SALAMPASU (ASALAMPASU, BASALAMPASU, MPASU)

Democratic Republic of the Congo

The 60,000 Salampasu people live east of the Kasai River, on the frontier between the Democratic Republic of the Congo and Angola. Their name is said to mean “hunters of locusts”, but they were widely viewed with terror by adjacent groups. They maintain strong commercial and cultural relations with their southern neighbors, the Chokwe and the Lunda, to whom they pay tribute. The Salampasu are homogeneous people governed by territorial chiefs, who supervise village chiefs. Their hierarchical power structure is counterbalanced by a warriors' society. A people with a reputation as fearless warriors, the Salampasu have retained the custom of a rough and primitive life. Warring and hunting are privileged occupations, but the women do some farming.

Salampasu masks were integral part of the warriors’ society whose primary task was to protect this small enclave against invasions by outside kingdoms. Boys were initiated into the warriors’ society through a circumcision camp, and then rose through its ranks by gaining access to a hierarchy of masks. Earning the right to wear a mask involved performing specific deeds and large payments of livestock, drink and other material goods. Once a man ‘owned’ the mask, other ‘owners’ taught this new member particular esoteric knowledge associated with it. The Salampasu use masks made from wood, crocheted raffia, and wood covered with sheets of copper. Famous Salampasu masks made for initiation purposes are characterized by a bulging forehead, slanted eyes, a triangular nose and a rectangular mouth displaying intimidating set of teeth. The heads are often covered with bamboo or raffia or rattan-like decorations. Presented in a progressive order to future initiates, they symbolize the three levels of the society: hunters, warriors, and the chief. Certain masks provoke such terror that women and children flee the village when they hear the mask's name pronounced for fear they will die on the spot. Wooden masks covered or not covered with copper sheets are worn by members of the ibuku warrior association who have killed in battle. The masks made of plaited raffia fiber are used by the idangani association. Throughout the southern savannah region copper was a prerogative of leadership, used to legitimize a person’s or a group’s control of the majority of the people. Possessing many masks indicated not only wealth but also knowledge. Filing teeth making part of many wooden masks was part of the initiation process for both boys and girls designed to demonstrate the novices’ strength and discipline. Salampasu masquerades were held in wooden enclosures decorated with anthropomorphic figures carved in relief. The costume, composed of animal skins, feathers, and fibers, is as important as the mask itself. It has been sacralized, and the spirit dwells within it. Masks are still being danced as part of male circumcision ceremonies.

God is an astronaut, Bratislava Slovakia KC Dunaj, 15.3 2012.

Samyang 14 mm 2,8

This is the new housing development Highfields, built on the site of the demolished Highfield House (1850-2008).

The builders accidentily cut a 100 year old tree down, so they planted a new one (in the old ones place)

Here is an article on the Birmingham Mail about the long gone Highfield House. It existed from the 1850s to around 2008. I don't know why such an old house had to be pulled down to build these new houses.

But it has happened.

Houses for sale by Hunters.

Christmas Day 2010 - was a nice sunny morning. The snow from the week before had frozen into compacted ice.

This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.

It was a class assignment for CO

This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.

It was an assignment in a UCLA Design | Media Arts Class. The front portion of the book is comprised of all the text and images, clearly setup into a four row system, which aligns to the four flipbooks at the very back of the book.

This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.

It was an assignment in a UCLA Design | Media Arts Class. The front portion of the book is comprised of all the text and images, clearly setup into a four row system, which aligns to the four flipbooks at the very back of the book.

Kasuga Grand Shrine (春日大社) is a Shinto shrine in the city of Nara, in Nara Prefecture, Japan. Established in 768 AD and rebuilt several times over the centuries, it is the shrine of the Fujiwara family. The interior is famous for its many bronze lanterns, as well as the many stone lanterns that lead up the shrine.

The architectural style Kasuga-zukuri takes its name from Kasuga Shrine's honden (sanctuary).

Kasuga Shrine, and the Kasugayama Primeval Forest near it, are registered as a UNESCO World Heritage Site as part of the "Historic Monuments of Ancient Nara".

The path to Kasuga Shrine passes through Deer Park. In Deer Park, deer are able to roam freely and are believed to be sacred messengers of the Shinto gods that inhabit the shrine and surrounding mountainous terrain. Kasuga Shrine and the deer have been featured in several paintings and works of art of the Nambokucho Period. Over three thousand stone lanterns line the way. The Man'yo Botanical Garden, Nara is adjacent to the shrine.

-

Photograph taken by

Jos van der Heiden (2015)

Patan (Sanskrit: पाटन Pātan, Newar: यल Yala), officially Lalitpur Sub-Metropolitan City, is the third largest city of Nepal after Kathmandu and Pokhara and it is located in the south-central part of Kathmandu Valley. Patan is also known as Manigal. It is best known for its rich cultural heritage, particularly its tradition of arts and crafts. It is called city of festival and feast, fine ancient art, making of metallic and stone carving statue. At the time of the 2011 Nepal census it had a population of 226,728 in 54,748 individual households. The city received extensive damage from an earthquake on 25 April 2015.

GEOGRAPHY

Patan is on the elevated tract of land in Kathmandu Valley on the south side of the Bagmati River, which separates it from the city of Kathmandu on the northern and western side. The Nakkhu Khola acts as the boundary on the southern side. It was developed on relatively thin layers of deposited clay and gravel in the central part of a dried ancient lake known as the Nagdaha.

It is the third largest city of the country, after Kathmandu, and Pokhara.

The city has an area of 15.43 square kilometres and is divided into 22 municipal wards. It is bounded by:

East: Imadol VDC and Harisiddhi VDC

West: Kirtipur Municipality and Kathmandu Metropolitan City (KMC)

North: Kathmandu Metropolitan City (KMC)

South: Saibu VDC, Sunakothi VDC and Dhapakhel VDC

CLIMATE

Climate is characterized by relatively high temperatures and evenly distributed precipitation throughout the year. The Köppen Climate Classification subtype for this climate is "Cfa" (Humid Subtropical Climate).

HISTORY

Lalitpur is believed to have been founded in the third century BC by the Kirat dynasty and later expanded by Licchavis in the sixth century. It was further expanded by the Mallas during the medieval period.

There are many legends about its name. The most popular one is the legend of the God Rato Machhindranath, who was brought to the valley from Kamaru Kamachhya, located in Assam, India, by a group of three people representing the three kingdoms centered in the Kathmandu Valley.

One of them was called Lalit, a farmer who carried God Rato Machhindranath to the valley all the way from Assam, India. The purpose of bringing the God Rato Machhindranath to the valley was to overcome the worst drought there. There was a strong belief that the God Rato Machhindranath would bring rain in the valley. It was due to Lalit's effort that the God Rato Machhindranath was settled in Lalitpur. Many believe that the name of the town is kept after his name Lalit and pur meaning township.

In May, a chariot festival honoring the deity known as Bunga Dyah Jatra is held in Patan. It is the longest and one of the most important religious celebrations in Patan.

During the month-long festival, an image of Rato Machhendanath is placed on a tall chariot and pulled through the city streets in stages.

Lalitpur said to have been founded by King Veer Deva in 299 AD, but there is unanimity among scholars that Patan was a well established and developed town since ancient times. Several historical records including many other legends indicate that Patan is the oldest of all the cities of Kathmandu Valley. According to a very old Kirat chronicle, Patan was founded by Kirat rulers long before the Licchavi rulers came into the political scene in Kathmandu Valley. According to that chronicle, the earliest known capital of Kirat rulers was Thankot. Kathmandu, the present capital was most possibly removed from Thankot to Patan after the Kirati King Yalamber came into power sometimes around second century AD.

One of the most used and typical Newar names of Patan is Yala. It is said that King Yalamber or Yellung Hang named this city after himself, and ever since this ancient city was known as Yala.

In 1768, Lalitpur was annexed to the Gorkha Kingdom by Prithvi Narayan Shah in the Battle of Lalitpur.

HISTORICAL MONUMENTS

The city was initially designed in the shape of the Buddhist Dharma-Chakra (Wheel of Righteousness). The four thurs or mounds on the perimeter of Patan are ascribed around, one at each corner of its cardinal points, which are popularly known as Asoka Stupas. Legend has it that Emperor Asoka (the legendary King of India) visited with his daughter Charumati to Kathmandu in 250 BC and erected five Asoka Stupas, four in the surrounding and one at the middle of the Patan. The size and shape of these stupas seem to breathe their antiquity in a real sense. There are more than 1,200 Buddhist monuments of various shapes and sizes scattered in and around the city.

The most important monument of the city is Patan Durbar Square, which has been listed by UNESCO as one of seven Monument Zones that make up the Kathmandu Valley World Heritage Site. The seven monument zones were included in the World Heritage List in 1979 as one integrated site. The monument zones are declared as protected and preserved according to the Monuments Preservation Act of 1956. The Square was heavily damaged on 25 April 2015 by an earthquake.

Patan City was planned in Vihars and Bahils. Out of 295 Vihars and Bahils of the valley 56% of them are in Patan. The water conduits, stone spouts, Jaladroni (water tanks), artistic gate ways, Hindu temples and Buddhist Vihars adorn the city. The in built cultural heritage like the royal palace, with intricately carved doors and windows and beautiful courtyards adorned with exquisite icons enhance the beauty of the city. Such art pieces are found in stone, metal, terracotta ivory and other objects. All these artifacts exhibit artistic excellence of the craftsmen and the whole city looks like an open museum.

ECONOMY

A substantial portion of the population is engaged in trades, notably in traditional handicrafts and small scale cottage industries, and some residents work in agriculture. Lalitpur has produced the highest number of renowned artists and finest craftsmen ever recorded in the history of Nepali art.

Patan has maintained a culture of craftwork even in the face of rapid urbanization and many social and political upheavals.

The city is less urbanized than Kathmandu, north of the Bagmati river, but is home to many workshops, stores, restaurants, hotels, schools, embassies and other important sectors of the Kathmandu Valley economy.

Buddha Air has its headquarters in Jawalakhel, near Patan.

EDUCATION

POSTSECONDARY EDUCATION

Patan is home to Pulchowk Engineering Campus, one of the oldest and most reputed colleges affiliated with the Institute of Engineering, Tribhuvan University. Patan Academy of Health Sciences is the only medical university in the city with Patan Hospital as its primary teaching hospital, and there is another medical school - KIST Medical College in Lalitpur. Other instituitions of higher learning in Patan include Kathmandu University School of Management (KUSOM) and Patan Multiple Campus.

PRIMARY AND SECONDARY EDUCATION

The city is served by a number of private and public instituitions providing education from primary until secondary level. Among all, the largest and reputed schools are Adarsha Vidya Mandir, St. Xavier's School, St. Mary's, Little Angels School, Graded English Medium School, Rato Bangala School, DAV Sushil Kedia, Adarsha Kanya Niketan, The British School, Adarsha Saral Madhyamik Vidyalay and Gyanodaya Bal Batika School.

LIBRARIES

Nepal National Library which was established in 1957 AD was moved to Patan from Singha Durbar in 2061 AD. It is at Harihar Bhawan. Madan Puraskar Pustakalaya which awards the Madan Puraskar and Jagadamba Shree Puraskar literary prizes is in the city.

PLACES OF INTEREST

Patan is renowned as a very artistic city. Most of the Nepalese art is devoted to Gods, and there are an abundance of temples and viharas. Notable places of interest include:

Patan Durbar Square: The palace square and residence of the Malla rulers of Patan state which now houses a museum.

Patan Dhoka: One of the historical entrances to the old city.

Bhaskerdev Samskarita Hiranyabarna Mahavihara: A Buddhist temple known locally as Golden Temple.

Mahabouddha Temple: Also known as 1000 Buddha Temple modeled liked the Mahabodhi temple in Bodh Gaya.

Kumbheswor Temple: A Shiva temple with two ponds whose water is believed to come from Gosaikunda.

Ratnakar Mahavihar: Also known as Ha Baha, the viahara complex is the official residence of the Kumari of Patan.

Krishna Mandir: One of the most beautiful stone temples of Nepal built by King Siddhinarsingh Malla in the 16th century.

Park Gallery: an artist run space founded in 1970.

TRANSPORTATION

AIRPORTS

ROADS

Walking is the easiest method of transportation within the city as the core is densely populated. In terms of motor transport, Kathmandu Valley Ring Road which encircles the central part of the valley is a strategic road in the city. Connection to Kathmandu over the Bagmati River is provided by a host of road and pedestrian bridges. The most trafficked and important bridge connecting to the centre of Kathmandu is Thapathali Bridge. Since pedestrians and vehicles often have to share the same road, traffic congestion is a major problem in Patan. Efforts are being made to widen roads to make them more suitable to vehicular traffic.

PUBLIC TRANSPORTATION

Private companies operate a number of routes connecting Patan with other places in the valley. Buses, micro-buses and electric tempos are the most common forms of public transport seen in the city. Lalitpur Yatayat buses connects the touristic Thamel area of Kathmandu with buses stopping at Patan Dhoka, a five-minute walk to Patan Durbar Square. Lagankhel Bus Park is the central transport hub.

MEDIA

To Promote local culture Patan has one FM radio station Radio Sagarmatha - 102.4 MHz which is a Community radio station.

LANGUAGE

The original native language of Patan is Nepal Bhasa's Lalitpur dialect. Though due to the migration form other places to Patan, other languages like Nepali, Tamang, etc. are also spoken.

WIKIPEDIA

Caerphilly Castle is undoubtedly one of the mightiest fortresses in Wales - and perhaps one of the grandest medieval buildings in Western Europe. Works on the castle begun in 1268, ordered by ‘Red’ Gilbert de Clare, Lord of Glamorgan. After his death in 1295, the castle was taken over and modernized by his son in law, Hugh Despenser. In 1326, during a rebellion against the despised Despenser and weakened King of England, Edward II, the two hole themselves up in Caerphilly but were captured elsewhere in Wales - and brutally executed. In late 1300s, the Castle became unused and gradually begun to decline and disintegrate. Some repair work was undertaken by Earl of Warwick in 1428-1429. A Civil war battlement was constructed alongside the castle in 1642, although it’s debated if it was ever actually used. The ruinous castle passed into the hands of the Marquesses of Bute in 1776. Vast renovations were undertaken by Fourth Marquess of Bute during 1928-1939.

Source: www.exploring-castles.com/caerphilly_castle.html

The Bund (simplified Chinese: 外滩) is a waterfront area in central Shanghai. The area centres on a section of Zhongshan Road (East-1 Zhongshan Road) within the former Shanghai International Settlement, which runs along the western bank of the Huangpu River, facing Pudong, in the eastern part of Huangpu District. The Bund usually refers to the buildings and wharves on this section of the road, as well as some adjacent areas. It is one of the most famous tourist destinations in Shanghai. Building heights are restricted in this area.

The City God Temple or Chenghuang Miao (Chinese: 上海城隍庙) is a temple located in Shanghai, China, within the old walled city. Today the "City God Temple" not only refers to the large temple complex, but also the traditional district of commerce in the city, surrounding the temple. There are over a hundred stores and shops in this area, and most of these store buildings are nearly a century old. The temple connects to the Yuyuan Garden, another landmark of the old city.

More information about the Bund.

The Shanghai Bund has dozens of historical buildings, lining the Huangpu River, that once housed numerous banks and trading houses from the United Kingdom, France, the United States, Italy, Russia, Germany, Japan, the Netherlands and Belgium, as well as the consulates of Russia and Britain, a newspaper, the Shanghai Club and the Masonic Club. The Bund lies north of the old, walled city of Shanghai. It was initially a British settlement; later the British and American settlements were combined in the International Settlement. Magnificent commercial buildings in the Beaux Arts style sprung up in the years around the turn of the 20th century as the Bund developed into a major financial center of East Asia. Directly to the south, and just northeast of the old walled city, the former French Bund (the quai de France, part of the Shanghai French Concession) was of comparable size to the Bund but functioned more as a working harbourside.

By the 1940s the Bund housed the headquarters of many, if not most, of the major financial institutions operating in China, including the "big four" national banks in the Republic of China era. However, with the Communist victory in the Chinese civil war, many of the financial institutions were moved out gradually in the 1950s, and the hotels and clubs closed or converted to other uses. The statues of colonial figures and foreign worthies which had dotted the riverside were also removed.

In the late 1970s and early 1980s, with the thawing of economic policy in the People's Republic of China, buildings on the Bund were gradually returned to their former uses. Government institutions were moved out in favour of financial institutions, while hotels resumed trading as such. Also during this period, a series of floods caused by typhoons motivated the municipal government to construct a tall levee along the riverfront, with the result that the embankment now stands some 10 metres higher than street level. The Bunds revitalization began in 1986 with a new promenade by the Dutch Architect Paulus Snoeren and has dramatically changed the streetscape of the Bund. In the 1990s, Zhongshan Road (named after Sun Yat-sen), the road on which the Bund is centred, was widened to ten lanes. As a result, most of the parkland which had existed along the road disappeared. Also in this period, the ferry wharves connecting the Bund and Pudong, which had served the area's original purpose, were removed. A number of pleasure cruises still operate from some nearby wharves.

In the 1990s the Shanghai government attempted to promote an extended concept of the Bund to boost tourism, and land value in nearby areas, as well as to reconcile the promotion of "colonial relics" with the Socialist ideology. In its expanded form, the term "Bund" (as "New Bund" or "Northern Bund") was used to refer to areas south of the Yan'an Road, and a stretch of riverfront north of the Suzhou River (Zhabei). Such use of the term, however, remains rare outside of tourism literature.

From 2008, a major reconfiguration of traffic flow along the Bund was carried out. The first stage of the plan involved the southern end of the Bund, and saw the demolition of a section of the Yan'an Road elevated expressway, including removal of the large elevated expressway exit structure that formerly dominated the confluence of Yan'an Road and the Bund. A second phase involved the year-long restoration of the century-old Waibaidu Bridge at the northern end of the Bund. In a third stage, the former 10-lane Bund roadway was reconstructed in two levels, with six lanes carried in a new tunnel. The vacated road space was used to widen the landscaped promenade along the waterfront. The new concrete bridge that was built in 1991 to relieve traffic on Waibaidu Bridge was rendered obsolete by the new double-levelled roadway, and demolished.

The Bund was re-opened to the public on Sunday 28 March 2010 after restoration.

Text form the Wikipedia article the Bund.

Italien / Lombardei - Monte Grona

Monte Grona is a mountain of Lombardy, Italy. It has an elevation of 1,736 metres and belongs to the province of Como.

SOIUSA classification

According to the SOIUSA (International Standardized Mountain Subdivision of the Alps) the mountain can be classified in the following way:

main part = Western Alps

major sector = North Western Alps

section = Lugano Prealps

subsection = Prealpi Comasche

supergroup = Catena Gino-Camoghè-Fiorina

group = Gruppo del Gino

code = I/B-11.I-A.1

(Wikipedia)

Der Monte Grona ist ein 1736 m s.l.m. hoher Berg in den südlichen Alpen (Tambogruppe bzw. Luganer Voralpen) zwischen dem Luganersee und dem Comer See in der Lombardei in Italien.

Routen zum Gipfel

Talort ist Breglia nördlich von Menaggio. Ein Bergweg beginnt an den Monti di Breglia (996 m). Er führt zunächst zu einer Schutzhütte (Rifugio Menaggio, 1.380 m). Von dort aus führen neben dem Normalanstieg noch zwei weitere Bergwege zum Gipfel: Ein direkter Steilanstieg („Direttissima“) und ein Aussichtsweg („Sentiero Panoramico“). Der vierte Weg auf den Gipfel ist ein Klettersteig („Ferrata del Centenario CAO“).

(Wikipedia)

Der Aufstieg zum Monte Grona gehört zum Pflichtprogramm eines Comer See-Aufenthalts. Auch die Bewohner der Gemeinde Menaggio besteigen zu Saisonbeginn, veranstaltet vom hiesigen Alpenverein, den Gipfel. Auf dem Weg nach oben gehört der Besuch des Rifugio Menaggio dazu.

Der Monte Grona hat eine Bomben-Hütte

Der Hüttenwirt bereitet bis auf einen kurzen Zeitraum von Januar bis Februar das ganze Jahr über einfache lokale Speisen und Getränke zu. Der Monte Grona ist 1 736 m hoch und bietet vom Gipfel einen Rundumblick über die gesamte Region bis zum Luganer See. Der Aufstieg beginnt in Breglia oder dem Parkplatz kurz oberhalb des Ortes, nach 2h ist der Gipfel erreicht.

Das Rifugio Menaggio, bis weit über den Comer See hinaus bekannt, wurde 1952 als Schutzhütte für Bergsteiger geplant und gebaut. 1960 folgte die feierliche Eröffnung und 1970 wurde die Schutzhütte dann zu ihrer heutigen Form erweitert. Die Hütte ist weitgehend autonom, bezieht das Wasser aus einer nahe gelegenen Quelle, Strom liefert die Sonne mit Hilfe einer Photovoltaik-Anlage.

Die Lebensmittelversorgung wird über eine Lastenseilbahn von einem Forstweg (ca. 150 m unterhalb der Hütte) organisiert. Das Rifugio verfügt über zwanzig Schlafmöglichkeiten, eine Küche, zwei Aufenthaltsräume und ein Bad mit Warmwasser.

Tourbeschreibung: Die äußerst attraktive Bergwanderung beginnt man sinnvollerweise oberhalb von Breglia an einem Parkplatz. Die Anfahrt dorthin ist im Gegensatz zu anderen Bergen eher angenehm, mehr als 10 min. sollte sie nicht dauern. Wer viel Power hat, parkt natürlich in Breglia selbst bei der Kirche, ca. 30 m. vom Platz beginnt der Wanderweg. Er führt allerdings anfangs immer wieder ein bisschen an der Straße entlang, sodass viele den oberen Startpunkt wählen. Vom (Berg-)Parkplatz aus geht es dann in ca. 1h durch zunächst niedrigen Wald, später auf offener Strecke zum Rifugio Menaggio auf 1 383 m. Höhe.

Die Strecke ist durchgehend ausgeschildert und eigentlich nicht zu verfehlen. Am Rifugio angekommen, erfrischt man sich mit Wasser aus dem Brunnen oder in der Berghütte. Neben Getränken gibt es auch kleinere einfache Speisen: Polenta mit Fleisch, Käse oder Würstchen und Spaghetti mit verschiedenen Soßen. Viel grüne Fläche in der Sonne und im Schatten lädt zum Verweilen ein, die Sicht ist grandios.

Der weitere Weg auf den Monte Grona führt rechts an der Hütte vorbei. Nach wenigen Schritten geht es ab zum nahe gelegenen Klettersteig (Ferrata), der aber nur für geübte Kletterer empfohlen wird. Folgen Sie lieber der Hauptstrecke, die sich nach einigen Metern erneut teilt: Sie haben nun die Wahl zwischen der sog. ‚Diretissima‘ und dem ‚Via normale‘. Letzterer ist 10 min. länger.

Beide Strecken liegen wunderschön im Gelände, am besten man begeht beide, eine beim Aufstieg, eine beim Abstieg. Der Via normale führt über viele enge und teils extrem ausgewaschene Pfade inmitten faszinierender Natur bis zum Sattel zwischen Monte Grona und Monte Santa Amata, einem kleineren Nachbarberg, in dessen Verlauf der Monte Bregagno schon zu sehen ist. Folgen Sie dem Weg zum Monte Grona links, auf dem Schild werden 30 min. ausgewiesen, und entdecken Sie die schönsten Seiten der Comenser Bergwelten.

Bald erreicht man über schmale teils auch felsige Strecken den Gipfel mit einer Traumaussicht in alle Himmelsrichtungen. Für die letzten zehn Meter ist zur Sicherheit noch ein Seil gespannt, das man aber eigentlich nicht benötigt. Im Westen der Luganer See, dahinter die Bergkette des Monte Rosa, dem höchsten Berg der Schweiz, gegenüber der Monte Legnone, mit 2 609 m., der höchste Berg am Lago di Como.

Im Süden die hohen Vertreter der Grigne-Gruppe von Lecco, unterhalb der Ort Menaggio. Für 2 h Anstrengung erhält man an diesem Berg eine ganze Menge hochalpiner Eindrücke. Zurück am Rifugio genießt man am besten die Abendstimmung bei einer Tasse Cappuccino. Ausklang: In Menaggio gibt es direkt an der Piazza Garibaldi (auch Tourist-Office) eine Gelateria mit gutem Eis und einige Cafés.

Tourvarianten 1. Kurz nach dem oberen Parkplatz führt bei der Abzweigung ein weiterer Weg unterhalb zum Rifugio (ausgeschildert). Der Weg ist zunächst etwas flacher und breiter, verjüngt sich aber später ebenfalls. Man erreicht das Rifugio im Gegensatz zur anderen Strecke von unten. 2. Während des Aufstiegs zum Monte Grona gibt es eine gut beschilderte Abzweigung zum Monte Bregagno, mit 2 143 m. ein stattlicher Berg der Region.

Man steigt zunächst diagonal zum Berg an, überquert dann, schon auf dem Bergkamm laufend, den kleinen Bruder des Bregagno und erreicht nach weiteren 1,5 h auf weichem Wiesenuntergrund den grünen Gipfel. Von hier führt auch ein Abstieg zur Via Monti Lariani (VML), an der Kreuzung liegt die Kirche San Bernardo, die zum Bergdorf Labbio gehört.

Dort befindet sich das Agriturismo Labbio, in dem man übernachten kann (www.agriturismolabbio.it). Allen anderen bleibt nur der beschwerliche Abstieg über unzählige Serpentinen nach Musso oder der Weitermarsch auf dem VML nach Dongo. 3. Auf halber Strecke zum Monte Bregagno liegt das Kirchlein Sant‘Amate, das von vielen als (Zwischen-)Ziel gewählt wird.

(comersee-info.de)

This is a triptych that includes the entire work installed in 1963, and details of that work. Wikipedia (en.wikipedia.org/wiki/Marc_Chagall#Ceiling_of_the_Paris_O...) describes the anticipation of the work, and its reception:

"In 1963, Chagall was commissioned to paint the new ceiling for the Paris Opera, a majestic 19th-century building and national monument. André Malraux, France's Minister of Culture wanted something unique and decided Chagall would be the ideal artist. However, this choice of artist caused controversy: some objected to having a Russian Jew decorate a French national monument; others disliked the ceiling of the historic building being painted by a modern artist. Some magazines wrote condescending articles about Chagall and Malraux, about which Chagall commented to one writer:

They really had it in for me... It is amazing the way the French resent foreigners. You live here most of your life. You become a naturalized French citizen... work for nothing decorating their cathedrals, and still they despise you. You are not one of them.

Nonetheless, Chagall continued the project which took the 77-year-old artist a year to complete. The final canvas was nearly 2,400 square feet (220 sq. meters) and required 440 pounds of paint. It had five sections which were glued to polyester panels and hoisted up to the 70-foot (21 m) ceiling. The images Chagall painted on the canvas paid tribute to the composers Mozart, Wagner, Mussorgsky, Berlioz and Ravel, as well as to famous actors and dancers.

It was presented to the public on 23 September 1964 in the presence of Malraux and 2,100 invited guests. The Paris correspondent for the New York Times wrote, "For once the best seats were in the uppermost circle: Baal-Teshuva writes:

To begin with, the big crystal chandelier hanging from the centre of the ceiling was unlit... the entire corps de ballet came onto the stage, after which, in Chagall's honour, the opera's orchestra played the finale of the "Jupiter Symphony" by Mozart, Chagall's favorite composer. During the last bars of the music, the chandelier lit up, bringing the artist's ceiling painting to life in all its glory, drawing rapturous applause from the audience."

My family is from the area but it was only a few years ago that I learned about the Tomb of the Jealous Man and Woman.

Newton Abbey is famous for the interesting 16th Century tomb of Sir Lucas Dillon and his wife, Lady Jayne Bathe. The two stone effigies on the tomb are separated by a sword of state. The tomb is known locally as 'The Tomb of the Jealous Man and Woman', it is believed that instead of signifying the sword of state, the sword actually represents Sir Lucas' displeasure at his wife for having had an affair, forever separating the two.

Locally it is believed that the tomb possesses a cure for warts and skin complaints. According to local custom all you need do is rub your wart with a pin and then leave the pin on top of the tomb, as the pin rusts the wart withers and falls off. While I may not be convinced that the process produces positive results many people must believe that it does work as there is large number of pins on the tomb.

Few people actually get to watch a live volcano erupt, which, from a safe distance away, is an amazing experience.

At Ketep Pass -- a relatively new resort located in Ketep, Sawangan, here, some 35 kilometers south of the regental capital, Magelang -- this exciting spectacle can be experienced from some 1,200 meters above sea level. Lava is clearly visible as it is emitted from the peak of the neighboring 2,911-meter Mount Merapi, one of the most active volcanoes in the world. At night, the descending lava is a dramatic display of natural fireworks, which can be witnessed with the naked eye.

Separated only by a valley, Mount Merapi seems but a stone's throw away from Ketep to the north. Even without a telescope, visitors can observe the peak of Mount Merapi clearly in daylight hours from Ketep. Such is the proximity that the thunderous sound of the volcano expelling lava can also be heard sometimes in Ketep.

Yet, visitors need not worry as, even in a major eruption, the valley would prevent the lava from reaching the site. "Besides, experience also shows that the lava has never traveled toward the north: It has always moved either southward or westward," Ketep Pass manager M. Hariadi told The Jakarta Post recently.

Viewing Mount Merapi from a distance is not the only attraction that Ketep offers tourists. Officially opened by then president Megawati Soekarnoputri on Oct. 17, 2002, Ketep was designed as a volcano-based tourist destination. As such, the resort also has other attractions. Among these are a volcano center, volcano theater and the Pelataran Panca Arga (Panca Arga plain).

From the parking lot in, the venue is an attractive one. Stepping onto an open field, visitors can enjoy the magnificence and beauty of both the slopes and the peak of Mount Merapi. If they wish to use a telescope, they can rent one from local children at Rp 1,000, with no time limit.

Tourists hoping to enjoy this particular attraction, however, are at the mercy of the weather. If they are lucky, no clouds will obscure the volcano. If not, they must wait for the clouds to clear.

"Merapi is quite unpredictable in the sense that sometimes it can be seen very clearly while at other times clouds cover it all day long. It seems that it decides for itself whether to show or hide itself from visitors," said a villager selling grilled baby corn at Ketep.

While waiting for the clouds to clear, however, tourists may visit the volcano center, which is built right next to the parking area. Entry tickets are Rp 3,500. Here tourists can find out about volcanoes in general and Mount Merapi in particular, including how they were formed over thousands of years through natural processes.

Information is available in the form of pictures, diagrams, a computerized database, multimedia presentations, photos, and three-dimensional models, including a miniature of Mount Merapi.

A diorama of what is called the Puncak Garuda (Garuda Peak) -- the highest part of which is Mount Merapi -- is also attached to one of the walls of the center for tourists to take a picture, using it as the backdrop. This will create the impression that you are being photographed on the peak of the volcano.

From the volcano center, tourists may continue to the Puncak Panca Arga, which literally means the peak of five volcanoes. It was named so because, from this site, tourists can see the peaks of Java's five highest volcanoes.

They are: Mount Merapi (2,911 meters) on the Central Java-Yogyakarta border, Mount Merbabu (3,142), Kabupaten Magelang (Central Java), Mount Sindoro (3,135), Temanggung (Central Java), Mount Sumbing (3,321), also in Temanggung, and Mount Slamet (3,428), Banyumas, Central Java.

There are, of course, other, smaller mountains or mountain ranges to see from there. They include Mount Telomoyo, Mount Andong, the Dieng Plateau and the Menoreh mountain range.

An observation telescope is also installed there for visitors to take a closer look, both at the peak of Mount Merapi and other objects around it. Tokens to operate the telescope are sold for Rp 2,500 apiece for three minutes' viewing.

The central part of the Pelataran also functions as a helipad. "This is one of the ideal places from which to take good pictures, with this beautiful scenery in the background," Sarwidi, a lecturer at Yogyakarta-based Indonesian Islamic University (UII) and a regular visitor to the resort, told the Post.

Also worth a visit in Ketep is the volcano theater, a mini-theater that is located right next to the Pelataran Panca Arga. Officially opened in 2003, it offers a 20-minute movie that explains much about Mount Merapi, including its deadly hot clouds, known locally as wedhus gembel, which have claimed many lives during major eruptions.

Ketep is accessible from Magelang, Surakarta, or even Yogyakarta by public or private transportation. All means of transportation can directly reach Ketep. No walking is necessary. Tourists can also combine visits to Prambanan temple, Yogyakarta Palace, Borobudur temple, and Ketep Pass, as they are relatively close to each other. Ketep is about only 30 kilometers to 35 km away from Prambanan, Yogyakarta and Borobudur.

0133 is a former Czech Air Force MiG-21 US seen at Zruc Air Park on 8th June 2015.

Zruc Air Park is an aviation Museum based in Zruč in the Pilsen region of the Czech Republic. It is about 45 minutes south of Prague and is situated in a rural setting on the edge of Zruc village.

The museum is a private collection gathered by the Tarantík family - Karel Tarantík and his son Miloš established the museum in 1993.

Visitors to the museum are allowed to get inside many of the exhibits, such as tanks, aeroplanes and helicopters. The museum is divided into three zones:

basic zone (recommended for general public)

special zone (recommended for fans of aviation technology)

depository zone (special permission required).

This is the chapel of the separatist prison in Lincoln castle. The idea was that prisoner would effectively be in solitary confinement to reflect on their crimes. The boxes mean prisoners cannot see each other, only the preacher played by Dr Ian Whitbread, who I've skillfully chopped off at the top. This picture has 1st year students in it.

Alternative title: The good doctor reveals Leicester's new "late essay" penalty.

Photo Credit: Ann Batdorf, Smithsonian’s National Zoo

In this photo: Batang

For the first time in 25 years, staff at the Smithsonian’s National Zoo are making preparations for the highly anticipated birth of an endangered Bornean orangutan. With a breeding recommendation from the Association of Zoos and Aquariums’ Species Survival Plan (SSP), the 19-year-old parents to be, female Batang and male Kyle, bred in January. On Feb. 2, a common human pregnancy test confirmed that Batang had successfully conceived. Earlier today, the Zoo announced Batang’s pregnancy through a broadcast via Facebook Live of her ultrasound; it will continue to provide weekly updates on Batang through Facebook, Twitter and Instagram using the hashtag #OrangutanStory.

Zoo veterinarians have conducted bi-weekly ultrasounds since Feb. 2 and are encouraged that the ultrasounds have shown fetal growth and development, heightening hopes that Batang will give birth for the first time. They are cautiously optimistic that she will deliver a healthy baby around mid-September. However, just like any animal pregnancy, there is a possibility that miscarriage, stillbirth or a complication could occur.

“All of our perseverance and planning paid off when we confirmed Batang’s pregnancy,” said Dr. Meredith Bastian, curator of primates and member of the Orangutan SSP Steering Committee. “Watching her fetus develop over the past few months has been incredibly exciting, and we’re making every effort to ensure our efforts come to fruition.”

For the past three years, keepers have been acclimating Batang to the experiences of motherhood and training her to care for an infant. Building upon behaviors Batang has learned through routine training sessions, keepers presented her with a plush, bean-shaped pillow and an orangutan stuffed animal to simulate a baby. Keepers trained her to hold the “fake” baby upright, carry it around the enclosure and return the pillow baby to keepers through a specially designed “baby box” when asked. Should animal care staff need to evaluate a real orangutan baby’s health, this training would help staff retrieve the infant in a way that is safe and not stressful for the animals. Batang has also been trained to use a breast pump for milk collection in the event she is unable to successfully nurse.

“Training increases the likelihood that orangutan mothers will care for their infants,” said Becky Malinsky, assistant curator of primates. “This training is especially important for a first time mother, like Batang. It is our goal for the infant to be raised by her mother, learning how to be an orangutan from Batang and the other orangutans at the zoo.”

In the event that Batang is unable or unwilling to care for her infant, keepers are training females Bonnie and Iris to act as surrogate mothers. They receive similar training to Batang, but with a slight twist: keepers ask them to bring the pillow baby and present it to the keepers for bottle feedings. Batang is also trained to present the infant for bottle feedings if she is unable to nurse. As a last resort, keepers will prepare a nursery in the event it is necessary for them to hand-raise the baby with the goal of returning the infant to its mother or surrogate as soon as possible.

Native to Indonesia, orangutans live in the tropical rainforests of Borneo and Sumatra. For the past seven decades, humans have cleared land that was originally orangutan territory in order to meet the growing demand for palm oil products, fast-growing pulp wood and food crops leaving orangutans in competition with one another for space, food and mates. Scientists estimate that in the past 75 years, the number of wild orangutans has decreased by 80 percent. The International Union for Conservation of Nature lists the Bornean orangutan as endangered and the Sumatran orangutan as critically endangered.

Visitors can see the Zoo’s six orangutans daily at the Great Ape House and the Think Tank. At the Great Ape House, visitors can meet a great ape keeper to learn about the fascinating world of apes at 11:30 a.m. daily. At Think Tank, staff and interpretive volunteers perform daily demonstrations and lead discussions on research in cognitive science, highlighting current and ongoing Zoo studies at 1:30 p.m. Visitors can also see the orangutans traveling on the O-Line on warm-weather days in the late morning and early afternoon.

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Partial ice cover on Lower Galatea Lake at the beginning of July. Elevation: 2200 meter / 7200 feet.

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This is a large kitchen with painted cabinetry along the walls, and a walnut island. The island has decorative turned legs and open bookcases on each end. There will be a second row of doors above the normal doors on the upper cabinets

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for more info

. . . 10. 3. 2007 - this is the fourth day of a funeral ceremony in Bori for a High Class Woman. She died on 18. 1. 2007 at the age of 85 years. The ceremony will last for one week. Today we will see buffalo fighting, cock fighting, the killing of the buffalos, the horse and the deer. The photos of the killing might look strange to you, to the torajian they are common. The souls of the killed buffalos are the servants of the deads. The more buffalos are killed the better life for the dead.

If you wonder why the quality of the pictures is a little less: these are no photographs - it all are snapshots of my videos! So sorry for the less resolution, but I think, they are worth to be shown.

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The Toraja are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja"). Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognized this animist belief as Aluk To Dolo ("Way of the Ancestors").

The word toraja comes from the Bugis Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colorful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.

Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism developers and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model - in which social life and customs were outgrowths of the Aluk To Dolo - to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.

ETHNIC IDENTITY

The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonization and Christianization, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders - such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi - than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups - the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).

HISTORY

From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognized in 1957 as one of the regencies of Indonesia.

Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.

In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to

CHRISTIANITY

Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognized religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognized, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalized as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.

SOCIETY

There are three main types of affiliation in Toraja society: family, class and religion.

FAMILY AFFILIATION

Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin) - except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.

Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.

Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.

CLASS AFFILIATION

In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.

Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.

Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women - a crime punishable by death.

RELIGIOUS AFFILIATION

Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.

The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.

CULTURE

TONGKONAN

Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").

Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.

The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.

WOOD CARVINGS

To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.

Each carving receives a special name, and common motifs are animals and plants that symbolize some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolize fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. The image to the left shows an example of Torajan wood carving, consisting of 15 square panels. The center bottom panel represents buffalo or wealth, a wish for many buffaloes for the family. The center panel represents a knot and a box, a hope that all of the family's offspring will be happy and live in harmony, like goods kept safe in a box. The top left and top right squares represent an aquatic animal, indicating the need for fast and hard work, just like moving on the surface of water. It also represents the need for a certain skill to produce good results.

Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.

FUNERAL RITES

In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.

The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.

Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.

There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.

In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.

DANCE AND MUSIC

Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.

As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.

A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.

LANGUAGE

The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.Language varieties of Toraja, including Kalumpang, Mamasa, Tae' , Talondo' , Toala' , and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages. A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterized their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.

ECONOMY

Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market .

With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies - to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.

Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s - including religious conflicts elsewhere on Sulawesi - tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.

TOURISM AND CULTURAL CHANGE

Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.

In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.

Tourism developers have marketed Tana Toraja as an exotic adventure - an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialized. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.

A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.

Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.

WIKIPEDIA

Luskentyre

Orange County Fashion Week 2015

Orange County, CA – The California Riviera is no stranger to luxury or style and this year’s OCFashion Week (OCFW) will exude both those traits during its full week of events, beginning with World of Fashion Photography Exhibit and gala at Newport Lexus on Friday, February 27th and culminating in the Couture Designer event at Dawson Fine Art on Thursday, March 5th.

Each night holds something magical and fashionable, beginning at 6 pm with cocktails. Showtime on the runway begins at 7 pm, with after-parties at 10 pm. Each night is presented by Newport Lexus with signature sponsors by Toni & Guy Academy Manna Kadar Cosmetics, runway styling by Betinnis in Brea and will spot light a different charity each night. Orange County Fashion Week is produced by Hauteoc Inc. Discover the World You've Been Missing. Discover the World of Orange County.

NEWPORT BEACH, FEBRUARY 28th, 2015 – OC Fashion Week is proud to announce that this season’s 2015 presenting sponsor, Newport Lexus of Newport Beach, will be the site for this year’s SUGAR RUSH. The event will be held on Saturday, February 28, 2015 from 6:00pm – 9:00pm and will showcase makeovers, a celebrity runway show and the Fashionably Responsible Awards Reception. The night will also feature models from popular television show America's Next Top Models.

Beginning at 7 pm, Brit B of BeachCandy Swimwear will open the presentation showcase of Orange County Sugar Rush designers with a preview of her latest collection of swimwear, followed by the Fabulous Life of Claire Farewell’s London designer wear. As the night continues, designers Victoria by Elizabeth, According to Kimberly and Men’s Undercover Underwear debuts an exciting runway tribute to OC Fashion Week’s to retailers and fashion designers that embrace both cause and commerce in their business practices. Jewelry, handbag and accessories designers will showcase their goods, alongside pop-up shops with a portion of the proceeds donating to Working Wardrobes, which has helped more than 70,000 victims of abuse and addiction regain control of their lives by helping them dress for success.

Additionally, guests will have the opportunity to receive makeovers throughout the evening by Manna Kadar Cosmetics founder and CEO Manna Kadar. A noted industry expert, beauty editor and makeup artist to an impressive roster of celebrity clients, Manna has made her mark as a true trendsetter in the world of beauty.

Other evening highlights include a runway show featuring past contestants from America’s Next Top Model and up-and-coming designers that give back to this fashion-studded evening.

Meet the Designers:

Brit B. of BeachCandy Swimwear: A native of Orange County, with her signature store in Corona del Mar, Brit B. creates custom swimsuits for clients with the goal of making every woman feel beautiful and comfortable.

Claire Farwell of Claire Farwell London: A former model and survivor of cancer, Farwell has not only succeeded in one of the toughest industries she has also been a tireless supporter of women fighting cancer.

Manoni Handbags and Accessories: Hand-crafted out of full-grained ostrich and crocodile, every handbag is designed for the chic, fashion-forward-thinking woman.

Victoria by Elizabeth: Pencil Skirt Designers innovating style bringing the elegance of women, by heart and soul.

Kimberly Luu of According to Kimberly: Born and raised in Orange County, the multitalented Luu is a clinician, blogger and designer whose first design won Top Five at OC Fashion Week’s 2011 Designer competition. That was just the beginning of her success story.

Salt Shoes SALT SHOES are uniquely designed with your comfort in mind. But having flexibility by way of look and color is what makes Salt Shoes the “IT” wedge or heel to get. Interchangeable straps allow you to create a new look with each outfit.

What a Betty

What A Betty designs have been seen everywhere from gorgeous brides, to celebrities on the red carpet and has been on hit TV Shows such as “Revenge” and "VH1", and high fashion and bridal magazines.

Undercover Underwear

Adriana Viano is the owner and founder of UnderCover MensWear Inc. Adriana always had the vision that the privilege of the right, sexy and comfortable underwear and loungewear should not only be for women. She always believed that men were in need of their own "Victoria's Secret". UnderCoverMensWear.com is an on line only boutique with unique and innovative products carefully chosen from around the world. All items sold in the on line store will not be found in any department stores.

This is a photograph from the 35th Michael Manning Memorial "Dunshaughlin 10KM" Road Race and Fun Run which took place in Dunshaughlin, Co. Meath, Ireland on Saturday 21st June 2014 at 19:30. This race is widely acknowledged in the running community as one of the best races in Ireland. It is also one of the oldest 10KM races in Ireland. The numbers for this race have exceeded expectations year on year for the past number of years. In 2008 a record field of 306 took to the start line but by 2012 this number had more than doubled with 647 runners taking part. The starting numbers in 2013 topped this again at 668. Then this year the numbers rocketed to a new record of 883. Who knows but this race could reach 1,000 entrants next year. The work of the organising committee must be commended on making this event possible. The Dunshaughlin 10KM has earned it's place at the top of the pedestal of Irish running through the sheer hard work of Dunshaughlin AC over the years. Well done to all.

We have an extensive set of photographs from the race tonight taken at the 1 mile mark and then at the 400M and 600M to go mark. The full set is available at: www.flickr.com/photos/peterm7/sets/72157645329098733/

Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result/racetimer with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q

Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.

Some useful links

2014 Results: www.precisiontiming.net/result.aspx?v=2037

2013 Results: www.precisiontiming.net/result.aspx?v=1320

2012 Results: www.precisiontiming.net/result.aspx?v=891

History of the Dunshaughlin 10KM www.dunshaughlinac.com/10k.asp

Dunshaughlin AC on Facebook: www.facebook.com/dunshaughlin.athleticclub?fref=ts

Can I use these photographs directly from Flickr on my social media account(s)?

Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.

We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.

This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

I want to download these pictures to my computer or device?

You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.

I want get full resolution, print-quality, copies of these photographs?

If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.

I would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

We use Creative Commons Licensing for these photographs

We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?

The explaination is very simple.

Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.

ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.

Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

Don't like your photograph here?

That's OK! We understand!

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets

This is some top notch coffee I made in my french press. Making coffee this was makes certain that a paper filter doesn't hold on to all the natural oils of a coffee bean. I highly recommend this method and am unlikely to go back to using a coffee maker. A little more work is required, but it's well worth it to me.

Woodfire roasted coffee beans (woodfireroasted.com) - this roaster is located in Reno, where I live

Organic half and half - good quality cream is important to a cup of coffee, if you like cream of course.

Stay away from adding sugar. If anything, use stevia.

Plymouth Suburban is a Plymouth station wagon produced from 1949 to 1978.

Prior to 1949, Plymouth had offered only a 4-door "woodie" station wagon, which was expensive not only to build, but also to buy. In 1949, Plymouth revolutionised the US station wagon market by introducing the industry's first all-steel body station wagon, the Suburban. In addition, for the first time in a low-priced car, automatic "turn-the-key" ignition/starter combination was introduced. The Suburban featured a two-door body (plus tailgate) and seated six. The back row of seating folded flat to allow 42 inches (1,100 mm) of flat floor space, and became popular as a commercial wagon.

The Suburban for 1950 was accompanied by a four-door Special Deluxe wagon, the last of the "woodies", for those wanting something a little more traditional. There were two Plymouth wheelbases, with the Suburban riding on the shorter 111-inch (2,800 mm) platform (the Special Deluxe was 118.5 inches). Vinyl upholstery was used, as this was more hard-wearing for utilitarian use.

(Wikipedia)

The Museum of the Dreamers

The Phantastenmuseum is a museum in the Palais Palffy in the 1st district of Vienna Inner City. It shows the evolution of fantastic, surreal and visionary art of the postwar period to the present.

History

Following discussions between the Austrian artist Ernst Fuchs (* 13. Februar 1930 in Wien; † 9. November 2015) and the publisher, organizer and author Gerhard Habarta the idea of a museum of fantastic art in Vienna came to the realization. The "Austrian Cultural Center since 1958" in the Palais Palffy was enthusiastic about the idea, the plans for the new museum were concretised in the year of 2010. In autumn 2010 was started with the adaptation of the premises, which was completed in January 2011. The opening of the museum took place under the patronage of Federal President Heinz Fischer on 15 January 2011.

Premises

For the museum parts of the historical Palais Palffy due to war damage in the 1950s renovated were used.

The foyer was designed by Lehmden student Kurt Welther about The Marriage of Figaro. Here, also a lobby with the ticket office, the information and the museum shop has been set up. In this one gifts like replicas of famous works of art, sculptures, jewelery, catalogs and posters as well as original editions are sold. On the 1st floor is located opposite the Figaro Concert Hall the gallery. It is a 150 m² large space for solo exhibitions. The museum occupies the entire top floor and consists of designed spaces. In addition to works from its own collection and permanent loans, documents and portraits of artist personalities are shown.

The museum

The museum is divided into the following areas:

Impulses: Here are the inspirations identified which brought the young artists first information after the war, with works by Edgar Jené and Gustav K. Beck and Arnulf Neuwirth.

Academy: Here, the young creatives found an artistic home, including works by Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden and Kurt Steinwendner before he turned into the filmmaker and object artist Curt Stenvert.

Contemporaries: These include older artists of fantastic, who had survived the dictatorship, like Greta Freist, Kurt Goebel, Charles Lipka or the CIA agent Charles von Ripper. And the young ones, as Rudolf Schoenwald or Arnulf Rainer as well as painters who moved in later Art Club. These include the "partisan" Maria Biljan-Bilger, Peppino Wieternik before he turned to the abstract, and Carl Unger who designed a large glass front of the Palais Palffy.

Art Club: It gathered the artistic elite of the post-war period and became with the Strohkoffer (straw suitcase) a social center.

Dog Group: It became the first counter-movement, in which the rebels as Ernst Fuchs, Arnulf Rainer and Maria Lassnig, Wolfgang Kudrnofsky and maverick visionary Anton Krejcar with graphics that today have become valuable manifested themselves.

The Pintorarium of Friedensreich Hundertwasser, Ernst Fuchs and Arnulf Rainer fought actionistically with wall newspaper and nude demonstration against the established Academy, bad architecture and for the freedom of the spirit.

Hundertwasser realized the theories of Pintorarium in his buildings. A photo documentation of Kurt Pultar.

Vienna School of Fantastic Realism: The core of the museum with pictures of Arik Brauer, Wolfgang Hutter, Fritz Janschka, who lives in the United States and Anton Lehmden. Of Rudolf Hausner is - in addition to an oil painting - the documentation of long-term work on his Ark of Odysseus to see. In addition to an early work by Ernst Fuchs, a specially created for the museum great painting version of a 55 years ago arosen drawing is shown.

In the department of simultaneous 16 images of that Viennese Fantasts can be seen who presented themselves in the 1960s for the first time, among other things, in the gallery that installed Ernst Fuchs.

In the Department Next Generation are those almost still "young ones" which - despite temporary exclusion by the avant-garde - are committed to the new tendencies of the fantastic. They studied partly with Hausner, Lehmden, Hutter and Fuchs and also learned as wizards.

The Graphic Cabinet presents some etchings and lithographs to stamps. Here the global network is shown in about 30 works by international visionaries. Representatives from Japan, the US, Australia and European centers are the ambassadors of associations of fantastic artists, the Ambassadors of the Fantastic Universe.

Phantastenmuseum

Das Phantastenmuseum ist ein Museum im Palais Pálffy im 1. Wiener Gemeindebezirk Innere Stadt. Es zeigt die Entwicklung der phantastischen, surrealen und visionären Kunst von der Nachkriegszeit bis zur Gegenwart.

Geschichte

Nach Gesprächen zwischen dem österreichischen Künstler Ernst Fuchs und dem Verleger, Organisator und Autor Gerhard Habarta entstand die Idee zur Verwirklichung eines Museums für phantastische Kunst in Wien. Das „Österreichische Kulturzentrum seit 1958“ im Palais Pálffy zeigte sich von der Idee begeistert, die Pläne für das neue Museum wurden im Jahr 2010 konkretisiert. Im Herbst 2010 wurde mit der Adaptierung der Räumlichkeiten begonnen, die im Jänner 2011 abgeschlossen wurde. Die Eröffnung des Museums fand am 15. Jänner 2011 unter dem Ehrenschutz von Bundespräsident Heinz Fischer statt.

Räumlichkeiten

Für das Museum wurden Teile des historischen, aufgrund Kriegsschäden in den 1950er Jahren renovierten Palais Pálffy genutzt.

Das Foyer wurde vom Lehmden-Schüler Kurt Welther zum Thema Figaros Hochzeit gestaltet. Hier wurde auch ein Empfangsbereich mit der Ticketkasse, der Information und dem Museums-Shop eingerichtet. In diesem werden Geschenke wie Nachbildungen berühmter Kunstwerke, Skulpturen, Schmuck, Kataloge und Kunstdrucke sowie auch Original-Editionen verkauft. Im 1. Stock befindet sich gegenüber dem Figaro-Konzertsaal die Galerie. Es handelt sich um einen 150 m² großen Raum für Einzelausstellungen. Das Museum nimmt das gesamte Obergeschoss ein und besteht aus gestalteten Räumen. Neben den Werken aus eigenem Bestand und Dauerleihgaben werden Dokumente und Porträts der Künstlerpersönlichkeiten gezeigt.

Das Museum

Das Museum ist in folgende Bereiche gegliedert:

Impulse: Hier werden die Impulse aufgezeigt, die den jungen Künstlern erste Informationen nach dem Krieg brachten, mit Werken von Edgar Jené und Gustav K. Beck und Arnulf Neuwirth.

Akademie: Hier fanden die jungen Kreativen eine künstlerische Heimat, mit Werken von Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden und Kurt Steinwendner, bevor er zum Filmemacher und Objektkünstler Curt Stenvert wurde.

Zeitgenossen: Dazu zählen ältere Künstler des Phantastischen, die die Diktatur überlebt hatten, wie Greta Freist, Kurt Goebel, Charles Lipka oder der CIA-Agent Charles von Ripper. Und die Jungen, wie Rudolf Schönwald oder Arnulf Rainer sowie Maler die sich im späteren Art Club bewegten. Dazu gehören die „Partisanin“ Maria Biljan-Bilger, Peppino Wieternik, bevor er sich zum Abstrakten wandte, und Carl Unger der für das Palais Pálffy eine große Glasfront gestaltete.

Art Club: Er versammelte die künstlerische Elite der Nachkriegszeit und wurde mit dem Strohkoffer ein geselliges Zentrum.

Hundsgruppe: Sie wurde zur ersten Gegenbewegung, in der sich die Aufrührer wie Ernst Fuchs, Arnulf Rainer und Maria Lassnig, Wolfgang Kudrnofsky und der Außenseiter-Phantast Anton Krejcar mit heute wertvoll gewordenen Grafiken manifestierten.

Das Pintorarium von Friedensreich Hundertwasser, Ernst Fuchs und Arnulf Rainer kämpfte aktionistisch mit Wandzeitung und Nacktdemonstration gegen die etablierte Akademie, schlechte Architektur und für die Freiheit des Geistes.

Hundertwasser verwirklichte die Theorien des Pintorariums in seinen Bauten. Eine Fotodokumentation von Kurt Pultar.

Wiener Schule des Phantastischen Realismus: Der Kern des Museums mit Bildern von Arik Brauer, Wolfgang Hutter, dem in den USA lebenden Fritz Janschka und von Anton Lehmden. Von Rudolf Hausner ist - neben einem Ölbild - die Dokumentation der langjährigen Arbeit an seiner Arche des Odysseus zu sehen. Neben einem Frühwerk von Ernst Fuchs ist auch eine eigens für das Museum geschaffene große Gemälde-Fassung einer vor 55 Jahren entstandenen Zeichnung ausgestellt.

In der Abteilung der Gleichzeitigen sind 16 Bilder jener Wiener Fantasten zu sehen, die sich in den 1960er-Jahren zum ersten Mal präsentierten, u.a. in der Galerie, die Ernst Fuchs installierte.

In der Abteilung Next Generation sind jene fast „noch Jungen“, die sich – trotz zeitweiliger Ausgrenzung durch die Avantgarde – neuen Tendenzen des Phantastischen verpflichtet fühlen. Sie haben zum Teil bei Hausner, Lehmden, Hutter und Fuchs studiert und auch als Assistenten gelernt.

Das Graphische Kabinett stellt einige Radierungen und Lithographien bis hin zu Briefmarken aus. Hier wird in etwa 30 Werken internationaler Phantasten die weltweite Vernetzung gezeigt. Vertreter aus Japan, den USA, Australien und europäischen Zentren sind die Botschafter von Vereinigungen phantastischer Künstler, den Ambassadors of the Fantastic Universe.

de.wikipedia.org/wiki/Phantastenmuseum

Oder unerwartete Größenverhältnisse.

Frankfurt am Main, Juli 2014

Fountains Abbey is one of the largest and best preserved ruined Cistercian monasteries in England. It is located approximately 3 miles (5 kilometres) south-west of Ripon in North Yorkshire, near to the village of Aldfield. Founded in 1132, the abbey operated for 407 years becoming one of the wealthiest monasteries in England until its dissolution in 1539 under the order of Henry VIII.

The abbey is a Grade I listed building owned by the National Trust and part of the designated Studley Royal Park including the Ruins of Fountains Abbey UNESCO World Heritage Site.

Foundation

After a dispute and riot in 1132 at the Benedictine house of St Mary's Abbey, in York, 13 monks were expelled (among them Saint Robert of Newminster) and, after unsuccessful attempts to form a new monastery were taken under the protection of Thurstan, Archbishop of York. He provided them with land in the valley of the River Skell, a tributary of the Ure. The enclosed valley had all the natural features needed for the creation of a monastery, providing shelter from the weather, stone and timber for building, and a supply of running water. After enduring a harsh winter in 1133, the monks applied to join the Cistercian order which since the end of the previous century was a fast-growing reform movement that by the beginning of the 13th century was to have over 500 houses. So it was that in 1135, Fountains became the second Cistercian house in northern England, after Rievaulx. The Fountains monks became subject to Clairvaux Abbey, in Burgundy which was under the rule of St Bernard. Under the guidance of Geoffrey of Ainai, a monk sent from Clairvaux, the group learned how to celebrate the seven Canonical Hours according to Cistercian usage and were shown how to construct wooden buildings in accordance with Cistercian practice.

Consolidation

After Henry Murdac was elected abbot in 1143, the small stone church and timber claustral buildings were replaced. Within three years, an aisled nave had been added to the stone church, and the first permanent claustral buildings built in stone and roofed in tile had been completed.

In 1146 an angry mob, annoyed at Murdac for his role in opposing the election of William FitzHerbert as archbishop of York, attacked the abbey and burnt down all but the church and some surrounding buildings.The community recovered swiftly from the attack and founded four daughter houses. Henry Murdac resigned as abbot in 1147 upon becoming the Archbishop of York and was replaced first by Maurice, Abbot of Rievaulx then, on the resignation of Maurice, by Thorald. Thorald was forced by Henry Murdac to resign after two years in office. The next abbot, Richard, held the post until his death in 1170 and restored the abbey's stability and prosperity. In 20 years as abbot, he supervised a huge building programme which involved completing repairs to the damaged church and building more accommodation for the increasing number of recruits. Only the chapter house was completed before he died and the work was ably continued by his successor, Robert of Pipewell, under whose rule the abbey gained a reputation for caring for the needy.

The next abbot was William, who presided over the abbey from 1180 to 1190 and he was succeeded by Ralph Haget, who had entered Fountains at the age of 30 as a novice, after pursuing a military career. During the European famine of 1194 Haget ordered the construction of shelters in the vicinity of the abbey and provided daily food rations to the poor enhancing the abbey's reputation for caring for the poor and attracting more grants from wealthy benefactors.

In the first half of the 13th century Fountains increased in reputation and prosperity under the next three abbots, John of York (1203–1211), John of Hessle (1211–1220) and John of Kent (1220–1247). They were burdened with an inordinate amount of administrative duties and increasing demands for money in taxation and levies but managed to complete another massive expansion of the abbey's buildings. This included enlarging the church and building an infirmary.

Difficulties

In the second half of the 13th century the abbey was in more straitened circumstances. It was presided over by eleven abbots, and became financially unstable largely due to forward selling its wool crop, and the abbey was criticised for its dire material and physical state when it was visited by Archbishop John le Romeyn in 1294. The run of disasters that befell the community continued into the early 14th century when northern England was invaded by the Scots and there were further demands for taxes. The culmination of these misfortunes was the Black Death of 1348–1349. The loss of manpower and income due to the ravages of the plague was almost ruinous.

A further complication arose as a result of the Papal Schism of 1378–1409. Fountains Abbey along with other English Cistercian houses was told to break off any contact with the mother house of Citeaux, which supported a rival pope. This resulted in the abbots forming their own chapter to rule the order in England and consequently they became increasingly involved in internecine politics. In 1410, following the death of Abbot Burley of Fountains, the community was riven by several years of turmoil over the election of his successor. Contending candidates John Ripon, Abbot of Meaux, and Roger Frank, a monk of Fountains were locked in conflict until 1415 when Ripon was finally appointed, ruling until his death in 1434. Under abbots John Greenwell (1442–1471), Thomas Swinton (1471–8), John Darnton (1478–95), who undertook some much needed restoration of the fabric of the abbey, including notable work on the church, and Marmaduke Huby (1495–1526) Fountains regained stability and prosperity.

At Abbot Huby's death he was succeeded by William Thirsk who was accused by the royal commissioners of immorality and inadequacy and was dismissed as abbot. He was replaced by Marmaduke Bradley, a monk of the abbey who had reported Thirsk's supposed offences, testified against him and offered the authorities six hundred marks for the post of abbot. In 1539 it was Bradley who surrendered the abbey when its seizure was ordered under Henry VIII at the Dissolution of the Monasteries.

The abbey precinct covered 70 acres (28 ha) surrounded by an 11-foot (3.4 m) wall built in the 13th century, some parts of which are visible to the south and west of the abbey. The area consists of three concentric zones cut by the River Skell flowing from west to east across the site. The church and claustral buildings stand at the centre of the precinct north of the Skell, the inner court containing the domestic buildings stretches down to the river and the outer court housing the industrial and agricultural buildings lies on the river's south bank. The early abbey buildings were added to and altered over time, causing deviations from the strict Cistercian type. Outside the walls were the abbey's granges.[citation needed]

The original abbey church was built of wood and "was probably" two stories high; it was, however, quickly replaced in stone. The church was damaged in the attack on the abbey in 1146 and was rebuilt, in a larger scale, on the same site. Building work was completed c.1170.[11] This structure, completed around 1170, was 300 ft (91 m) long and had 11 bays in the side aisles. A lantern tower was added at the crossing of the church in the late 12th century. The presbytery at the eastern end of the church was much altered in the 13th century. The church's greatly lengthened choir, commenced by Abbot John of York, 1203–11, and carried on by his successor terminates, like that of Durham Cathedral, in an eastern transept, the work of Abbot John of Kent, 1220–47. The 160-foot-tall (49 m) tower, which was added not long before the dissolution, by Abbot Huby, 1494–1526, is in an unusual position at the northern end of the north transept and bears Huby's motto 'Soli Deo Honor et Gloria'. The sacristry adjoined the south transept.

The cloister, which had arcading of black marble from Nidderdale and white sandstone, is in the centre of the precinct and to the south of the church. The three-aisled chapter-house and parlour open from the eastern walk of the cloister and the refectory, with the kitchen and buttery attached, are at right angles to its southern walk. Parallel with the western walk is an immense vaulted substructure serving as cellars and store-rooms, which supported the dormitory of the conversi (lay brothers) above. This building extended across the river and at its south-west corner were the latrines, built above the swiftly flowing stream. The monks' dormitory was in its usual position above the chapter-house, to the south of the transept. Peculiarities of this arrangement include the position of the kitchen, between the refectory and calefactory, and of the infirmary above the river to the west, adjoining the guest-houses.

The abbot's house, one of the largest in all of England,is located to the east of the latrine block, where portions of it are suspended on arches over the River Skell.It was built in the mid-twelfth century as a modest single-storey structure, then, from the fourteenth century, underwent extensive expansion and remodelling to end up in the 16th century as a grand dwelling with fine bay windows and grand fireplaces. The great hall was an expansive room 52 by 21 metres (171 by 69 ft).

Among other apartments, for the designation of which see the ground-plan, was a domestic oratory or chapel,

1/2-by-23-foot (14 by 7 m), and a kitchen, 50-by-38-foot (15 by 12 m)

Medieval monasteries were sustained by landed estates that were given to them as endowments and from which they derived an income from rents. They were the gifts of the founder and subsequent patrons, but some were purchased from cash revenues. At the outset, the Cistercian order rejected gifts of mills and rents, churches with tithes and feudal manors as they did not accord with their belief in monastic purity, because they involved contact with laymen. When Archbishop Thurstan founded the abbey he gave the community 260 acres (110 ha) of land at Sutton north of the abbey and 200 acres (81 ha) at Herleshowe to provide support while the abbey became established. In the early years the abbey struggled to maintain itself because further gifts were not forthcoming and Thurstan could not help further because the lands he administered were not his own, but part of the diocesan estate. After a few years of impoverished struggle to establish the abbey, the monks were joined by Hugh, a former dean of York Minster, a rich man who brought a considerable fortune as well as furniture and books to start the library.

By 1135 the monks had acquired only another 260 acres (110 ha) at Cayton, given by Eustace fitzJohn of Knaresborough "for the building of the abbey". Shortly after the fire of 1146, the monks had established granges at Sutton, Cayton, Cowton Moor, Warsill, Dacre and Aldburgh all within 6 mi (10 km) of Fountains. In the 1140s the water mill was built on the abbey site making it possible for the grain from the granges to be brought to the abbey for milling.Tannery waste from this time has been excavated on the site.

Further estates were assembled in two phases, between 1140 and 1160 then 1174 and 1175, from piecemeal acquisitions of land. Some of the lands were grants from benefactors but others were purchased from gifts of money to the abbey. Roger de Mowbray granted vast areas of Nidderdale and William de Percy and his tenants granted substantial estates in Craven which included Malham Moor and the fishery in Malham Tarn. After 1203 the abbots consolidated the abbey's lands by renting out more distant areas that the monks could not easily farm themselves, and exchanging and purchasing lands that complemented their existing estates. Fountains' holdings both in Yorkshire and beyond had reached their maximum extent by 1265, when they were an efficient and very profitable estate. Their estates were linked in a network of individual granges which provided staging posts to the most distant ones. They had urban properties in York, Yarm, Grimsby, Scarborough and Boston from which to conduct export and market trading and their other commercial interests included mining, quarrying, iron-smelting, fishing and milling.

The Battle of Bannockburn in 1314 was a factor that led to a downturn in the prosperity of the abbey in the early fourteenth century. Areas of the north of England as far south as York were looted by the Scots. Then the number of lay-brothers being recruited to the order reduced considerably. The abbey chose to take advantage of the relaxation of the edict on leasing property that had been enacted by the General Chapter of the order in 1208 and leased some of their properties. Others were staffed by hired labour and remained in hand under the supervision of bailiffs. In 1535 Fountains had an interest in 138 vills and the total taxable income of the Fountains estate was £1,115, making it the richest Cistercian monastery in England.

After the Dissolution

The Gresham family crest

The Abbey buildings and over 500 acres (200 ha) of land were sold by the Crown, on 1 October 1540, to Sir Richard Gresham, at the time a Member of Parliament and former Lord Mayor of London, the father of Sir Thomas Gresham. It was Richard Gresham who had supplied Cardinal Wolsey with the tapestries for his new house of Hampton Court and who paid for the Cardinal's funeral.

Gresham sold some of the fabric of the site, stone, timber, lead, as building materials to help to defray the cost of purchase. The site was acquired in 1597 by Sir Stephen Proctor, who used stone from the monastic complex to build Fountains Hall. Between 1627 and 1767 the estate was owned by the Messenger family who sold it to William Aislaby who was responsible for combining it with the Studley Royal Estate.

Burials

Roger de Mowbray, 1st Baron Mowbray

John de Mowbray, 2nd Baron Mowbray

Abbot Marmaduke Huby (d. 1526)

Rose (daughter of Richard de Clare, 6th Earl of Gloucester), wife of Roger de Mowbray, 1st Baron Mowbray

Henry de Percy, 1st Baron Percy

William II de Percy, 3rd feudal baron of Topcliffe

Becoming a World Heritage Site

The archaeological excavation of the site was begun under the supervision of John Richard Walbran, a Ripon antiquary who, in 1846, had published a paper On the Necessity of clearing out the Conventual Church of Fountains.In 1966 the Abbey was placed in the guardianship of the Department of the Environment and the estate was purchased by the West Riding County Council who transferred ownership to the North Yorkshire County Council in 1974. The National Trust bought the 674-acre (273 ha) Fountains Abbey and Studley Royal estate from North Yorkshire County Council in 1983. In 1986 the parkland in which the abbey is situated and the abbey was designated a World Heritage Site by UNESCO. It was recognised for fulfilling the criteria of being a masterpiece of human creative genius, and an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history. Fountains Abbey is owned by the National Trust and maintained by English Heritage. The trust owns Studley Royal Park, Fountains Hall, to which there is partial public access, and St Mary's Church, designed by William Burges and built around 1873, all of which are significant features of the World Heritage Site.

The Porter's Lodge, which was once the gatehouse to the abbey, houses a modern exhibition area with displays about the history of Fountains Abbey and how the monks lived.

In January 2010, Fountains Abbey and Studley Royal became two of the first National Trust properties to be included in Google Street View, using the Google Trike.

Film location

Fountains Abbey was used as a film location by Orchestral Manoeuvres in the Dark for their single "Maid of Orleans (The Waltz Joan of Arc)" during the cold winter of December 1981. In 1980, Hollywood also came to the site to film the final scenes to the film Omen III: The Final Conflict.Other productions filmed on location at the abbey are the films Life at the Top, The Secret Garden, The History Boys, TV series Flambards, A History of Britain, Terry Jones' Medieval Lives, Cathedral, Antiques Roadshow and the game show Treasure Hunt. The BBC Television series 'Gunpowder' (2017) used Fountains Abbey as a location.

Thank you to all the models for letting me taking fotos of you. This is the last series of fotos of my visit to the Elf Fantasy Fair 2013 in Arcen/NL.

Olympus E-1 with M42 Helios 44M-6

Tonight is improv regionals so I'm wearing my improv team T-shirt :) They were designed by my friend Freddie & printed on American Apparel t-shirts.

Black "imp/ro/v" shirt

Purple velvet blazer - thrifted

Black leather bag - H&M

Green pleated miniskirt - thrifted

Black leggings - H&M

Black rubber boots - Michael Kors

Green bracelet - gift

Iceland is a Nordic island country in the North Atlantic Ocean and the most sparsely populated country in Europe. The capital and largest city is Reykjavík. Reykjavík and the surrounding areas in the southwest of the country are home to over two-thirds of the population. Iceland is volcanically and geologically active. The interior consists of a plateau characterised by sand and lava fields, mountains, and glaciers, and many glacial rivers flow to the sea through the lowlands. Iceland is warmed by the Gulf Stream and has a temperate climate, despite a high latitude just outside the Arctic Circle. Its high latitude and marine influence keep summers chilly, and most of its islands have a polar climate.

en.wikipedia.org/wiki/Iceland

Ginkgo is Doll Leaves Gabriel in white resin with factory faceup and DS special hands.

Sweater from Junipa on Etsy

Leggings from Swan20 Designs on Etsy

Boots for Tonner Matt from stores.ebay.com/Doll-shoes-outfits-wig-cross-stitch

Wig is carrot red mohair from www.kemperdolls.com/

This is Hut 8 at Bletchley Park. The exteriors. Hut 8 was where Alan Turing worked, and now houses a special exhibitons area.

It was the hut where the unit broke the German Enigma Naval messages, and where important figures such as Alan Turing and Hugh Alexander worked.

Hut 8 is Grade II listed.

BUILDING: Wooden hut, c.120m north-east of Mansion.

DATE: January 1940

ARCHITECT: Ministry of Works for Government Code and Cipher School.

MATERIALS: Brick sleeper walls supporting a timber frame clad with painted boarding, possibly asbestos. It has a felt pitched roof.

EXTERIOR: Hut 8 is a rectangular, single-storey building eleven bays (155 feet) long, aligned north-south, parallel with and east of Hut 1. Timber casement windows, some of them later C20 replacements. There is a doorway to either gable end (both with modern doors) plus two on the west side and one on the east.

Hut 8, Bletchley Park - Heritage Gateway

Face-on spiral galaxy, NGC 2835, is split diagonally in this image: The James Webb Space Telescope’s observations appear at top left, and the Hubble Space Telescope’s on bottom right. Webb and Hubble’s images show a striking contrast, an inverse of darkness and light. Why? Webb’s observations combine near- and mid-infrared light and Hubble’s showcase visible and ultraviolet light. Dust absorbs ultraviolet and visible light, and then re-emits it in the infrared. In Webb's images, we see dust glowing in infrared light. In Hubble’s images, dark regions are where starlight is absorbed by dust.

In Webb’s high-resolution infrared images, the gas and dust stand out in stark shades of orange and red, and show finer spiral shapes with the appearance of jagged edges, though these areas are still diffuse.

In Hubble’s images, the gas and dust show up as hazy dark brown lanes, following the same spiral shapes. Its images are about the same resolution as Webb’s, but the gas and dust obscure a lot of the smaller-scale star formation.

More information: webbtelescope.org/contents/media/images/2024/105/01HMA4HH...

Read the feature: science.nasa.gov/missions/webb/nasas-webb-depicts-stagger...

Full set of images: webbtelescope.org/contents/news-releases/2024/news-2024-1...

NASA, ESA, CSA, STScI, Janice Lee (STScI), Thomas Williams (Oxford), PHANGS Team

Image description: Two observations of the galaxy NGC 2835 are split diagonally, with Webb’s observations at top left and Hubble’s at bottom right. The galaxy’s core is centered and the galaxy’s arms appear to rotate counterclockwise. The spiral arms appear muddled, but it is possible to pick out individual spiral arms. In Webb’s image, the spiral arms are composed of many filaments in shades of orange, with prominent dark gray or black “bubbles,” and the core is bright blue. In Hubble’s image, the spiral arms are a mix of bright blue star clusters and dark brown dust lanes, and the core is a pale yellow.

The Agra Fort is a UNESCO World Heritage site located in Agra, Uttar Pradesh, India. It is about 2.5 km northwest of its more famous sister monument, the Taj Mahal. The fort can be more accurately described as a walled city.

HISTORY

The present-day structure was built by the Mughals, though a fort had stood there since at least the 11th century. Agra Fort was originally a brick fort known as Badalgarh, held by Raja Badal Singh Hindu Sikarwar Rajput king (c. 1475). It was mentioned for the first time in 1080 AD when a Ghaznavide force captured it. Sikandar Lodi (1488–1517) was the first Sultan of Delhi who shifted to Agra and lived in the fort. He governed the country from here and Agra assumed the importance of the second capital. He died in the fort at 1517 and his son, Ibrahim Lodi, held it for nine years until he was defeated and killed at Panipat in 1526. Several palaces, wells and a mosque were built by him in the fort during his period.

After the First Battle of Panipat in 1526, Mughals captured the fort and seized a vast treasure, including the diamond later known as the Koh-i-Noor. The victorious Babur stayed in the fort in the palace of Ibrahim and built a baoli (step well) in it. The emperor Humayun was crowned here in 1530. Humayun was defeated at Bilgram in 1540 by Sher Shah. The fort remained with Suris till 1555, when Humanyun recaptured it. The Hindu king Hem Chandra Vikramaditya, also called 'Hemu', defeated Humanyun's army, led by Iskandar Khan Uzbek, and won Agra. Hemu got a huge booty from this fort and went on to capture Delhi from the Mughals. The Mughals under Akbar defeated King Hemu finally at the Second Battle of Panipat in 1556.

Realizing the importance of its central situation, Akbar made it his capital and arrived in Agra in 1558. His historian, Abdul Fazal, recorded that this was a brick fort known as 'Badalgarh'. It was in a ruined condition and Akbar had it rebuilt with red sandstone from Barauli area in Rajasthan. Architects laid the foundation and it was built with bricks in the inner core with sandstone on external surfaces. Some 4,000 builders worked on it daily for eight years, completing it in 1573.

It was only during the reign of Akbar's grandson, Shah Jahan, that the site took on its current state. Legend has it that Shah Jahan built the beautiful Taj Mahal for his wife, Mumtaz Mahal. Unlike his grandfather, Shah Jahan tended to have buildings made from white marble, often inlaid with gold or semi-precious gems. He destroyed some of the earlier buildings inside the fort to make his own.

At the end of his life, Shah Jahan was deposed and restrained by his son, Aurangzeb, in the fort. It is rumoured that Shah Jahan died in Muasamman Burj, a tower with a marble balcony with a view of the Taj Mahal.

The fort was invaded by the Maratha Empire during the mid 18th century. Thereafter, it changed hands between the Marathas and their foes many times. After their catastrophic defeat at Third Battle of Panipat by Ahmad Shah Abdali in 1761, Marathas remained out of the region for the next decade. Finally Mahadji Shinde took the fort in 1785. It was lost by the Marathas to the British during the Second Anglo-Maratha War, in 1803.

The fort was the site of a battle during the Indian rebellion of 1857, which caused the end of the British East India Company's rule in India, and led to a century of direct rule of India by Britain.

LAYOUT

The 380,000 m2 (94-acre) fort has a semicircular plan, its chord lies parallel to the river and its walls are seventy feet high. Double ramparts have massive circular bastions at intervals, with battlements, embrasures, machicolations and string courses. Four gates were provided on its four sides, one Khizri gate opening on to the river.

Two of the fort's gates are notable: the "Delhi Gate" and the "Lahore Gate." The Lahore Gate is also popularly also known as the "Amar Singh Gate," for Amar Singh Rathore.

The monumental Delhi Gate, which faces the city on the western side of the fort, is considered the grandest of the four gates and a masterpiece of Akbar's time. It was built circa 1568 both to enhance security and as the king's formal gate, and includes features related to both. It is embellished with inlay work in white marble. A wooden drawbridge was used to cross the moat and reach the gate from the mainland; inside, an inner gateway called Hathi Pol ("Elephant Gate") – guarded by two life-sized stone elephants with their riders – added another layer of security. The drawbridge, slight ascent, and 90-degree turn between the outer and inner gates make the entrance impregnable. During a siege, attackers would employ elephants to crush a fort's gates. Without a level, straight run-up to gather speed, however, something prevented by this layout, elephants are ineffective.

Because the Indian military (the Parachute Brigade in particular) is still using the northern portion of the Agra Fort, the Delhi Gate cannot be used by the public. Tourists enter via the Amar Singh Gate.

The site is very important in terms of architectural history. Abul Fazal recorded that five hundred buildings in the beautiful designs of Bengal and Gujarat were built in the fort. Some of them were demolished by Shahjahan to make way for his white marble palaces. Most of the others were destroyed by the British between 1803 and 1862 for raising barracks. Hardly thirty Mughal buildings have survived on the south-eastern side, facing the river. Of these, the Delhi Gate and Akbar Gate and one palace – "Bengali Mahal" – are representative Akbari buildings.

Akbar Darwazza (Akbar Gate) was renamed Amar Singh Gate by the British.

POPULAR CULTURE

- The Agra Fort won the Aga Khan Award for Architecture in 2004. India Post issued a stamp to commemorate this event.

- The Agra Fort plays a key role in the Sherlock Holmes mystery The Sign of the Four, by Sir Arthur Conan Doyle.

- The Agra Fort was featured in the music video for Habibi Da, a hit song of Egyptian pop star Hisham Abbas.

- Shivaji came to Agra in 1666 as per the "Purandar Treaty" entered into with Mirza Raje Jaisingh to met Aurangzeb in the Diwan-i-Khas. In the audience he was deliberately placed behind men of lower rank. Insulted, he stormed out of the imperial audience and was confined to Jai Sing's quarters on 12 May 1666.

- In the second expansion pack for the videogame Age of Empires 3, the Asian Dynasties, Agra fort is one of five wonders for the Indian civilisation.

WIKIPEDIA

The Bumblebee Hummingbird is the second-smallest bird known to be in existence - second only to the Bee Hummingbird. It averages 2.75 inches or 7 cm in length and weighing, on average, 0.1 oz or 3 grams. They are comparable in size to bumble bees and are lighter than a Canadian or U.S. penny.

Pokhara (Nepali: पोखरा) is the second largest city of Nepal after Kathmandu. It is the headquarters of Kaski District, Gandaki Zone and the Western Development Region. It lies 200 km west of Kathmandu; its altitude varies from 780 m to 1350 m. Three out of the ten highest mountains in the world — Dhaulagiri, Annapurna I and Manaslu — are within a linear distance of 50 km from the city. Due to its proximity to the Annapurna mountain range, the city is also a base for trekkers undertaking the Annapurna Circuit through the ACAP region of the Annapurna ranges in the Himalayas.

Pokhara is home to many Gurkha soldiers. It is the most expensive city in the country, with a Cost of Living Index of 95.

GEOGRAPHY

Pokhara is in the northwestern corner of the Pokhara Valley, which is a widening of the Seti Gandaki valley that lies in the midland region (Pahad) of the Himalayas. In this region the mountains rise very quickly and within 30 km, the elevation rises from 1,000 m to over 7,500 m. As a result of this sharp rise in altitude the area of Pokhara has one of the highest precipitation rates in the country (3,350 mm/year to 5600 mm/year in Lumle). Even within the city there is a noticeable difference in rainfall between the south and the north of the city, the northern part of the city situated at the foothills of the mountains experiences proportionally higher amount of precipitation. The Seti Gandaki is the main river flowing through the city. The Seti Gandaki (White River) and its tributaries have created several gorges and canyons in and around the whole city which gives intriguingly long sections of terrace features to the city and surrounding areas. These long sections of terraces are interrupted by gorges which are hundreds of meters deep. The Seti gorge runs through the whole city from north to south and then west to east and at places these gorges are only a few metres wide. In the north and south, the canyons are wider.n the south the city borders on Phewa Tal (4.4 km2) at an elevation of about 827 m above sea level, and Lumle at 1,740 m in the north of the city touches the base of the Annapurna mountain range. Pokhara, the city of lakes, is the second largest city of Nepal after Kathmandu. 3 eight-thousand meter tall peaks (Dhaulagiri, Annapurna, Manaslu) can be seen from the city. The Machhapuchhre (Fishtail) with an elevation of 6,993 m is the closest to the city. The porous underground of the Pokhara valley favours the formation of caves and several caves can be found within the city limits. In the south of the city, a tributary of the Seti flowing out of the Phewa Lake disappears at Patale Chhango (पाताले छाँगो, Nepali for Hell's Falls, also called Davis Falls, after someone who supposedly fell into the falls) into an underground gorge, to reappear 500 metres further south. To the south-east of Pokhara city is the municipality of Lekhnath, a recently established town in the Pokhara valley, home to Begnas Lake.

CLIMATE

The climate of the city is sub-tropical; however, the elevation keeps temperatures moderate. Summer temperatures average between 25 to 33 °C, in winter around - 2 to 15 °C. Pokhara and nearby areas receive a high amount of precipitation. Lumle, 25 miles from the Pokhara city center, receives the highest amount of rainfall (> 5600 mm/year) in the country. Snowfall is not observed in the valley, but surrounding hills experience occasional snowfall in the winter. Summers are humid and mild; most precipitation occurs during the monsoon season (July - September). Winter and spring skies are generally clear and sunny.

HISTORY

Pokhara lies on an important old trading route between China and India. In the 17th century it was part of the Kingdom of Kaski which was one of the Chaubise Rajya (24 Kingdoms of Nepal, चौबिसे राज्य) ruled by a branch of the Shah Dynasty. Many of the hills around Pokhara still have medieval ruins from this time. In 1786 Prithvi Narayan Shah added Pokhara into his kingdom. It had by then become an important trading place on the routes from Kathmandu to Jumla and from India to Tibet.Pokhara was envisioned as a commercial center by the King of Kaski in the mid 18th century A.D. when Newars of Bhaktapur migrated to Pokhara, upon being invited by the king, and settled near main business locations such as Bindhyabasini temple, Nalakomukh and Bhairab Tole. Most of the Pokhara, at the time, was largely inhabited by Khas (Brahmin, Chhetri, Thakuri and Dalits), the major communities were located in Parsyang, Malepatan, Pardi and Harichowk areas of modern Pokhara and the Majhi community near the Phewa Lake. The establishment of a British recruitment camp brought larger Magar and Gurung communities to Pokhara. At present the Khas, Gurung (Tamu) and Magar form the dominant community of Pokhara. There is also a sizeable Newari population in the city. A small Muslim community is located on eastern fringes of Pokhara generally called Miya Patan. Batulechaur in the far north of Pokhara is home to the Gandharvas or Gaaineys (the tribe of the musicians).

The nearby hill villages around Pokhara are a mixed community of Khas and Gurung. Small Magar communities are also present mostly in the southern outlying hills. Newar community is almost non-existent in the villages of outlying hills outside the Pokhara city limits.

From 1959 to 1962 approximately 300,000 exiles entered Nepal from neighbouring Tibet following its annexation by China. Most of the Tibetan exiles then sought asylum in Dharamshala and other Tibetan exile communities in India. According to UNHCR, since 1989, approximately 2500 Tibetans cross the border into Nepal each year, many of whom arrive in Pokhara typically as a transit to Tibetan exile communities in India. About 50,000 - 60,000 Tibetan exiles reside in Nepal, and approximately 20,000 of the exiled Tibetans live in one of the 12 consolidated camps, 8 in Kathmandu and 4 in and around Pokhara. The four Tibetan settlements in Pokhara are Jampaling, Paljorling, Tashi Ling, and Tashi Palkhel. These camps have evolved into well built settlements, each with a gompa (Buddhist monastery), chorten and its particular architecture, and Tibetans have become a visible minority in the city.

Until the end of the 1960s the town was only accessible by foot and it was considered even more a mystical place than Kathmandu. The first road was completed in 1968 (Siddhartha Highway) after which tourism set in and the city grew rapidly. The area along the Phewa lake, called Lake Side, has developed into one of the major tourism hubs of Nepal.

TEMPLES, GUMBAS AND CHURCHES

There are numerous temples and gumbas in and around pokhara valley. Many temples serve as combined places of worship for Hindus and Buddhists. Some of the popular temples and gumbas are:

Tal Barahi Temple (located on the island in the middle of Phewa Lake)

Bindhyabasini Temple

Sitaladevi Temple

Mudula Karki Kulayan Mandir

Sunpadeli Temple (Kaseri)

Bhadrakali Temple

Kumari Temple

Akalaa Temple

Kedareshwar Mahadev Mani Temple

Matepani Gumba

World peace pagoda

Akaladevi Temple

Monastery (Hemja)

Nepal Christiya Ramghat Church, established in 1952 (2009 BS), in Ramghat area of Pokhara is also the first church in Nepal.

LOCATION

The municipality of Pokhara spans 12 km from north to south and 6 km from east to west but, unlike the capital Kathmandu, it is quite loosely built up and still has much green space. The valley is approximately divided into four to Six parts by the rivers Seti, Bijayapur, Bagadi, Fusre and Hemja. The Seti Gandaki flowing through the city from north to south divides the city roughly in two halves with the business area of Chipledunga in the middle, the old town centre of Bagar in the north and the tourist district of Lakeside (Baidam) to the south all lying on the western side of the river.[38] The gorge through which the river flows is crossed at five places: K.I. Singh Pul, Mahendra Pul and Prithvi Highway Pul from north to south of the city. The floor of the valley is plain, resembles Terai due to its gravel-like surface, and has slanted orientation from northwest to southeast. The city is surrounded by the hills overlooking the entire valley.

Phewa Lake was slightly enlarged by damming which poses a risk of silting up due of the inflow during the monsoon. The outflowing water is partially used for hydropower generation. The dam collapsed in 1974 which resulted in draining of its water and exposing the land leading to illegal land encroachment; since then the dam has been rebuilt. The power plant is about 100 m below at the bottom of the Phusre Khola gorge. Water from Phewa is diverted for irrigation into the southern Pokhara valley. The eastern Pokhara Valley receives irrigation water through a canal running from a reservoir by the Seti in the north of the city. Some parts of Phewa lake are used as commercial cage fisheries. The lake is currently being encroached upon by invasive water hyacinth (जलकुम्भी झार).

Pokhara is known to be a popular tourist destination. The tourist district is along the north shore of the Phewa lake (Baidam, Lakeside and Damside). It is mainly made up of small shops, non-star tourist hotels, restaurants and bars. Most upscale and starred hotels are on the southern shore of the Phewa Lake and southeastern fringes of the city where there are more open lands and unhindered view of the surrounding mountains. Most of the tourists visiting Pokhara trek to the Annapurna Base Camp and Mustang. To the east of the Pokhara valley, in Lekhnath municipality, there are seven smaller lakes such as Begnas Lake and Rupa Lake. Begnas Lake is known for its fishery projects.

TOURISM AND ECONOMY

After the occupation of Tibet by China in 1950 and the Indo-China war in 1962, the old trading route to India from Tibet through Pokhara became defunct. Today only few caravans from Mustang arrive in Bagar. In recent decades, Pokhara has become a major tourist destination, it is considered as tourism capital of Nepal. In South Asia mainly for adventure tourism and the base for the famous Annapurna Circuit trek. Thus, a major contribution to the local economy comes from the tourism and hospitality industry. A lot of tourists visit Pokhara every year. Tourism industry is one of major source of income for local people and the city. There are two 5-star hotels and approximately 305 other hotels that includes five 3-star, fifteen 2-star and non-star hotels in the city.

Many medieval era temples (Barahi temple, Bindhyabasini, Bhadrakali, Talbarahi, Guheshwori, Sitaldevi, Gita mandir temple, Bhimsen temple) and old Newari houses are still a part of the city (Bagar, Bindhyabasini, Bhadrakali, Bhairab Tol, etc.). The modern commercial city centres are at Chipledhunga, New Road, Prithvi Chowk and Mahendrapul (recently renamed as Bhimsen Chowk).

The city promotes two major hilltops as its viewpoints to view the city and surrounding panorama, World Peace Pagoda built in 1996 across the southern shore of Phewa lake and Sarangkot which is located northwest of the city. In February 2004, International Mountain Museum (IMM) was opened for public in Ratopahiro to boost city's tourism attractions. Other museums in the city are Pokhara Regional Museum, an ethnographic museum, Annapurna Natural History Museum which houses preserved specimens of flora and fauna, and contains particularly extensive collection of the butterflies, found in the Western and ACAP region of Nepal; and Gurkha Museum featuring history of the Gurkha Soldiers. The city also has recently been adorned with a bungee jumping site (second in Nepal) titled Water Touch Bunjee Jumping. Also, a cable car service has begun construction joining Fewa Lake with World Peace Stupa led by the government of Nepal which is expected to boost the tourism industry of the place exponentially.

Since the 1990s Pokhara has experienced rapid urbanization, as a result service sector industries have increasingly contributed to the local economy overtaking the traditional agriculture. An effect of urbanization is seen in high real estate prices, which among the highest in the country. The major contributors to the economy of Pokhara are manufacturing and service sector including tourism; agriculture and the foreign and domestic remittances. Tourism, service sector & manufacturing contributes approximately 58% to the economy, remittances about 20% and the agriculture nearly 16%.

WIKIPEDIA

It is the first day of the second month of this project. You are 4 months, 11 lbs, a peanut. It is still cold and we can't go for walks. I hope one day you will like the stroller. Flora's Birthday is coming. She can't stop talking about that. Olivia is enrolled in middle school. Daddy is looking for a new job and we are dreaming about buying a house. I am usually not in the pictures, I promise I will.

CIA Wikipedia (of course it is Roman art as the word Byzantine was invented in the late 15th century long after the Basilca was built): The Basilica of Sant' Apollinare in Classe is an important monument of Byzantine art near Ravenna, Italy. When the UNESCO inscribed eight Ravenna sites on the World Heritage List, it cited this basilica as "an outstanding example of the early Christian basilica in its purity and simplicity of its design and use of space and in the sumptuous nature of its decoration".Contents [hide]

1 History

2 Interior

3 See also

4 External links

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History

The imposing brick structure was erected at the beginning of 6th century by order of Bishop Ursicinus, using money from the Greek banker Iulianus Argentarius. It was certainly located next to a Christian cemetery, and quite possibly on top of a pre-existing pagan one, as some of the ancient tombstones were re-used in its construction.

Sant'Apollinare in Classe was consecrated on May 9, 549 by Bishop Maximian and dedicated to Saint Apollinaris, first bishop of Ravenna and Classe. The Basilica is thus contemporary with the Basilica of San Vitale of Ravenna. In 856, the relics of Saint Apollinaris were transferred from the Basilica of Sant'Apollinare in Classe to the Basilica of Sant' Apollinare Nuovo in Ravenna.

The exterior has a large façade with two simple uprights and one mullioned window with three openings. The narthex and building to the right of the entry are later additions, as is the fine 9th century round bell tower with mullioned windows.

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Interior

The church is on a nave and two aisles. An ancient altar in the mid of the nave covers the place of the saint's martyrdom. The church ends with a polygonal apse, sided by two chapels with apses.

The nave contains 24 columns of Greek marble. The carved capitals of the columns depict acanthus leaves, but unlike most such carvings the leaves appear twisted as if being buffeted by the wind. The faded frescos depict some of the archbishops of Ravenna, and date to the 18th century. The lateral walls are bare, but were certainly once covered with gorgeous mosaics. These were likely demolished by the Venetians in 1449, although they left the mosaic decoration in the apse and on the, triumphal arch, the church's most striking features.

The upper section of the triumphal arch depicts, inside a medallion, Christ. At the sides, within a sea of clouds, are the winged symbols of the four Evangelists: the Eagle (John), the Winged Man (Matthew), the Lion (Mark), the Calf (Luke). The lower section has, at its two edges, depictions of the two cities of Jerusalem and Bethlehem, the walls showing precious gems from which twelve lambs (symbols of the Twelve Apostles) exit. The sides of the arch show two palms which, in the Bible's symbolism, represent justice; under them are the archangels Michael and Gabriel, with the bust of St. Matthew and another unidentified saint.

The decoration of the apse date to the 6th century, and can be divided into two parts:

in the upper one, a large disc encloses a starry sky in which is a cross with gems and the face of Christ. Over the cross is a hand protruding from the clouds, the theme of the Hand of God. At the side of the disc are the figures of Elijah and Moses. The three lambs in the lower sector symbolize the saints Peter, James and John, alluding the Transfiguration of Jesus on Mount Tabor.

in the lower one is a green valley with rocks, bush, plants and birds. In the middle is the figure of Saint Apollinaris, portrayed in the act of praying God to give grace to his faithful, symbolized by twelve white lambs.

In the spaces between the windows are the four bishops who founded the main basilicas in Ravenna: Ursicinus, Ursus, Severus and Ecclesius, all with a book in a hand. At the sides of the apse are two 7th century panels: the left one, which has been much restored, portrays the Byzantine Emperor Constantine IV granting privileges to an envoy of the Ravenna's archbishop. In the right panel are Abraham, Abel and Melchisedec around an altar, on which they offer a sacrifice to God.

The choice of the subject is closely linked to the fight against Arianism, as it restates the both divine and human nature of Christ, the latter negated by the arians. In addition, the representation of Apollinaris among the apostles was a legitimation to Maximian as the first bishop of a diocese directly related to the early followers of Jesus, being Apollinaris, according to the legend, a disciple of St. Peter.

The Basilica's walls are lined by numerous sarcophagi from different centuries. They attest the changes of style from V to VIII century: from reliefs with human figures of the roman sarcophagi, to Byzantine symbolism, to the increasing abstraction and simplification of these symbologies.

Из ЦРУ-шной Википедии

Сант-Аполлинаре-ин-Классе

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Материал из Википедии — свободной энциклопедии

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Сант-Аполлинаре-ин-Классе

Sant’Apollinare in Classe

Сант-Аполлинаре-ин-Классе

СтранаИталия

ГородРавенна

Координаты44°22′48″ с. ш. 12°13′57″ в. д. (G) (O)

Конфессиякатолицизм

Дата основаниявторая четверть VI века

Основные даты:

9 мая 549 года — Освящение базилики

Реликвии и святынимощи святого Аполлинария

Состояниевключена в число объектов Всемирного наследия.

Сант-Аполлинаре-ин-Классе на Викискладе

Бази́лика Са́нт-Аполлина́ре-ин-Кла́ссе (итал. basilica di Sant'Apollinare in Classe) — памятник ранневизантийского искусства в районе Классе в портовой части Равенны (Италия). Базилика построена во второй четверти VI века над могилой первого равеннского епископа святого Аполлинария. Базилика украшена самыми поздними из равеннских мозаик юстиниановского периода, сохранившимися в конхе апсиды. В 1996 году базилика в составе раннехристианских памятников Равенны была включена в число объектов Всемирного наследия.[1]Содержание [убрать]

1 История базилики

2 Архитектурные особенности

3 Внутреннее убранство

3.1 Мозаики апсиды

3.1.1 Конха

3.1.2 Стены

3.2 Мозаики фронтона

3.3 Крипта

3.4 Саркофаги

4 Примечания

5 Ссылки

6 Литература

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История базилики

Базилика была заложена епископом Урсицином во второй четверти VI века на месте захоронения Аполлинария Равенского. Строительство велось на средства греческого ростовщика Юлиана Аргентария (который финансировал также строительство другой равеннской базилики — Сан-Витале). Церковь была освящена 9 мая 549 года епископом Максимианом.[2] Главной реликвией церкви являются мощи святого Аполлинария, обнаруженные в ходе строительства. В 856 году из-за угроз вражеских набегов их перенесли внутрь городских стен в базилику Сант-Аполлинаре-Нуово.[3] В 1748 году мощи вернулись в базилику, их поместили в главном алтаре храма, а не в крипте где они изначально находились.

В течение VI—IX веков было создано мозаичное убранство базилики. В X веке к ней были пристроены придел, нартекс и ротонда-колокольня. После разграбления Равенны венецианцами в 1449 году первоначальные мозаики сохранились только в апсиде.

В марте 1001 года в монастыре, находившемся при базилике, провёл Великий пост император Оттон III. Для императора, изгнанного из Рима и глубоко переживавшего крушение своего замысла о восстановлении прежней Римской империи, Великий пост, проведённый в Сант-Аполлинаре-ин-Классе, стал временем духовного перелома. Наставником императора стал отшельник Ромуальд Равеннский, убеждавший императора уйти из мира в монастырь (сохранились его пророческие слова: «Если пойдёшь на Рим, то не увидишь более Равенны»[4]), и Оттон III всерьёз стал раздумывать об этом. Затем, под влиянием своих советников, Оттон III вернулся к политической жизни и стал готовить поход на Рим, но умер уже в следующем 1002 году [5]. В левом нефе базилики можно видеть мемориальную доску, напоминающую об этих событиях.[6]

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Архитектурные особенности

План базилики

Построена из тонкого обожжённого кирпича (48 х 4 см.), скреплённого раствором, белые полосы которого достигают в толщину 4-х см. Фасад декорирован лангобардской аркатурой: между плоскими пилястрами расположены небольшие двойные арки. Свет в здание проникает через высокие полукруглые окна фасада и многочисленные окна центрального и боковых нефов. Центральный неф завершает пятигранная апсида с пятью окнами, снаружи к ней примыкают прямоугольные пастофории (вспомогательные богослужебные помещения). Апсида приподнята над уровнем пола центрального нефа, к ней ведёт широкая лестница, построенная в 1723 году (отреставрирована в 1909 году).

Размеры базилики составляют 55,58 на 30,3 метра. Внутренне пространство разделено на три нефа. Центральный неф обрамляет колоннада из 12 колонн в каждом ряду. Они установлены на квадратные базы и увенчаны композитными капителями византийской работы с развевающимися ажурными листьями в форме бабочек. Серый мрамор с белыми прожилками для колонн был привезён из каменоломен горного массива Гиметт (Греция) или острова Проконессос (Мраморное море)[7]. Все колонны сходны и по исходному материалу, и по стилю обработки, что позволяет предположить, что они были заказаны для украшения именно данной базилики, а не изъяты из других, более ранних строений. Колоннада поддерживает аркаду над которой в медальонах в хронологическом порядке помещены фресковые изображения равеннских епископов, сделанные в XVIII веке. Нижний уровень стен базилики был изначально облицован мрамором, который был снят в XV веке по указанию Сиджизмондо Малатеста и использован при строительстве кафедрального собора в Римини.[8] На полу базилики, в её северо-восточном и юго-западном углах, сохранились фрагменты оригинального наборного мозаичного пола. Мозаика в юго-западном углу сохранила имена заказчиков данной работы: Гауденции и Феликса.

К базилике пристроена цилиндрическая колокольня высотой 37,5 метров и диаметром 6,17 метров. Она является типичной равеннской кампанилой: оконные проёмы имеют прогрессию створок — от одной до трёх.

Pickering Castle is situated on the southern edge of the North York Moors on a limestone bluff which formerly overlooked the meeting point of two of the main highways through the north of England: the east-west route along the Vale of Pickering and the north-south route through Newton Dale to Malton. The monument consists of a single area which includes the site of the 11th century motte and bailey castle and the 13th century shell keep castle. The former was built by William the Conqueror either during or shortly after the 'harrying of the north' in 1069-70. It consisted of an earth motte crowned by a timber palisade, flanked on the north-west side by a crescent-shaped inner bailey and, on the south-east side, by a contemporary or slightly later outer bailey. The inner bailey measured c.120m by c.35m and was bounded to the north by a steep natural slope surmounted by a palisade and to the south by deep 15m wide ditches linked to the ditch encircling the motte. The outer bailey, which measured c.185m by c.25m, was protected on the north side by these same ditches and, on the south side, by a 5-8m high palisaded bank with an outer ditch. To the immediate east of the outer bailey ditch a further earthwork bank may have provided additional defence on this side; alternatively it may be part of a medieval defence system associated with the adjacent settlement. The motte is c.20m high and has a base diameter of c.60m. It is not yet clear whether this is the original 11th century motte or a later medieval reconstruction. In the latter case, the earlier motte will have been preserved inside the later while, in addition, the buried remains of a wide range of domestic and service buildings will survive within the open areas of the baileys.

The reconstruction of the castle in stone largely took place between 1180 and 1236. There were three main phases to the work at this time, the earliest involving the late 12th century replacement of the palisade round the inner bailey with a curtain wall and also the probable construction of the first shell keep on the motte. In its present form the shell keep dates to the early 13th century but the foundations of the earlier wall will survive underneath. The remains of the early curtain wall still stand round the inner bailey, surviving best where the curtain was incorporated into later buildings. The earliest buildings so far identified are the early or mid- 12th century Old Hall, a free-standing residence whose surviving foundations show it to have been half-timbered, and the Coleman Tower, constructed at the same time as the inner curtain and an integral part of it. The Coleman Tower guarded the entry across the inner bailey ditch and was also a prison; hence its earlier name, the King's Prison. It was square in plan and had its entrance on the first floor, the level underneath being where the prisoners were kept. On the east side are the remains of a small building and also a stairway leading onto an adjacent wall. This wall, built across the motte ditch in the late 12th century, replaced an earlier palisade and provided access to the summit of the motte. A similar and contemporary length survives on the opposite side of the motte, crossing the ditch and joining the curtain alongside the later Rosamund's Tower. The keep consisted of a rubble wall enclosing a roughly circular area 20m wide. A wall walk would have lined the inside of the wall above a series of garrison buildings. The foundations of some of these buildings survive but it is not certain whether they date to the 13th or the 14th century. In some cases they will have replaced earlier timber structures whose buried remains will also survive. Also of uncertain date are the foundations of a number of buildings in the inner bailey, including a service range to the south-west and a group of buildings referred to as the Constable's Place in the accounts of the years 1441-43. The latter were half-timbered and some sections predate the inner curtain though others were clearly added later. A survey of 1537 lists a number of distinct structures, including the Constable's hall, a kitchen, buttery and pantry, and quarters for staff and servants. At the southern end of the group were a number of storage buildings, one of which is believed to have been the wool house. Two additional service buildings lay adjacent to the Old Hall and are thought, originally, to have been contemporary with it. To the south of these is the chantry-chapel which dates from c.1227 and is still complete though in a much altered state.

To the west of this is the early 14th century New Hall, initially built as a residence for Countess Alice, wife of Earl Thomas of Lancaster. This was later used as a courthouse which gave rise to it being named King's Hall or Motte (moot) Hall in later surveys. It was a penticed or lean-to building of two storeys which utilised the inner curtain for its outer wall. The inner walls were timber-framed and, as much of the surviving stonework is late 12th or early 13th century, it clearly replaced an earlier building. The upper chamber or solar of the 14th century hall was an elaborate plastered room with a decorated fireplace. The last major programme of building dates to 1324-26 when Edward II ordered extensive works to be carried out which included replacing the whole of the timber palisade round the outer bailey with a stone wall. This outer curtain included three projecting towers, a gatehouse with a drawbridge over the outer ditch and a postern gate which led from the north-east arm of the inner bailey ditch, underneath Rosamund's Tower and out onto the rampart. A second gate and drawbridge, built at this time alongside the Coleman Tower, had fallen out of use by the 16th century and can now no longer be seen. The three projecting towers, named from north-east to south-west, Rosamund's Tower, Diate Hill Tower and Mill Tower, are all square in plan and all would have led out onto the wall-walk along the inside of the curtain though, in the case of the Mill Tower, the curtain to either side has not survived sufficiently well to demonstrate this. The ground-floor entrance to the Mill Tower consisted of two doors linked by a short passage, in which the first door opened inwards and the second outwards indicating that the tower was built as a prison, a role it took over from the Coleman Tower. North of the Mill Tower, the outer curtain crossed the inner bailey ditch which can also be seen outside the castle walls on the west and north sides. This section of the ditch was part of the original 11th century defences and was quarried out of the rock on which the castle was built.

A levelled area alongside the inner edge indicates that quarrying of the rock-face continued after the ditch was cut. The quarried stone would have gone towards the construction of at least some of the castle buildings. Aside from its strategic and administrative roles, Pickering Castle had two other functions: to guard and manage the large forest which lay adjacent and to provide a court and place of detention for those found guilty of offences against it, such as poaching, unauthorised clearance and the theft of timber. The forest was an extremely important economic resource during the Middle Ages and its particular importance at Pickering can be seen in the great use made of wood in the castle buildings and also, most significantly, its continuous use in the defences down to the 14th century. Also important to the castle economy during the 14th century was the sale of wool, and it also had responsibility for managing the royal stud created by Edward II in c.1322. Possibly the stables known to have been located against the outer curtain at this time, between the gatehouse and Diate Hill tower, were connected with this. According to the Domesday Book, in 1086 the manor of Pickering was held by the king, that is, William the Conqueror. The castle established at this time as part of the subjugation of the rebellious North remained in royal hands until 1267 when it was conferred with the title Earl of Lancaster on Edmund Crouchback, younger son of Henry III. Edmund's son Thomas succeeded to both title and estates in 1296 but was executed for treason by Edward II in 1322, whereupon his estates reverted to the king. Following the unsuccessful Scottish campaign of the same year, and the ensuing retaliatory attacks on the north of England by Robert the Bruce, Edward ordered the building works noted above, clearly intending to keep Pickering a royal castle. However, in 1326 his son Edward III confirmed Henry, the younger brother of Thomas, Earl of Lancaster, in his brother's titles and estates, and, in 1351, the castle became part of the Duchy of Lancaster when that title was created. Upon the elevation of the House of Lancaster to the throne in 1399, and in 1413, the succession of Henry V, the Duchy reverted to the Crown and Pickering became a royal castle once again. It has been in State care since 1926. A number of features within the protected area are excluded from the scheduling. These include the ticket office/sales point and its paved base and steps, all English Heritage fixtures and fittings such as bins, bridges, safety grilles, signs, railings and interpretation boards, the surfaces of all modern steps and paths inside and outside the castle walls, lighting and the modern walls and fences round the outside edge of the protected area but the ground beneath all these features is included.

It brings smile, colours and joy

Box opening :)

She's amazing! Though INCREDIBLY difficult to photograph. So take my word for it - she's even more gorgeous in person!

The light today is just... bleh.

This is a replica of a car Mac's wife used to own. The chassis fit so poorly that Mac had to just about cut it off to make it fit. The body was okay. There is nothing in the engine bay except a block. He painted it with Jade Green paint from a rattle can and used auto 2K clear as a finish coat. He also used Bare Metal Foil , washes, and after market gauges and decals to finish his "out of the box" build. He was able to remove some over sprayed paint from the foil with a Q-Tip.

Hajto is the pseudonym of Nicola Cristaldi, politician who was also mayor of Mazara del Vallo.

Hajto est le pseudonyme de Nicola Cristaldi, politicien qui a ete aussi le maire de Mazara del Vallo.

Hajto" è inoltre lo pseudonimo con il quale Nicola Cristaldi firma le sue opere. Pittura, scultura e ceramica sono i campi in cui si misura, fin dagli anni settanta, come artista. Hajto ha partecipato a mostre in varie parti del mondo e sue opere sono conservate in collezioni pubbliche e private. Come ceramista ha contribuito al recupero dei vicoli della città di Calatafimi Segesta e del centro storico di Mazara del Vallo.[

St Peter and St Paul, Wangford, Suffolk

Wangford village stretches along a street which once carried the main London to Yarmouth road. It must have been hell. Today, the village is bypassed, and the road is a peaceful little cul-de-sac of the loveliest 18th and 19th Century houses, as well as a pub and a shop. The village is not to be confused with the ghost village of Wangford St Denis near Lakenheath, on the other side of Suffolk.

The church sits on the southern side of the street in as wide a graveyard as you can imagine. It rises above the flat expanse, looking quite unlike any other church in the county. The more you look at it, the stranger it appears, like nothing quite so much as a North London Anglo-catholic creation of the 19th century, decked out in flint and trimmed with Suffolk features. And that is almost exactly what it is.

The church here was, like most in Suffolk, pretty near derelict by the mid-19th century. It was all that survived of a Cluniac Priory, a cell to the mother Priory at Thetford over the border, but must still have been fairly substantial, even before falling under the patronage of Henham Hall. The Hall, now gone, sat in its park in the hamlet of Henham a bit to the south, on the other side of the A12. It is best known today for the Latitude Festival held in the grounds each summer. Henham was within the parish of Wangford, and never had its own church, and so it was that the Earls of Stradbroke, owners of the Hall, set about memorialising themselves here in Wangford church.

The architect was A. L. Blackburne. First, the whole building was demolished apart for the nave walls. Next, a tall beturreted chancel was added at the east end, and beside it in the 1870s, a grand tower. Dallinghoo, to the south, also has a tower at the east end, but that is because it is a former cruciform church which has lost its chancel and transepts. Here, the plan was deliberate, and successful. The top of the tower was finished in the 14th century Suffolk manner. So it sits there at the east end of the north aisle, while inside, the west end of the nave has a huge window, which may possibly be the refashioning of a tower arch. On the south side of the church, massive flying buttresses support the nave wall, perhaps necessarily or maybe just as an adornment.

Coming back here in 2017 after some fifteen years away, I was struck by the sheer quality of what was done here at Wangford. No expense was spared. I wandered around the south side, where to my surprise I found the beeman tending to hives in the south-east corner, moving surreally among the headstones in his beekeeper suit. I wandered around past what appears to be a Victorian rector's garage to the east of the church, and in through the north porch, which is the only other medieval survival. Its remoteness from the tower gives the illusion that you are entering the building from the wrong end. It seems to have had a side sliced off it by the buttress to the north aisle. You step into what, to all intents and purposes, appears an urban church, but one ruralised through the usage of the last century and a half. Because of the width of the north aisle, the long chancel appears offset in the south-east corner.

Either side of the chancel arch are two curiosities, a reading desk and a pulpit. They are said to have been brought here from the chapel at Henham Hall, and to be 17th century Flemish. Perhaps they were actually made out of Flemish panels taken from the Hall. They are glorious affairs of inlaid wood and varnish, with carvings reminiscent of ship figureheads buttressing the corners.

An image niche on the south side of the nave contains a memorial poppy from the Bloodswept Lands and Seas of Red exhibit at the Tower of London to commemorate a hundred years since the start of the First Wolrd War. At the west end of the nave a simple plaque of 1904 remembers Hilda McNeill, who lost her life while attempting to save a little boy from drowning in the Taw.

The sanctuary is still dressed in its ritualistic 19th Century pomp, with a mighty gilded stone reredos. Suffolk angels look down from the roof. Heaton, Butler & Bayne's four light east window depicts the Works of Dorcas flanked by St Peter and St Paul, the parish patron saints. Some excellent glass on the south side depicts two of the Holy Kinship, with the Blessed Virgin reading scripture to the young Christ on one side, and St Mary Cleophas reading scripture to the young Saints Jude, Simon and James on the other. It remembers Frederick Charles Bonham, who died at the age of eight in 1863. Unfortunately, no one seems to know who it is by. Clayton & Bell's early 20th Century window of Charity and the Works of Mercy is a little indifferent in comparison, but the 1880s west window is strikingly different to all, one of Suffolk's few windows by the Gibbs & Howard workshop, depicting Christ clearing the moneychangers out of the temple, Solomon building the temple, and the ark of the covenant being carried in the desert.

All around, the walls are lined with mementos to the Earls of Stradbroke, and as you might expect they are all high quality. But there is another memorial which is quite different. Up in the sanctuary, there is a charming little display of a tile inscribed with Jas Ife, Oct 5 1873 WANGFORD. It was recovered from the chancel roof after a repair. a note below it tells us that the 1871 census returns show James Ife living in Wangford village, that he was fifteen years old at the time he made the tile, and that he gave his occupation as a brickmaker. A rather different touchstone to the 19th century than the huge, fine building that contains it.

This is where the SMJ once crossed the West Coast main Line on a lattice bridge, removed in 1960. We walked from Ravenstone Jct - Towcester - Blisworth on April 29 1966. This view looks west and you can just make out the spur from the SMJ to Roade station on the right, above the main line. In the middle distance, where the fence widens, there was a signal box, removed many years ago. Copyright John Evans - no unauthorised copying or use.

CicLAvia is a 501(c)3 non-profit that catalyzes vibrant public spaces, active transportation, and good health through car-free streets. CicLAvia engages with people to transform our relationship with our communities and with each other.

Inspired by Bogotá’s weekly ciclovía, CicLAvia temporarily closes streets to car traffic and opens them to Angelenos to use as a public park. Free for all, CicLAvia connects communities to each other across an expansive city, creating a safe place to bike, walk, skate, roll, and dance through Los Angeles County.

Old truck with water bag in the shop at Winslow, Az.

The "The Gables" still retains it's original conservatory which is accessed through a stained glass door off the former drawing room. It has a row of yellow and red Art Nouveau stained glass vent windows as well as one beautiful Art Nouveau stained glass picture window. The picture window features brightly coloured stylised yellow and orange flowers.

"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.

Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.

Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.

As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.

"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.

Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.

Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.

Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.

Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.

This is a paper mock up of the pattern for a mid century modern Putz house I am planning to make. The blue is a 6" ruler. The house is 6.5 wide, 2" deep and 3.25" high. I found the pattern here:

retrorenovation.com/2012/11/09/kate-makes-a-midcentury-mo...