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Inscription on the reverse; "A Rough Group of the Old Boys that have been thro the Mill, now 'Watching on the Rhine' till the relief comes then home we go. Roll On says Sid. Ta-Ta"
Jesuit ms. ownership inscription:
Colleg. Soc. Jesu cat. inscrip.
Penn Libraries call number: FC5 P3668 535r 1537
Anga Church (Swedish: Anga kyrka) is a medieval Lutheran church in Anga on the Swedish island of Gotland, in the Diocese of Visby.
Anga Church takes its name from a now vanished farmstead, mentioned in a runestone inscription at the end of the 11th century. The first church was probably built as a church for the large farm. During archaeological excavations carried out in 1946–1947, traces of burnt wood were found, indicating that the first church may have been a stave church.
The presently visible Romanesque church was built during the 13th century.[2] Thanks to dendrochronological investigations of still intact wooden details, the church can be dated quite precisely. The choir and apse were built circa 1215, and are the oldest parts of the church. The nave dates from 1250 and the tower from 1265.
The church is one of the most well-preserved Romanesque churches on Gotland, and gives a good impression of how most of the churches on the island might once have looked. The interior is notable for its rich decoration in the form of frescos. The frescos date from two periods, the oldest ones from the end of the 13th century. These are mostly ornamental, and unusual in that they are signed by the artist, a painter named Halvard. From the same time dates an inscription, in runes in Old Gutnish, which tells the name of the farmers of the parish who contributed oxen and day's works to the construction of the church, showing that the building of the church was a communal undertaking. A later set of frescos depict the Passion of Christ together with legends of saints, and were made during the middle of the 15th century.
The church has been decorated with plenty of medieval wooden sculptures, of which most are today at the Museum of Gotland in Visby. Still in the church is the altarpiece, dating from the 1370s, and the triumphal cross from the 15th century. There is also a gravestone in the choir from the 13th century, with a runic inscription.
Source: Wikipedia
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Anga kyrka är en enhetligt byggd kyrka från 1200-talets förra hälft. Den är en av Gotlands minsta och ersatte en äldre kyrka som brunnit ner. Kyrkan plundrades 1717 av ryssarna som bortförde pengar, textilier och annat lösöre, kyrkklockan stals och med yxor slog de sönder kistor och skåp.
Kyrkan har en av öns bäst bevarade interiörer med kalkmålningar och inventarier. De äldre kyrkomålningarna, signerade Halvard, från 1200-talets slut, är huvudsakligen ornamentala. De yngre utfördes av "Passionsmästaren" vid 1400-talets mitt.
Bland inventarierna finns den enkla dopfunten av kalksten, daterad till 1200-talets senare hälft, ett välbevarat altarskåp från 1300-talets senare hälft och ett triumfkrucifix från 1400-talet. Predikstolen är ett arbete från 1600-talets slut, och bänkinredningen tillkom under 1700-talet.
En runinskrift på långhusets norra vägg räknar upp de bönder som deltog i kyrkobygget. Ytterligare en runristad text finns på långhusets östra vägg.
Källa: Wikipedia
Location : Souq Al hamediya , Old Damascus , Syria
Device : Nikon D300
Note : No Edit
© 2009 Saad Alenzi
Inscription Rock in Jayhawker Canyon. This basalt boulder at Jayhawker Spring was inscribed with petroglyphs by Native Americans then centuries later with historic inscriptions by pioneers seeking a route to the gold fields during the California gold rush, and finally by prospectors looking for a silver lode. Death Valley National Park. Inyo Co., Calif.
Greek inscription at the Bollingen "Tower" of C.G. Jung; the inscription itself dates to 1950.
The central figure is Homunculus-Mercurius-Telesphorus, wearing a hooded cape and carrying a lantern. He is surrounded by a quaternary Mandala of alchemical significance, with the top quarter dedicated to Saturnus, the bottom quarter to Mars, the left quarter to Sol-Jupiter ("male") and the right quarter to Luna-Venus ("female"). The Greek inscription translates to approximately:
"Aion (Time, Eternity, the Eon) is a child at play, gambling; a child's is the kingship. Telesphorus ("the Accomplisher") traverses the dark places of the world, like a star flashing from the deep, leading the way to the Gates of the Sun and the Land of Dreams"
Time is a child at play, gambling; a child's is the kingship is a fragment attributed to Heraclitus.
to the Gates of the Sun and the Land of Dreams is a quote of the Odyssey (24.11), referring to Hermes the psychopomp leading the spirits of the slain suitors away.
Fragrant Hills Park (Xiangshan Park; simplified Chinese: 香山公园; pinyin: Xiāngshān Gōngyuán) is a public park at the foot of the Western Mountains in the Haidian District, in the northwestern part of Beijing, China. It covers 1.6 km² (395 acres) and consists of a natural pine-cypress forest, hills with maple trees, smoke trees and persimmon trees, as well as landscaped areas with traditional architecture and cultural relics. The name derives from the park's highest peak, Xianglu Feng (Incense Burner Peak), a 557 meters (1827 ft) hill with two large stones resembling incense burners at the top.
An important piece of biblical archaeological evidence from a theatre in ancient Corinth which has the name 'Erastus' inscribed in it.
Erastus is mentioned several times in the New Testament (Acts 19:22, 2 Timothy 4:20).
There was never any doubt I would go to Rob's funeral. Rob was born just two weeks before me, and in our many meetings, we found we had so much in common.
A drive to Ipswich should be something like only two and a half hours, but with the Dartford Crossing that could balloon to four or more.
My choice was to leave early, soon after Jools left for work, or wait to near nine once rush hour was over. If I was up early, I'd leave early, I said.
Which is what happened.
So, after coffee and Jools leaving, I loaded my camera stuff in the car, not bothering to program in a destination, as I knew the route to Suffolk so well.
Checking the internet I found the M2 was closed, so that meant taking the M20, which I like as it runs beside HS2, although over the years, vegetation growth now hides most of it, and with Eurostar cutting services due to Brexit, you're lucky to see a train on the line now.
I had a phone loaded with podcasts, so time flew by, even if travelling through the endless roadworks at 50mph seemed to take forever.
Dartford was jammed. But we inched forward, until as the bridge came in sight, traffic moved smoothly, and I followed the traffic down into the east bore of the tunnel.
Another glorious morning for travel, the sun shone from a clear blue sky, even if traffic was heavy, but I had time, so not pressing on like I usually do, making the drive a pleasant one.
Up through Essex, where most other traffic turned off at Stanstead, then up to the A11 junction, with it being not yet nine, I had several hours to fill before the ceremony.
I stopped at Cambridge services for breakfast, then programmed the first church in: Gazeley, which is just in Suffolk on the border with Cambridgeshire.
I took the next junction off, took two further turnings brought be to the village, which is divided by one of the widest village streets I have ever seen.
It was five past nine: would the church be open?
I parked on the opposite side of the road, grabbed my bag and camera, limped over, passing a warden putting new notices in the parish notice board. We exchange good mornings, and I walk to the porch.
The inner door was unlocked, and the heavy door swung after turning the metal ring handle.
I had made a list of four churches from Simon's list of the top 60 Suffolk churches, picking those on or near my route to Ipswich and which piqued my interest.
Here, it was the reset mediaeval glass.
Needless to say, I had the church to myself, the centuries hanging heavy inside as sunlight flooded in filling the Chancel with warm golden light.
Windows had several devotional dials carved in the surrounding stone, and a huge and "stunningly beautiful piscina, and beside it are sedilia that end in an arm rest carved in the shape of a beast" which caught my eye.
A display in the Chancel was of the decoration of the wooden roof above where panels contained carved beats, some actual and some mythical.
I photographed them all.
I programmed in the next church, a 45 minute drive away just on the outskirts of Ipswich, or so I thought.
The A14 was plagued by roadworks, then most trunk roads and motorways are this time of year, but it was a fine summer morning, I was eating a chocolate bar as I drove, and I wasn't in a hurry.
I turned off at Claydon, and soon lost in a maze of narrow lanes, which brought be to a dog leg in the road, with St Mary nestling in a clearing.
I pulled up, got out and found the air full of birdsong, and was greeted by a friendly spaniel being taken for a walk from the hamlet which the church serves.
There was never any doubt that this would be open, so I went through the fine brick porch, pushed another heavy wooden door and entered the coolness of the church.
I decided to come here for the font, which as you can read below has quite the story: wounded by enemy action no less!
There seems to be a hagioscope (squint) in a window of the south wall, makes one think or an anchorite, but of this there is little evidence.
Samuel and Thomasina Sayer now reside high on the north wall of the Chancel, a stone skull between them, moved here too because of bomb damage in the last war.
I drove a few miles to the next church: Flowton.
Not so much a village as a house on a crossroads. And the church.
Nothing so grand as a formal board outside, just a handwritten sign say "welcome to Flowton church". Again, I had little doubt it would be open.
And it was.
The lychgate still stands, but a fence around the churchyard is good, so serves little practical purpose, other than to be there and hold the signs for the church and forthcoming services.
Inside it is simple: octagonal font with the floor being of brick, so as rustic as can be.
I did read Simon's account (below) when back outside, so went back in to record the tomb of Captain William Boggas and his family, even if part of the stone is hidden by pews now.
I had said to myself, that if I saw signs for another church, I might find time to visit. And so it was with Aldham, I saw the sign pointing down a narrow lane, so I turned and went to investigate.
First it looked like the road ended in a farmyard, but then I saw the flint round tower of the church behind, so followed the lane to the church gate.
There was a large welcoming sign stating, proudly, that the church is always open.
St Mary stands on a mound overlooking a shallow valley, water stand, or runs slowly, in the bottom, and it really is a fine, fine location for a church.
I pushed through the gate and went up the path to the south porch, where the door swung open once again.
The coolness within enveloped me.
An ancient font at the west end was framed by a brick-lined arch, even to my untrained eyes, I knew this was unusual.
There were some carved bench ends, some nice fairly modern glass, but the simplicity of the small church made for a very pleasant whole.
I no longer watch TV much, so was unaware of the view and indeed church being used in the TV show, The Detectorists.
One of Suffolk's hidden treasures, for sure.
I had selected the list of churches to visit from Simon's list of 60 best Suffolk churches, choosing the ones that seemed near to Ipswich.
I had one more on my list, one a little bit out of the way, but I thought I had time, so set off for deepest, darkest Suffolk: Kettlebaston.
The trip took me past my old stamping grounds of Bildeston and Kersey, where I used to take Mum and Dad each Easter once I could drive, but once past Kersey, I still had twenty minutes to go.
Up the hill from Brent Eleigh into Kettlebaston, where the village was more of a dogleg in the road than anything else. I drove through slowly hoping the church would be obvious.
It wasn't.
It was playing hide and seek.
I programmed the church into the sat nav, and followed it back to the village, where beyond a small grassed area was a wall of a mature yew hedge, with the only way through a way so overgrown I had to stoop low to get through.
On the buttress at the south eastern corner of the Chancel, a painted panel showed the Coronation of the Queen of Heaven.
Clearly, this wasn't your normal parish church.
I am an atheist, its just the way I am, so these different "flavours" of Christianity do confuse me somewhat.
Even I knew when I walked in that this was a high church, high in the Anglo-Catholic tradition, with two altars either side of the Chancel Arch, the first such I think I have seen in a parish church.
I post these shots here and on a Churchcrawling website on Facebook, I might skip this one as it will draw lots of comments I think, not all positive.
I guess what saddens me is that they worship the same God, no? Is being right about how to do it that important? When wardens ask me what I think of their church, or should they put a glass door in instead of the ancient wooden currently, I say, it is a living church, your church, changes can be reversed if needed too. But it is your church, you have to live with it, it has to be suitable for all.
Despite all the above, there was much evidence of the ancient church: the font, paintings around a window among other features.
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I always look forward to coming back to Kettlebaston. It is likely that anyone who knows the churches of Suffolk well will have Kettlebaston among their favourites. The setting is delectable, in the remote Suffolk hills between Hadleigh and Stowmarket. The building is at once elegant and interesting, the interior memorable, but most fascinating of all perhaps is the story behind the way it is today.
In 1963, in the thirty-third year of his incumbency as Rector of the parish of Kettlebaston, Father Harold Clear Butler sent a letter to a friend. "You are right,"he wrote. "There is no congregation any more." In failing health, he relied on the family of a vicar who had retired nearby to carry out the ceremonies of Easter week that year. In 1964, Father Butler himself retired, and an extraordinary episode in the history of the Anglo-Catholic movement in Suffolk came to an end.
There may have been no congregation, but St Mary at Kettlebaston was a shrine, to which people made pilgrimages from all over England. Here was the liturgically highest of all Suffolk's Anglican churches, where Father Butler said the Roman Mass every day, celebrated High Mass and Benediction on Sunday, dispensed with churchwardens, flouted the authority of the Anglican diocese by tearing down state notices put up in the porch, refused to keep registers, and even, as an extreme, ignored the office of the local Archdeacon of Sudbury. An entry from the otherwise empty registers for October 2nd 1933 reads Visitation of Archdeacon of Sudbury. Abortive. Archdeacon, finding no churchwardens present, rode off on his High Horse!
Father Butler came to this parish when the Anglo-Catholic movement was at its height, and survived into a poorly old age as it retreated, leaving him high and dry. But not for one moment did he ever compromise.
Kettlebaston church is not just remote liturgically. You set off from the vicinity of Hadleigh, finding your way to the back of beyond at Brent Eleigh - and then beyond the back of beyond, up the winding roads that climb into the hills above Preston. Somewhere here, two narrow lanes head north. One will take you to Thorpe Morieux, and one to Kettlebaston, but I can never be sure which is which, or even if they are always in the same place. Finding your way to this, one of the most remote of all Suffolk villages, can be like finding your way into Narnia. Once in the village, you find the church surrounded by a high yew hedge, through which a passage conducts a path into the graveyard. On a buttress, a statue of the Coronation of the Queen of Heaven sits behind a grill. It is a copy of an alabaster found under the floorboards during the 1860s restoration. The original is now in the British Museum.
One Anglo-catholic tradition that has not been lost here is that the church should always be open, always be welcoming. You enter through the small porch, perhaps not fully prepared for the wonders that await. The nave you step into is light, clean and well-cared for. There is no coloured glass, no heavy benches, no tiles. The brick floor and simple wooden chairs seem as one with the air, a perfect foil for the rugged late Norman font, and the rich view to the east, for the fixtures and fittings of the 20th Century Anglo-Catholic tradition survive here in all their splendour.
The two major features are the rood screen and the high altar. The rood screen is the work of several people, having been added to over the years by a roll-call of prominent Anglo-Catholic artists. It was designed by Ernest Geldart in the 1880s. It was painted by Patrick Osborne in 1949, apart from the figures, which are the work of Enid Chadwick in 1954. They are: St Felix as a bishop holding a candle, St Thomas More in regalia, St Thomas of Canterbury with a sword through his mitre, St John Fisher as a bishop holding a book, St Alban in armour and St Fursey holding Burgh Castle.
To one side, the Sacred Heart altar bears the original stone mensa from the high altar. The table itself is the Stuart Communion table. To the other, a Lady altar. All of these are either gifts or rescued from redundant Anglo-Catholic churches elsewhere. The elegant grill in front of the rood loft stairs is by Ninian Comper. Stepping through into the chancel is a reminder of how the clearance of clutter can improve a liturgical space. Here, the emptiness provides a perfect foil for the massive altar piece. The altar itself was the gift of Miss Eleanor Featonby Smith, consecrated by the Bishop of Madagascar in 1956, in one of those ceremonies conducted in the labyrinthine underworld of the Anglo-catholic movement. The altar sports what is colloquially referred to as the Big Six - the trademark six candlesticks of an Anglo-catholic parish. Behind them, the rich reredos is also by Ernest Geldart, and was also painted by Patrick Osborne.
At the west end of the nave is a display case holding facsimiles of the Kettlebaston alabasters, an oddly prosaic moment. But Kettlebaston's medieval past is not entirely rebooted, for the chancel was sensitively restored by Ernest Geldart in 1902 with none of the razzmatazz of his church at Little Braxted in Essex. The east window was rebuilt to the same design as the original, as was the roof. The late 13th Century piscina and sedilia are preserved, and on the north side of the chancel survives an impressive tomb recess of about the same date. The sole monument is to Joan, Lady Jermyn, who died in 1649. Her memorial is understated, and its inscription, at the end of the English Civil War and the start of the ill-fated Commonwealth, is a fascinating example of the language of the time. Is it puritan in sympathy, or Anglican? Or simply a bizarre fruit of the ferment of ideas in that World Turned Upside Down? Within this dormitory lyes interred ye corpps of Johan Lady Jermy it begins, and continues whose arke after a passage of 87 yeares long through this deluge of teares... rested upon ye mount of joye. And then the verse:
Sleepe sweetly, Saint. Since thou wert gone
ther's not the least aspertion
to rake thine asshes: no defame
to veyle the lustre of thy name.
Like odorous tapers thy best sent
remains after extinguishment.
Stirr not these sacred asshes, let them rest
till union make both soule & body blest.
Not far off, and from half a century earlier, a rather more cheerful brass inscription remembers that:
The corpse of John Pricks wife lyes heere
The pastor of this place
Fower moneths and one and thirty yeerr
With him she ran her race
And when some eightye yeres were past
Her soule shee did resigne
To her good god in August last
Yeeres thrice five hundredth ninety nine.
And yet, you notice, we never learn her name. Above, the roofs drip with hanging paraffin lamps, the walls have their candle brackets, for this little church still has no electricity. You sense the attraction of Benediction on a late winter afternoon.
St Mary is loved and cared for by those who worship in it. There are rather more of them than in Father Butler's final days, but they are still a tiny, remote community. Since 1964, they have been part of a wider benefice, and must toe the Anglican mainstream line, as at Lound. But also, as at Lound, the relics of the Anglo-Catholic heyday here are preserved lovingly, and, judging by the visitors book, it is not just the regular worshippers who love it, for Anglo-Catholics from all over England still treat it as a goal of pilgrimage. I remember sitting in this church on a bright spring afternoon some twenty years ago. I'd been sitting for a while in near-silence, which was suddenly broken by the clunk of the door latch. Two elderly ladies came in. They smiled, genuflected towards the east, and greeted me. Together, they went to the Sacred Heart altar, put a bunch of violets in a vase on it, and knelt before it. The silence continued, now with a counterpoint of birdsong from the churchyard through the open door. Then they stood, made the sign of the cross, and went out again. Father Butler looked on and smiled, I'm sure.
Simon Knott, October 2018
This gate marks the point where the rebuilding of the land walls ended in 447 AD, just barely in time to frustrate Attila The Hun's designs on Constantinople. This celebratory inscription in Latin pairs with its Greek counterpart above the gate and reads, in English, "By the command of Theodosius, Constantine erected these strong walls in less than two months. Scarcely could Pallas herself have built so strong a citadel in so short a span."
Stamp and inscription from the Carthusian library at the Reichskartause Buxheim (Buxheim Charterhouse)
Established heading: Reichskartause Buxheim
Other examples of Reichskartause Buxheim provenance
Penn Libraries call number: NC F1147 573h 1587 Folio
A large stone building with the inscription
"1826 rebuilt at the curates sole cost", then some Latin which I think means, "No one was born to himself"
Nant Gwrtheyrn 2011
Taith oedolion sy`n dysgu Cymraeg dan Ganolfan Cymraeg i Oedolion De-Orllewin Cymru i Nant Gwrtheyrn.
The trip for adults who are learning Welsh under the South West Wales Welsh for Adults Centre to Nant Gwrtheyrn.
Llun: Plas yn Rhiw
Photograph: Plas yn Rhiw
1
Llyfrgell Roderic Bowen
www.trinitysaintdavid.ac.uk/cy/larb/
Aethon ni i weld rhai hen lyfrau Llyfrgell Roderic Bowen, Prifysgol Y Drindod Dewi Sant yn Llambed.
The Roderic Bowen Library
www.trinitysaintdavid.ac.uk/cy/larb/
We went to see some of the old books in the Roderic Bowen Library, Trinity Saint David University.
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2
Carreg fedd gyda arysgrif Lladin
www.ucl.ac.uk/archaeology/cisp/database/stone/slian_1.html
Cyfnod diddorol iawn yn hanes Cymru a Prydain yw cyfnod y Brythoniaid ac os ewch chi i bentre` Silian ar bwys Llanbedr Pont Steffan i weld yr eglwys yno, `welwch chi, tu fa`s ac i`r dde o brif fynedfa`r adeilad a cwpl o lathenni rownd cornel yr eglwys marce pum troedfedd o`r llawr a wedi`i gosod yn y wal, hen garreg fedd. Wrth godi`r eglwys canrifoedd yn ôl daeth y gweithwyr o hyd i`r garreg fedd a`i rhoi yn wal yr eglwys.
Mae ysgolheigion wedi dyddio`r garreg rhwng y 7fed a`r 9fed ganrif (The Early Christian Monuments of Wales, V. E. Nash-Williams. Gwasg Prifysgol Cymru 1950). Ar y garreg mae dau air Lladin SILBANDWS IACIT. Yn ôl Yr Athro Kenneth Jackson yr enw yw `..... Silbānus (a Vulgar Latin form of Silvānus), .....` (Yr Athro Patrick Sims-Williams, The Celtic Inscriptions of Britain: Phonology and Chronology C. 400-1200. Publications of the Philological Society, 37. Tud. 14. Yn aml iawn y fformiwla o`dd `HIC IACIT X` hynny yw `(d)yma orwedda X` ond ambell waith o`dd dim `HIC` hynny yw dim [dyma], fel gyda`r garreg fedd yn wal eglwys pentre` Silian.
A grave stone with a Latin inscription
www.ucl.ac.uk/archaeology/cisp/database/stone/slian_1.html
An interesting period in Welsh and British hictory is the period of the Britons (the ancestors of the Welsh) and if you go to the village if Silian near Lampeter to see the church there, you`ll see, outside and to the right of the main entrance of the building and acouple of yadrs around the corner of the church about five feet from the ground and set into the wall, an old grave stone. When they built the church centruies ago the workers found a grave stone and they put it into the wall of the church.
Scholars have dated the stone to between the 7th and 9th centuries (The Early Christian Monuments of Wales, V. E. Nash-Williams. Gwasg Prifysgol Cymru 1950). On the stone there are two words in Latin SILBANDWS IACIT. According to Professor Kenneth Jackson the name is `..... Silbānus (a Vulgar Latin form of Silvānus), .....` (Professor Patrick Sims-Williams, The Celtic Inscriptions of Britain: Phonology and Chronology C. 400-1200. Publications of the Philological Society, 37. Tud. 14. Often the formular was `HIC IACIT X` in other words `here lies X` but sometimes there`s ni `HIC`, in other words no [here], as with the grave stone in the wall of the church in Silian.
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3
Bedd Julian Cayo-Evans
en.wikipedia.org/wiki/Free_Wales_Army
Yn y fynwent hefyd mae bedd Julian Cayo-Evans, enwog am ei rôl `da`r FWA.
Julian Cayo-Evans` grave
en.wikipedia.org/wiki/Free_Wales_Army
Also in the graveyard is the grave of Julian Cayo-Evans, famous for his role with the FWA.
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4
Nant Gwrtheyrn
www.google.co.uk/search?q=nant+gwrtheyrn&hl=en&rl...
Ymlaen wedyn i Nant Gwrtheyrn
Then on to Nant Gwrtheyrn
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5
Amgueddfa Lechi Cymru, Llanberis
www.amgueddfacymru.ac.uk/cy/llechi/
`Cartref yr Amgueddfa yw hen weithdai diwydiannol peirianyddol chwarel Dinorwig. Yn y gweithdai hyn y gwnaed holl waith trwsio a chynnal a chadw i`r chwarel a gyflogai dros 3,000 o ddynion. Bu gau`r chwarel a`r gweithdai yn 1969 a daeth yr adeilad yma yn Amgueddfa yn 1972.`
National Slate Museum, Llanberis
www.museumwales.ac.uk/en/slate/
`These buildings once housed the industrial engineering workshops for the former Dinorwig slate quarry and catered for all repair and maintenance work demanded by the quarry, which at it`s height employed over 3,000 men. Dinorwig quarry and the workshops closed in 1969 and this building became a Museum in 1972.`
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6
Plas yn Rhiw
www.rhiw.com/hanes_pages/plas_yn_rhiw.htm
www.nationaltrust.org.uk/main/w-plasynrhiw
www.google.co.uk/search?q=plas+yn+rhiw&hl=en&sa=G...
`Plasdy bychan hyfryd o`r 17eg ganrif, gyda golygfeydd gwych dros Borth Neigwl a Bae Ceredigion. Llwybrau cerdded a safle picnic yn y goedwig. Gardd addurnol hardd.`
`A delightful 17th century small mansion with spectacular views over Hell`s Mouth and Cardigan Bay. Woodland walsk and picnic area. Beautiful ornamental garden.`
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7
Aberdaron
www.google.co.uk/search?hl=en&rlz=1R2GGLL_en&biw=...
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8
Ynys Enlli
www.google.co.uk/search?hl=en&rlz=1R2GGLL_en&biw=...
Ynys Enlli = ? `ynys yn y lli`, cf. Rhosilli ym Mro Gŵyr = `rhos yn y lli`.
Ynys Enlli = ? `ynys yn y lli` (island in the ocean), and compare `Rhosilli` in the Gower = `rhos y lli` `the rhos of/in the ocean`, where `rhos` = (upland) moor, heath(land), down, meadow on high land; plain.
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Dyma englyn gan y Prifardd Idris Reynolds at y bobol sy`n dysgu Cymraeg*.
Dysgwr
Mewn gardd a fu yn harddwch – a`i lliwiau
Yn llawer tanbeitiach
Y mae rhosynnau mwyach
Yn bywhau y border bach
Idris Reynolds
This is an englyn by the `Prifardd` Idris Reynolds to the adults who are learning
Welsh*.
Learner
In a garden that was prettier – and its colours
Very much brighter
There are roses once again
Enlivening the dear border
*`W i wedi cael caniatâd Idris Reynolds i ddefnyddio`i englyn. Mae`r fersiwn
Saesneg gan Dewi.
Idris Reynolds gave his permission for the englyn to be used. English version by
Dewi.
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Prif nôd maes Cymraeg i Oedolion yw cynhychru oedolion sy`n gallu, ac yn dewis defnyddio`r Gymraeg trwy ei siarad, darllen a `sgrifennu hi.
Canolfan Cymraeg i Oedolion De-Orllewin Cymru
Academi Hywel Teifi
Adeilad Keir Hardie
Prifysgol Abertawe
Parc Singleton
Abertawe
SA2 8PP
Manylion cyrsiau:
Gwefan: www.dysgucymraegdeorllewin.org
E-bost: cymraegioedolion@abertawe.ac.uk
Ffôn: 01792 602070
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The main objective of the field of Welsh for Adults is to produce adults who can, and who choose to use Welsh by speaking, reading and writing it.
The South West Wales Welsh for Adults Centre
Academi Hywel Teifi
Keir Hardie Building
Swansea University
Singleton Park
Swansea
SA2 8PP
Details of courses:
Website: www.learnwelshsouthwestwales.org
E-mail: www.welshforadults@swansea.ac.uk
Phone: 01792 602070
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Lluniau o`r Clonc Mawr:
www.flickr.com/photos/y_clonc_mawr/sets/
Lluniau o`r Cloncie eraill:
www.flickr.com/photos/50680453@N02/sets/
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Photographs of the Clonc Mawr:
www.flickr.com/photos/y_clonc_mawr/sets/
Photographs of the other Cloncs:
www.flickr.com/photos/50680453@N02/sets/
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Dedicatory inscription to Pontius Pilate in Caesarea, Israel. This find helps to substantiate the existence of Pontius Pilate. Pontius Pilate's house and administration center was in Caesarea.
Caesarea is located along the Western coast of Israel, North of Tel Aviv and along the Mediteranean Sea. The ancient town of Caesarea was built by King Herod the Great (37 - 4 B.C.) in honor of his patron, Augustus Caesar. This city served as an administration center and headquarters.
Caesarea was inhabited by Romans, Samaritans, and Jews, and contained all the indulgences of Roman society.
It was here that the first Gentile, Cornelius, converted to Christianity and was baptized.
For more information on this inscription, check out this link.
Scratched on the glass of this horse's arse is the inscription of the glazier who relpaired the window in 1794.
Detail of a panel from the Apocalypse sequence that fills the larger part of the great east window of York Minster, photographed ex-situ following restoration.
The east window at York is one of wonders of gothic art and the largest medieval window in existance. It's original glazing, comprising 119 narrative scenes from the Old Testament and the Apocalypse, is as good as complete. It was created by the workshop of John Thornton of Coventry in 1405-8 (at a cost of around £56!).
Though the Minster's original glazing is unusually well preserved (by English standards) there has been considerably loss of clarity through the centuries of repair and patching which have resulted in heavier leadwork, intruded pieces of infill and extra leads (often across faces) where breakages have occured, often reducing the image to a confusing mosaic patchwork, difficult to decipher from ground level.
The latest restoration by the York Glazier's Trust aims to restore some of this lost legibility using modern conservation techniques and research by sensitive releading of each panel,and removing disfiguring insertions to give back some of the clarity and brilliance it's original form possessed in order to be read from a distance (a similar process has just been completed on the nearby St William window (also by Thornton) where comparison between pre and post restoration photos show what an enormous success the project has been).
Storing the World's largest medieval window has prooved a challenge, at first all 119 panels (with almost as many tracery pieces) where stored in crates in the Minster's stoneyard, until late 2009 when fire broke out in the rooms above, necessitating the evacuation of the massive window and rescuing it from what could have been the biggest loss to our national heritage since the Civil War! Happily all was saved from danger and is now stored within the Minster for the remainder of the project.
A few panels have been temporarily displayed at ground level in the cathedral allowing close-up detailed views of images normally only visible with the aid of binoculars
Inscription: A grand, sane, towering seated Mother, Chair'd in the adamant of Time.
-Walt Whitman.
dimensions (according to SIRIS): Sculpture: approx. 138 x 198 x 78 in.; Base: approx. 27 1/2 x 208 x 86 1/2 in.
14th century tower and spire, the rest rebuilt in new forms by Wilson & Willcox of Bath, 1866-8.
Materials: Local limestone tower. 19th century work of Bisley Common stone with Bath stone dressings. Roofs of Broseley tiles in blue and red bands.
Plan: Unusual cruciform plan with equal aisles and generously deep transepts; north and south chapels almost as long as the chancel. South porch, west tower, small SE vestry.
Exterior: The three-stage west tower is 14th century, with diagonal buttresses and fairly small two-light bell openings, part hidden by clock faces. All the openings are unmoulded, with plain chamfers. The stone spire is tall and slim, with a splayed foot; the upper part of the original spire is now in the churchyard. The rest of the church is in a rich if slightly mechanical Geometric Decorated style. The windows have bar tracery and are framed by slim nook shafts with a ring moulding. The south doorway has heavy arch mouldings and triple shafts of contrasting grey stone. From the east, the three windows of the chancel and its chapels, with rich tracery of foiled circles, make a striking contribution to the streetscape.
Interior: The interior is `the best of any High Victorian town church on the Cotswolds' (Verey and Brooks). Five-bay nave with heavily moulded arcades on circular piers of blue Pennant sandstone. The nave has a clerestorey and an open wagon roof. A ribbed panelled roof over the chancel has painted Gothic decoration in green and red on a cream ground.
The foliate capitals are richly treated, with crockets and beading, almost Byzantine in their effect. The carver for all the sculptural work was Joshua Wall, who also designed the roundels in the chancel.
Principal Fixtures: St Laurence has lavish Victorian and early 20th century fittings. By George Gilbert Scott Junior, a reredos of 1872, carved by Morris Geflowski, with high relief panels (Gethsemane, Crucifixion and Deposition) by Edward Geflowski. It was coloured and gilded in 1970. The font and pulpit, both contemporary with the church, are of coloured marbles and alabaster. Chancel floor tiles by Godwin of Lugwardine. Rood screen by W.S. Weatherley, 1910-14; quite light and open, with elaborate cusping in the head of each main light. It has a rib-vaulted cove with brattished cresting, and a built-in tester to the pulpit. Very big rood group. Filling the tower arch, an Arts and Crafts oak screen by Thomas Falconer, 1927, maker Peter Waals, with painting of St George by E.R. Payne, 1929. There is much good stained glass. The good east window is by Heaton, Butler & Bayne, 1866; their windows in the transepts and south aisle south-west have faded badly. Also theirs; the north chapel east, c. 1885 and one in the north aisle, 1914. The south chapel east is by Lavers & Barraud, 1868. The south aisle and tower windows are by Ward & Hughes, 1873-7. An unusual gold and blue window at the west end of the north aisle is by J. Bewsey, 1922. The best monument is that in the south transept to Thomas Stephens, d. 1613. Attributed to Samuel Baldwin of Stroud, Pevsner describes it as a `good provincial imitation of Southwark work': alabaster kneeling effigy at a prayer desk, beneath an arch with Composite columns. Obelisks, strapwork etc. in the surround, with colour and gilding. Around the tower arch, high up, a group of fine Baroque and later tablets. Attached to the outside walls (north side), c. 80 good quality brass inscription plates from 18th century tombstones, many with good lettering, Rococo ornament, etc.
History: The medieval parish church of St Laurence was founded as a chapel-of-ease to Bisley before 1279. A photograph of 1865 just before demolition shows a rather plain aisleless structure with early 19th century alterations. Only the tower and spire survived rebuilding in 1866-8, to a plan which seems to have taken little account of the old building. The new church was consecrated on August 4, 1868. Wilson & Willcox provided a quite urban-looking church in Geometrical Gothic with a slightly French flavour, a recipe they favoured for many of their Bath churches and chapels. A fire in 2005 required the altar to be renewed.
Moncrieff Inscription in Falkland in Fife, Scotland. This inscription is on the wall of a house in the High Street opposite to the Palace. It reads, " All praise to God, thanks to the most excellent monarch of Great Britaine, of whose princelie liberalities this is my portione. Deo Laus. Esto fidus. Adest Merces. Nichol Moncrieff, 1610."
Earlier Post and Description :
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Inscriptions:
This cave has four Vattezhuthu (வட்டெழுத்து) inscriptions (Travancore Archaeological Series (T. A. S.) vol. I., p. 413.) inscribed one on each side of the entrance and others on each side of the pillars. One of which bears the name of the ruler and his regnal year. The inscription, dated in the 18th regnal year of Rajaraja Chola I (முதலாம் இராஜராஜ சோழன்) found on the western cave wall, registers the gift of Muttom (முட்டம்), the village (name changed as Mummudi-chola-nallur மும்முடிச்சோழநல்லூர்) in Valluva-nadu (வள்ளுவநாடு) under Rajaraja-thennadu (இராஜராஜ தென்னாடு). The gift was made for the celebration of a festival for Mahadeva of Tirunandikarai (திருநந்திக்கரை மகாதேவர்) and also for ablution of the deity in the river, on the Satabhisha, star (சதய நட்சத்திரம்) day in the Tamil month Aippasi, (ஐப்பசி) (October - November) in the year 1003 A.D, being the birthday of the king. Records a provision made by the king for supply of one nazhi (நாழி) measure ghee every day for lighting the perpetual lamp in the name of Rajaraja Chola I in the temple.
Inscription Travancore Archaeological Series (T. A. S.) Vol. III, p. 206 records gift of nine buffalo(s) for the provision of burning a perpetual lamp with one uri measure ghee each day for Tirunandikarai Lord by Ainurruva Mutharaiyan alias Sithakutti Ambi of Veikottumalai under Nanjilnadu and the buffalo(s) were handed-over to Idayarmangalavan Pavithiran, an official serving under the village elders (sabha). The inscription commences with these words 'the year of annihilation weaponry in Karaikanda Eswaram (‘கறைக்கண்ட ஈசுவரத்துக் கலமறுத்த யாண்டு’) refering the date of inscription. According to Gopinatha Rao, the temple 'Karaikanda Eswaram' is the saivite temple located near Katikaipattinam in Eranial taluk. The inscription was inscribed in an year when the Chera war-ships were destroyed in Karaikanda Eswaram.
Inscription Travancore Archaeological Series (T. A. S.) Vol. III, pp. 200-203 inscribed on a pillar, whose date assignable to eight century A.D., records the gift of 'Ur' (ஊர்-a village). For this purpose one Dhaliyazhavan (தளியாழ்வான்), along with the 'elders' of Tirunandikarai (திருநந்திக்கரை பெருமக்கள்) assembled in Kurunthambakkam (குருந்தம்பாக்கம்). The assembly converted the Ur's name into Sri Nandimangalam and gifted to one Nambi Ganapathi (நம்பி கணபதி) for purposes of mid-night offerings (நள்ளிரவுத் திருவமுது) to the Lord of the temple. The four boundaries (எல்லைகள்) are cited for the village under gift and include a river (name not known) (ஒரு பெயரற்ற ஆறு), Nandhi river (நந்தியாறு), Mudukonur (முதுகோனூர்) and Pakkamangalam (பாக்கமங்கலம்). Gopinatha Rao, who copied and recorded the inscription, has pointed out the present existence of Mudukonur and Pakkamangalam near Nandhimangalam.
Inscription Travancore Archaeological Series (T. A. S.) Vol. III, pp. 203-206 comprising 40 lines was inscribed on another pillar. This inscription records the gift of land by Mangalacheri Narayanan Sivakaran to Tiruvallavazh Mahadevar of Tirunandikarai (திருநந்திக்கரையில் உறையும் திருவல்லவாழ் மகாதேவர்). The inscription lists out the land pieces. Resolved the wages to be issued from the land produce accrued from the above land: four measures (கலம் Kalam) to Santhipuram, five measures (கலம் Kalam) to Uvachar (category of temple staff), five measures (கலம் Kalam) to Udayar (category of temple staff) and cleaning staff as well as for puja rituals, The perpetual lamps were lit using 60 measures (uri - உரி) of ghee from the remaining land produce.
Église Saint-Nicaise de Saint-Nic
It is a Gothic building in the shape of a cross which has an irregular nave of three bays with an aisle to the north, four bays with an aisle to the south, a transept and a deep choir. Of the dark nave type, it is paneled on sandpits. Between two of the north arcades is the inscription “M. Speak. F. 1566”.
The bell tower, 23 meters high, bears the date of 1576: it was repaired in June 1790 by Hervé Chapron, contractor in Pleyben.
The side porch, paneled, is dated on the gable of 1561: its sand pits are decorated with chimeras and grotesques and it contains twelve side niches for the apostles (one of them is dated 1620).
There is a small Calvary and a sundial (1614) in the parish close.
The church contains two reliquaries: a silver reliquary in the shape of a chapel and coming from the Saint-Côme and Saint-Damien chapel and which bears the date of 1578 as well as an inscription - another reliquary in the form of a shrine, from the 18th century century, with the inscription “Messire Claude de Treanna gran Archdeacon of Quimper and rector of Saint Nic”.
The stained glass windows date from the 16th century: to the north are seven panels of the Passion and to the south, the Last Judgment.
The church houses several old statues: under the porch, Saint John, Saint Catherine, Saint Roch; outside, Saint Nicaise (with cross with double cross), the Virgin-Mother, Saint Margaret, Saint Dominic (wearing the beard), Saint Herbot, Saint Guardian Angel, a Descent from the Cross with five figures, two other Virgins and a Crucifix.
Identified
EVIDENCE
Provenance evidence: Inscription, Signature
Location in book: P. [3]
IDENTIFICATION
Other: John Paul II, Pope, 1920-2005
COPY
Repository: Penn Libraries
Call number: BS64 .V2 1999
Collection: RBC
Copy title: Bibliorum sacrorum Graecorum Codex Vaticanus B
Author(s): Bible. Greek. Biblioteca apostolica vaticana. Manuscript. Vat. Gr. 1209
Published: Rome, 1999
Printer/Publisher: Istituto Poligrafico e Zecca dello Stato
FIND IN POP
Bible. Greek. Biblioteca apostolica vaticana. Manuscript. Vat. Gr. 1209
23.12.2012: written about 500 years after Philistine settlement and found in a temple at Ekron. It is a dedication by Achish, son of Padi, ruler of Ekron, to his patron goddess. The names of both the goddess and the dedicator are Greek in origin, indicating that the Philistines preserved their traditions for centuries. Museum of Israel.
Inscription: The temple which he built, Achish (Ikausu) son of Padi, son of YSD, son of Ada, son of Ya'ir, ruler of Ekron, for PTGYH his lady. May she bless him, and protect him, and prolong his days, and bless his land.
The Pashupatinath Temple (Nepali: पशुपतिनाथ मन्दिर) is a famous, sacred Hindu temple dedicated to Pashupatinath and is located on the banks of the Bagmati River 5 kilometres north-east of Kathmandu Valley in the eastern city of Kathmandu, the capital of Nepal. This temple is considered one of the sacred temples of Hindu faith. The temple serves as the seat of the national deity, Lord Pashupatinath. This temple complex is on UNESCO World Heritage Sites's list Since 1979. This "extensive Hindu temple precinct" is a "sprawling collection of temples, ashrams, images and inscriptions raised over the centuries along the banks of the sacred Bagmati river" and is included as one of the seven monument groups in UNESCO's designation of Kathmandu Valley as a cultural heritage site. One of the major Festivals of the temple is Maha Shivaratri on which day over 700,000 devotees visit here.
The twelve Jyotirlinga (in India) are the body and the Jyotirlinga at Pashupatinath in Kathmandu (Nepal) is the head over this body.
The temple is one of the 275 Paadal Petra Sthalams (Holy Abodes of Shiva) on the continent. Kotirudra Samhita, Chapter 11 on the Shivalingas of the North, in Shiva Purana mentions this Shivalinga as the bestower of all wishes.
HISTORY
The temple was erected anew in the 15th century by Lichhavi King Shupuspa after the previous building had been consumed by termites. Countless further temples have been erected around this two -storied temple. These include the Vaishnav temple complex with a Ram temple from the 14th century and the Guhyeshwari Temple mentioned in an 11th-century manuscript.
LEGEND ABOUT THE TEMPLE ORIGIN
Pashupatinath Temple is the oldest Hindu temple in Kathmandu. It is not known for certain when Pashupatinath Temple was founded. But according to Nepal Mahatmaya and Himvatkhanda, the deity here gained great fame there as Pashupati, the Lord of all Pashus, which are living as well as non-living beings. Pashupatinath Temple's existence dates back to 400 A.D. The richly-ornamented pagoda houses the sacred linga or holy symbol of Lord Shiva. There are many legends describing as to how the temple of Lord Pashupatinath came to existence here. Some of them are narrated below:
THE COW LEGEND
Legend says that Lord Shiva once took the form of an antelope and sported unknown in the forest on Bagmati river's east bank. The gods later caught up with him, and grabbing him by the horn, forced him to resume his divine form. The broken horn was worshipped as a linga but overtime it was buried and lost. Centuries later an astonished herdsmen found one of his cows showering the earth with milk. Digging deep at the site, he discovered the divine linga of Pashupatinath.
THE LINCHCHAVI LEGEND
According to Gopalraj Vamsavali, the oldest ever chronicle in Nepal, this temple was built by Supuspa Deva, a Linchchhavi King, who according to the stone inscription erected by Jayadeva 11 in the courtyard of Pashupatinath in 753 AD, happened to be the ruler 39 generations before Manadeva (464-505 AD).
THE DEVALAYA LEGEND
Another chronicle states that Pashupatinath Temple was in the form of Linga shaped Devalaya before Supuspa Deva constructed a five storey temple of Pashupatinath in this place. As the time passed, the need for repairing and renovating this temple arose. It is learnt that this temple was reconstructed by a medieval King named Shivadeva (1099-1126 AD). It was renovated by Ananta Malla adding a roof to it. Thousands of pilgrims from all over the world come to pay homage to this temple, that is also known as 'The Temple of Living Beings'.
OTHER BELIEFS
There are several complex stories involving the origins of Pashupatinath. One story goes, in brief, that Shiva and Parvati came to the Kathmandu Valley and rested by the Bagmati while on a journey. Shiva was so impressed by its beauty and the surrounding forest that he and Parvati changed themselves into deers and walked into the forest. Many spots in the Kathmandu Valley are identified as places where Shiva went during his time as a deer. After a while the people and gods began to search for Shiva. Finally, after various complications, they found him in the forest, but he refused to leave. More complications ensued, but ultimately Shiva announced that, since he had lived by the Bagmati in a deer's form, he would now be known as Pashupatinath, Lord of all animals. It is said that whoever came here and beheld the lingam that appeared there would not be reborn as an animal.
FINDING OF SHIVA LINGA AT PASHIPATINATH TEMPLE
It is said that the wish-fulfilling cow Kamadhenu took shelter in a cave on the Chandravan mountain. Everyday Kamadhenu went down to the place the lingam was sunken into the soil and poured her milk on top of the soil. After ten thousand years some people saw Kamadhenu pouring milk on that same spot everyday, and started to wonder what that would be. So they removed the soil and found the beautiful shining lingam and started worshiping it.
TEMPLE COMPLEX
The area of Pashupatinath encompasses 264 hectare of land including 518 temples and monuments. Main pagoda style temple is located in the fortified courtyard within the complex guarded by Nepal Police and has a police outpost post along with living quarter within. In front of the western door there is a huge statue Nandi bull, in bronze. Along with many temples and shrines of both Vaishnav and saiva tradition.
TEMPLES AND SHRINES IN THE INNER COURTYARD
Vasuki nath temple
Unmatta Bhairav temple
Surya narayan temple
Kirti mukh bhairav shrine
Budanil kantha shrine
Hanuman shrine
184 shivaling shrine
TEMPLES AND SHRINES IN THE OUTER COMPLEX
Ram mandir
Virat swaroop temple
12 jyotirlingha and Pandra Shivalaya
Guhyeshwari Temple
MAIN TEMPLE ARCHITECTURE
This main temple is built in the Nepalese pagoda style of architecture. All the features of pagoda style is founded here like cubic constructions, beautifully carved wooden rafters on which they rest (tundal). The two level roofs are of copper with gold covering. The temple resides on a square base platform with a height of 23m 7 cm from base to pinnacle. It has four main doors, all covered with silver sheets. This temple has a gold pinnacle (Gajur). Inside are two Garbhagrihas, outer and inner. The inner garbhagriha or sanctum sanctorum is where the idol is placed and outer sanctum is an open corridor like space.
THE DEITY
The sacro sanctum, or the main idol is a stone Mukhalinga with a silver yoni base bound with silver serpent. The lingam is one metre high and has faces in four directions. These faces represents various ascepts of Shiva; Sadyojata (also known as Barun), Vamdeva (also known as Ardha nareshwor), Tatpurusha, Aghor & Ishana (imaginative). Facing West, North, East, South and Zenith respectively representing five primary elements namely earth, water, air, light and ether. Each face has tiny protruding hands holding rudraksha mala on right hand and a kamandalu on the other.Unlike other shiva lingams in India and Nepal this pashupati shiva lingam is always Dressed in its golden vastra except during abhishakam, so pouring milk and ganga jal is only possible during abhishakam through the main priests.
PRIESTS
Daily rituals of Pashupatinath are carried out by two sets of priests ;one being the Bhatt priests and other Bhandari. Bhatta or Bhatt are the one who performs the daily ritual and can touch the lingam, where as Bhadaris are the helper and temple care taker priests but are not qualified perform pooja rituals or to touch the deity.
Bhatta or Bhat are highly educated Vedic bhramin Scholars from Brahmin family from South Indian State Karnataka.Unlike other Hindu temples priesthood of Pashupatinath is not hereditary. Priests are selected from a group of scholars educated by Shri Shankaracharya Dakshinamnaya Peeth Sringeri on Rig Vedic Recitation, initiated in Pashupata Yoga by Kashi Math,Shiva Āgama and learned Recitation of Samaveda from Haridwar.After qualifying and fulfilling all those criteria they will be selected for Priesthood by Raj Guru of Pashupatinath Temple undergoing strict examination on Vedas and Shiva Agamas and then the qualifies are sent to Kathmandu for performing Puja and Daily Worship of Lord Shri Pashupatinath This tradition is reported to have started by the request of Adi Shankaracharya in the 8th century, who sought to unify the different states of Bharatam (Unified India) by encouraging cultural exchange. This procedure is also followed in other temples around Bharata-varsa which were sanctified by Adi Shankaracharya. The unique feature of this temple is that only 4 Bhatta priests can touch the deity.Current Bhatt priests of the temple are;
Ganesh Bhat (15th head priest of the Pashupatinath Temple aka Mool Bhat) from Udupi.
Ram Karanth Bhat from Mangaluru.
Girish Bhat from Sirsi.
Narayan Bhat(Recently appointed) from Bhatkal
Raghavendra Bhat (Priest for Vasuki Nath temple only)
Bhandaris or Rajbhandari are the treasurers, temple caretakers, and assistant priest of the temple.
These Bhandaris are the descendants of helper priests brought up by early Bhatts, but were allowed to settle in Kathmandu valley and later assimilated in existing Newar caste of Rajbhandari - a high-caste Chathariya/Kshatriya clan of Kashyapa gotra. Their main function is to help the Bhatta priest and perform maintenance of the inner Garbhagriha. They can have little or no Vedic knowledge but still qualify as assistant priests if they belong from the same family lineage and undergo some basic criteria like caste, gotra, lineage purity, educational qualification, etc. They work in set of four and change in every full moon day. There are a total of 108 Bhandaris.
ENTRY AND DARSHAN
Temple courtyard has 4 entrances in all directions.The western entrance is the main entrance to the temple courtyard and rest three entrances are only opened during big festival . Temple security (Armed Police Force Nepal) is selective regarding who is allowed entry into the inner courtyard . Practicing Hindus and buddhist of Indian and Tibetan descendent are only allowed into temple courtiyard . Practicing Hindus of western descent are not allowed into the temple complex along with other non Hindu Visitors. Sikh and Jain groups are allowed into the temple compound if they are of Indian ancestry. Others can look at the main temple from adjacent side of the river and has to pay a nominal fee of $10 (1000 Nepali rupee) for visiting hundreds of small temples in the external premises of the temple complex . The inner temple courtyard remains open from 4 am to 7 pm for the devotee but the Inner Pashupatinath Temple where the Lingam of lord Pashupatinath is established is open from 5am to 12 pm for the morning ritual and viewing and from 5pm to 7 pm for evening ritual. Unlike many other Saiva temples devotees are not allowed to enter in the inner-most Garbhagriha but are allowed to view from the exterior premises of the outer Garbhagriha.
FESTIVALS
There are many festivals throughout the year .Thousands of people attend these festival.The most important festival is the Maha Shiva Ratri .Bala chaturthi and Teej.
CONTROVERSY OF 2009
In January 2009, after the forced resignation by the chief priest of Pashupatinath temple, the Maoist-led government of Nepal "hand picked" Nepalese priests to lead the temple, thus bypassing the temple's long-standing requirements. This appointment was contested by the Bhandaris of the temple, stating that they were not against the appointment of Nepalese priests but against the appointment without proper procedure. After the appointment was challenged in a civil court, the appointment was overruled by Supreme Court of Nepal.However, the government did not heed the ruling and stood by its decision. This led to public outrage and protests over a lack of transparency. The paramilitary group of the CPN (Maoist), called YCL, attacked the protesters, leading to over a dozen injuries. Lawmakers and activists from opposition parties joined protests, declaring their support for the Bhatta and other pro-Bhatta protesters. After long dissatisfaction and protest by Hindus both in and outside Nepal, the government was forced to reverse its decision that had been declared illegal by the Supreme Court of Nepal and reinstate Bhatta priests.
2015 EARTHQUAKE
The main temple complex of Pashupatinath and the sanctum sanctorum was left untouched but some of the outer buildings in the World Heritage Site were damaged by the April 2015 Nepal earthquake.
WIKIPEDIA
I did my best to enhance the inscriptions through post processing, but they were in pale sandstone in the shade.
Rock Carvings in Wadi Hammamat, Eastern Desert. Inscription with the cartouche of Mentuhotep IV, Nebtawyre, Dynasty XI. Petroglyph boat below.
Four acres granted to St Paul’s Church of England 17 Nov 1847 for a cemetery, earlier there had been a few burials, closed 15 Jan 1874, last official burial 1922 (although later burials noted in newspaper), transferred 1938 to City of Port Adelaide. Headstones cleared c1972, info plaque erected 1990, developed 1994 as Pioneer Park. The burial register indicates 3,000 burials; seven headstones remain. The Portonian Walk was established 2003 with pavers engraved with names of former residents of Port Adelaide. Now a peaceful park, the cemetery was so neglected in the 1920s & 1930s that a two-up school was hidden amongst the prickly pear & boxthorn, cows were pastured in clear areas and children played with broken headstones & bones.
“The remains of Thomas King, the unfortunate carpenter of the Lightning, found drowned a few days ago, at Port Adelaide, were yesterday interred in the Cemetery reserve, at Albert Town.” [Adelaide Observer 15 Aug 1846]
“Alberton Church of England Cemetery closed, except to persons who have already acquired a portion for the burial of members of their families.” [Express & Telegraph 16 Jan 1874]
“a fire, which was caused through some dry grass becoming ignited, started on the eastern side of the Alberton Cemetery. . . Many of the tomb fences and headstones suffered damage.” [Daily Herald 10 Mar 1911]
“Near Port Adelaide, north of Albert, Albert Town, or Alberton, as it was variously called, is one of the oldest South Australian graveyards. It is now closed. The first burial was on October 28, 1846.” [Register 5 Mar 1917]
“The Friends of the late Robert Cruickshank are respectfully informed that his Remains (Ashes) were Laid to Rest in the Family Ground, in the Alberton Cemetery.” [Register 30 Mar 1922]
“Mrs. Hephzibah Beulah Channon. . . recalled the times when funerals from ships were taken to the old Alberton Cemetery by .boats along the canal.” [Daily Herald 22 Jun 1922]
“In the middle of the cemetery is a capacious vault erected, so blackened letters on a slate slab above indicate, to the memory of John Snoswell and his wife Eliza. John Snoswell was buried there in 1878 [sic], but the weather has removed the record of the exact year in which his wife was interred. . . Alberton cemetery is a graveyard of tears. Everywhere there are broken headstones, some crushed by careless feet into a thousand fragments, and some half buried in a tangle of undergrowth. Though it is difficult to trace the history of the burial ground from its headstones there is plenty of evidence to show that beneath its unkempt surface many of the pioneers of South Australia sleep. The inscription on one stone indicates that Grace Parsons, who died at Port Adelaide in 1845, sleeps beneath. . . Though an occasional burial still takes place in the cemetery, holders of land exercising the right to inter relatives there, the place has been closed as a public burial place for years.” [The Mail 11 Jun 1927]
“cows had been allowed to roam in the cemetery. . . The owner of the cows was no better than the other wretches, for to pen his cows where he wanted them on that day he had attached the barbed wire to the railings of the graves. . . A ‘two-up school’ frequents ‘God's acre’, particularly on Sundays. Rabbiting with dogs is one of the most inoffensive of the pastimes indulged in there. . . It was not to be expected that any reputable cemetery trust would have allowed prickly pear, cacti, boxthorn, and other weeds to spread all over the property and smother the graves.” [Port Adelaide News 24 Jun 1927]
“Alberton Cemetery Fund Opened. . . Mayor of Port Adelaide (Mr Lewis) . . . is endeavoring to raise £200 to have the neglected graveyard cleared of boxthorns, prickly pear, and other weeds, and the graves restored to a state of decency. The cemetery is the resting place of many pioneers of the district. The last lease was issued about 60 years ago. Since then there have been no funds available for upkeep.” [News 3 Dec 1931]
“Captain G. H. McKay . . . interred in the Alberton cemetery on Monday afternoon. The late Captain McKay who was 56 years of age, had been connected with the shipping industry on the S.A. coast all his life. . . leaves a wife and large family” [Kangaroo Island Courier 9 Apr 1932]
“Alberton Cemetery. . . was given by the Government in the early 1850s as a burial ground for Port Adelaide, the management being vested in the Church of England. The cemetery ceased to be used as burial ground about 20 years ago, when the Cheltenham Cemetery was opened, and within recent years had fallen into a state of neglect. About two years ago, the council took the matter up with the trustees, and an arrangement was made whereby the council was to assume control of the cemetery. Because of the terms of the original trust, however, the ground cannot be taken over by the council until the authority of Parliament is given.” [Advertiser 3 Jun 1938]
“the control of the Alberton Cemetery to be transferred to the Port Adelaide Corporation.” [Chronicle 15 Dec 1938]
“The Old Cemetery at Alberton, which is now 100 years old, was the first burying ground of the Port Adelaide district, and many pioneer families are represented there. The headstones include such well-known names as Bayly, Barratt, Bowen, Bower, Brock, Blake, Dixon, Grosse, Hannay, Hodge, Fisher, Le Messurier, Moyers, Newman, Risely, Quin, Yeo, Wells, Weman, and Dr. Duncan. Originally it adjoined the Church of England Rectory, and was controlled by that body, but as a general cemetery and open to all creeds. After the establishment of the Cheltenham Cemetery by the corporation, it fell into disuse, and the graves became very neglected. In November, 1936, however, the Church of England handed it over to the Municipal Council, together with £100 for its upkeep, and it is therefore now under the same control as the Cheltenham Cemetery.” [The Citizen, Port Adelaide 30 Jun 1939]
“The Port Adelaide City Council will recondition the Alberton Cemetery and make several improvements. The cemetery has been overgrown with weeds and in a shocking condition for some time. Vandals have committed numerous acts of desecration and few of the headstones remain in good condition. Members of the cemetery committee of the council found on inspection last week that the burial ground had been haphazardly laid out. On only 25 per cent. of the tombstones were the inscriptions legible, and only half a dozen graves received attention from relatives. Although the council has a list of those buried, it is unable to determine the position of the graves, except by the headstones. . . There have been only occasional burials at Alberton during the last 40 years, and no maintenance work has been carried out for a quarter of a century. Seven years ago the public subscribed £120, and prickly pear and weeds were cleared from the land. But the cemetery again became an eyesore.” [News 12 Oct 1939]
“MOORE.—The friends of the late Miss Mary Ann Moore, of 13 Hastings st., Glenelg, are respectfully informed that her funeral will leave the residence of her niece (Mrs E. Peake), 17 Boundary rd., Glenelg, on Monday, at 4 p.m., for the Old Alberton Cemetery.” [Advertiser 16 Mar 1942]
ancient Toos region is located between two mountain chains, Hezar Masjed in the north and Binalood in the south. mounds and large sites of Toos region shows its importancy and validity in prehistoric period. it considered four main cities in this area, Tabaran, Nowghan, Radkan and Toroghbaz. Tabaran was the greatest. it overshadowed the other cities of the region.
in 1200 Quzes detroyed the city, and then in 1220 it was completley ravaged by Mongols. but after a few decades it was reconstructed.
finally in 1388 Miranshah the son of Taymor crushed this city and gradually Tabaran was forgotten.
this building that is called Harroonieh, is the oldest and the last monument of the disappeared city. it is reconstructed in 1942.
Text from museum placard:
A bronze apotropaic nail with an invocation to Iao (Iahveh) Sabaoth, and a series of animals depicted according to an evil eye scene: 1) invaction followed by two magic signs and three stars, 2) the letter theta, a snake with a dragon's head and stars, 3) frog, tortoise, insect, hoopoe, falcon, two vipers faced around an eye, 4) deer, dog, lizard, scorpion, hare, stars.
Origin unknown, already in the Kircherian museum
IV-V century AD
Catalog cites: G. Minervini, Notizia di un chiodo metallico con iscrizione greca. in "Bullettino Archeologico Napoletano". 6. 1848. p.45
Article online at: digi.ub.uni-heidelberg.de/diglit/ban1847_1848/0047
Figure at: digi.ub.uni-heidelberg.de/diglit/ban1847_1848/0109