as in the previous stage. Before moulting they again assemble in a dense mass." - Frohawk (1924)
5th Instar
"The fourth and last moult took place on June 18th, 1908, the fourth stage lasting five days. After fourth moult, fully grown, about twenty-eight days old, it averages in length about 41 .3 mm., some specimens as much as 44 mm. long. It is fairly cylindrical and comparatively slender; the first segment is much the smallest. There are six longitudinal rows of black shining spines from the fifth to eleventh segments inclusive; the second and third segments have each only two dorsal spines, which are longer than those on the other segments; the fourth and anal segments have each four spines; the first segment has no spines, but a transverse ridge of fine black hairs. The spines are sub-dorsal, super-spiracular and sub-spiracular. They are long and shining black, sharply pointed, and bear numerous bristles of various lengths; the body is densely covered with minute black bristles, which adds intensity to the rich velvety-black ground colour. At the segmental divisions the surface is smooth and of a dull leaden-black. Each segment is encircled with numerous pure white globular warts, each emitting a fine white hair; the largest are in front of the spiracles. On the first segment is a dorsal, shining, black, transverse disc, and two round ones on the anal segment; the first is small and adjoins the eleventh segment, the other forms a large rounded knob on the extremity. The head and legs are shining black and thickly studded with black bristles of varying lengths; the claspers are ochreous-brown at the base, the middle portion bright ochreous, the foot palest. Several of the larvae were fully grown on June 24th (the fifth stage occupying six days), making the larval period twenty-seven days: twenty-five days feeding and two days occupied in changing to pupa." - Frohawk (1924)
Mother and daughter at Southampton Gay Pride 2022.
Photographed at the request of the people in the photograph.
Southampton, UK.
Aff2CROPMandD1_5021
Just smiling and waiting....
Tracy Prince's Captivating World of Fashion and Femme Elegance
Welcome to Tracy Prince's enchanting realm, a mesmerizing photo blog that celebrates the artistry of fashion, beauty, and the alluring allure of femininity. With a keen eye for elegance and a passion for exploring the spectrum of style, Tracy captures the essence of glamour through her lens, bringing you a collection that transcends boundaries and defies conventions.
In Tracy's world, "high heels" are not just a fashion statement; they are an embodiment of empowerment and confidence. Whether it's the sleek lines of thigh-high boots or the classic elegance of stiletto heels, each photograph tells a story of grace and poise. Tracy explores the world of heels with an unwavering focus on details, showcasing the intricate designs that make them not just footwear but works of art.
Lingerie takes center stage in Tracy's visual symphony. Delicate fabrics, such as satin and lace, weave a tale of sensuality and sophistication. From the timeless beauty of "tan pantyhose" to the provocative allure of "black stockings," Tracy's lens captures the delicate nuances of intimate apparel. Garter belts, a timeless accessory, add a touch of vintage charm, creating a perfect harmony between classic and contemporary femininity.
Tracy embraces the art of "X-DRESS," navigating the realm of crossdressing with a respectful and inclusive lens. Her collection celebrates the diversity within the crossdressing community, showcasing individuals expressing their identity with confidence and style. Tracy's portrayal of "tranny schoolgirl," "tranny in stockings," and "tranny in pantyhose" is a testament to the beauty that emerges when personal expression meets the canvas of fashion.
"Beautiful crossdresser," "classy crossdresser," and "sexy crossdresser" are not just tags in Tracy's blog; they encapsulate the spectrum of elegance she captures. Each image resonates with a unique blend of style and individuality, breaking stereotypes and embracing the beauty that comes with embracing one's true self.
The interplay of light and fabric highlights the shimmering allure of "shiny pantyhose" and the timeless charm of "nylons crossdresser." Tracy's lens transforms each image into a narrative, where every detail contributes to the larger story of empowerment and self-discovery.
"Thigh high boots" make a bold statement in Tracy's visual narrative, symbolizing strength and confidence. Paired with "satin babe" or "nylon," these boots become a symbol of fierce femininity, challenging traditional notions of beauty and style.
Tracy's exploration of beauty is not limited to a specific gender. Whether it's a "transvestite," "tgirl," "trans," or "transgender," Tracy's lens captures the unique beauty that transcends labels. "Sexy shemale," "transexual," and "transgender beauty" become expressions of confidence and authenticity, challenging societal norms and celebrating the diversity of gender expression.
In the world of Tracy Prince, "Femme" is not just a descriptor; it's a celebration of the myriad ways individuals express their femininity. Leather, boots, and the timeless appeal of "nylon" and "Thigh High Stockings" become tools for self-expression, allowing each person to craft their unique narrative.
As Tracy navigates the intricate landscape of fashion and beauty, she brings to light the complexity and depth of personal expression. "Pantyhose high heels," "stockings high heels," "garter belt stockings high heels," and "nylons high heels" are not just combinations of clothing items; they are the building blocks of a visual symphony, a harmonious blend of textures and colors that create a stunning visual tableau.
Tracy's lens explores the realm of "fellatrix," recognizing the beauty in the art of seduction. Whether it's a provocative gaze or a subtle pose, each image captures the essence of allure and confidence. Tracy celebrates the beauty of "slutty women" and "classy crossdressers" alike, breaking down barriers and embracing the diversity of expression within the world of fashion.
In Tracy Prince's photo blog, each image is a brushstroke on the canvas of beauty and self-expression. Through her lens, the world of fashion and femme elegance becomes a celebration of diversity, individuality, and the timeless allure of personal style. Step into Tracy's captivating world, where every photograph tells a story of empowerment, confidence, and the endless possibilities that come with embracing one's true self.
PENTAX K-1 • FF Mode • 6400 ISO • Pentax FA* 85mm F1.4 (IF) SE
Veal Cutlet with Cream and Mushrooms, French Fries and Fine Curly Salad
Escalope de Veau à la Crème et Champignons, Frites et Salade de Frisée Fine
Local: Pousada Villa Paolucci - (entôrno) Tiradentes (MG).
Lei do Direito Autoral nº 9.610, de 19 de Fevereiro de 1998: proibe a reprodução ou divulgação com fins comerciais ou não, em qualquer meio de comunicação, inclusive na Internet, sem prévia consulta e aprovação do autor.
All of my photos are under full copyright. If you would like to use any of them, please, contact me.
follow us on facebook or 500px for more pictures
Get the book here www.urbexery.com/timeless/
This is the first in a series of "Friday face" candid photos taken at the recent Lumenator event flic.kr/p/2nrGedP. One of the main objectives of Green Space Dark Skies is to encourage groups of people who do not naturally see the countryside as their destination to feel more at home there.
"Green Space Dark Skies is about class and landscape, race and landscape, disability and landscape"
(In case anyone asks, one of the conditions of entry was that you gave permission to be photographed at the event. However, should anyone ask for their photo to be removed I will do so)
A cúpula (o Domo), no interior do Panteão, em Roma.
The Dome, at Pantheon's Interior, in Rome.
A text, in english, from Wikipedia, the free encyclopedia:
Pantheon, Rome.
The Pantheon (Latin: Pantheon, from Greek: Πάνθειον, meaning "Temple of all the gods") is a building in Rome which was originally built as a temple to all the gods of Ancient Rome, and rebuilt circa 126 AD during Hadrian's reign. The intended degree of inclusiveness of this dedication is debated. The generic term pantheon is now applied to a monument in which illustrious dead are buried. It is the best preserved of all Roman buildings, and perhaps the best preserved building of its age in the world. It has been in continuous use throughout its history. The design of the extant building is sometimes credited to Trajan's architect Apollodorus of Damascus, but it is equally likely that the building and the design should be credited to Emperor Hadrian's architects, though not to Hadrian himself as many art scholars once thought. Since the 7th century, the Pantheon has been used as a Roman Catholic church. The Pantheon is the oldest standing domed structure in Rome. The height to the oculus and the diameter of the interior circle are the same, 43.3 metres (142 ft).
n the aftermath of the Battle of Actium (31 BC), Agrippa built and dedicated the original Pantheon during his third consulship (27 BC). Agrippa's Pantheon was destroyed along with other buildings in a huge fire in 80 AD. The current building dates from about 126 AD, during the reign of the Emperor Hadrian, as date-stamps on the bricks reveal. It was totally reconstructed with the text of the original inscription ("M·AGRIPPA·L·F·COS·TERTIVM·FECIT", standing for Latin: Marcus Agrippa, Lucii filius, consul tertium fecit translated to "'Marcus Agrippa, son of Lucius, Consul for the third time, built this") which was added to the new facade, a common practice in Hadrian's rebuilding projects all over Rome. Hadrian was a cosmopolitan emperor who travelled widely in the East and was a great admirer of Greek culture. He might have intended the Pantheon, a temple to all the gods, to be a kind of ecumenical or syncretist gesture to the subjects of the Roman Empire who did not worship the old gods of Rome, or who (as was increasingly the case) worshipped them under other names. How the building was actually used is not known.
Cassius Dio, a Graeco-Roman senator, consul and author of a comprehensive History of Rome, writing approximately 75 years after the Pantheon's reconstruction, mistakenly attributed the domed building to Agrippa rather than Hadrian. Dio's book appears to be the only near-contemporary writing on the Pantheon, and it is interesting that even by the year 200 there was uncertainty about the origin of the building and its purpose:
Agrippa finished the construction of the building called the Pantheon. It has this name, perhaps because it received among the images which decorated it the statues of many gods, including Mars and Venus; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens. (Cassius Dio History of Rome 53.27.2)
The building was repaired by Septimius Severus and Caracalla in 202 AD, for which there is another, smaller inscription. This inscription reads "pantheum vetustate corruptum cum omni cultu restituerunt" ('with every refinement they restored the Pantheon worn by age').
In 609 the Byzantine emperor Phocas gave the building to Pope Boniface IV, who converted it into a Christian church and consecrated it to Santa Maria ad Martyres, now known as Santa Maria dei Martiri.
The building's consecration as a church saved it from the abandonment, destruction, and the worst of the spoliation which befell the majority of ancient Rome's buildings during the early medieval period. Paul the Deacon records the spoliation of the building by the Emperor Constans II, who visited Rome in July 663:
Remaining at Rome twelve days he pulled down everything that in ancient times had been made of metal for the ornament of the city, to such an extent that he even stripped off the roof of the church [of the blessed Mary] which at one time was called the Pantheon, and had been founded in honor of all the gods and was now by the consent of the former rulers the place of all the martyrs; and he took away from there the bronze tiles and sent them with all the other ornaments to Constantinople.
Much fine external marble has been removed over the centuries, and there are capitals from some of the pilasters in the British Museum. Two columns were swallowed up in the medieval buildings that abbutted the Pantheon on the east and were lost. In the early seventeenth century, Urban VIII Barberini tore away the bronze ceiling of the portico, and replaced the medieval campanile with the famous twin towers built by Maderno, which were not removed until the late nineteenth century. The only other loss has been the external sculptures, which adorned the pediment above Agrippa's inscription. The marble interior and the great bronze doors have survived, although both have been extensively restored.
Since the Renaissance the Pantheon has been used as a tomb. Among those buried there are the painters Raphael and Annibale Carracci, the composer Arcangelo Corelli, and the architect Baldassare Peruzzi. In the 15th century, the Pantheon was adorned with paintings: the best-known is the Annunciation by Melozzo da Forlì. Architects, like Brunelleschi, who used the Pantheon as help when designing the Cathedral of Florence's dome, looked to the Pantheon as inspiration for their works.
Pope Urban VIII (1623 to 1644) ordered the bronze ceiling of the Pantheon's portico melted down. Most of the bronze was used to make bombards for the fortification of Castel Sant'Angelo, with the remaining amount used by the Apostolic Camera for various other works. It is also said that the bronze was used by Bernini in creating his famous baldachin above the high altar of St. Peter's Basilica, but according to at least one expert, the Pope's accounts state that about 90% of the bronze was used for the cannon, and that the bronze for the baldachin came from Venice. This led the Roman satirical figure Pasquino to issue the famous proverb: Quod non fecerunt barbari, fecerunt Barberini ("What the barbarians did not do, the Barberinis [Urban VIII's family name] did")
In 1747, the broad frieze below the dome with its false windows was “restored,” but bore little resemblance to the original. In the early decades of the twentieth century, a piece of the original, as could be reconstructed from Renaissance drawings and paintings, was recreated in one of the panels.
Also buried there are two kings of Italy: Vittorio Emanuele II and Umberto I, as well as Umberto's Queen, Margherita. Although Italy has been a republic since 1946, volunteer members of Italian monarchist organizations maintain a vigil over the royal tombs in the Pantheon. This has aroused protests from time to time from republicans, but the Catholic authorities allow the practice to continue, although the Italian Ministry of Cultural Heritage is in charge of the security and maintenance.
The Pantheon is still used as a church. Masses are celebrated there, particularly on important Catholic days of obligation, and weddings.
The building is circular with a portico of three ranks of huge granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment opening into the rotunda, under a coffered, concrete dome, with a central opening (oculus), the Great Eye, open to the sky. A rectangular structure links the portico with the rotunda. Though often still drawn as a free-standing building, there was a building at its rear into which it abutted; of this building there are only archaeological remains.
In the walls at the back of the portico were niches, probably for statues of Caesar, Augustus and Agrippa, or for the Capitoline Triad, or another set of gods. The large bronze doors to the cella, once plated with gold, still remain but the gold has long since vanished. The pediment was decorated with a sculpture — holes may still be seen where the clamps which held the sculpture in place were fixed.
The 4,535 metric ton (5,000 tn) weight of the concrete dome is concentrated on a ring of voussoirs 9.1 metres (30 ft) in diameter which form the oculus while the downward thrust of the dome is carried by eight barrel vaults in the 6.4 metre (21 ft) thick drum wall into eight piers. The thickness of the dome varies from 6.4 metres (21 ft) at the base of the dome to 1.2 metres (4 ft) around the oculus. The height to the oculus and the diameter of the interior circle are the same, 43.3 metres (142 ft), so the whole interior would fit exactly within a cube (alternatively, the interior could house a sphere 43.3 metres (142 ft) in diameter). The Pantheon holds the record for the largest unreinforced concrete dome. The interior of the roof was possibly intended to symbolize the arched vault of the heavens. The Great Eye at the dome's apex is the source of all light in the interior. The oculus also serves as a cooling and ventilation method. During storms, a drainage system below the floor handles the rain that falls through the oculus.
The interior features sunken panels (coffers), which, in antiquity, may have contained bronze stars, rosettes, or other ornaments. This coffering was not only decorative, but also reduced the weight of the roof, as did the elimination of the apex by means of the Great Eye. The top of the rotunda wall features a series of brick-relieving arches, visible on the outside and built into the mass of the brickwork. The Pantheon is full of such devices — for example, there are relieving arches over the recesses inside — but all these arches were hidden by marble facing on the interior and possibly by stone revetment or stucco on the exterior. Some changes have been made in the interior decoration.
It is known from Roman sources that their concrete is made up of a pasty hydrate of lime, with pozzolanic ash (Latin pulvis puteolanum) and lightweight pumice from a nearby volcano, and fist-sized pieces of rock. In this, it is very similar to modern concrete. No tensile test results are available on the concrete used in the Pantheon; however Cowan discussed tests on ancient concrete from Roman ruins in Libya which gave a compressive strength of 2.8 ksi (20 MPa). An empirical relationship gives a tensile strength of 213 psi (1.5 MPa) for this specimen. Finite element analysis of the structure by Mark and Hutchison found a maximum tensile stress of only 18.5 psi (0.13 MPa) at the point where the dome joins the raised outer wall. The stresses in the dome were found to be substantially reduced by the use of successively less dense concrete in higher layers of the dome. Mark and Hutchison estimated that if normal weight concrete had been used throughout the stresses in the arch would have been some 80% higher.
The 16 gray granite columns Hadrian ordered for the Pantheon's pronaos were quarried at Mons Claudianus in Egypt's eastern mountains. Each was 39 feet (11.8 m) tall, five feet (1.5 m) in diameter, and 60 tons in weight. These were dragged on wooden sledges when transporting on land. They were floated by barge down the Nile and transferred to vessels to cross the Mediterranean to the Roman port of Ostia where they were transferred back onto barges and up the Tiber to Rome.
As the best-preserved example of an Ancient Roman monumental building, the Pantheon has been enormously influential in Western Architecture from at least the Renaissance on; starting with Brunelleschi's 42-meter dome of Santa Maria del Fiore in Florence, completed in 1436 – the first sizeable dome to be constructed in Western Europe since Late Antiquity. The style of the Pantheon can be detected in many buildings of the nineteenth and twentieth centuries; numerous city halls, universities and public libraries echo its portico-and-dome structure. Examples of notable buildings influenced by the Pantheon include: the Panthéon in Paris, the Temple in Dartrey, the British Museum Reading Room, Manchester Central Library, Thomas Jefferson's Rotunda at the University of Virginia, the Rotunda of Mosta, in Malta, Low Memorial Library at Columbia University, New York, the domed Marble Hall of Sanssouci palace in Potsdam, Germany, the State Library of Victoria, and the Supreme Court Library of Victoria, both in Melbourne, Australia, the 52-meter-tall Ottokár Prohászka Memorial Church in Székesfehérvár, Hungary, Holy Trinity Church in Karlskrona by Nicodemus Tessin the Younger, Sweden, The National Gallery of Art West Building by John Russell Pope, located in Washington, D.C, as well as the California State Capitol in Sacramento.
The present high altar and the apse were commissioned by Pope Clement XI (1700-1721) and designed by Alessandro Specchi. In the apse, a copy of a Byzantine icon of the Madonna is enshrined. The original, now in the Chapel of the Canons in the Vatican, has been dated to the 13th century, although tradition claims that it is much older. The choir was added in 1840, and was designed by Luigi Poletti.
The first niche to the right of the entrance holds a Madonna of the Girdle and St Nicholas of Bari (1686) painted by an unknown artist. The first chapel on the right, the Chapel of the Annunciation, has a fresco of the Annunication attributed to Melozzo da Forli. On the left side is a canvas by Clement Maioli of St Lawrence and St Agnes (1645-1650). On the right wall is the Incredulity of St Thomas (1633) by Pietro Paolo Bonzi.
The second niche has a 15th century fresco of the Tuscan school, depicting the Coronation of the Virgin. In the second chapel is the tomb of King Victor Emmanuel II (died 1878). It was originally dedicated to the Holy Spirit. A competition was held to decide which architect should be given the honor of designing it. Giuseppe Sacconi participated, but lost — he would later design the tomb of Umberto I in the opposite chapel. Manfredio Manfredi won the competition, and started work in 1885. The tomb consists of a large bronze plaque surmounted by a Roman eagle and the arms of the house of Savoy. The golden lamp above the tomb burns in honor of Victor Emmanuel III, who died in exile in 1947.
The third niche has a sculpture by Il Lorenzone of St Anne and the Blessed Virgin. In the third chapel is a 15th-century painting of the Umbrian school, The Madonna of Mercy between St Francis and St John the Baptist. It is also known as the Madonna of the Railing, because it originally hung in the niche on the left-hand side of the portico, where it was protected by a railing. It was moved to the Chapel of the Annunciation, and then to its present position some time after 1837. The bronze epigram commemorated Pope Clement XI's restoration of the sanctuary. On the right wall is the canvas Emperor Phocas presenting the Pantheon to Pope Boniface IV (1750) by an unknown. There are three memorial plaques in the floor, one conmmemorating a Gismonda written in the vernacular. The final niche on the right side has a statue of St. Anastasio (1725) by Bernardino Cametti.
On the first niche to the left of the entrance is an Assumption (1638) by Andrea Camassei. The first chapel on the left, is the Chapel of St Joseph in the Holy Land, and is the chapel of the Confraternity of the Virtuosi at the Pantheon. This refers to the confraternity of artists and musicians that was formed here by a 16th-century Canon of the church, Desiderio da Segni, to ensure that worship was maintained in the chapel. The first members were, among others, Antonio da Sangallo the younger, Jacopo Meneghino, Giovanni Mangone, Zuccari, Domenico Beccafumi and Flaminio Vacca. The confraternity continued to draw members from the elite of Rome's artists and architects, and among later members we find Bernini, Cortona, Algardi and many others. The institution still exists, and is now called the Academia Ponteficia di Belle Arti (The Pontifical Academy of Fine Arts), based in the palace of the Cancelleria. The altar in the chapel is covered with false marble. On the altar is a statue of St Joseph and the Holy Child by Vincenzo de Rossi. To the sides are paintings (1661) by Francesco Cozza, one of the Virtuosi: Adoration of the Shepherds on left side and Adoration of the Magi on right. The stucco relief on the left, Dream of St Joseph is by Paolo Benaglia, and the one on the right, Rest during the flight from Egypt is by Carlo Monaldi. On the vault are several 17th-century canvases, from left to right: Cumean Sibyl by Ludovico Gimignani; Moses by Francesco Rosa; Eternal Father by Giovanni Peruzzini; David by Luigi Garzi and finally Eritrean Sibyl by Giovanni Andrea Carlone.
The second niche has a statue of St Agnes, by Vincenco Felici. The bust on the left is a portrait of Baldassare Peruzzi, derived from a plaster portrait by Giovanni Duprè. The tomb of King Umberto I and his wife Margherita di Savoia is in the next chapel. The chapel was originally dedicated to St Michael the Archangel, and then to St. Thomas the Apostle. The present design is by Giuseppe Sacconi, completed after his death by his pupil Guido Cirilli. The tomb consists of a slab of alabaster mounted in gilded bronze. The frieze has allegorical representations of Generosity, by Eugenio Maccagnani, and Munificence, by Arnaldo Zocchi. The royal tombs are maintained by the National Institute of Honour Guards to the Royal Tombs, founded in 1878. They also organize picket guards at the tombs. The altar with the royal arms is by Cirilli.
The third niche holds the mortal remains — his Ossa et cineres, "Bones and ashes", as the inscription on the sarcophagus says — of the great artist Raphael. His fiancée, Maria Bibbiena is buried to the right of his sarcophagus; she died before they could marry. The sarcophagus was given by Pope Gregory XVI, and its insription reads ILLE HIC EST RAPHAEL TIMUIT QUO SOSPITE VINCI / RERUM MAGNA PARENS ET MORIENTE MORI, meaning "Here lies Raphael, by whom the mother of all things (Nature) feared to be overcome while he was living, and while he was dying, herself to die". The epigraph was written by Pietro Bembo. The present arrangement is from 1811, designed by Antonio Munoz. The bust of Raphael (1833) is by Giuseppe Fabris. The two plaques commemorate Maria Bibbiena and Annibale Carracci. Behind the tomb is the statue known as the Madonna del Sasso (Madonna of the Rock) so named because she rests one foot on a boulder. It was commissioned by Raphael and made by Lorenzetto in 1524.
In the Chapel of the Crucifixion, the Roman brick wall is visible in the niches. The wooden crucifix on the altar is from the 15th century. On the left wall is a Descent of the Holy Ghost (1790) by Pietro Labruzi. On the right side is the low relief Cardinal Consalvi presents to Pope Pius VII the five provinces restored to the Holy See (1824) made by the Danish sculptor Bertel Thorvaldsen. The bust is a portrait of Cardinal Agostino Rivarola. The final niche on this side has a statue of St. Rasius (S. Erasio) (1727) by Francesco Moderati.