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Revelation 17:17 “For God has put it into their hearts to carry out His plan by having one purpose and to give their kingdom to the beast until God’s words are accomplished.”
Yes folks, Armageddon on the horizon and Armageddon mightily p1ss3d off with the whole China virus thang.
Anyways this is a Luminar 4 edit - using sky replacement and LUTs ...
Welcome to the rougier of North Aveyron, Villecomtal, the “Villa Comtalis”:
Fondé vers 1295 par Henri II, comte de Rodez, il fut bâti le long d’une voie desservant la vallée du Dourdou suivant un plan en damier dressé par un architecte de la cathédrale ruthénoise. En 1329, un arrêt de la Cour en Parlement de Paris, donne en toute propriété à Béatrix, fille aînée de Raymond II et épouse de Bertrand de La Tour d’Auvergne, la ville de Villecomtal et son mandement en compensation d’une rente annuelle comprise dans sa part d’héritage. La seigneurie, vendue aux de Rolland, noblesse très ancienne, resta dans cette famille jusqu’au XVIème siècle. Après divers possesseurs, elle fut apportée en dot à la maison de Nattes par Marie de Rességuier.
Il ne reste du bâtiment primitif que le donjon, le corps de logis; mais ces deux derniers modifiés pour les besoins des religieuses ne présentent plus aucun caractère de ce qu’ils pouvaient être à l’origine. Vers 1437, aux frais de la population, le village fut ceinturé d’une muraille longue d’environ 400 mètres, haute, par endroits, de 8 mètres. Le château fut construit à la même époque par Pierre de Rolland, Sénéchal de Castres.
La congrégation des sœurs de l’Union fit l’acquisition du château en 1850 pour le transformer en couvent et en pensionnat pour jeunes filles.
Depuis quelques années, la bâtisse devenue propriété de la commune a été revendue à un particulier. Deux portes fortifiées s’ouvraient sur la rue Droite, artère principale du bourg : “lo portal haut” et « lo portal bas » qui seul subsiste bien que très profondément modifié par l’adjonction d’un campanile achevé en 1785. Situé sur un passage, Villecomtal offrait de nombreuses auberges et écuries aux voyageurs et marchands.
L’église saint Barthélémy fut construite entre 1700 et 1715 afin de doter le village d’un lieu de culte intra-muros. A la fin des travaux, l’édifice avait la forme d’une croix latine et le clocher en peigne à cinq cloches, se trouvait sur l’un des côtés. Au XIXème, elle connaît de grands changements : la boiserie du chœur, la chaire et la table de communion sont refaites et les deux chapelles latérales sont agrandies vers la façade (d’où sa forme actuelle rectangulaire).
En 1900, le clocher est reconstruit au chevet de l’église.
Un épisode important de la vie religieuse qui débutera en 1801, à la signature du Concordat et qui perdurera jusqu’en 1931. En effet, Villecomtal fut «La Petite Rome» de «La Petite Eglise». Ses adeptes étaient alors appelés «Les Enfarinés».
Pour bien comprendre ce que fut le schisme anticoncordataire, il faut remonter à La Constitution Civile du Clergé promulguée le 12 juillet 1790 qui, entre autres dispositions, déclarait l’Eglise de France hors de l’autorité du Pape.En raison de l’imbrication des convictions religieuses et politiques de l’époque, mais aussi de la condamnation prononcée par Rome, la situation ne fut nette qu’après l’abolition de la royauté le 10 août 1792.Quatre vingt un évêques, réfugiés à l’étranger, organisèrent des réseaux clandestins autour d’hommes de confiance et par ce moyen administrèrent leur diocèse contre les prélats « jureurs » nommés par le gouvernement révolutionnaire.
En Aveyron, sous l’impulsion de Monseigneur Colbert de Seignelay, évêque de Rodez, la résistance à La Constitution Civile du Clergé fut active. La « Société Ecclésiastique » composée de prêtres réfractaires, dont à Villecomtal les abbés Delhom et Régis, fut une de ces cellules dirigées de Londres où l’évêque s’était réfugié.
En 1800, la nécessité de normaliser les relations diplomatiques avec le Vatican et de remettre de l’ordre dans l’Eglise de France se fit de plus en plus pressante et une négociation fut engagée entre Bonaparte, Premier Consul, et le cardinal Spina, envoyé spécial de Pie VII, pour aboutir en 1801 au Concordat promulgué à Paris en 1802. Trente cinq évêques anticonstitutionnels, dont celui de Rodez, tous résidant hors de France, en refusèrent les dispositions et entrèrent en dissidence contre Pie VII qui leur demandait de démissionner. Ils se servirent de leurs réseaux pour lutter contre le Concordat et l’administration de leur diocèse par les nouveaux promus. En Rouergue, de nombreux ecclésiastiques suivirent les consignes données par l’ex-évêque Colbert de Seignelay démis par le Vatican. A Villecomtal, les abbés Delhom et Régis se distinguèrent par leur zèle anticoncordataire au point qu’ils furent considérés comme les pontifes de « La Petite Eglise », autre nom donné à la dissidence du Rouergue.
Le rétablissement de la royauté en 1814/1815 et l’abolition du Concordat en 1905 ne changèrent pas l’attitude de « la Petite Eglise » qui sous le nom « La Petite Eglise Vieille Catholique » comptent de nos jours quelques milliers de fidèles en France et surtout à l’étranger : Europe, Afrique, Amérique. Plus de 24 paroisses aveyronnaises et 3 dans le Cantal adhérèrent à ce mouvement.
Leurs fidèles vinrent en grand nombre, jusqu’à un millier d’après les rapports de la police, assister aux messes célébrées à Villecomtal par l’abbé Delhom au lieu-dit « Le Taulan » et l’abbé Régis à « Los Topis ».
On les nommait « Les Enfarinés » car à l’instar des us de l’Ancien Régime, dont ils se réclamaient, sans pour autant qu’on puisse les considérer comme des royalistes avérés, les hommes dénouaient leurs cheveux qu’ils portaient longs et les poudraient avec de la farine (faute de poudre de riz) pour assister aux offices religieux. Les femmes vêtues de noir, portaient un bonnet à mentonnière, un scapulaire autour du cou et un grand chapelet de buis autour de la taille. Après le décès des derniers prêtres schismatiques, elles firent perdurer La Petite Eglise en organisant de pieuses réunions qui servaient de messe.
Le dernier fidèle en Rouergue est mort en 1931, dans un village voisin de Villecomtal en prononçant les dernières paroles « Soy Enfarinat »
Association “Terre des enfarinés”
Liens externes:
Les enfarinés sur Wikipédia
Le « Masque Rouge »
Dans les année 1946/1947, des paysans et notamment des marchands de bestiaux, de retour des foires locales, se faisaient agresser par un homme portant une cagoule ou un foulard rouge qui dissimulait son visage, le dos voûté, avec un accent étranger avéré ou simulé, qui les menaçait avec une mitraillette pour les dépouiller de l’argent gagné lors de la vente de leurs bêtes .L’homme dit « le masque rouge » connaissait parfaitement la région et arrivait à semer les gendarmes qui le poursuivaient. En effet, le masque rouge ne rentrait pas chez lui après avoir commis son larcin mais revenait à la foire où ses pas se mêlaient aux milliers d’autres.
Le masque rouge n’a jamais été arrêté ni identifié. Beaucoup d’hypothèses et de versions populaires ont couru à ce sujet mais en vain. Il faut quand même souligner, à sa décharge, qu’il n’a jamais utilisé sa mitraillette qui lui servait seulement à impressionner ses victimes.
Source Villecomtal.fr
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Founded around 1295 by Henri II, Count of Rodez, it was built along a road serving the Dourdou valley following a checkerboard plan drawn up by an architect of the Ruthenian cathedral. In 1329, a judgment of the Court in the Parliament of Paris, gives in full ownership to Béatrix, eldest daughter of Raymond II and wife of Bertrand de La Tour d'Auvergne, the town of Villecomtal and his mandate in compensation for an annual annuity included in its share of inheritance. The seigneury, sold to the de Rolland, a very old nobility, remained in this family until the 16th century. After various owners, it was brought as a dowry to the house of Nattes by Marie de Rességuier.
All that remains of the original building is the keep, the main building; but these last two modified for the needs of the nuns no longer present any character of what they might have been originally. Around 1437, at the expense of the population, the village was surrounded by a wall about 400 meters long and, in places, 8 meters high. The castle was built at the same time by Pierre de Rolland, Sénéchal de Castres.
The congregation of the Sisters of the Union acquired the castle in 1850 to transform it into a convent and boarding school for young girls.
In recent years, the building that has become the property of the municipality has been sold to an individual. Two fortified gates opened onto rue Droite, the town's main artery: “lo portal haut” and “lo portal bas” which alone remains although very profoundly modified by the addition of a campanile completed in 1785. Located on a hill Passage, Villecomtal offered many inns and stables to travelers and merchants.
Saint Bartholomew's Church was built between 1700 and 1715 to provide the village with an intramural place of worship. At the end of the work, the building had the shape of a Latin cross and the comb bell tower with five bells was on one side. In the 19th century, it underwent great changes: the woodwork of the choir, the pulpit and the communion table were redone and the two side chapels were enlarged towards the facade (hence its current rectangular shape).
In 1900, the bell tower was rebuilt at the apse of the church.
An important episode in religious life which began in 1801, when the Concordat was signed, and which lasted until 1931. Indeed, Villecomtal was "La Petite Rome" of "La Petite Eglise". Its followers were then called "Les Enfarinés".
To fully understand what the anticoncordat schism was, we must go back to La Constitution Civile du Clergé promulgated on July 12, 1790 which, among other provisions, declared the Church of France outside the authority of the Pope. religious and political convictions of the time, but also the condemnation pronounced by Rome, the situation was not clear until after the abolition of the kingship on August 10, 1792.Four twenty-one bishops, refugees abroad, organized clandestine networks around men of confidence and by this means administered their diocese against the prelates "jurors" appointed by the revolutionary government.
In Aveyron, under the leadership of Monsignor Colbert de Seignelay, Bishop of Rodez, resistance to La Constitution Civile du Clergé was active. The "Ecclesiastical Society" made up of refractory priests, including in Villecomtal the abbots Delhom and Régis, was one of those cells led from London where the bishop had taken refuge.
In 1800, the need to normalize diplomatic relations with the Vatican and to restore order in the Church of France became more and more urgent and a negotiation was initiated between Bonaparte, First Consul, and Cardinal Spina, envoy. special of Pius VII, to end in 1801 in the Concordat promulgated in Paris in 1802. Thirty-five unconstitutional bishops, including that of Rodez, all residing outside France, refused its provisions and entered into dissent against Pius VII who asked them to resign. They used their networks to fight against the Concordat and the administration of their diocese by the newly promoted. In Rouergue, many ecclesiastics followed the instructions given by ex-bishop Colbert de Seignelay, dismissed by the Vatican. In Villecomtal, the abbots Delhom and Régis were distinguished by their anti-concordance zeal to the point that they were considered the pontiffs of "La Petite Eglise", another name given to the dissidence of Rouergue.
The reestablishment of the kingship in 1814/1815 and the abolition of the Concordat in 1905 did not change the attitude of “la Petite Eglise” which under the name “La Petite Eglise Vieille Catholique” now has a few thousand faithful in France. and especially abroad: Europe, Africa, America. More than 24 parishes in Aveyron and 3 in Cantal joined this movement.
Their faithful came in large numbers, up to a thousand according to police reports, to attend the masses celebrated in Villecomtal by Father Delhom at a place called "Le Taulan" and Father Régis at "Los Topis" .
They were called "Les Enfarinés" because, like the habits of the Ancien Régime, which they claimed to be, without being able to consider them as proven royalists, the men untied their hair which they wore long and Powder them with flour (lack of rice powder) to attend religious services. The women, dressed in black, wore a chin-cup, a scapular around the neck and a large boxwood rosary around the waist. After the death of the last schismatic priests, they continued La Petite Eglise by organizing pious meetings which served as mass.
The last faithful in Rouergue died in 1931, in a neighboring village of Villecomtal, pronouncing the last words "Soy Enfarinat"
Association “Terre des enfarinés”
External links:
Flouries on Wikipedia
The "Red Mask"
In the years 1946/1947, peasants and in particular cattle dealers, returning from local fairs, were attacked by a man wearing a balaclava or a red scarf who concealed his face, his back arched, with a recognized foreign accent or simulated, which threatened them with a submachine gun to strip them of the money earned from the sale of their animals. The man called "the red mask" knew the region perfectly and managed to sow the gendarmes who were pursuing him. Indeed, the red mask did not return home after having committed the theft but returned to the fair where his footsteps mingled with thousands of others.
The red mask has never been arrested or identified. Many hypotheses and popular versions have been circulated about this, but to no avail. It should be noted, in his defense, that he never used his submachine gun, which he used only to impress his victims.
Source Villecomtal.fr
Habakkuk 2:19 “Woe (judgment is coming) to him who says to the wooden image, ‘Awake!’ And to the speechless stone, ‘Arise!’ And that is your teacher? Look, it is overlaid with gold and silver, and there is no breath at all inside it.”
You can add artificial intelligence to that list. Woe (judgment is coming) to him who says to the artificially intelligent image, ‘Awake!’
Revelation 13:15 “And he had power to give life to the image of the beast, so that the image of the beast could both speak and cause whoever would not worship the image of the beast to be killed.”
AI-tocracy, here we come!
The ceiling of the dome of Florence is decorated with a representation of The Last Judgment. Originally left whitewashed following its completion it was the Grand Duke Cosimo I de' Medici who decided to have the ceiling of the dome painted. This enormous work, 3,600 metres² of painted surface, was started in 1572 by Giorgio Vasari and would not be completed until 1579. The upper portion, near the lantern, representing The 24 Elders of Apocalypse was finished by Vasari before his death in 1574. Federico Zuccari with the assistance of Bartolomeo Carducci, Domenico Passignano and Stefano Pieri finished the other portions: (from top to bottom) Choirs of Angels; Christ, Mary and Saints; Virtues, Gifts of the Holy Spirit and Beatitudes; and at the bottom of the cupola: Capital Sins and Hell. These frescoes are considered Zuccari's greatest work. But the quality of the work is uneven because of the input of different artists and the different techniques. Vasari had used true fresco, while Zuccari had painted in secco. During the restoration work, which ended in 1995, the entire pictorial cycle of The Last Judgment was photographed with specially designed equipment and all the information collected in a catalogue. All the restoration information along with reconstructed images of the frescos were stored and managed in the Thesaurus Florentinus computer system.
look at how messy you are! meet my dog, jelly, which already woke all night, and this day he decide to take a nap a while in this cave. have a great monday, my friend. i hope yours are not rainy like mine. (but maybe snowy... hehehe). i still gotta lots to do, next friday is my judgment day. i will be supervised by my boss... wish me luck. but if i won't, it doesn't matter. life is still going on, right? i will wait for your bless, my friends, for i will pass this judgment day...
The Last Judgment mosaic on the south façade of St. Vitus Cathedral was commissioned by Emperor Charles IV around 1370. Created by Venetian artists, it features over a million glass and gold tiles, making it one of the most stunning Gothic mosaics north of the Alps. The central panel shows Christ in Majesty, with the resurrection of the blessed on the left and the damnation of the wicked on the right. Though damaged over time, it was carefully restored in the 20th century. The mosaic reflects Charles IV’s vision of Prague as a spiritual and imperial center of the Holy Roman Empire.
Psalm 144:5: “Part your heavens, LORD, and come down; touch the mountains, so that they smoke.”
God’s judgment vs God’s wrath
God’s judgment now: division; fake pandemic; soon coming economic crash to bring in a cashless society.
God’s wrath soon to come: world wide authoritarianism; billions dead; and eventually a money system that revolves around the number 666 and a microchip.
Are you people getting ready for the great reset? The World Economic Forum: “You will own nothing”…woohoo!!! Universal basic income, welcome to Universal socialism…woohoo!!
The New World Order: a conspiracy
The Bible: fiction
God: a figment of one's imagination
Jesus said: you have eyes but do not see, and ears but do not hear.
Сцени пекельних мук грішників в Пеклі на фресці у притворі церкви присвячені тематиці Страшного суду.
The Last Judgment. Scene of torment: The unquenchable fire and the unsleeping worm.
«Церква завжди вірила, що муки в Пеклі будуть вічними. Про це говорив і сам Ісус Христос, про це також написано в Книзі Об’явлення (Мт. 25, 46; Мк. 9, 44, 46; Об. 20, 10).
Отже, люди, які свідомо (в активний чи пасивний спосіб) відкинули віру в Христа і не навернулись до Бога, нестимуть повноту відповідальності за всі свої гріхи — підуть до Пекла. А оскільки кожен гріх є злочином проти вищої влади та величі у Всесвіті — проти вічного Бога — то й кара навіть за одну провину буде вічна.»
The estern compartment of the northern nave.
In the center of the photo above the Northern entrance to the cathedral is the fresco "Judgment of Pilate".
Pilate sits on a curule* chair placed in the middle of a marble platform surrounded by a marble barrier. Behind Pilate are two lictors holding symbolic bundles of vines with axes embedded in them. Below Pilate, on a bench, artists have placed a scribe, who notes on a scroll the course of the court session. To the right of Pilate stands the Savior with his hands tied behind his back. His pale face bears a clear imprint of the physical suffering he endured. Below - an exciting crowd of people demanding execution. Christ Some of the crowd rush to make their way to the judge's tribune, but the Roman soldiers standing on both sides of it, looking at the crowd with disdain, stop them.
Artist Pavlo Sviedomskyi in collaboration with Vilhelm Kotarbinskyi.
У центрі фотографії над Північним входом до собору фреска «Суд Пілата».
Пілат сидить на курульному* стільці, поставленому на середині мармурового піднесення, обнесеного мармуровим бар'єром. За Пілатом два ліктори, що тримають у руках символічні зв'язки лозин з вкладеними в них сокирами. Нижче Пілата, на лавочці поміщений художниками переписувач, який відзначає на сувої перебіг судового засідання. Праворуч від Пілата стоїть Спаситель зі зв'язаними на спині руками. На Його блідому обличчі – ясний відбиток перенесених фізичних страждань. Внизу - хвилюючий натовп народу, що вимагає страти. Христа. Деякі з натовпу пориваються пробратися на суддівську трибуну, але римські воїни, що стоять з обох її сторін, окидають натовп поглядом зневаги, зупиняють їх.
Художник Павло Свєдомський у співпраці з Вільгельмом Котарбінським.
* Курульне крісло (лат. sella curulis) - відмітна ознака курульних магістратів, особливе крісло без спинки з X-подібними загнутими ніжками. У Стародавньому Римі могло належати лише найвищим магістратам.
A negative judgment gives you more satisfaction than praise, provided it smacks of jealousy.
Jean Baudrillard
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खामोशी के नज़दीक - सुकून की तलाश में. Examinations (तलाश) of peace (सुकून) and space in an utterly overwhelming landscape of the American West. My paintings - really photographs - of ruminations with nature and it’s (perhaps mine too!) quest/dialog to reach so ever close to that state of silence (खामोशी)- that non judgmental zone of mine and hers of capturing those expressions & feelings - over a cross country road trip.
A peaceful scene taken from the Waterfront Recreational Trail, close to my home.
Thanks for visiting, Stay safe and healthy. #BeKind
Here is an article from BBC News titled:
“The microchip implants that let you pay with your hand”
www.bbc.com/news/business-61008730
What could go wrong here?
A Picture of the Future!
The book of Revelation
666 take the Smartchip
Right hand or forehead
Sell your souls sheeple
Enslaved for a pittance
Owned body and mind
Judgment and torment
Eternity of punishment
http://www.flickr.com/groups/tous_les_noms_friends/http://www.flickr.com/groups/tous_les_noms_friends/
Save the International Photography Festival of Rome!!!!
www.flickr.com/groups/si_festival_fotografia_roma/
Explore: Highest position: 49 on Monday, October 13, 2008
IMG_E1798
Triptych "The Last Judgment" by Hans Memling.
The triptych shows a vision of the Day of Judgment described in the Book of Revelation. John. In the center of the composition is Christ - the Judge sitting on a rainbow, whose feet rest on a golden ball symbolizing the universe. He is surrounded by twelve apostles who play the role of jurors of the Heavenly Tribunal.
In the British Isles, dead houses (also known as receiving vaults) became popular in the 1800s as a way to protect the deceased from body snatchers. In north America, they also served as temporary storage during the winter months, when frozen ground prevented the digging of graves.
Modern machinery solved the frozen ground problem and there isn't much demand for snatched bodies these days. So, dead houses have become obsolete and simply provide an architectural point of interest in old graveyards.
Someone was once asked if they wished to be buried or cremated. "Surprise me", was the response. That would be a very unpleasant surprise. But even worse is the thought of awaking in eternity without having made preparations to do so.
The Bible makes it clear: there is one life, one afterlife and one judgement.
And as it is appointed unto men once to die, but after this the judgment: so Christ was once offered to bear the sins of many; and unto them that look for him shall he appear the second time without sin unto salvation.
(Hebrews 9:27-28)
…to judgment day (or ‘the election’, as I like to call it).
A soothing meander through the local cemetery to take my mind off another grandkid cold, passed on from one of the little darlings. The perils of grand parenthood I suppose.
Anyhoot, I dusted off the Zuiko 40-150mm f2.8 and added the MC1.4 teleconverter to get this shot.
Gospel Movie Clip | "What a Beautiful Voice" (5) - Is God's Judgment in the Last Days Punishment or Salvation?
Here is the link to the What a Beautiful Voice movie: www.holyspiritspeaks.org/videos/what-a-beautiful-voice-mo...
Introduction
Some people read God’s words and see that there are some harsh things that are judgment of mankind, and condemnation and curse. They think that if God's judgment
and curses people, won't they be condemned and punished? How can it be said that this kind of judgment is to purify and save mankind? God's word says: "What God curses is the disobedience of man, and what He judges are the sins of man." "The severe disclosures of the word are all for the purpose of leading you to the right path" (The Word Appears in the Flesh). What is the proper way to understand God's work of judgment in the last days?
Image Source: The Church of Almighty God
Terms of Use: en.godfootsteps.org/disclaimer.html
Christian testimonies｜God’s Love Was With Me in the Devil’s Dark Prison
After praying, I stopped feeling afraid. I began to calm down and reflect upon myself, and at that moment God’s words of judgment and revelation came to me: “Do you want the flesh, or do you want the truth? Do you wish for judgment, or comfort? Having experienced so much of God’s work, and having beheld the holiness and righteousness of God, how should you pursue? How should you walk this path? How should you put your love of God into practice? Has God’s chastisement and judgment achieved any effect in you? Whether or not you have a knowledge of God’s chastisement and judgment depends on what you live out, and to what extent you love God! Your lips say you love God, yet what you live out is the old, corrupt disposition; you have no fear of God, much less do you have a conscience. Do such people love God? Are such people loyal to God? … Could someone such as this be Peter? Do those who are like Peter only have the knowledge, but not the living out?” (“The Experiences of Peter: His Knowledge of Chastisement and Judgment” in The Word Appears in the Flesh). God’s every word of judgment was like a two-edged sword striking at my Achilles’ heel, heaping condemnation upon me: Yes, many were the times that I had made solemn oaths before God, saying that I’d forsake everything and endure every hardship for the sake of the truth. Yet today, when God used fact to ask something of me, when He needed me to actually suffer and pay a price in order to satisfy Him, I hadn’t chosen the truth or the life, but had blindly been ridden with anxiety, distress and worry because of the interests and prospects of the flesh. I didn’t even have the slightest faith in God. In this, how could I satisfy God’s will? God wanted what I lived out to be fruitful. He did not want flowery, empty oaths. Yet before God I had knowledge but no reality, and toward God, I had neither loyalty nor true love, much less did I have any obedience; I lived out nothing but deceit, rebelliousness, and opposition. In this, was I not someone who betrayed God? Was I not someone who broke God’s heart? At that moment, I thought of when the Lord Jesus was arrested and nailed on the cross. One after the other, those who had often enjoyed His graces abandoned Him. In my heart, I couldn’t help but be overcome with remorse. I hated my rebelliousness, I hated my lack of humanity, I wanted to once again stand up, to use real actions to make my promises to God a reality. Even if I rotted in jail, I would never again hurt God’s heart. I could never again betray the price of blood that God had paid in me. I stopped crying, and in my heart I silently prayed to God: O God, thank You for enlightening and guiding me, allowing me to understand Your will. I see that my stature is so small, and that I have not the slightest love or obedience toward You. O God, right now I wish to give myself completely to You. Even if I spend my whole life in prison, I would never make concessions to Satan. I wish only to use my real actions to satisfy You.
Recommended for You: religious movie
Had to quote prometheus here being as it's filmed almost where I'm stood. One of those that every way you turn there's a fantastic shot, and of all the places I've ever been, I don't think anywhere suits my shooting style better than here. However it's tricky to try and find an angle that nobody lose has gone for a million times before. So I decided to forget the old man and the needle, and see if there was anything I could use around the back, and this is almost the last shot I took before we headed down. Wasn't sure about it on camera, it was really the product of the 'just stick the lens at 11 and roll with it', and by more luck than judgment it worked!
There they are, sitting on their high horses passing judgment. Waiting to pounce on your words so that they may use them to harm you.
Fear of you, your strength, intelligence and determination terrify them.
So they watch and wait.
Until in the deepest dark corners of their mind where jealousy, insecurity and despair reside, they are motivated to fire their empty ammunition.
The spotlight isnt always a positive place to be.
Taken at
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Susie wears
REBORN by eBODY v1.69.3
HEAD / lel EvoX BRIANNON 3.1
AZOURY - Obscur Shoes
Pixicat- Nova Short
Pushin' Daisies - Dahlia Tanktop
REBORN - Juicy Boobs v1.0
Hair-TRUTH / Meadow
[MERCH] Playhouse Bag
L'Emporio&PL::*Damned Claws*::BENTO
DeeTaleZ Skin *Salma* for LELEVOX - Nordic
“In the center of the painting is the Savior of the world, seated on the heavenly throne. His face is stern and calm, like the face of a righteous, impartial judge. In the folds of His eyebrows, in the shadows of His face, there is a great, unearthly sorrow for the world, for the sins of humanity, and from behind it shines an impulse of boundless mercy. In His right hand Christ holds a cross, in His left an open Gospel. From behind His right shoulder, the face of the Mother of God looks out. She stands with downcast eyes, Her face is full of anxiety and worry for the world, full of sorrow and prayer for the sins of humanity, addressed to Her Son. Christ is surrounded by symbolic images of the evangelists, to his left stands John the Baptist in a humble pose, to his right is an archangel, below is another archangel with righteous scales in one hand and a scroll in the other, and on both sides of this archangel, at some distance from him, are two flying archangels blowing trumpets calling the Supreme Judge to account. In the clouds above Christ sit the apostles and saints with stern faces, full of grandeur and anxiety in anticipation of the great moment. Below, on the left side of the Savior, is placed the serpent - the tempter, and under him are sinners rising from the depths of the sea, covered with corpses. Some of the sinners look at the Judge with trembling, others with meekness and submission, with faith in His great mercy, and others, not yet having time to come to their senses and understand the full importance of the moment that has come, turn away from the heavenly throne in horror. Below, to the right of Christ, are the righteous. Their faces are calm and focused, full of humility, and some have the reverent solemnity characteristic of a believer. They meet the call to the Last Judgment with the same humility with which they have always remembered it and awaited it. Below them, at the very bottom of the painting, is the chaos of destruction, coffins everywhere, piles of human skeletons, the dead rise from the coffins and rush to the throne of the Righteous Judge. The entire lower part of the painting is filled with flames of fire, destroying the visible world.”
“У центрі картини – Спаситель світу, що сидить на небесному троні. Обличчя його суворо і спокійно, як обличчя праведного, неупередженого судді. У складках брів Його, у тінях обличчя розлита велика, неземна скорбота за світ, за гріхи людства, а через неї прозирає порив безмежного милосердя. У правій руці Христос тримає хрест, у лівій розкрите Євангеліє. Через праве плече Його виглядає обличчя Богоматері. Вона стоїть з опущеними очима, обличчя Її сповнене тривоги та хвилювання за світ, повно скорботи та благання за гріхи людства, зверненої до Сина. Христа оточують символічні зображення євангелістів, ліворуч від нього стоїть у смиренній позі Іоанн Хреститель, праворуч архангел, внизу – інший архангел з праведними вагами в одній руці і з сувоєм в іншій, а по обидва боки цього архангела, на відстані від нього, два летячі. архангела і трубять у труби заклик Верховного Судді до відповіді. У хмарах над Христом сидять апостоли і святителі із суворими обличчями, сповненими величі та тривог очікування великого моменту. Внизу, з лівого боку від Спасителя, поміщений змій – спокусник, а під ним грішники, що повстають з безодні морської, покритої трупами. Одні з грішників з трепетом дивляться на Суддю, інші - з лагідністю і покірністю, з вірою в Його велике милосердя, треті, не встигнувши ще схаменутися і зрозуміти всієї важливості моменту, з жахом відвертаються в бік від небесного трону. Внизу, праворуч від Христа, – праведники. Їхні обличчя покійні і зосереджені, сповнені смирення, у деяких – благоговійної урочистості, властивої віруючій людині. Вони з такою самою смиренністю зустрічають заклик на Страшний Суд, з яким вічно пам'ятали про нього і чекали на нього. Під ними, у самому низу картини, хаос руйнування, всюди труни, купи людських скелетів, з трун повстають мерці і прямують до престолу Праведного Судді. Вся нижня частина картини залита полум'ям вогню, що винищує видимий світ.”
Scenes on the ceiling depict different stories in horizontal tiers of mosaic - starting at the top, Choirs of Angels, Thrones, Dominations and Powers; stories from the Book of Genesis; stories of Joseph; stories of Mary and the Christ and finally in the lower tier, stories of Saint John the Baptist.