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The Class of 1975 held their 40th Class Reunion at the Pebble Lake Golf Course in Fergus Falls, MN on Saturday, July 18, 2015.
**New Mexico Madonna of the Trail** - National Register of Historic Places Ref # 06000151, date listed 3/21/2006
Jct. of Marble Ave. and 4th St.
Albuquerque, NM (Bernalillo County)
The New Mexico Madonna of the Trail is located at the southeast corner of Fourth Street and Marble Avenue in downtown Albuquerque, New Mexico along the former alignment of U.S. 66. The monument is surrounded by a landscaped park, which is sited on a block dominated by the city's federal courthouse.
The Madonna of the Trail monument, designed by German immigrant August Leimbach, was fabricated in 1928 of Algonite — a mix of crushed pink granite, stone, marble, Portland cement, and screenings of lead ore, poured into a mold and polished into its final form. The monument features a ten-foot high sculpture of a pioneer woman and two small children (Photo 4). The woman, depicted with a homespun dress, sunbonnet, and heavy boots, is captured in a firm mid-stride, her eyes intently focused on the horizon to the west. In one arm she carries an infant, while the other hand clutches a rifle. Another child, a small boy, clings to her skirt. Thistles surround her feet. The sculpture rests on a large square base that is six feet in height and weighs approximately twelve tons. Beneath the base is a five-foot deep foundation, three feet of which are below ground. The monument weighs five tons. (1)
The National Society of Daughters of the American Revolution (NSDAR) established a committee in 1911 to promote the highway that became the National Old Trails (N.O.T), and later, in 1926, Route 66. The NSDAR commissioned 12 identical statues (one for each state crossed by the N.O.T.), as a symbol of the courage of the pioneer women who stood by their families and helped tame the West. (2)
References (1) NRHP Nomination Form npgallery.nps.gov/pdfhost/docs/NRHP/Text/06000151.pdf
(2) The Route 66 www.theroute-66.com/albuquerque-4th-street-US66.html#madonna
66737 "Lesia" - 6Y90 (0903 SO STP Departmental service from Whitemoor Yard LDC to Maryland, which consisted of 22 individually numbered empty Falcons [mainly JNAs]) - Slipe Lane (between Broxbourne & Cheshunt) - 1114 (6 minutes late, due to a Network Rail singalling failure - I had to laugh, the first train I've photographed this year & it was late thanks to my favourite company) - Saturday 14/03/26.
I was going to leave modern railway photography to my pole erecting, drone flying, tree climbing, photoshop using friends, but until I "sign the road" to Mildenhall / Lakenheath & the war in Iran ends, I have been forced out of retirement.
I've just realised why it is taking ages to type up the paper notes from 1980, it's because a trip to Birmingham New Street on September 13th involved one hundred & twenty five loco hauled trains in just 9 hours, with several changing from diesel to electric traction & vice-versa.
The Board of Directors of the Global Partnership for Education met in Stockholm, Sweden, from June 11 to 13, 2019.
Credit: GPE / Chantal Rigaud
Cruised on this brand new NCL ship to the Panama Canal June/July 2005. Here she is anchored in Cabo san Lucas, Mexico.
during the 1000 Miles of Sebring 2023, 1st round of the 2023 FIA World Endurance Championship, from March 15 to 17, 2023 on the Sebring International Raceway in Sebring, Florida, USA - Photo Frédéric Le Floc'h / DPPI
Church of St Oswald, Moor Lane, Kirk Sandall
Grade II* Listed
List Entry Number: 1286919
SE 60 NW 8/39
BARNBY DUN WITH KIRK SANDALL Kirk Sandall MOOR LANE (north side) Church of St. Oswald
(formerly listed as at Sandall Parva)
5.6.68
GV II* Church. C12, C14 and C16 with later additions, restored 1864 (by J. M.Teale) and in 1935. Rubble and ashlar limestone, lead and tile roofs.
Two-bay aisled nave with south porch and truncated tower rising from aisle behind, C20 north vestry; two-bay chancel with larger two-bay north chapel.
Nave: C12 south aisle has large quoins and pebble-work to lower courses; 1864 porch to bay one with pointed arch and hoodmould beneath coped gable with cross; C12 south doorway within has a lightly-chamfered, two-order round arch having single order of columns with plain capitals; two-light window to bay two (renewed in 1864) has pointed arch and hoodmould with carved-head stops; end walls each have a small C12 window. Above bay one of aisle rises a single stage of tower added in 1828 but truncated in 1935, it has a two-light south window and corniced eaves to pyramidal roof with louvred gablets. West wall of nave (earlier C12) incorporates same herringbone courses above a C14 three-light west window with intersecting tracery and hoodmould with weathered stops beneath gable quatrefoil. North aisle has buttresses flanking a two-light west window and two-light north window to east of C20 vestry which encloses a narrow triangular-headed doorway with hoodmould. Aisles under catslide roofs from nave with C19 kneelers and gable copings with apex crosses.
Chancel: C12, rewindowed C15 with cusped two-light south windows in chamfered, square-headed surrounds; three-light east window has panel tracery. String course beneath ashlar parapet with roll-moulded copings and shallow east gable with cross.
Rokeby Chapel (to north) built soon after 1521: Perpendicular with cyma-moulded plinth and moulded band. East end, set forward, has diagonal buttresses and string course beneath restored and infilled five-light window with cusped lights and panel tracery beneath four-centred arch with hoodmould; heraldic shield beneath hollow string course carved with animals; embattled parapet with apex niche, (pinnacles removed). North side has diagonal west buttress and buttress between two four-light windows.
Interior: late C12 aisle arcades with half-round responds; octagonal piers and broad, square capitals to plain round arches; round-headed piscina in south aisle and complete embrasures to the C12 end windows; C19 roof. Chancel: double-chamfered chancel arch, the inner order on corbels; moulded and hollow-chamfered C15 arches from north aisle and from chancel into chapel which has altered niches flanking the east window, arcading of cinquefoiled blind panels on north wall and fine C16 roof with intricately-carved tie beams, bosses at each crossing and central pendant boss.
Fittings: cylindrical Norman font on two-step plinth. Excellent traceried wooden screens to west of chancel and chapel, the chancel screen of 3:2:3 divisions with crocketed, ogee panels to dado and central four-panel door with four-light tracery, the upper panels pierced; side panels set beneath small twin ogee canopies; main shafts with tiny figures in niches at the capitals; canopy has carved vinetrail and pierced cresting. The chapel screen similar but of 1:2:1 divisions.
Monuments in Rokeby Chapel: floor slabs include that to Thomas Rokeby (d.1669). Large marble wall monument on east wall to Thomas Rokeby (d.1621) has consoles with floral drops and cherubs head flanking a domed oval plaque with Latin inscription, cartouche over and open segmental pediment containing cartouche and mantling beneath draped urn. On north wall the tomb of Archbishop William Rokeby (d.1521) with foiled, four-panel base and canopy on shafts with foiled frieze and cresting; some inscribed brasses within. To its left a weathered C17 cartouche above marble plaque. On south wall a scrolled pedimented monument to William Rokeby (d.1662) has shield of arms over. Brasses: on east wall a plate with eight lines of verse which originally marked the burial spot of Archbishop Rokeby. Other brasses on floor to Thomas Boucher (d.1658) and wife Elizabeth (d.1677).
Stained glass: western north chapel window has jumbled C16 glass with incomplete figures of saints. Chapel built soon after the death of William Rokeby, Bishop of Meath, Archbishop of Dublin and Chancellor of Ireland and formerly a vicar of Kirk Sandal.
Church now in the care of the Redundant Churches Fund.
Council for Places of Worship Report ref. PM 821 (description and inventory).
P. F. Ryder, Saxon churches in South Yorkshire, County Archaeology Monograph No. 2, 1982 page 94 (plan).
Listing NGR: SE6092808130
historicengland.org.uk/listing/the-list/list-entry/1286919
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Kirk Sandall, St Oswald
St Oswald's Church is a redundant Anglican church in Kirk Sandall, near Doncaster, South Yorkshire, England. It is recorded in the National Heritage List for England as a designated Grade II* listed building, and is under the care of the Churches Conservation Trust.
History
The church is dedicated to Saint Oswald, king of Northumbria, and there is a legend that his body rested on the site after he was killed in 642. A church was present at the time of the Domesday survey. Most of the present church was built in the 12th century, with additions and alterations in the 14th and 16th centuries. It was restored in 1864 by J. M. Teale, and again in 1934. The Rokeby Chapel is named after William Rokeby, rector of Kirk Sandall from 1487 to 1502. He later became vicar of Halifax, then Bishop of Meath, Lord Chancellor of Ireland, and Archbishop of Dublin. The chapel was built soon after his death in 1521. The tower was added in 1828 but was truncated in 1935. By the 1960s the local population had declined, a new church was built in a nearby growing village. St Oswald's was declared redundant on 1 March 1979, and was vested in the Trust on 27 July 1980.
Architecture
Exterior
St Oswald's is constructed in rubble and ashlar limestone, and has lead and tile roofs. Its plan consists of a two-bay nave with north and south aisles, a south porch and a west tower rising from the south aisle. The chancel has two bays and to its north is the larger two-bay Rokeby Chapel. The style of the nave and aisles is essentially Norman, while the chancel is Gothic and, within the latter style, the Rokeby Chapel is Perpendicular. The tower had to be shortened in the 1930s because it was unsafe. It functions as a belfry and contains one bell, cast in 1690. In its south face is a two-light window, its roof is pyramidal and it contains a small louvred gable on each side. The porch has a pointed arch over which is a gable carrying a cross. The doorway to the church is Norman is style with a two-order round arch. In the west wall of the nave is a three-light window. Above the window are stones arranged in a herring-bone pattern. It is thought that these stones date from the Anglo-Saxon era and were formerly part of the fabric of the original church on the site. The east window has three lights. The Rokeby Chapel has an embattled parapet and a string course carved with animals. Its blocked east window has five lights, and on its north wall is a diagonal west buttress and a further buttress between two four-light windows.
Interior
The arcades between the nave and the aisles are Norman in style and consist of octagonal piers, with broad square capitals and round arches. The nave roof dates from the 19th century. In the south aisle is a round-headed piscina. The cylindrical font is Norman in style and stands on a plinth with two steps. There are two traceried wooden screens, one to the west of the chancel, the other to the west of the chapel. On the north wall of the chapel is the tomb of William Rokeby. On the east wall, blocking the former window, is a marble monument to Thomas Rokeby who died in 1621. On the south wall is a monument to another William Rokeby who died in 1662. Elsewhere in the chapel are memorial floor slabs and brasses. In one of the windows is stained glass dating from the 16th century.
External features
In the churchyard are the remains of a cross dating probably from the medieval period. It is constructed with Magnesian Limestone and consists of an octagonal base with a weathered shaft about 1 metre (3 ft) in height. It is a Grade II listed building.
Present day
The church is available for visiting, its keyholder living nearby. The work of the Trust is supported locally by a group known as the Friends of St Oswald's, Kirk Sandall. Various activities are organised in the church. These include exhibitions, and occasional services arranged in cooperation with the local parish Church of The Good Shepherd.
Veronica salicifolia (Strauchehrenpreis), Neuseeland
Botanical Garden of the University of Vienna
Botanical Garden in September 2007. In the background, the Upper Belvedere .
(pictures you can see by clicking on the link at the end of page!)
Botanical Garden, ginkgo Jacquin, April 2005.
Botanical Garden, succulents, outdoor area, April 2005.
The Botanical Garden of the University of Vienna (Hortus Botanicus Vindobonensis, HBV) is a botanical garden that was established in 1754 in the 3rd Viennese district Landstraße.
The Botanical Garden is a facility of the Faculty of Life Sciences at the University of Vienna. It is approximately 8 acres and is home to about 9,500 species. The tasks of the Botanical Garden include university research and teaching, the conservation of endangered plant species and seed and plant exchange with other institutions. A large part of the garden, adjacent to the Belvedere gardens is open to the public and serves as a recreational area.
History
The Botanical Garden was founded in 1754 as a "Hortus Medicus" (Medizinalpflanzengarten) on 1 ha. To this end, Maria Theresa - at the suggestion of her personal physician, Gerard van Swieten - had bought at Rennweg a 2-hectare estate. The order for the planning and design got Robert Laugier (1722-1793), who was since 1749 in Vienna. After having taken place the acquisition of the property, Laugier became first garden director (a position he held from 1754 until his retirement in 1768) as well as first chair holder of botany and chemistry, chairs that had been created afresh.
It subsequently evolved into a scientifically oriented botanical garden, the plants were arranged according to the Linnaean system (Linnaean taxonomy). Laugier's successor as director was Nicholas Joseph von Jacquin (Director 1768-1796). At that time the garden was home for about 8,000 species, the area was increased to approximately 7.8 acres. Jacquin's son Joseph Franz von Jacquin became his successor as director (1796-1839).
From 1841 on, the open land following the English garden style according to the system of Stephan Ladislaus Endlicher, who was director from 1839 to 1849, was redesigned. It had been layed out an officinal department with 196 beds. 1844 the Botanical Museum was built. Head gardener Joseph Diefenbach continued the redevelopment of the gardens in the sense of Endlicher. Director from 1849 to 1879 was Edward Schimmer. At this time the to European Botanic Gardens new concept of the phytogeographical groups was developed .
From 1883 to 1890, the Jacquingasse was created whereby the garden area was reduced to about 6 ha. 1890-1893 was built by director Anton Kerner von Marilaun (1878-1898) the greenhouse plant with tropical house. 1904/ 05 followed the new construction of the Botanical Institute and laying out of the biological groups.
1930, the Botanical Garden was to the so-called Host'schen garden at the southern end extended (formerly private garden of the Hapsburgs), as a result the garden reached its present size of approximately 8 ha. The adjacent Alpine Garden remained with the Belvedere gardens. Director from 1899-1931 was from Richard Wettstein. At the beginning of the 40s under director Fritz Knoll (1931-1945) the Alpine Garden was recreated in its current area.
Due to bomb damages during the Second World War (more than 40 hits), the demolition of the Botanical Museum and the felling of about 200 trees was necessary. Up to the 1970s under director Lothar Geitler (1945-1969) took place the removal of war damages and the reconstruction of the collections.
1970 the Host'sche garden was opened to visitors. 1975 began the general refurbishment of the institute building (until 1992) and the greenhouses, Director 1970-1995 was Frederick Ehrendorfer. In the 80s, the experimental house were built and created new experimental areas. In 1991, the Association of the Friends of the Botanical Garden was founded.
From 1995 on, the rehabilitation of the greenhouses was continued and the tropical house opend to the public. The Canaries group was built and expanded the group of the Austrian flora. Michael Hesse (1995-1997) was followed by Tod Stuessy (1995-2005) as director, since January 2006, Michael Kiehn is director of the botanical garden.
The garden collections include:
Abies pinsapo
Aesculus pavia
Cephalotaxus harringtonia
Diospyros lotus
Elaeagnus angustifolia
Ephedra
Ficus carica
Ginkgo biloba
Gunnera chilensis
+Laburnocytisus adamii
Liriodendron tulipifera
Magnolia
Metasequoia glyptostroboides
Graves of Nikolaus Joseph von Jacquin and Joseph Franz von Jacquin on the grounds
Nothofagus antarctica
Ostrya carpinifolia
Parrotia persica
Paulownia tomentosa
Phyllostachys viridiglaucescens
Pinus aristata
Platanus orientalis
Poncirus trifoliata
Prunus tenella
Rhododendron
Salvia
Sequoiadendron giganteum
Syringa
Viburnum
Vitis riparia
de.wikipedia.org/wiki/Botanischer_Garten_der_Universit%C3...
Stow Minster
Detail: Brass to Richard Burgh of Stow Hall, in Stow Minster
Also to Amy his wife. He died in 1616.
The Minster Church of St Mary, Stow in Lindsey is one of the oldest parish churches in England. It originally served as the Cathedral Church of the ancient diocese of Lindsey, founded in the 7th century, and stands on the site of a much older one.
History
The bishop's seat at Sidnacester (Syddensis) has been placed, by various commentators, at Caistor, Louth, Horncastle and, most often, at Stow, all in present-day Lincolnshire, England. The location remains unknown. More recently Lincoln has been suggested as a possible site.
There had been a church situated in Stow even before the arrival of the Danes in 870, the year they are documented to have burnt the church down. The building remained in ruins until an Abbey was built in 1040, reputedly by bishop Eadnoth II.
Dedicated to the Blessed Virgin Mary, Stow parish church, sometimes referred to as the "Mother Church of Lincolnshire," is one of the largest and oldest parish churches in England. It is partly Saxon and partly Norman in date and is designated by English Heritage as a “Scheduled Ancient Monument” and was also included in the World Monuments Fund's 2006 list of the world's 100 most endangered sites.[5] It has the tallest Saxon arches of its time in Britain,[6] the earliest known example of Viking graffiti in England (a rough scratching of an oared Viking sailing ship, probably dating from the 10th century), a font that is Early English, standing on nine supports with pagan symbols around its base and an early wall painting dedicated to St Thomas Becket.
Ralph de Diceto attributes the church's foundation to Elnothus Lincolniensis, almost certainly Aelfnoth, Bishop of Dorchester, c. 975, who built the church, possibly on the site of an earlier wooden Saxon church, to serve as Minster (or mother church) for the Lincolnshire part of his large diocese, it was a second cathedral because part of the bishop's household of priests (which later became the cathedral chapter) lived in Stow and administered this part of the diocese. The memory of this period gave rise to the tradition that Stow is the Mother Church of Lincoln Cathedral.
It is said to have been re-founded and re-endowed in 1054 by Leofric and Godiva encouraged by Bishop Wulfwig as a Minster of Secular Canons with the Bishop at its head. In 1091 Bishop Remigius of Fécamp re-founded it as an abbey and brought monks to it from Eynsham Abbey, describing the church as having been a long time deserted and ruined. Within five years his successor had transferred the monks back whence they had come and St Mary's had become a parish church.
In 1865 J. L. Pearson built the stair turret outside the church. This was originally inside the church in the nave up against the north side of the tower arch. At the same time some windows were altered and the church was re-roofed. A new vestry was added in the early 1990s (some skeletons and a broken 13th century limestone cross were found during the work).
One mile (2 km) to the west of the village and lying just to the south of the Roman road from Lincoln to York, known as Tillbridge Lane are to be found the remains of the medieval palace of the Bishops of Lincoln built in 1336. All that can be seen today are the earthworks of the moat and to the north and east of the site the earthwork remains of its associated medieval fish-ponds.
Detail from Clare Johnson's (now Clare Barclay) Millennium Window at Old Swinford Hospital School near Stourbridge, West Midlands. The full window can be seen here
www.flickr.com/photos/clare-barclay/3321959069/
The centre of the design features a classical doorway, based on a real one that is one of the oldest parts of the present school complex.
This detail of the foliage includes various fruits, suggesting the rewards of learning in the manner of the Tree of Knowledge.
The window was commissioned from Norgrove Studios and designed and executed by Clare at the workshop in Redditch in 1999, being installed in time for the 2000 in the Schools main hall.
Clare's Flickr photostream (as 'The Bakewell Tart' ) can be seen here
www.flickr.com/photos/clare-barclay/
Her webpage here
www.clarejohnson.homecall.co.uk/
Norgrove Studios website (which includes this window) can be found here:-
Taking shots of the YukiKitsune Art Gallery. Getting a few promotional shots if you will. If you're ever in Second life feel free to visit the gallery.
Visit this location at YukiKitsune Art Gallery in Second Life
All of McGill's 10 strong fleet of Wright Pulsar bodied VDL SB220s are... pretty awful, but 6004 is probably the least so, The prize for worst is a hard fought contest between 6001 and 6003.
Stunning image from Carol M. Highsmith's monumental Library of Congress Collection. For 38 years Carol has travelled America capturing beautiful moments in time, preserving them for future generations. By donating these images to the Library of Congress she has generously made these images available to the public domain for everyone to enjoy.
We are delighted to bring you our favorites here.
You can view the entire archive at the Library of Congress.
You can download the images we have curated and edited : www.rawpixel.com/board/421689/carol-m-highsmiths-america
More information about Carol M. Highsmith: carolhighsmithamerica.com
in the Zone “A” match between Guyana Jaguars and Windward Islands Volcanoes in the NAGICO Super50 Tournament on Thursday, January 15, 2015 at Queen’s Park Oval.
Photo by WICB Media/Ashley Allen
The Brihadeshwara Temple at Thanjavur in the Indian state of Tamil Nadu, is a Hindu temple dedicated to Shiva. It is an important example of Tamil architecture achieved during the Chola dynasty. The temple is part of the UNESCO World Heritage Site known as the "Great Living Chola Temples".
This is one of the largest temples in India and one of India's most prized architectural sites. Built by emperor Raja Raja Chola I and completed in 1010 AD, Peruvudaiyaar Temple, also popularly known as the 'Big Temple', turned 1000 years old in 2010.
Thanjavur Periya Kovil stands amidst fortified walls that were probably added in the 16th century. The vimanam (or temple tower) is 66 m) high and is among the tallest of its kind in the world. The Kumbam (Kalasha or Chikharam, the apex or the bulbous structure on the top) of the temple is carved out of a single rock and it weighs around 80 tons. There is a big statue of Nandi (sacred bull), carved out of a single rock, at the entrance measuring about 16 feet long and 13 feet high. The entire temple structure is made out of granite, the nearest sources of which are close to Tiruchirappalli, about 60 km to the west of Thanjavur.
HISTORY
The temple had its foundations laid out by the Tamil emperor Arulmozhivarman, popularly called Rajaraja Chola I, in 1002 CE, as the first of the great Tamil Chola building projects.
The Brihadeshwarar Temple was built to grace the throne of the Chola empire in compliance to a command given to him in his dream. The scale and grandeur is in the Chola tradition. An axial and symmetrical geometry rules the temple layout. Temples from this period and the following two centuries are an expression of the Tamils (Chola) wealth, power and artistic expertise. The emergence of such features as the multifaceted columns with projecting square capitals signal the arrival of the new Chola style.
The Brihadeshwarar Temple was built to be the royal temple to display the emperor's vision of his power and his relationship to the universal order. The temple was the site of the major royal ceremonies such as anointing the emperor and linking him with its deity, Shiva, and the daily rituals of the deities were mirrored by those of the king. It is an architectural example showcasing the pure form of the Dravida type of temple architecture and representative of the Chola Empire ideology and the Tamil civilisation in Southern India. The temple "testify to the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting."
CONSTRUCTION
The wish to build a mammoth temple like this is said to have occurred to Raja Raja while he stayed at Sri Lanka as an emperor.
The esteemed architect and engineer of the temple was Kunjara Mallan Raja Raja Perunthachan as stated in inscriptions found at the temple. The temple was built per ancient texts called Vaastu Shastras and Agamas. He is the ancient ancestor of the doyan of Vaastu Vedic architecture, the late Dr. V. Ganapti Sthapati of Chennai and Mahabalipurim (architect of the 133' granite Thiruvalluvar statue at the tip of south India). Members of his family still live and practice the ancient art and science. The American University of Mayonic Science and Technology was initiated by Dr. V. Ganapati Sthapati to perpetuate the same form of architectural principles used by Kunjara Mallan Raja Raja Perunthachan to build the Brihadeeswarar temple. The temple was built using a measure of 1 3/8-inch called an angula (24 units equalling 33 inches called a hasta, muzam, or kishku). This is the same measure found in ancient Lothal and other sites in the Indus Valley dating back 4000 - 6000 years. This same measure is used to build structures compliant with the Vaastu Shastras and Agamas today. While some builders use a different measure this is considered a standard due to its antiquity.
This temple is the first building fully built by granite and finished within 5yrs [1004AD – 1009AD]. The solid base of the temple raises about 5 metres, above which stone deities and representatives of Shiva dance. The huge kalasam or Vimanam (top portion of the shrine) is believed to weigh 81.28 tonnes of single stone block and was raised to its present height by dragging on an inclined plane of 6.44 km. The big Nandi (bull), weighing about 20 tonnes is made of a single stone and is about 2 m in height, 6 m in length and 2.5 m in width. The presiding deity of lingam is 3.7m tall. The prakaram (outer precincts of the temple) measures 240m by 125m. The outer wall of the upper storey is carved with 81 dance karanas – postures of Bharathanatyam, the classical dance of Tamil Nadu. The shrine of Goddess was added by Pandyas during the 13th century, Subramanya Shrine by Vijayanagara rulers and the Vinayaka shrine was renovated by Maratha rulers.
TEMPLE COMPLEX
The temple complex sits on the banks of a river that was channelled to make a moat around the complex's outer walls, the walls being built like a fortress. The complex is made up of many structures that are aligned axially. The complex can be entered either on one axis through a five-story gopuram or with a second access directly to the huge main quadrangle through a smaller free-standing gopuram. The massive size of the main Vimanam (Shikhara) is ca. 60 meters high, with 16 elaborately articulated stories, and dominates the main quadrangle. Pilaster, piers, and attached columns are placed rhythmically covering every surface of the Vimanam.
The gopuram of the main entrance is 30 m high, smaller than the vimana. It is unusual in the dravidian architecture where the gopurams are generally the main towers and taller than the vimanam.
MAIN TEMPLE
A first rectangular surrounding wall, 270 m by 140 m, marks the outer boundary. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a Nandi, a pillared hall and an assembly hall (mandapas), and many sub-shrines. The most important part of the temple is the inner mandapa which is surrounded by massive walls that are divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each side of the sanctuary has a bay emphasising the principle cult icons. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most sanctum and focus of the temple where an image of the primary deity, Shiva, resides. Inside is a huge stone linga. The word Karuvarai means "womb chamber" from Tamil word karu for foetus. Only priests are allowed to enter this inner-most chamber.
In the Dravida style, the Karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer wall creating a pradakshina around the garbhagriha for circumambulation (pradakshina). The entrance is highly decorated. The inside chamber housing the image of the god is the sanctum sanctorum, the garbhagriha. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is placed the image of the deity. The royal bathing-hall where Rajaraja the great gave gifts is to the east of the hall of Irumudi-Soran.
The circumambulation winds around the massive lingam in the garbhagriha and is repeated in an upper story, presenting the idea that Chola Empire freely offered access to the gods.
The inner mandapa leads out to a rectangular mandapa and then to a twenty-columned porch with three staircases leading down. Sharing the same stone plinth is a small open mandapa dedicated to Nandi, Shiva's sacred bull mount.
TEMPLE DEITIES
The "moolavar" or prime deity of the Brihadeeswarar Temple is Shiva. All deities, particularly those placed in the niches of the outer wall (Koshta Moorthigal) like Dakshinamurthy, Surya, Chandra are of huge size. The Brihadiswarar temple is one of the rare temples which has idols for "Ashta-dikpaalakas" (Guardians of the directions) – Indra, Agni, Yama, Nirṛti, Varuṇa, Vāyu, Kubera, Īśāna – each of whom was originally represented by a life-sized statue, approximately 6 feet tall, enshrined in a separate temple located in the respective direction. (Only Agni, Varuṇa, Vāyu and Īśāna are preserved in situ.)
ADJOINING STRUCTURES
Surrounding the main temple are two walled enclosures. The outer wall is high, defining the temple complex area. Here is the massive gopuram or gateway mentioned above. Within this a portico, a barrel vaulted gorpuram with over 400 pillars, is enclosed by a high wall interspersed with huge gopurams axially lined up to the main temple.
FEATURES
Another widely held belief is that the shadow of the gopuram (pyramidal tower usually over the gateway of a temple) never falls on the ground. . The temple is said to be made up of about 60,000 tons of sandstone and granite. The Kumbam itself, a 60 ton granite stone carved in one piece, on top of the main gopuram is believed to have been taken to the top by creating an inclined slope to the height of 66m to the top of the gopuram. The prevailing belief is that a mud-slope, which starts at about three miles from the temple site, from Thirukoilore (birthplace of Raja raja's mother) near Sri Virateshvara swamy temple portrays the figure of the Thanjavur Temple. Elephants might have been used to drag the stone up the slope. This was claimed to be the only part of the gopuram, which does not cast a shadow that fall on the ground, at least not within the temple premises which is an architectural amazement in the world of architecture.
MURALS
The temple has Chola frescoes on the walls around the sanctum sanctorum potryaing Shiva in action, destroying demonic forts, dancing and sending a white elephant to transport a devotee to heaven. These frescoes were discovered in the 1940s and portray the mythological episodes of the journey of Saint Sundarar and the Chera King to heaven, the battle scene of Tripurantaka (Lord Siva) with Asuras (demons). The Chola artists have proved their mettle by portraying even the Asura women with a sense of beauty. Some of the paintings in the sanctum sanctorum and the walls in the passage had been damaged because of the soot that had deposited on them. Owing to the continuous exposure to smoke and soot from the lamps and burning of camphor in the sanctum sanctorum over a period of centuries certain parts of the Chola paintings on the circumambulatory passage walls had been badly damaged. The Tanjore Nayak kings replaced them with a few paintings of their own, about 400 years ago. The Archaeological Survey of India, for the first time in the world, used its unique de-stucco process to restore 16 Nayak paintings, which were superimposed on 1000-year-old Chola frescoes. These 400-year-old paintings have been mounted on fibre glass boards, displayed at a separate pavilion.
TEMPLE PERSONNEL
The temple was consecrated in 1010 CE by Raja Raja Chola I & in 2010 a celebration commemorated the temple's thousandth anniversary. The temple maintained a staff of 1000 people in various capacities with 400 being temple dancers Besides the Brahmin priests, these included record-keepers, musicians, scholars, and craftsman of every type as well as housekeeping staff. In those days the temple was a hub of business activities for the flower, milk, oil, and ghee merchants, all of whom made a regular supply of their respective goods for the temple for its poojas and during festival seasons. Moreover as evidenced by the inscriptions that found in the compound wall of this temple, the temple had always been serving as a platform for the dancers who excelled in the traditional dance form of Bharatnatyam. vallamuthu minnadi generation worshipped this temple.
WIKIPEDIA
On street with christopher @ South african high commision lagos nigeria ... On street business.. Hotel reservation, typing, flirt booking and reservation, infact traveling agent paro .. Lol.. Fron joassy-can, joassy can, joassycan of one-mind, one mind, onemind, whurnmynd, whurn mynd promotion
First Minister Humza Yousaf meets with New Zealand High Commissioner, Phil Goff at St Andrews House, Edinburgh.
2012年7月5日木曜日、皇居東御苑にて。Nikon D5100で撮影。
This photo was taken with the Nikon D5100 on Tuesday July 05, 2012, at the East Gardens of the Imperial Palace.
Revenge of the Fallen : Autobot Twins; Mudflap and Skids (as ice cream truck variant)
Realistic rust and dirt added. Painted with lacquers and detailed with enamels. Working light in the alternate mode (truck) which turns on/off via a small switch. Stickers were a super PITA, little to no reference on the graphics, hand drawn, scanned, digitized, colored, re-sized and printed on Testors water-slide decal paper, then applied.
Na brdu Kruška, između Selaca i Sumartina, dominira crkvica posvećena Svetom Nikoli (Sveti Mikula), a po njoj mnogi žitelji isto brdo i oslovljavaju sa – Sveti Mikula. Podignuta je u XI. stoljeću i, zbog četvrtaste kupole na vrhu, ubraja se u najljepše starohrvatske ranoromaničke crkvice općenito. Upravo spomenuta četvrtasta kupola i jest raritet u onodobnoj arhitekturi, što ovaj vjerski spomenik vidno izdvaja iz konteksta sakralne gradnje u Hrvatskoj. Druga crkvica ove kategorije koja je najbliža Selcima, a da im katastarski ne pripada, crkvica je dedicirana Svetom Kuzmi i Svetom Damjanu i podignuta na brdu Veli Smrčevik.
Old churches, mostly from early christian period, spread all around the island. If you reach some of them you will be awarded with the amazing view. Between special ones are: Saint Mihovil over Dol, Saint Nedilja on the hill Gradac between Gornji Humac and Selca, Saint Nikola over Sumartin, Saint Martin over Milna. For those who like adventures, the real challenge is, for sure, the little church of Saint Kuzma and Damjan on the hill Smrcevik, 498 m high, nearby the village of Selacki Zaseoci.
not too long ago, this was Gabby's. Movie rentals, soft serve and homemade cinnamon buns could be found here.
Recently we visited Tokyo for experiencing the technology and exploring the mobile networks of Japan. Our trip was sponsored by TATA DOCOMO under association with NTT DOCOMO.
You can also look into :
Using Mobile at McD counters For Discounts and Payments – Powered by NTT DOCOMO
Purchasing Drinks from Mobile Phone powered by Docomo
Hands on Review: Samsung Galaxy Tab With Android 2.2
Children Security System – A demo in DOCOMO Future Station
Next Generation LTE ( Long Term Evolution ) Services From NTT DOCOMO – Japan
Catch me on:
Recently we visited Tokyo for experiencing the technology and exploring the mobile networks of Japan. Our trip was sponsored by TATA DOCOMO under association with NTT DOCOMO.
You can also look into :
Using Mobile at McD counters For Discounts and Payments – Powered by NTT DOCOMO
Purchasing Drinks from Mobile Phone powered by Docomo
Hands on Review: Samsung Galaxy Tab With Android 2.2
Children Security System – A demo in DOCOMO Future Station
Next Generation LTE ( Long Term Evolution ) Services From NTT DOCOMO – Japan
Catch me on:
This was taken from the River House, our home in Africa, during the 1985 coup that ousted then Sudanese President Jaafar al-Nimery from power. We watched as people flocked along the bank of the Nile, to Radio Omdurman, on foot or piled into trucks and buses. They were waving palm fronds. We were listening to the BBC.
Pre Pro
Aion was a personification of time, divinized in Roman times due to its connection to the concept of eternity of Rome, the Roman people and the emperor. This relief belongs to the Aion-Chronos type with a lion head encircled with a radiant halo. He holds two keys, symbolizing eternity and possibly a torch, also a symbol of the Mithraic solar cult. On each side appears a snake. The one on the right points to a flaming altar while the other to a Crater vessel.
Relief in Limestone
Roman Period
Oxyrhynchus (modern name El-Bahnasa), El-Minya
Graeco Roman Museum
Alexandria Egypt
This is a photograph from the second running of the newly situated Irish 3/4 Marathon (formerly the Athlone 3/4) which was held in Longwood, Enfield, Co. Meath, Ireland on Sunday 8th of October 2017 at 10:00. The event is positioned perfectly in the calendar as a key training race before the Dublin City Marathon at the end of the month. This year was the second year that the event was held in Longwood, Co. Meath which is now well known for its hosting of the Longwood 10KM/5KM annual races and a host venue for East of Ireland Marathon series marathons on a bi-annual basis. The race started and finished at Longwood GAA club just outside the village of Longwood. It followed an anti-clockwise course around the beautiful picturesque countryside of south Meath. The course went through the townlands of Longwood, Castlerickard, Killyon, Hill-of-Down, Anneville and Ashfield Clonard, Blackshare, Stoneyford and back to Longwood. The river Boyne and Blackwater were crossed as was the Royal Canal and the Dublin-Sligo Railway line at Hill-of-Down. Overall this was a very different course to the previous years in Athlone. The overall elevation of the course works out at 3/4 of the total elevation of the Dublin Marathon course. What most stood out about today's race was the course and how the countryside around it looked on a beautiful almost perfect Autumn morning. There was a large local effort with stewarding and many local people watched from their gardens as the race passed by. The organisation of the race was first class with every detail taken care of from the start until the finish. There was some rain showers from about 13:00 onwards but these soon passed.
There is a large set of photographs from today's race - taken at the start in Longwood village and the 25KM mark outside near our home.
They are available on our Flickr photostream at the following set. www.flickr.com/photos/peterm7/albums/72157687694983023
Photographs from 2016's race are available on our Flickr photostream: www.flickr.com/photos/peterm7/albums/72157673672195732
NOTE: These are completely unofficial photographs are not connected commercially with the Irish 3/4 marathon event photography. Please check the Official Website www.irish3quartermarathon.ie/ for official photographs and other media.
USING OUR PHOTOGRAPHS
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 directly to: email, Facebook, Instagram, 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.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,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 or acknowledge us as the original photographers.
This also extends to 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 this photographic image here directly 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. Have a look for a down-arrow symbol 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 takes 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.
Let's get a bit technical: 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.
Above all what Creative Commons aims to do is 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
Model: Leidi Dartania
Makeup Artist: Amber Buckbee
Hair Stylist: Amber Buckbee
Poets of Light first photo shoot with professional models. Everyone had a great time.
Strobist Info:
White Lighting X1600 with 32-by-40-inch softbox camera right.
Two White Lighting X1600s with 7-inch reflectors camera left and right lighting the white backdrop.
Please NOTE and RESPECT the copyright.
© 2012 photos4dreams - All rights reserved.
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
For purchase-information please see my profile.
We stopped in the small village of Bacharach to look around and do a little window
shopping. I think we might have also bought something to eat here. Notice how none of the houses are plumb. They all seemed to be a little cock-eyed.
Afghanistan, Kabul. November 2002.
A widow and all her children wait for food ration
Food distribution centre, run by CARE International and funded by CIDA. This particular one helps 10,000 of the 50,000 widows in kabul. It is said there could be as many as 1.5 million widows in the whole of Afghanistan.
This was shot along the coastal wall in Cadiz, Spain. I love the perspective and colours in the shot.
Hard to believe this was only taken last week...! The weather was absolutely gorgeous.
Copyright - All Rights Reserved - Black Diamond Images
The red fruiting plant may be a Sapindaceae species like Cupaniopsis or Diploglottis.
Treasures of the Tweed Mural Project Flickr Group
Please Note
All Images painted by Co-ordinating artist David Adams and other assistant artists as part of the Tweed Shire Council's federally funded Treasures of the Tweed Mural Project 2008-2014.
Klick Link For Read Online Or Download Secret Teachings of a Comic Book Master: The Art of Alfredo Alcala Book : bit.ly/2i26IDX
Synopsis
"Alfredo Alcala is one of the most disciplined and perceptive artists inking in comics. The years of distinguished work have earned Alfredo a special place in comics history." — Gil Kane.In the late 1960s, an extremely talented group of Filipino illustrators took the American comic book industry by storm — and the late Alfredo Alcala led the way, working for both Marvel and DC on such popular characters as Conan the Barbarian and Batman. This unique work is loaded with amazing art and pointers on observational methods, composition, and other techniques. In addition to insightful interviews with Alcala, the book features pages from his groundbreaking masterwork, Voltar, which was hailed as a new concept in comic book form, an epic in narrative art, and a milestone in sequential art illustration. Students, professionals, teachers, an
Creator: Unidentified
Description: Wynberg, Brunswick Street, New Farm. The official residence of the Roman Catholic Archbishop of Brisbane from early 1928, when it was leased to the Church and occupied by Archbishop James Duhig. The property was purchased by the Archbishop on behalf of the church on 06 December 1932. (Description supplied with photograph)
Wynberg's white marble fountain is a replica of a work by Verrocchio and was presented to Archbishop Duhig as a mark of appreciation from the Italians in Australia. (Information taken from: The Courier Mail, 20 February 1937)
Location: New Farm, Brisbane, Queensland
View this photo at the State Library of Queensland: hdl.handle.net/10462/deriv/129284
Information about State Library of Queensland’s collection:www.slq.qld.gov.au/resources/picture-queensland