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Non rimangono che brandelli, che confondo facilmente con sogni ricorrenti, non rimane che il tentativo di ricostruire e forse inventare un altro sogno, non rimane che la sensazione.
“If you wanted to invent a device that could rewire our minds, if you wanted to create a society of people who were perpetually distracted, isolated, and overtired, if you wanted to weaken our memories and damage our capacity for focus and deep thought, if you wanted to reduce empathy, encourage self-absorption, and redraw the lines of social etiquette, you'd likely end up with a smartphone.” - Catherine Price, How to Break Up with Your Phone: The 30-Day Plan to Take Back Your Life.
Plumeria (common name Frangipani; syn. Himatanthus Willd. ex Roem. & Schult.) is a small genus of 7-8 species native to tropical and subtropical Americas. The genus consists of mainly deciduous shrubs and trees. P. rubra (Common Frangipani, Red Frangipani), native to Mexico, Central America, and Venezuela, produces flowers ranging from yellow to pink depending on form or cultivar. From Mexico and Central America, Plumeria has spread to all tropical areas of the world, especially Hawaii, where it grows so abundantly that many people think that it is indigenous there.
Plumeria is related to the Oleander, Nerium oleander, and both possess poisonous, milky sap, rather similar to that of Euphorbia. Each of the separate species of Plumeria bears differently shaped leaves and their form and growth habits are also distinct. The leaves of P. alba are quite narrow and corrugated, while leaves of P. pudica have an elongated oak shape and glossy, dark green color. P. pudica is one of the everblooming types with non-deciduous, evergreen leaves. Another species that retains leaves and flowers in winter is P. obtusa; though its common name is "Singapore", it is originally from Colombia.
Plumeria flowers are most fragrant at night in order to lure sphinx moths to pollinate them. The flowers have no nectar, and simply dupe their pollinators. The moths inadvertently pollinate them by transferring pollen from flower to flower in their fruitless search for nectar.
This Flower is Called Champa in your Country. Its tree is about 20 - 25 feet tall and very week if you climb on it, its branches will break. The Most Amazing Thing about this Flower is Lizard are highly attract this Flower and Rushes toward it Children use to fix this flower on the top of a wire and attracts Lizards . As the time goes on new colors and sizes are invent by the producers. They smell good. I have seen just Yellow color images on Flickr of this flower Love for all . Let see how you all find this one.
Large image View Click Here
Image Dedicated to Tracy2912
In Order to Arrange Funds for Nikon D700 This image is for Sale with complete Rights.
Italia - Florencia - Catedral de Santa Maria del Fiore
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ENGLISH
By the beginning of the 15th century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15.1 feet) high, 9.2 metres (30.2 feet) long, was standing in a side aisle of the unfinished building, and had long been sacrosanct. It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravanti's model was chosen over a competing one by Giovanni di Lapo Ghini. That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts. Furthermore, the use of buttresses was forbidden in Florence, as the style was favored by central Italy's traditional enemies to the north. Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. The Pantheon had employed structural centring to support the concrete dome while it cured. This could not be the solution in the case of a dome this size and would put the church out of use. For the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms. Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of brick, due to its light weight compared to stone and being easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco, a model which is still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Brunelleschi's solutions were ingenious, such as his use of the catenary arch for support. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one at the top, one at the bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. Brunelleschi also included vertical "ribs" set on the corners of the octagon, curving towards the center point. The ribs, 4 metres (13 ft) deep, are supported by 16 concealed ribs radiating from center. The ribs had slits to take beams that supported platforms, thus allowing the work to progress upward without the need for scaffolding.
A circular masonry dome can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome and has no embedded chains.
A modern understanding of physical laws and the mathematical tools for calculating stresses were centuries in the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition, even though there had been evidence that Brunelleschi had been working on a design for a lantern for the upper part of the dome. The evidence is shown in the curvature, which was made steeper than the original model.[30] He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design (now on display in the Museum Opera del Duomo) was for an octagonal lantern with eight radiating buttresses and eight high arched windows. Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (376 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
The commission for this gilt copper ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".
The decorations of the drum gallery by Baccio d'Agnolo were never finished after being disapproved by no one less than Michelangelo.
A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.
The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the 19th century.
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ESPAÑOL
La cúpula de Santa María del Fiore o cúpula de Santa María de la Flor, también conocida como cúpula de Brunelleschi o cúpula del Duomo de Florencia, constituye la cubierta del crucero de la catedral de Santa María del Fiore de Florencia. Fue la cúpula más grande del mundo tras la caída del imperio romano y se considera todavía la mayor jamás realizada en albañilería. Fue ideada, proyectada y construida por Filippo Brunelleschi, quien inició con esta obra el Renacimiento italiano y florentino en arquitectura. Está considerada como la construcción más importante edificada en Europa desde la época romana, debido a la relevancia fundamental que ha desempeñado para el desarrollo posterior de la arquitectura y de la concepción moderna de la construcción.
La cúpula tiene una forma apuntada y está formada por ocho caras o paños ojivales, cubiertos con teja de barro rojo y bordeados por ocho nervios de piedra blanca. Toda la estructura descansa sobre un tambor también octogonal, perforado por ocho óculos para la iluminación del interior. Los nervios convergen en un anillo octogonal superior, coronado por una linterna, elemento que también colabora en la entrada de luz. El interior está constituido por dos casquetes o domos, uno interior y otro exterior, construidos con ladrillo dispuesto en forma de espina de pez. Están conectados entre sí por medio de una retícula interior formada por costillas y nervaduras, que sostiene la cúpula y colabora en su estabilidad. El hueco que queda entre ambos casquetes forma un espacio por el que se asciende hasta la linterna. El exterior del tambor está revestido con mármoles polícromos y con una balaustrada incompleta que solo se construyó en una de sus caras. La cara interna de la cúpula está decorada con pinturas al fresco y al temple que representan el Juicio Final.
Las proporciones del conjunto son monumentales. La altura máxima de la cúpula es de 116.50 metros, el diámetro máximo del casquete interior es de 45.5 metros y el del exterior, de 54.8 metros. La base de las impostas se encuentra a 55 metros del suelo. El tambor, de 13 metros de altura y 43 de anchura, se sitúa a 54 metros del suelo. El casquete interior tiene un espesor en su base de 2.20 metros, que disminuye hasta los 2 metros en la cúspide, mientras que el casquete exterior tiene un espesor que pasa de un metro a 0.40 metros. El anillo superior de cierre de la cúpula se encuentra a 86.70 metros del suelo. La linterna tiene 6 metros de diámetro y 21 de altura. Los paños trapezoidales miden 17.50 metros de longitud y tienen una altura de 32.65 metros. El peso estimado total de la cúpula es de unas 30 000 toneladas y se calcula que se necesitaron para su construcción más de 4 millones de ladrillos.
Sus enormes dimensiones hicieron inviable el empleo de los métodos constructivos tradicionales mediante cimbras, lo cual ha favorecido la especulación de diversas teorías sobre la técnica constructiva empleada. Brunelleschi no dejó registro de ningún dibujo, maqueta o esbozo que indicara el procedimiento utilizado en la edificación de la cúpula.
Las obras de construcción de la cúpula tuvieron una duración de 16 años, desde 1420 hasta 1436. En 1446 se inició la construcción de la linterna, que fue terminada en 1461. El revestimiento exterior del tambor se ejecutó entre 1512 y 1515, y la decoración pictórica del interior de la cúpula se prolongó desde 1572 hasta 1579.
Inventado en 1850 por el científico francés Jean-Bernard-Léon Foucault fué la primera demostración física de la rotación de la Tierra, su continuo y sereno funcionamiento permite observar el principio de la inercia, descubierto por Newton y según el cual, aunque parezca que es el péndulo el que cambia de trayectoria, lo que se mueve en realidad es el suelo que tiene debajo, un efecto provocado por la fuerza de Coriolis, provocada por el movimiento de rotación de nuestro planeta … todo un icono de la ciencia cuyo simple objetivo es observar la velocidad angular y los efectos de rotación de la tierra ...
El péndulo aquí instalado tiene una longitud de 13 metros, con un período de oscilación de 7 segundos.
Está ubicado el la latitud 39º 48' 50'' S , longitud 73º 14' 15'' W.
La base del péndulo está a 4,5 metros sobre el nivel del rio Valdivia.
El cable es de acero trenzado y la esfera cromada tiene una masa de 110 kilos.
El péndulo posee un sistema de recuperación que devuelve la energía que se pierde por roce con el aire, cuyo mecanismo es compuesto por 4 sensores ópticos de movimiento, un circuito electrónico de control, un electroimán (bobina) y un imán... de no existir éste sistema el péndulo dejaría de oscilar al cabo de algunas horas.
En la base se observa una rosa de los vientos con los puntos cardinales y una graduación que permite medir desplazamiento del plano de oscilación.
Che salpino le navi,
si levino le ancore e si gonfino le vele,
verranno giorni limpidi e dobbiamo approfittare
di questi venti gelidi
del Greco e del Maestrale, lasciamo che ci spingano al di là di questo mare, non c'è più niente per cui piangere o tornare.
Si perdano i rumori e presto si allontanino i ricordi e questi odori,
verranno giorni vergini e comunque giorni nuovi,
ci inventeremo regole, ci sceglieremo i nomi
e certo ci ritroveremo
a fare vecchi errori,
ma solo per scoprire di essere migliori.
...Inventos con mi amigo, Javi Benedito, poniendo en práctica métodos de fotografía empleados por un gran maestro del la fotografía, Pedro Javier Pascual pedrojavierpascual.es evidentemente, a años luz de él...
Pulsar L para verla mejor
Más fotos en
Inventé par l'ingénieur Dean Kamen en 2001 et développé par la firme américaine Segway Inc, le gyropode Segway est le nouveau mode de transport motorisé le plus écologique et le plus économique par personne et par kilomètre. Aujourd'hui leader mondial du transport léger électrique de proximité avec plus de 80 000 gyropodes en circulation dans plus de 60 pays.
Bon week-end les artistes !
stuff that im the first to do if u think ure first for one of these things send me an fm we can compere dates to see whos first
and........ im not dead :P
Invented in 2005 by Aerobie president Alan Adler. Coffee grounds and hot water are put inside the tubes and pressed out through a filter at the bottom. It telescopes into a small size convenient for travel and even camping. A source of hot water is all that's needed. (And coffee.)
Very flexible, it's easy to fine tune the kind of coffee you like.
The Inventing room of the renowned, if somewhat mysterious, Professor Bardarbarus Thetch
The Professor was greatly inspired by this:
In 1823 Charles Deane invented a helmet for firefighting to avoid smoke. Not a great success. His brother John trialed it as a diving helmet and the world of commercial diving has never looked back.
This is the original helmet, on loan from the Science Museum to the Diving Museum, and is available for the public to see starting Good Friday.
The Clos Lucé, the castle where Leonardo da Vinci spent the last years of his life and died in 1519.
Invented by Caius Ingenius, the Steam Chariot was able to drive a great distance at the incredible speed of 18 km per hour.
"On aimerait tant pouvoir inventer le dragon qui fera de nous un Prince Charmant."
For strobist :
1x SB-600, 1/16, camera left, model front
1x SB-600, 1/1, camera right, behind model
The Clos Lucé, the castle where Leonardo da Vinci spent the last years of his life and died in 1519.
Nuevo. Collar con pajarito turquesa, que cuelga de su propio e inventado reloj cucú. Sus cadenas son envejecidas.
Marca: Cóctel/ la tiendita
2.500
RESERVAS Y CONSULTAS AL FLICKRMAIL O A COCTEL.LATIENDITA@GMAIL.COM
2022 wishes to cross the new year.Deerpower....How 2022 Works are horsepower ?“Your life is what your thoughts make it,Your New Year is what, what you make it,Happy New Year 2022!"
I would just like to say to all of you people who have answered this question stating that St Nicholas is the original Santa, well he came after, like most things which the Christians claim as their own, has in fact a Pagan root...Santa Claus and Xmas are both Pagan originally.. Saint Nicholas' Day .When the old Gods ruled the world, Odinn the All-father rode the skies of Germania and Scandinavia in winter with a crowd of elves and spirits; those mortals who offered him reverence were rewarded with gifts.. In later years, Odinn's horse, elves and gifts became the accouterments of a Christian saint named Nicholas.Nicholas lived in Asia Minor..Because he calmed the storms at sea during his life, he became the patron of sailors; and because he restored to life three murdered youths, he became the patron for boys..But the most famous tale concerning him was that of three maidens whose imppoverished father planned to sell them into slavery.. Nicholas redeemed them with three bags of dowry gold, which he flung through their windows one night and which landed on their shoes, set to warm before the fire..For this deed, he became the patron of maidens, and Frenchwomen prayed to him for husbands.. He also became the patron of pawnbrokers, and his bags of gold are remembered in the three golden balls that are the sign of the trade.. But gift-giving was his most important act..In Germany and Holland, children set out their shoes on the eve of his feast day, filling them with hay and carrots for his white horse, just as provender had been left for Odinn's horse by their ancestors.. Nicholas, they knew, would ride over the rooftops in the night with his elvish companion Knecht Ruprecht.. Ruprecht carried a switch for use on naughty young ones.. But Nicholas carried baskets of toys and sweets, to be left in the shoes of all good children... That is the origin of Santa, and the red suit he wears has only been around since about the 1930's when he was part of a huge Coke campaign.. First there was St Nicholas--a real Saint who was wealthy and gave a lot of it away, but his feast day was December 6th (when it is still celebrated in some European countries--not at Christmas). For many involved reasons, he was suppressed and finally abolished by the Protestant Reformation. However, he was not to be so easily done away with. His festival was assimilated with Christmas, because often custom and amusement prevail even in the face of disapproving religion.
The Dutch brought him to the New World, and the English colonists borrowed him. In some parts of Germany, St.Nicholas was deposed of power and disappeared. Still, the custom remained and gifts appeared, but they were attributed to the Christ Child, or in popular German, Kriss Kringle. Hmm.
In parts of southern Germany, he is called "Santiklos". The Dutch form is San Nicolaas. Then along came Clement Moore, and that famous poem, which gave us our popular American form of St Nicholas. The author of "Twas the Night before Christmas" was a distinguished Biblical scholar and professor in the General Theological Seminary in New York. He created a fairy tale, borrowing from the Russian St Nicholas: the reindeer (there are none in America but lots of them in Lapland, close to Russia), and the furs--(but no red suit--that was the vision of the artist who illustrated the verse), made him an "elf" and incorporated the idea of Santa Claus of his time. The poem was such a success that it spread all over the country, giving America its own version of Santa Claus, which, ironically, spread back across the Atlantic to Europe.The TRUTH is YOUR ARE RIGHT. Saint Nicholas and Santa Claus come of EVIL. This all started during the times of the Germanic people there was in winter a winter festival in honor of the idol Wodan. Wodan was the main Germanic god, known as the god of war and death! They symbolized Wodan as a saint with a long beard and a long cloak, and in his hand he held a spear with a snake-head, which was also seen as a magic lance. Along with his eight-legged horse, Sleipnir, Satan made sure to christianize the Germanic pagan idolatry, and to have himself declared a saint in that way. this St. Nicholas and Santa Claus ritual, in which they both are being exalted and worshipped, comes of EVIL! Many children worship St. Nicholas, the Wodan! Furthermore, Roman Catholicism is a mixture of worship of idols and canonizations, and brought it to Front. And the church allowed itself to be used for satan's plan. The miter of the Roman Catholics is also called 'Dagon-hat', a fish's mouth, which represents worship of Dagon, also known as Baal-Moloch, devil!The modern depiction of Santa Claus as a fat, jolly man (or elf) wearing a red coat and trousers with white cuffs and collar, and black leather belt and boots, became popular in the United States in the 19th century due to the significant influence of caricaturist and political cartoonist Thomas Nast.[3] This image has been maintained and reinforced through song, radio, television, and films. In the United Kingdom and Europe, his depiction is often identical to the American Santa, but he is commonly called Father Christmas.One legend associated with Santa says that he lives in the far north, in a land of perpetual snow. The American version of Santa Claus lives at the North Pole, while Father Christmas is said to reside in Finland. Other mythological details include: he is married and lives with Mrs. Claus; that he makes a list of children throughout the world, categorizing them according to their behavior; that he delivers presents, including toys, candy, and other presents to all of the good boys and girls in the world, and sometimes coal or sticks to the naughty children, in one night; and that he accomplishes this feat with the aid of magical elves who make the toys, and flying reindeer who pull his sleigh.There has long been opposition to teaching children to believe in Santa Claus. Some Christians say the Santa tradition detracts from the religious origins and purpose of Christmas. Other critics feel that Santa Claus is an elaborate lie, and that it is unethical for parents to teach their children to believe in his existence.[6] Still others oppose Santa Claus as a symbol of the commercialization of the Christmas holiday, or as an intrusion upon their own national traditions.
answers.yahoo.com/question/index?qid=20071222075857AAHGEu2
Germany's black forest, before Christianity came to the place, they had a legend about creatures called tomtin. These were wholly evil little dwarf-like creatures, who wore red (the color of blood). They would band together, pull a traveler to the ground and beat him. The tomtin had a leader, though. He was known as Nacht Rupert. Nacht Rupert would sometimes come into villages taking a small army of tomtin with him, and could sometimes be seen peering into windows. He would often kill those he was watching, unless the people inside were keeping to the old faiths, in which case he would give gifts. When the Catholic faith made it to the area, they were appalled at such a thing, and decided to replace the notion with a saint, who happened to be St. Nicholas. At first, though, this did not erase his sinister reputation. For some time, he was known as 'Buller Claus' (translates to 'Belled 'Nicholas') because of the chains and bells that he carried. When he approached a house, the tomtin went ahead to rouse sleeping children, drag them from their beds, and ask them questions on the Christian catechism. If they could not answer or answered incorrectly, the tomtin beat them with sharp sticks and chains while St. Nicholas pelted them with hard coal until they bled and the tomtin licked the blood from their wounds. If they were able to answer correctly, they were (grudgingly) rewarded with an apple or sweetmeat. Luckily, St. Nicholas would only come once a year, on a certain day in winter. Later, the image of the tomtin softened, and they became 'Santa's little helpers' or 'Christmas Elves'. Also, things changed around a bit, and now it is Santa who wears the red (color of blood) suit. Just think of that next time you see Santa at the shopping mall!
www.frihost.com/forums/vt-85369.html
The Santa Claus we all know and love — that big, jolly man in the red suit with a white beard — didn’t always look that way. In fact, many people are surprised to learn that prior to 1931, Santa was depicted as everything from a tall gaunt man to a spooky-looking elf. He has donned a bishop's robe and a Norse huntsman's animal skin. In fact, when Civil War cartoonist Thomas Nast drew Santa Claus for Harper's Weekly in 1862, Santa was a small elflike figure who supported the Union. Nast continued to draw Santa for 30 years, changing the color of his coat from tan to the red he’s known for today.Here, a few other things you may not have realized about the cheerful guy in the red suit.The Coca-Cola Company began its Christmas advertising in the 1920s with shopping-related ads in magazines like The Saturday Evening Post. The first Santa ads used a strict-looking Claus, in the vein of Thomas Nast.In 1930, artist Fred Mizen painted a department-store Santa in a crowd drinking a bottle of Coke. The ad featured the world's largest soda fountain, which was located in the department store Famous Barr Co. in St. Louis, Mo. Mizen's painting was used in print ads that Christmas season, appearing in The Saturday Evening Post in December 1930.In 1931 the company began placing Coca-Cola ads in popular magazines. Archie Lee, the D'Arcy Advertising Agency executive working with The Coca-Cola Company, wanted the campaign to show a wholesome Santa who was both realistic and symbolic. So Coca-Cola commissioned Michigan-born illustrator Haddon Sundblom to develop advertising images using Santa Claus — showing Santa himself, not a man dressed as Santa.For inspiration, Sundblom turned to Clement Clark Moore's 1822 poem "A Visit From St. Nicholas" (commonly called "'Twas the Night Before Christmas"). Moore's description of St. Nick led to an image of a warm, friendly, pleasantly plump and human Santa. (And even though it's often said that Santa wears a red coat because red is the color of Coca-Cola, Santa appeared in a red coat before Sundblom painted him.)Sundblom’s Santa debuted in 1931 in Coke ads in The Saturday Evening Post and appeared regularly in that magazine, as well as in Ladies Home Journal, National Geographic, The New Yorker and others.From 1931 to 1964, Coca-Cola advertising showed Santa delivering toys (and playing with them!), pausing to read a letter and enjoy a Coke, visiting with the children who stayed up to greet him, and raiding the refrigerators at a number of homes. The original oil paintings Sundblom created were adapted for Coca-Cola advertising in magazines and on store displays, billboards, posters, calendars and plush dolls. Many of those items today are popular collectibles.Sundblom created his final version of Santa Claus in 1964, but for several decades to follow, Coca-Cola advertising featured images of Santa based on Sundblom’s original works. These paintings are some of the most prized pieces in the art collection in the company’s archives department and have been on exhibit around the world, in famous locales including the Louvre in Paris, the Royal Ontario Museum in Toronto, the Museum of Science and Industry in Chicago, the Isetan Department Store in Tokyo, and the NK Department Store in Stockholm. Many of the original paintings can be seen on display at World of Coca-Cola in Atlanta, Ga.In the beginning, Sundblom painted the image of Santa using a live model — his friend Lou Prentiss, a retired salesman. When Prentiss passed away, Sundblom used himself as a model, painting while looking into a mirror. Finally, he began relying on photographs to create the image of St. Nick.People loved the Coca-Cola Santa images and paid such close attention to them that when anything changed, they sent letters to The Coca-Cola Company. One year, Santa's large belt was backwards (perhaps because Sundblom was painting via a mirror). Another year, Santa Claus appeared without a wedding ring, causing fans to write asking what happened to Mrs. Claus.The children who appear with Santa in Sundblom’s paintings were based on Sundblom's neighbors — two little girls. So he changed one to a boy in his paintings.In 1942, Coca-Cola introduced "Sprite Boy," a character who appeared with Santa Claus in Coca-Cola advertising throughout the 1940s and 1950s. Sprite Boy, who was also created by Sundblom, got his name due to the fact that he was a sprite, or an elf. (It wasn’t until the 1960s that Coca-Cola introduced the popular beverage Sprite.)In 2001, the artwork from Sundblom's 1963 painting was the basis for an animated TV commercial starring the Coca-Cola Santa. The ad was created by Academy Award-winning animator Alexandre Petrov.
www.coca-colacompany.com/stories/coke-lore-santa-claus/
Santa Claus and Christmas go hand-in-hand - in the other hand, Father Christmas is holding an ice cold bottle of Coca-Cola.The gigantic brand has more to do with the big man in red than the supposedly traditional mince pie and glass of sherry.But while it is often said his trademark red suit is solely down to the soft drink's long-running advertising campaign, many historians believe the colours were inspired by the Bishop of Myra in the 4th Century.He had a reputation for secret gift-giving, such as putting coins in the shoes of those who left them out for him, and so he became the model for Santa Claus.But the association with Coca-Cola has done little to harm any link with a red suit - and the brand denies it is solely responsible for Saint Nick's garb."Before the Coca‑Cola Santa was even created, St Nick had appeared in numerous illustrations and written descriptions wearing a scarlet coat," its site reads."However, it is true that Coca‑Cola advertising played a big role in shaping the jolly, rotund character we know and love today."In 1931, Swedish-American artist Haddon Sundblom was commissioned to paint Santa Claus for the company's Christmas adverts.Prior to this, he had been portrayed in a variety of ways throughout history: tall and gaunt; short and elfin; distinguished and intellectual; even downright frightening.Coca-Cola adds: "Sundblom’s paintings for Coca‑Cola established Santa as a warm, happy character with human features such as rosy cheeks, a white beard, twinkling eyes and laughter lines."This grandfather-style Coca‑Cola Santa captivated the public and, as our adverts spread globally, the perception of the North Pole’s most-famous resident changed forever."These historic Coca-Cola Christmas adverts show how little has changed in 80 years of festive marketing.Proving that they know when holidays are coming, the mega-brand have consistently put Santa Claus at the heart of their posters.Starting in 1931, a rotund St Nick holds up a glass of the iconic pop up with the tag line "my hat's off to the pause that refreshes".Even 83 years later, a smiling Santa with slightly less rosy cheeks, dominates the poster.
www.mirror.co.uk/news/world-news/coca-cola-really-invent-...
America and the Creation of Santa Claus.
America and the Creation of Santa Claus: A Guide
The American Santa Claus is generally considered to have been the invention of Washington Irving and other early nineteenth-century New Yorkers, who wished to create a benign figure that might help calm down riotous Christmas celebrations and refocus them on the family. This new Santa Claus seems to have been largely inspired by the Dutch tradition of a gift-giving Sinterklaas, but it always was divergent from this tradition and was increasingly so over the course of the nineteenth and twentieth centuries. So, the American Santa is a largely secular visitor who arrives at Christmas, not the 6 December; who dresses in furs rather than a version of bishop's robes; who is rotund rather than thin; and who has a team of flying reindeer rather than a flying horse. At first his image was somewhat variable, but Thomas Nast's illustrations for Harper's Illustrated Weekly (1863-6) helped establish a figure who looks fairly close to the modern Santa. This figure was taken up by various advertisers, including Coca-Cola, with the result that he is now the 'standard' version of the Christmas visitor and has largely replaced the traditional Father Christmas in England.The Origin of American Christmas Myth and Custom - By B.K. Swartz, Jr., Emeritus Professor at Ball State University (this page is now hosted on arthuriana.co.uk by kind permission of B. K. Swartz, Jr.). A very nicely illustrated schematic version of the evolution of Santa Claus from St Nicholas, with extremely good coverage of the development of Santa Claus (including dates for the first appearance of various features).Christmas Reborn: The Creation of a Consumer Christmas - An interview with Professor Stephen Nissenbaum, author of an important book on the nineteenth-century American 're-invention' of Christmas and the creation of Santa Claus, The Battle for Christmas. This interview includes discussion of both of these topics. Santa Claus Does More Than Deliver Toys: Advertising's Commercialization of the Collective Memory of Americans - An interesting journal article from 2000 that has been made freely available (pp. 207-40 of the PDF). This provides a good summary of the early development of St Nicholas before going into considerable detail on the American tradition of Santa and its evolution and spread.Santa Claus: Building a Better Father Christmas - A good article which is largely based on Nissenbaum's work, making the case for the American tradition of Santa Claus being the creation of an early nineteenth-century New York elite, who transplanted the Dutch Sinterklaas into New York in a successful attempt to civilise Christmas.Did Coca-Cola Invent Santa Claus? - A detailed discussion of the common belief that the modern image of Santa Claus was the sole creation of 1930s Coca-Cola advertising, which rightly rejects this as a myth. Another good demolition of this myth and brief discussion of the nineteenth-century 'creation' of the American Santa Claus is available here: Did the Popular Image of Santa Claus Originate in a Coca-Cola Ad?
Kaysersberg (Haut-Rhin) - Église de l'Invention-de-la-Sainte-Croix - Nef
commons.wikimedia.org/wiki/%C3%89glise_Ste_Croix_(Kaysersberg)?uselang=fr
Faz muitos anos que não faço uma francesinha
Pintou a vontade e resolvi fazer para o desafio
Usei uma camada do Renda da Risqué, que por sinal foi um dos esmaltes que mais usei antes do vício.
Carimbei as pontinhas com a placa M-19, para deixar o risco mais certinho, a mão livre sou péssima
E inventei de esponjar com o Harmonia da Naty as pontinhas para dar um brilho, afinal é mani para o Reveillon.
Antes que me esqueça carimbei o anelar com a placa TO- 17, mas inventei de passar o mesmo glitter por cima que acabou sumindo um pouco a estampa.
Tall, thin, fit, and tan pretty brunette swimsuit bikni model goddess modeling the Nikon D800 E-based 45WindSurfer / 9shooter !
A most beautiful Asian goddess !
Shooting photographic stills & video @ same time with Nikon D800 & 70-200 mm VR2 Nikkor Lens bracketed to a camcorder--the awsome Panasonic HDC-TM900 32GB Flash Memory HD Camcorder ! It shoots stabilized 60P video for super-smooth slow-mo when I slow it down in post!
I call it the 45WindSurfer Bracket, as you can catch video's constant wind and still photography's intermittent waves!
Just as windsurding was invented by combining two sports--surfing and sailing--so too was 45windsurfing born by combining two art forms!
When you get to work with pretty swimsuit bikni models, you want to make the most of everyone's time & shoot stills photography and motion pictures / video @ the same time!
Shooting (45WindSurfing) !
The 45WindSurfer bracket allows one to attach any two cameras! Can hardly wait to attch a 4K Sony or JVC!
Modeling a Gold'N'Virtue bikini!
All the best on your hero's journey!
Vintage bikinis rock!
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