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The melodic and moving Cornel West with Green Century's Leslie Samuelrich on final morning of #HarvardHeatWeek
Leslie Samuelrich
President
Green Century Capital Management
114 State Street, Suite 200, Boston, MA 02109
Learn more about Fossil Fuel Free investing at www.greencentury.com
617-482-0800/1-800-93-GREEN
lsamuelrich@greencentury.com<
Twitter @ LSamuelrich
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Caroli Nicolai Langii Lucernens. Helvet. Phil. & Medici ... Historia lapidum figuratorum Helvetiae
Venetiis :Sumptibus authoris, typis Jacobi Tomasini ... ;MDCCVIII [1708]
Miami est. 1896, pop. 2.6MM • Coral Gables one of 1st planned communities in US
• 8-house grouping designed by Henry Killiam Murphy (1877-1954), NY, an architect who received many commissions in China from Chiang Kai-shek (1887-1975), leader of Republic of China, 1928-1975
• city of Coral Gables (1925) created by Duxbury, MA transplant George E. Merrick (1886–1942) on family's 3K acre plantation • Merrick's vision of a "Riviera of the Tropics" influenced by City Beautiful Movement • $100MM one of the 1st planned communities in US
• unifying theme was "castles in Spain made real," expressed in "Mediterranean Revival" architecture, a term said to have been coined by Merrick cousin, architect H. George Fink (1891-1975) • the French/Italian inspired architecture was, “a combination of what seemed best in each, with an added touch of gaiety to suit
the Florida mood.” -George Merrick
• Merrick's team: architects, landscape planner, artistic advisor, real estate officer, engineers • Supervisor of Color Phineas Paist (1873-1937) became supervising architect, responsible for ensuring aethetic consistency through codes, established Board of Architects Review Panel that still functions • Paist bio • Phineas Paist & the Architecture of Coral Gables (pdf)
• opened with strong sales, Merrick invested profits in expansion, founded U. of Miami • for unknown reasons, Merrick decided to diverge from consistent Mediterranean aesthetic at peak of land boom in 1925 • sold former OH governor Meyers Y. Cooper (1873-1958) hundreds of acres for express purpose of building houses/villages in traditional designs of other states, nations • goal was authenticity, not imitation, each of 14 planned villages to be designed by architect familiar with chosen style
• "Seven Miami architects and five New York architects are uniting in working out the details of the great planning of house construction. Thirteen styles are being used, drawn from various regions and nations which harmonize with the Mediterranean style now in use." -Meyers Y. Cooper • before 1926 Great Miami Hurricane & land bust ended construction, 7 villages completed: Dutch South African, Chinese, French Normandy, Florida Pioneer/Colonial, French Country, French City, Italian • fewer than 80 of the 1000 planned residences built
• Florida Land Bust broke Merrick, removed from Coral Gables commission, moved to Matacumbe Key, to run wife's resort • returned to Gables to be county postmaster 2 yrs. before death
• House in Chinese Village Asking $1MM -Curbed Miami • Villages of Coral Gables -The Devoted Classicist • Remnants of a Dream in Coral Gables -Global Site Plans • George Merrick Villages -Bittrex
en.wikipedia.org/wiki/Yorkshire_Sculpture_Park
en.wikipedia.org/wiki/Bretton_Hall,_West_Yorkshire
The Yorkshire Sculpture Park (YSP) is an art gallery, with both open-air and indoor exhibition spaces, in West Bretton, Wakefield, in West Yorkshire, England. It shows work by British and international artists, including Henry Moore and Barbara Hepworth. The sculpture park occupies the 500-acre (200-hectare) parkland of Bretton Hall.
History
The Yorkshire Sculpture Park, opened in 1977, was the UK's first sculpture park based on the temporary open air exhibitions organised in London parks from the 1940s to 1970s by the Arts Council and London County Council (and later Greater London Council). The 'gallery without walls' has a changing exhibition programme, rather than permanent display as seen in other UK sculpture parks such as Grizedale Forest.
Exhibition spaces
YSP has a number of settings where its collection is displayed.
Parkland
The park is situated in the grounds of Bretton Hall, an 18th-century estate which was a family home until the mid-20th century when it became Bretton Hall College. Follies, landscape features and architectural structures from the 18th century can be seen around the park including the deer park and deer shelter (recently converted by American sculptor James Turrell into an installation), an ice house, and a camellia house. Artists working at YSP, such as Andy Goldsworthy in 2007, take their inspiration from its architectural, historical or natural environment.
Since the 1990s, YSP has made use of indoor exhibition spaces, initially a Bothy Gallery (in the curved Bothy Wall) and a temporary tent-like structure called the Pavilion Gallery. After an extensive refurbishment and expansion, YSP has added an underground gallery space in the Bothy garden, and exhibition spaces at Longside (the hillside facing the original park). Its programme consists of contemporary and modern sculpture (from Rodin and Bourdelle through to living artists). British sculpture is well represented in the past exhibition programme and semi-permanent installations. Many British sculptors prominent in the 1950s and 1960s have been the subject of solo exhibitions at YSP, including Lynn Chadwick, Austin Wright, Phillip King, Eduardo Paolozzi, Hans Josephsohn, and Kenneth Armitage. Exhibitions tend to be monographic – rather than group or thematic.
The redundant Grade II* listed St Bartholomew's Chapel, West Bretton built by William Wentworth in 1744 has been restored as gallery space.
Longside Gallery
Longside Gallery is a space for sculpture overlooking YSP. The gallery is shared with the Arts Council Collection for an alternating programme of exhibitions. Between exhibitions, Longside Gallery is used for educational and outreach activities and events.
The Weston
In July 2019, the new visitor centre housing a gallery, restaurant and shop, made the shortlist for the Stirling Prize for excellence in architecture.
Bretton Hall is a country house in West Bretton near Wakefield, West Yorkshire, England. It housed Bretton Hall College from 1949 until 2001 and was a campus of the University of Leeds (2001–2007). It is a Grade II* listed building.
History
In the 14th century the Bretton estate was owned by the Dronsfields and passed by marriage to the Wentworths in 1407. King Henry VIII spent three nights in the old hall and furnishings, draperies and panelling from his bedroom were moved to the new hall. A hall is marked on Christopher Saxton's 1577 map of Yorkshire.
The present building was designed and built around 1720 by its owner, Sir William Wentworth assisted by James Moyser to replace the earlier hall. In 1792 it passed into the Beaumont family, (latterly Barons and Viscounts Allendale), and the library and dining room were remodelled by John Carr in 1793. Monumental stables designed by George Basevi were built between 1842 and 1852. The hall was sold to the West Riding County Council in 1947. Before the sale, the panelling of the "Henry VIII parlour" (preserved from the earlier hall) was given to Leeds City Council and moved to Temple Newsam house.
The hall housed Bretton Hall College from 1949 until 2001 and was a campus of the University of Leeds from 2001 to 2007.
Plans to convert the hall to a hotel and offices were submitted for planning approval. and were approved in April 2013.
Architecture
The oldest part of the house, the south range dates from about 1720 and was designed by the owner, Sir William Wentworth and Colonel James Moyser. It was enlarged when the north range was added in the 1780s by William Lindley of Doncaster. A bow window and portico were added to the south range and the block linking the two ranges was remodelled between 1811 and 1814 by Jeffrey Wyatt for Colonel Thomas and Diana Beaumont. Around 1852 Thomas Richardson added the projecting dining room on the house's east front for Thomas Blackett Beaumont.
Exterior
The house has a three-storey nine-bay by five-bay main range while the rest is two storeys high. It is built in sandstone ashlar and its roof is hidden behind a balustraded parapet. It has tall ornamental chimney stacks and the Wentworth shield decorates two ornamental rainwater heads. The south range has a symmetrical facade with a central Doric portico. The ground and first-floor windows have 12-pane sashes with triangular pediments to the ground floor and cornices to the first. The shorter second floor windows have casements added later. The south front has a three-bay bow window with tall ground-floor windows. The centre window was originally a doorway accessed by a flight of four steps.
The seven-bay north range has a symmetrical facade where the three centre bays have giant pilasters supporting a pediment. Either side of central eight-panel double door are 12-pane sash windows while the first-floor has nine-pane sash windows. A three-bay link block joins the ranges and terminates in the orangery. The orangery is built on a two-step podium. Its seven bays are divided by square Tuscan piers which support the frieze, cornice and blocking course.
Interior
The entrance hall to the south range has a groin vaulted passage with three arches and piers and its walls are decorated with grisaille paintings. Its main staircase has a wrought iron handrail. On either side the old billiard room and former breakfast room have Adam style ceilings from about 1770. The link range has an entrance vestibule with four piers supporting a glazed dome on pendentives. On the first floor the vestibule opens onto the half-landing of the south range's main staircase. The old drawing room has a Baroque ceiling with pendant bosses. The former library and music room were in the Regency style of the 1811–14 extensions. The library had an apse where there was an organ, a coved ceiling with rinceau decoration, and a marble fireplace. The dining room was decorated in the Rococo style in about.1852. It has an elaborate marble fireplace and frieze and its ceiling is decorated with musical instruments.
Park and gardens
The pleasure grounds and parkland around the hall were the work of landscape gardeners Richard Woods in the 18th century and Robert Marnock, the estate's head gardener, in the 1820s and 1830s. The hall overlooks the River Dearne which flows in an easterly direction through the parkland. It is dammed to form two lakes. Oxley Bank, a linear earthwork forms the park's eastern boundary.
Within and around the Grade II listed parkland and pleasure grounds are several historic structures. Four lodges stand at the estate's main entrances. North Lodge and the grade II listed Haigh Lodge were probably designed by Jeffrey Wyattville at the same time as his 1811–14 extensions at the hall. Archway Lodge, a grade II* listed building by William Atkinson in 1805 takes the form of a giant archway with fluted columns. The extensively altered Hoyland Lodge is on Litherop Lane to the south. The redundant Grade II* listed St Bartholomew's Chapel, West Bretton built by William Wentworth in 1744 has been restored as gallery space.
The parkland is the home of the 224 acre (90 ha) Yorkshire Sculpture Park and the 100 acre (40 ha) Bretton Country Park which has been a designated local nature reserve since 1994. The development of accommodation and car parks for the college and multiple use as a country and sculpture park and general neglect in the second half of the 20th century led to the historic landscape's fragmentation and it was designated "at risk" by English Heritage in 2009. Yorkshire Sculpture Park is now responsible for most of the park and, in partnership with Natural England, who provided funding, and English Heritage, has a conservation management plan for the park. Trees and scrub have been cleared to provide access to a lakeside perimeter walk.
Secrets revealed of the Abode of Chaos (132 pages, adult only) >>>
"999" English version with English subtitles is available >>>
HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone
----------
voir les secrets de la Demeure du Chaos avec 132 pages très étranges (adult only)
999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre
Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.
courtesy of Organ Museum
©2012 www.AbodeofChaos.org
Histoire universelle du règne végétal, ou nouveau dictionnaire physique et economique de toutes les plantes qui croissent sur la surface du globe.
Paris :Brunet,1775-1778, [i.e.1773-1778]
Debbie Harry, Chris Stein and Blondie appeared live, in concert at Somerset House in London, on the night of Wednesday, July 13, 2011. Debs and I were there!
Gig review from The Independent, Monday, July 18, 2011
The audience for tonight's gig includes many who were not even born when the New York band adopted their Blondie moniker in 1975, but everyone knows all of the words anyway.
In the opulent Somerset House courtyard, Debbie Harry's group perform with the same swagger that propelled them to stardom, reminding or revealing to all how they embedded themselves in our musical psyche.
The initial reception is deafening, but the first few tracks generate little momentum, greeted with respectful applause rather than outright euphoria. This being an outdoor gig in the heart of London, the speakers are turned down frustratingly low, and though we all eventually adjust, there's an odd stasis during the opening numbers as a result.
One person not lacking crowd-rousing charisma is Harry. Sashaying across the stage to an ever-increasing chorus of cheers, she retains an enigmatic, alluring aura that no one appears able to resist. By the time they close with "Heart of Glass", she's worked the crowd into a frenzy, and they erupt loudly enough to flout local noise pollution laws.
Harry's stage presence has not diminished, her voice, the heartbeat of the band's best tracks, shifting from communicative to powerful and back again. Even though she's afforded laudable support by Clem Burke's tireless drumming, and Chris Klein and Tommy Kessler's searing guitar solos, it's the vocals that will linger in everyone's minds longest, whether adding punch to "One Way or Another" or soaring through the standout "Maria".
Indeed, Blondie as a whole possess a rare gift for smoothly switching stylistic gears; the diversity of their back catalogue is often overlooked, but tonight their set encompasses a wealth of genres, all bathed in the band's trademark aloof cool. The lo-fi growls of "Atomic" are balanced with the poppier strains of "Sunday Girl", while proto-rap hit "Rapture" bounces off an irrepressible backbeat.
Equally apparent as they storm through their set is the impressive depth in quality of their music. Everyone sings joyously along to the choruses of "Call Me" and "Hanging on the Telephone", the melodies and lyrics as indelible to the crowd as birthmarks, and each time Harry asks the audience to lend their voices, she's met with a volley of responses.
It's almost 40 years since Blondie first formed and, after tonight, everyone's hoping for 40 more.
Here's Blondie's Setlist from the Paradiso in Amsterdam on July 14, 2011 - I think it mirrors the Someset House list:
1. Union City Blue
2. Dreaming
3. Atomic
4. D-Day
5. Hanging on the Telephone
6. Call Me
7. Love Doesn't Frighten Me
8. Maria
9. Girlie Girlie
10. What I Heard
11. Sunday Girl
12. China Shoes
13. Wipe Off My Sweat
14. Horizontal Twist
15. Mother
16. Rapture
17. One Way or Another
18. New Rose
19. Rip Her to Shreds
20. Heart of Glass
Sharjah, UAE Oct 10 2010
In Sharjah, United Arab Emirates, participants in a climate festival formed a giant '350' to urge politicians to pass clean energy policies.
This was one of over 7,000 climate action events taking place in in 188 countries around the world on 10/10/10 as part of “The Global Work Party.” This synchronized international event is organized by 350.org, and is expected to be the largest day of environmental activism in history.
Photo Credit: 350.org/Ahmad Al Reyami
Copyright info: This photo is freely available for editorial use and may be reproduced under an Creative Commons Attribution-Non-Commercial-Share Alike 3.0 license.
AHS Ames High School Alumni Assoc - Ames, IA
ameshigh.org - reunions - photos - newsletters - authors - calendar - news - deceased - email - letters - join AHSAA
Ames sophomore swimmer Ed Oslund AHS 1969 leads his two nearest opponents while on his way to winning his preliminary heat of the 200 yard individual medley at the Iowa high school swimming championships.
www.iahsaa.org/wp-content/uploads/2013/11/2014_SWIM_StatB...
1966 - 1967 Ames High School Swim Team Ames, Iowa
Newspaper Clippings and articles from the November 19, 1966 to January 31, 1967 AHS tankers swim season.
Scanned and donated by Joshua Sharlin, Ph.D. Ames High Class of 1969
AHS Ames High School Alumni Assoc - Ames, IA
The Journey of Reconciliation was a form of non-violent direct action to challenge segregation laws on interstate buses in the Southern United States. The two-week journey by 16 men began on 9 April 1947. It was seen as inspiring the later Freedom Rides of the 1960s Civil Rights Movement. James Peck, one of the white participants, also took part in the Freedom Ride of May 1961.
Sixteen men from the Congress of Racial Equality (CORE) took part, eight white and eight black, including the organisers, white Methodist minister George Houser of the Fellowship of Reconciliation (FOR) and CORE and black Quaker Bayard Rustin of FOR and the American Friends Service Committee. The other black participants were Chicago musician Dennis Banks; Andrew Johnson, a student from Cincinnati; New York attorney Conrad Lynn; Wallace Nelson, a freelance lecturer; Eugene Stanley of North Carolina A&T College; William Worthy of the New York Council for a Permanent FEPC; and Nathan Wright, a church social worker from Cincinnati. The other white participants were North Carolina ministers Louis Adams and Ernest Bromley; Joseph Felmet of the Southern Workers Defense League; Homer Jack, executive secretary of the Chicago Council Against Racial and Religious Discrimination; James Peck, editor of the Workers Defense League News Bulletin; Worth Randle, a Cincinnati biologist; and radical pacifist Igal Roodenko.[3] They planned to ride public transportation in Virginia, North Carolina, Tennessee and Kentucky, all with segregated systems. During the two-week trip, blacks sat in front, whites in back and sometimes side-by-side, all in violation of current state laws, which required passengers to practice segregated seating in buses.
They were supported by the recent 1946 U.S. Supreme Court ruling in Irene Morgan v. Commonwealth of Virginia, 328 U.S. 373 (1946), which prohibited segregation in interstate travel as unconstitutional, by putting "an undue burden on commerce." The Southern states were refusing to enforce the Court's decision. Based on consultation, the protesters limited their direct action to the Upper South, where the risk of violence was not as high as in the Deep South.
The riders suffered several arrests, notably in North Carolina. Judge Henry Whitfield expressed his distaste for the white men involved: "It's about time you Jews from New York learned that you can't come down here bringing your niggers with you to upset the customs of the South. Just to teach you a lesson, I gave your black boys thirty days [on a chain gang], and I give you ninety."
The NAACP and Thurgood Marshall had reservations about the use of direct action, expecting to provoke much violence with little progress toward civil rights. The NAACP did offer a limited amount of legal help for those arrested. Bayard Rustin believed that the Journey of Reconciliation, as well as other actions challenging segregation in these years, contributed to the eventual ruling of the US Supreme Court in 1954 in Brown v. Board of Education. It ruled that segregated schools were unconstitutional and ordered them ended
2016 Photo Challenge, Week 17: B&W - Steadfast
Statue of William Penn atop the Philadelphia City Hall. He watches over the city he founded unwaveringly.
Natchez, MS (est. 1716, pop. ~15,800)
• slave quarters
• Melrose, an 80-acre estate named after Melrose Abbey in Scotland, which the owners once visited
• 50,000 sq. ft. Greek Revival mansion constructed c. 1845 for Pennsylvania native John T. McMurran (1801-1866), a Natchez attorney & planter
• designed & constructed by Hagerstown, Maryland builder/architect Jacob Byers, his only known commission
• most rooms were connected to a paging system consisting of bells installed on the back gallery of the mansion
• each bell -- activated by pulling a decorative cord -- had a unique pitch corresponding to a specific room
• used to summon house slaves quartered in one of the two 2-story dependencies (kitchen & dairy) behind the mansion
• McMurran's law partner was New York-born future Mississippi Governor John A. Quitman
• in 1831 McMurran married Mary Louisa Turner (1814-1891), daughter of a Mississippi Supreme Court justice
• by mid-1850s they owned or held interest in 5 plantations w/ over 9,600 acres of land & 325 slaves
• between 1841 & 1861 Melrose's labor force rose from 8 to 25
• Rachel cooked the McMurran family's meals, which were served by Marcellus the table waiter
• William drove the cart to town to pick up supplies
or a visiting relative's luggage
• others tended gardens and yards, cared for livestock, drove the carriage that took master and mistress to town or to visit neighbors, and generally kept the estate's buildings and grounds in good order —A Cotton Kingdom Estate
• in 1865 estate purchased by Elizabeth & Dr. George Davis while Union soldiers were occupying Choctaw, their town home
• McMurran, whose wealth had been wiped out by the collapse of the Confederacy, died in an 1866 steamboat accident
• The Davises rarely used Melrose but it was maintained by a caretaker & the on-site care of 2 formerly enslaved African-American women, Jane Johnson & Alice Sims, who lived at Melrose with their families after they gained their freedom [video] (2:21)
• one of 13 National Historic Landmarks in Natchez
• among the best preserved & most significant historic sites in the South
• operated by the Natchez National Park Service, US Department of the Interior
• National Register 74002253, 1974
• Designated National Landmark, 1974
A visit to Hanbury Hall, near the village of Hanbury in Worcestershire. A National Trust property since 1953.
Hanbury Hall is a large stately home, built in the early 18th century, standing in parkland at Hanbury, Worcestershire.
The main range has two storeys and is built of red brick in the Queen Anne style. It is a Grade I listed building. The associated Orangery and Long Gallery pavilion ranges are listed Grade II*.
Hanbury Hall was built by the wealthy chancery lawyer Thomas Vernon in the early 18th century. Thomas Vernon was the great-grandson of the first Vernon to come to Hanbury, Worcestershire, Rev Richard Vernon (1549–1628). Rev Richard and his descendants slowly accumulated land in Hanbury, including the manor, bought by Edward Vernon in 1630, but it was Thomas, through his successful legal practice, who added most to estates, which amounted to nearly 8,000 acres (3,200 ha) in his successor Bowater Vernon’s day.
Hanbury Hall is thought to stand on the site of the previous mansion, Spernall Hall, and Thomas Vernon first describes himself as ‘of Hanbury Hall’ in 1706, and this and other evidence leads to a likely completion date of about 1706. The date of 1701 above the front door is thought to be a Victorian embellishment, but no building accounts are known to exist.
Although Hanbury Hall appears to be of a very uniform style, the rear wall is clearly of a different and rather earlier style, and may mark the first phase of a building campaign when Thomas Vernon and his wife Mary first came into possession of Spernall Hall in 1692 when his bachelor uncle John Vernon died.
A notable feature of Hanbury Hall is the painting of the staircase, hall ceiling, and other rooms by the English painter Sir James Thornhill. They include a small representation of Rev Henry Sacheverell being cast to the furies – this relates to an incident in 1710 when Sacheverell, a Tory, was put on trial for sedition by the Whig government, and dates the paintings to that year. The focus of the paintings around the stairwell is the life of the Greek hero Achilles, as told by a range of classical sources. They are surmounted by a large representation of the Olympian gods on the ceiling.
The original plan of the Hall had a large undivided central hall with the main staircase leading off it, with many rather small rooms in the corner pavilions and north range – the south range was given over mainly to service rooms. The 18th century Worcestershire historian Treadway Nash, in his Collections for the History of Worcestershire, wrote “Here is a large handsome house built by Counsellor Vernon about the year 1710 when a bad style of architecture prevailed; many windows and doors, rooms small, many closets, few arched cellars, large stables and offices in full view, are marks of that time”.
When the heiress Emma Vernon (1754–1818) married Henry Cecil, 1st Marquess of Exeter in 1776, Cecil clearly was of the same opinion, as he remodelled the interior (other than the great hall) creating larger rooms and enlarging the north east pavilion. On the south façade, having removed a doorway he repositioned all the windows to lie under their first floor equivalent. On the south side there had been large formal gardens, clearly shown in Dougharty’s perspective drawing contained in the estate maps of the 1730s, and Cecil swept all these away (including the farm buildings in front of the Hall) and landscaped the park in the fashion of the time – he would have had contact with Capability Brown when being brought up by his uncle 9th Earl of Exeter at Burghley House.
Following Henry and Emma’s divorce in 1791 the contents were all sold, and the house remained empty until Henry’s death in 1804, when Emma and her third husband, John Phillips, were able to regain possession. As the house had lain unoccupied for so long, many repairs had to be carried out at that time. Emma died in 1818 and left her second cousin, Thomas Shrawley Vernon (1759-1825), as the heir to her estate after the death of her husband John Phillips. Phillips married again and had two daughters in Hanbury before finally moving out in 1829. From then, the eldest son of Emma's heir, Thomas Tayler Vernon (1792–1835), was able to occupy it. His grandson Harry Foley Vernon (1834–1920) MP, was created 1st Baronet of Hanbury in 1885, and was succeeded by his son Sir (Bowater) George Hamilton Vernon (1865–1940), 2nd Baronet. Sir George led an unhappy life, separating from his wife Doris, and spending his last 10 years living with his secretary and companion Ruth Horton, who later changed her name by deed poll to Vernon. During this time the agricultural depression led to a reduction in rental income, and Hanbury Hall suffered a lack of care.
In poor health, Sir George Vernon took his own life in 1940. There were no further heirs to the Baronetcy which became extinct. Sir George's estranged wife was able to move back in after his death, dying there in 1962. In the meantime, negotiations had led to the National Trust having the reversion, and after making essential repairs on Lady Vernon’s death, the hall was let to tenants and opened to the public on a restricted basis. In recent years the hall has been managed more commercially and is now open daily.
The Walled Garden.
Mainly a vegetable garden with tented canopies. Also chickens. And over the wall a field of cows!
vegetable canopy tents
Kamera: Nikon F3 (1989)
Linse: Nikkor-N Auto 24mm f2.8 (1970)
Film: Kodak 5222 @ ISO 400
Kjemi: Fomadon Excel (stock / 9 min. @ 20°C)
Wikipedia: Gaza genocide
December 5, 2024
Amnesty International investigation concludes Israel is committing genocide against Palestinians in Gaza
Amnesty International’s research has found sufficient basis to conclude that Israel has committed and is continuing to commit genocide against Palestinians in the occupied Gaza Strip, the organization said in a landmark new report published today.
The report, 'You Feel Like You Are Subhuman': Israel’s Genocide Against Palestinians in Gaza, documents how, during its military offensive launched in the wake of the deadly Hamas-led attacks in southern Israel on 7 October 2023, Israel has unleashed hell and destruction on Palestinians in Gaza brazenly, continuously and with total impunity.
“Amnesty International’s report demonstrates that Israel has carried out acts prohibited under the Genocide Convention, with the specific intent to destroy Palestinians in Gaza. These acts include killings, causing serious bodily or mental harm and deliberately inflicting on Palestinians in Gaza conditions of life calculated to bring about their physical destruction. Month after month, Israel has treated Palestinians in Gaza as a subhuman group unworthy of human rights and dignity, demonstrating its intent to physically destroy them,” said Agnès Callamard (b. 1965), Secretary General of Amnesty International.
“Our damning findings must serve as a wake-up call to the international community: this is genocide. It must stop now.”
“States that continue to transfer arms to Israel at this time must know they are violating their obligation to prevent genocide and are at risk of becoming complicit in genocide. All states with influence over Israel, particularly key arms suppliers like the USA and Germany, but also other EU member states, the UK and others, must act now to bring Israel’s atrocities against Palestinians in Gaza to an immediate end.”
Over the past two months the crisis has grown particularly acute in the North Gaza governorate, where a besieged population is facing starvation, displacement and annihilation amid relentless bombardment and suffocating restrictions on life-saving humanitarian aid.
“Our research reveals that, for months, Israel has persisted in committing genocidal acts, fully aware of the irreparable harm it was inflicting on Palestinians in Gaza. It continued to do so in defiance of countless warnings about the catastrophic humanitarian situation and of legally binding decisions from the International Court of Justice (ICJ) ordering Israel to take immediate measures to enable the provision of humanitarian assistance to civilians in Gaza,” said Agnès Callamard.
“Israel has repeatedly argued that its actions in Gaza are lawful and can be justified by its military goal to eradicate Hamas. But genocidal intent can co-exist alongside military goals and does not need to be Israel’s sole intent.”
Amnesty International examined Israel’s acts in Gaza closely and in their totality, taking into account their recurrence and simultaneous occurrence, and both their immediate impact and their cumulative and mutually reinforcing consequences. The organization considered the scale and severity of the casualties and destruction over time. It also analysed public statements by officials, finding that prohibited acts were often announced or called for in the first place by high-level officials in charge of the war efforts.
“Taking into account the pre-existing context of dispossession, apartheid and unlawful military occupation in which these acts have been committed, we could find only one reasonable conclusion: Israel’s intent is the physical destruction of Palestinians in Gaza, whether in parallel with, or as a means to achieve, its military goal of destroying Hamas,” said Agnès Callamard.
“The atrocity crimes committed on 7 October 2023 by Hamas and other armed groups against Israelis and victims of other nationalities, including deliberate mass killings and hostage-taking, can never justify Israel’s genocide against Palestinians in Gaza.”
International jurisprudence recognizes that the perpetrator does not need to succeed in their attempts to destroy the protected group, either in whole or in part, for genocide to have been committed. The commission of prohibited acts with the intent to destroy the group, as such, is sufficient.
Amnesty International’s report examines in detail Israel’s violations in Gaza over nine months between 7 October 2023 and early July 2024. The organization interviewed 212 people, including Palestinian victims and witnesses, local authorities in Gaza, healthcare workers, conducted fieldwork and analysed an extensive range of visual and digital evidence, including satellite imagery. It also analysed statements by senior Israeli government and military officials, and official Israeli bodies. On multiple occasions, the organization shared its findings with the Israeli authorities but had received no substantive response at the time of publication.
Unprecedented scale and magnitude
Israel’s actions following Hamas’s deadly attacks on 7 October 2023 have brought Gaza’s population to the brink of collapse. Its brutal military offensive had killed more than 42,000 Palestinians, including over 13,300 children, and injured over 97,000 more, by 7 October 2024, many of them in direct or deliberately indiscriminate attacks, often wiping out entire multigenerational families. It has caused unprecedented destruction, which experts say occurred at a level and speed not seen in any other conflict in the 21st century, levelling entire cities and destroying critical infrastructure, agricultural land and cultural and religious sites. It thereby rendered large swathes of Gaza uninhabitable.
Mohammed, who fled with his family from Gaza City to Rafah in March 2024 and was displaced again in May 2024, described their struggle to survive in horrifying conditions:
“Here in Deir al-Balah, it’s like an apocalypse… You have to protect your children from insects, from the heat, and there is no clean water, no toilets, all while the bombing never stops. You feel like you are subhuman here.”
Israel imposed conditions of life in Gaza that created a deadly mixture of malnutrition, hunger and diseases, and exposed Palestinians to a slow, calculated death. Israel also subjected hundreds of Palestinians from Gaza to incommunicado detention, torture and other ill-treatment.
Viewed in isolation, some of the acts investigated by Amnesty International constitute serious violations of international humanitarian law or international human rights law. But in looking at the broader picture of Israel’s military campaign and the cumulative impact of its policies and acts, genocidal intent is the only reasonable conclusion.
Intent to destroy
To establish Israel’s specific intent to physically destroy Palestinians in Gaza, as such, Amnesty International analysed the overall pattern of Israel’s conduct in Gaza, reviewed dehumanizing and genocidal statements by Israeli government and military officials, particularly those at the highest levels, and considered the context of Israel’s system of apartheid, its inhumane blockade of Gaza and the unlawful 57-year-old military occupation of the Palestinian territory.
Before reaching its conclusion, Amnesty International examined Israel’s claims that its military lawfully targeted Hamas and other armed groups throughout Gaza, and that the resulting unprecedented destruction and denial of aid were the outcome of unlawful conduct by Hamas and other armed groups, such as locating fighters among the civilian population or the diversion of aid. The organization concluded these claims are not credible. The presence of Hamas fighters near or within a densely populated area does not absolve Israel from its obligations to take all feasible precautions to spare civilians and avoid indiscriminate or disproportionate attacks. Its research found Israel repeatedly failed to do so, committing multiple crimes under international law for which there can be no justification based on Hamas’s actions. Amnesty International also found no evidence that the diversion of aid could explain Israel’s extreme and deliberate restrictions on life-saving humanitarian aid.
In its analysis, the organization also considered alternative arguments such as ones that Israel was acting recklessly or that it simply wanted to destroy Hamas and did not care if it needed to destroy Palestinians in the process, demonstrating a callous disregard for their lives rather than genocidal intent.
"Our damning findings must serve as a wake-up call to the international community: this is genocide. It must stop now."
- Agnès Callamard, Amnesty International
However, regardless of whether Israel sees the destruction of Palestinians as instrumental to destroying Hamas or as an acceptable by-product of this goal, this view of Palestinians as disposable and not worthy of consideration is in itself evidence of genocidal intent.
Many of the unlawful acts documented by Amnesty International were preceded by officials urging their implementation. The organization reviewed 102 statements that were issued by Israeli government and military officials and others between 7 October 2023 and 30 June 2024 and dehumanized Palestinians, called for or justified genocidal acts or other crimes against them.
Of these, Amnesty International identified 22 statements made by senior officials in charge of managing the offensive that appeared to call for, or justify, genocidal acts, providing direct evidence of genocidal intent. This language was frequently replicated, including by Israeli soldiers on the ground, as evidenced by audiovisual content verified by Amnesty International showing soldiers making calls to “erase” Gaza or to make it uninhabitable, and celebrating the destruction of Palestinian homes, mosques, schools and universities.
Killing and causing serious bodily or mental harm
Amnesty International documented the genocidal acts of killing and causing serious mental and bodily harm to Palestinians in Gaza by reviewing the results of investigations it conducted into 15 air strikes between 7 October 2023 and 20 April 2024 that killed at least 334 civilians, including 141 children, and wounded hundreds of others. Amnesty International found no evidence that any of these strikes were directed at a military objective.
In one illustrative case, on 20 April 2024, an Israeli air strike destroyed the Abdelal family house in the Al-Jneinah neighbourhood in eastern Rafah, killing three generations of Palestinians, including 16 children, while they were sleeping.
While these represent just a fraction of Israel’s aerial attacks, they are indicative of a broader pattern of repeated direct attacks on civilians and civilian objects or deliberately indiscriminate attacks. The attacks were also conducted in ways designed to cause a very high number of fatalities and injuries among the civilian population.
Inflicting conditions of life calculated to bring about physical destruction
The report documents how Israel deliberately inflicted conditions of life on Palestinians in Gaza intended to lead, over time, to their destruction. These conditions were imposed through three simultaneous patterns that repeatedly compounded the effect of each other’s devastating impacts: damage to and destruction of life-sustaining infrastructure and other objects indispensable to the survival of the civilian population; the repeated use of sweeping, arbitrary and confusing mass “evacuation” orders to forcibly displace almost all of Gaza’s population; and the denial and obstruction of the delivery of essential services, humanitarian assistance and other life-saving supplies into and within Gaza.
After 7 October 2023, Israel imposed a total siege on Gaza cutting off electricity, water and fuel. In the nine months reviewed for this report, Israel maintained a suffocating, unlawful blockade, tightly controlled access to energy sources, failed to facilitate meaningful humanitarian access within Gaza, and obstructed the import and delivery of life-saving goods and humanitarian aid, particularly to areas north of Wadi Gaza. They thereby exacerbated an already existing humanitarian crisis. This, combined with the extensive damage to Gaza’s homes, hospitals, water and sanitation facilities and agricultural land, and mass forced displacement, caused catastrophic levels of hunger and led to the spread of diseases at alarming rates. The impact was especially harsh on young children and pregnant or breastfeeding women, with anticipated long-term consequences for their health.
"The international community’s seismic, shameful failure for over a year to press Israel to end its atrocities in Gaza, by first delaying calls for a ceasefire and then continuing arms transfers, is and will remain a stain on our collective conscience."
- Agnès Callamard, Amnesty International
Time and again, Israel had the chance to improve the humanitarian situation in Gaza, yet for over a year it has repeatedly refused to take steps blatantly within its power to do so, such as opening sufficient access points to Gaza or lifting tight restrictions on what could enter the Strip or their obstruction of aid deliveries within Gaza while the situation has grown progressively worse.
Through its repeated “evacuation” orders Israel displaced nearly 1.9 million Palestinians – 90% of Gaza’s population – into ever-shrinking, unsafe pockets of land under inhumane conditions, some of them up to 10 times. These multiple waves of forced displacement left many jobless and deeply traumatized, especially since some 70% of Gaza’s residents are refugees or descendants of refugees whose towns and villages were ethnically cleansed by Israel during the 1948 Nakba.
Despite conditions quickly becoming unfit for human life, Israeli authorities refused to consider measures that would have protected displaced civilians and ensured their basic needs were met, showing that their actions were deliberate.
They refused to allow those displaced to return to their homes in northern Gaza or relocate temporarily to other parts of the Occupied Palestinian Territory or Israel, continuing to deny many Palestinians their right to return under international law to areas they were displaced from in 1948. They did so knowing that there was nowhere safe for Palestinians in Gaza to flee to.
Accountability for genocide
“The international community’s seismic, shameful failure for over a year to press Israel to end its atrocities in Gaza, by first delaying calls for a ceasefire and then continuing arms transfers, is and will remain a stain on our collective conscience,” said Agnès Callamard.
“Governments must stop pretending they are powerless to end this genocide, which was enabled by decades of impunity for Israel’s violations of international law. States need to move beyond mere expressions of regret or dismay and take strong and sustained international action, however uncomfortable a finding of genocide may be for some of Israel’s allies.
“The International Criminal Court’s (ICC) arrest warrants for Prime Minister Benjamin Netanyahu (b. 1949) and former Defense Minister Yoav Gallant (b. 1958) for war crimes and crimes against humanity issued last month offer real hope of long-overdue justice for victims. States must demonstrate their respect for the court’s decision and for universal international law principles by arresting and handing over those wanted by the ICC.
“We are calling on the Office of the Prosecutor of the International Criminal Court (ICC) to urgently consider adding genocide to the list of crimes it is investigating and for all states to use every legal avenue to bring perpetrators to justice. No one should be allowed to commit genocide and remain unpunished.”
Amnesty International is also calling for all civilian hostages to be released unconditionally and for Hamas and other Palestinian armed groups responsible for the crimes committed on 7 October to be held to account.
The organization is also calling for the UN Security Council to impose targeted sanctions against Israeli and Hamas officials most implicated in crimes under international law.
Background
On 7 October 2023 Hamas and other armed groups indiscriminately fired rockets into southern Israel and carried out deliberate mass killings and hostage-taking there, killing 1,200 people, including over 800 civilians, and abducted 223 civilians and captured 27 soldiers. The crimes perpetrated by Hamas and other armed groups during this attack will be the focus of a forthcoming Amnesty International report.
Since October 2023, Amnesty International has conducted in-depth investigations into the multiple violations and crimes under international law committed by Israeli forces, including direct attacks on civilians and civilian objects and deliberately indiscriminate attacks killing hundreds of civilians, as well as other unlawful attacks on and collective punishment of the civilian population. The organization has called on the Office of the ICC Prosecutor to expedite its investigation into the situation in the State of Palestine and is campaigning for an immediate ceasefire.
For the Hebrew translation of this press release, click here.
Source: Amnesty International - Amnesty concludes Israel is committing genocide in Gaza (Publ. 5 December 2024)
Sculpture of Thomas the Apostle on one of the spires above the Passion Facade of Sagrada Família, Barcelona, autonomous community Catalonia, Spain.
Basílica i Temple Expiatori de la Sagrada Família (Basilica and Expiatory Church of the Holy Family), commonly called Sagrada Família (Holy Family), is an unfinished Roman Catholic basilica in Barcelona. It was designed by the famous Catalan modernisme architect Antoni Gaudí. Construction works started in 1882 and are estimated to be finished until the 100th anniversary of Gaudí's death in 2026 - provided that there'll be enough money, as the construction of Sagrada Família is funded solely by private donations and the entrance fees.
Sagrada Família has a nave with 5 aisles and a transept with 3 aisles. It is surrounded by a cloister. The whole church is adorned with complex ornaments and decorative elements. The columns carrying the hyperboloid vaults are designed to resemble trees and branch out at the top.
According to Gaudí's drafts, the church will have three grand facades and eighteen spires:
Nativity facade and Passion facade are already completed, Glory facade is under construction now.
Twelve of the spires (four of them above each facade, eight of them already completed) will be for the Twelve Apostles, four spires for the four Evangelists, and one spire each for the Virgin Mary and for Jesus Christ. With a height of 170 m it will be the tallest church building in the world.
Together with six other buildings, Gaudí’s work on the Nativity facade and the Crypt of Sagrada Família is inscribed in the World Heritage List of the UNESCO as Works of Antoni Gaudí.
---quotation from en.wikipedia.org about Antoni Gaudí:---
Antoni Gaudí i Cornet (...25 June 1852 – 10 June 1926) was a Spanish Catalan architect and figurehead of Catalan Modernism. Gaudí's works reflect his highly individual and distinctive style and are largely concentrated in the Catalan capital of Barcelona, notably his magnum opus, the Sagrada Família.
Much of Gaudí's work was marked by his big passions in life: architecture, nature, religion. Gaudí studied every detail of his creations, integrating into his architecture a series of crafts in which he was skilled: ceramics, stained glass, wrought ironwork forging and carpentry. He introduced new techniques in the treatment of materials, such as trencadís, made of waste ceramic pieces.
After a few years under the influence of neo-Gothic art and Oriental techniques, Gaudí became part of the Catalan Modernista movement which was reaching its peak in the late 19th and early 20th centuries. His work transcended mainstream Modernisme, culminating in an organic style inspired by nature. Gaudí rarely drew detailed plans of his works, instead preferring to create them as three-dimensional scale models and molding the details as he was conceiving them.
Gaudí’s work enjoys widespread international appeal and many studies are devoted to understanding his architecture. Today, his work finds admirers among architects and the general public alike. His masterpiece, the still-uncompleted Sagrada Família, is one of the most visited monuments in Spain. Between 1984 and 2005, seven of his works were declared World Heritage Sites by UNESCO.
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---quotation from en.wikipedia.org about Barcelona:---
Barcelona (...) is the capital of Catalonia and the second largest city in Spain, after Madrid, with a population of 1,620,943 within its administrative limits on a land area of 101.4 km² (39 sq mi). The urban area of Barcelona extends beyond the administrative city limits with a population of around 4.5 million within an area of 803 km² (310 sq mi), being the sixth-most populous urban area in the European Union after Paris, London, the Ruhr, Madrid and Milan. About five million people live in the Barcelona metropolitan area. It is also the largest metropolis on the Mediterranean Sea. It is located on the Mediterranean coast between the mouths of the rivers Llobregat and Besòs and is bounded to the west by the Serra de Collserola ridge (512 metres (1,680 ft)).
Founded as a Roman city, Barcelona became the capital of the County of Barcelona. After merging with the Kingdom of Aragon, Barcelona became the most important city of the Crown of Aragon. Besieged several times during its history, Barcelona has a rich cultural heritage and is today an important cultural centre and a major tourist destination. Particularly renowned are the architectural works of Antoni Gaudí and Lluís Domènech i Montaner, which have been designated UNESCO World Heritage Sites. The headquarters of the Union for the Mediterranean is located in Barcelona. The city is known for hosting the 1992 Summer Olympics as well as world-class conferences and expositions and also many international sport tournaments.
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Costa Brava holiday April 2009.
Tractor made from a Ford model AA.
Photo from America.
This is a collection of images of Homemade tractors, American Doodlebugs, and Swedeish A and Epa-traktorer.
Many of the images here I have found all over the internet!
If anyone find their own image here and disapprove of me showing it here, just send me a message and I will remove it/them images!
www.recyclart.org/2014/11/upcycled-interior-inspiration/
We’re all familiar with upcycling by now and the fact that it isn’t just a new-fangled way to make your home individual. Re-upholstering an ornate chair to match your mood board or giving an antique wardrobe a lick of tasteful chalk based paint can really bring such dowdy items to life, here are some more unique ideas for inspiration from across the web.
Suitcases
You’ll have probably seen suitcases upcycled as chairs and coffee tables before but there are lots of other great ideas out there for upcycling suitcases including turning them into medicine cabinets, minibars and even pet beds.
Glass bottles
Turning wine bottles or ornate beer bottles into lampshades or vases and lanterns may seem a little passé but the effect is undeniably chic. If your house is minimal and urbane then this could be the upcycle for you.
Supermarket Pallets
Pallets can lend a really organic feel to a piece of décor and you can easily transform some pallets into a very pleasant bench, table or bed. So if you’re going for that rustic timbered look, pick up a few pallets.
Cards
Old cards can be repurposed in a number of ways, from upcycled playing card ornaments like gift tags and a wreath, to a mosaic style mirror made from discarded credit cards and place mats made from old business cards.
Cork
Instead of throwing away used wine corks you can collect them to make useful coasters or place mats and candle holders, or even a neat fob to bung in the ground and indicate your plants names.
Stepladders
An unused stepladder can be transformed into a corner bookshelf, which is both unusual and completely functional. Other similarly practical ideas include clothes racks, shoe racks and towel racks.
Illustrations of British entomology; v.1=Haustellata:v.1 (1828)
London:Printed for the author; published by Baldwin and Cradock,1828-1835..
A look around the Piazza dei Miracoli
The Piazza dei Miracoli (English: Square of Miracles), formally known as Piazza del Duomo (English: Cathedral Square), is a walled 8.87-hectare area located in Pisa, Tuscany, Italy, recognized as an important center of European medieval art and one of the finest architectural complexes in the world. Considered sacred by the Catholic Church, its owner, the square is dominated by four great religious edifices: the Pisa Cathedral, the Pisa Baptistry, the Campanile, and the Camposanto Monumentale (Monumental Cemetery). Partly paved and partly grassed, the Piazza dei Miracoli is also the site of the Ospedale Nuovo di Santo Spirito (New Hospital of the Holy Spirit), which houses the Sinopias Museum (Italian: Museo delle Sinopie) and the Cathedral Museum (Italian: Museo dell'Opera del Duomo).
The name Piazza dei Miracoli was coined by the Italian writer and poet Gabriele d'Annunzio who, in his novel Forse che sì forse che no (1910), described the square as the "prato dei Miracoli," or "meadow of miracles". The square is sometimes called the Campo dei Miracoli (Field of Miracles). In 1987, the whole square was declared a UNESCO World Heritage Site.
You first see the Pisa Baptistery, to the left of the Cathedral and Leaning Tower.
The Pisa Baptistery of St. John (Italian: Battistero di San Giovanni) is a Roman Catholic ecclesiastical building in Pisa, Italy. Construction started in 1152 to replace an older baptistery, and when it was completed in 1363, it became the second building, in chronological order, in the Piazza dei Miracoli, near the Duomo di Pisa and the cathedral's free-standing campanile, the famous Leaning Tower of Pisa. The baptistery was designed by Diotisalvi, whose signature can be read on two pillars inside the building, with the date 1153.
The largest baptistery in Italy, it is 54.86 m high, with a diameter of 34.13 m. The Pisa Baptistery is an example of the transition from the Romanesque style to the Gothic style: the lower section is in the Romanesque style, with rounded arches, while the upper sections are in the Gothic style, with pointed arches. The Baptistery is constructed of marble, as is common in Italian architecture.
The portal, facing the facade of the cathedral, is flanked by two classical columns, while the inner jambs are executed in Byzantine style. The lintel is divided in two tiers. The lower one depicts several episodes in the life of St. John the Baptist, while the upper one shows Christ between the Madonna and St John the Baptist, flanked by angels and the evangelists.
The interior is overwhelming and lacks decoration. The octagonal font at the centre dates from 1246 and was made by Guido Bigarelli da Como. The bronze sculpture of St. John the Baptist at the centre of the font, is a work by Italo Griselli.
The pulpit was sculpted between 1255-1260 by Nicola Pisano, father of Giovanni, the artist who produced the pulpit in the Duomo. The scenes on the pulpit, and especially the classical form of the nude Hercules, show Nicola Pisano's qualities as the most important precursor of Italian Renaissance sculpture by reinstating antique representations: surveys of the Italian Renaissance often begin with the year 1260, the year that Nicola Pisano dated this pulpit.
Constructed on the same unstable sand as the tower and cathedral, the Baptistery leans 0.6 degrees toward the cathedral. Originally the shape of the Baptistery, according to the project by Diotisalvi, was different. It was perhaps similar to the church of Holy Sepulchre in Pisa, with its pyramidal roof. After the death of the architect, Nicola Pisano continued the work, changing the style to the more modern Gothic one. Also an external roof was added giving the shape of a cupola. As a side effect of the two roofs, the pyramidal inner one and the domed external one, the interior is acoustically perfect, making of that space a resonating chamber.
Histoire des végétaux fossiles, ou, Recherches botaniques et géologiques sur les végétaux renfermés dans les diverses couches du globe /.
A Paris et a Amsterdam :Chez G. Dufour et Ed. d'Ocagne ...,1828-1837..
English
en.wikipedia.org/wiki/National_Coach_Museum
The National Coach Museum (Portuguese: Museu Nacional dos Coches) is located in the Belém district of Lisbon, in Portugal. The museum has one of the finest collections of historical carriages in the world, being one of the most visited museums of the city.
The museum is housed in the old Horse Riding Arena of the Belém Palace, formerly a Royal Palace which is now the official residence of the President of Portugal. The Horse Riding Area was built after 1787 following the Neoclassical design of Italian architect Giacomo Azzolini. Several Portuguese artists decorated the interior of the building with paintings and tile (azulejo) panels. The inner arena is 50 m long and 17 m wide, and was used for training horses and for horse riding exhibitions and games, which could be watched from its balconies by the Portuguese royal family.
The museum was created in 1905 by Queen Amélia to house an extensive collection of carriages belonging to the Portuguese royal family and nobility. The collection gives a full picture of the development of carriages from the late 16th through the 19th centuries, with carriages made in Italy, Portugal, France, Spain, Austria and England.
Among its rarest items is a late 16th/early 17th-century travelling coach used by King Philip II of Portugal to come from Spain to Portugal in 1619. There are also several pompous Baroque 18th century carriages decorated with paintings and exuberant gilt woodwork, the most impressive of these being a ceremonial coach given by Pope Clement XI to King John V in 1715, and the two coaches of the Portuguese embassador to Pope Clement XI, built in Rome in 1716.
A section of the museum is located in the Ducal Palace of Vila Viçosa, in Southern Portugal.
Português
pt.wikipedia.org/wiki/Museu_Nacional_dos_Coches
O Museu Nacional dos Coches localiza-se junto ao rio Tejo, na Praça Afonso de Albuquerque, no bairro de Belém, em Lisboa, Portugal.
Era antigamente uma escola de equitação, o Picadeiro Real do Palácio de Belém, construída pelo arquitecto italiano Giacomo Azzolini, em 1726. Em 1905, foi transformada num museu pela rainha D. Amélia, esposa do rei D. Carlos, sob o nome Museu dos Coches Reais que, após o golpe republicano, teve o seu nome alterado.
É o museu mais visitado de Portugal. Em 2008 recebeu 228 570 visitantes
Feitos em Portugal, Itália, França, Áustria e Espanha, os coches abrangem três séculos e vão dos mais simples aos mais sofisticados. A galeria principal, no estilo Luís XVI, é ocupada por duas filas de coches construídos para a realeza portuguesa. A colecção começa pelo coche de viagem de Filipe I de Portugal (II de Espanha), de madeira e couro vermelho, do século XVII. os coches são forrados a veludo vermelho e ouro, com exteriores esculpidos e decorados com alegorias e as armas reais, trabalho denominado talha dourada. As filas terminam com três enormes coches barrocos feitos em Roma para o embaixador português no Vaticano D. Rodrigo Almeida e Menezes, marquês de Abrantes em embaixada enviada ao papa Clemente XI a mando do rei D.João V. Estes coches de 5 toneladas têm interiores luxuosos e esculturas douradas em tamanho natural, durante muitos anos nenhum monarca europeu enviou embaixadas ao Vaticano por não se conseguir igualar tamanha magnitude.
Destacam-se ainda, entre outros, os Coches da Coroa, de D.João V e a Carruagem da Coroa, mandada executar por D.João VI, quando regressou do Brasil e que foi utilizado pelos dois últimos reis nas suas aclamações.
A galeria seguinte tem outros exemplos de carruagens reais, incluindo cabriolés de duas rodas e landaus da Família Real. Têm também um táxi da Lisboa do século XIX, pintado de preto e verde, as cores dos táxis até à década de 90. A caleche do século XVIII, com janelas que parecem olhos, foi fabricada durante a época de Pombal. A galeria superior exibe arneses, trajos da corte e retratos a óleo da família real.
O último coche deste museu que foi utilizado foi a Carruagem da Coroa, aquando da visita de Isabel II de Inglaterra a Portugal, em 1957.
O Museu Nacional dos Coches possui ainda um anexo no Paço Ducal de Vila Viçosa, onde vêem-se algumas viaturas de aparato, sendo o seu forte viaturas de campo, caça e passeio. Está em Vila Viçosa o coche onde foram assassinados o rei D.Carlos I e seu filho o príncipe herdeiro D.Luís Filipe, onde se podem observar os buracos de bala feitos no atentado de 1908.
Galgano Guidotti, figlio di Guido e Dionisa, nacque nel1148 a Chiusdino (Siena), un piccolo borgo che sorge su un altura non lontano dall'Abbazia, in quella parte del Medioevo colma di violenze, soprusi e stupri vissuti anche in modo ludico, come manifestazione di vigore e vitalità, ma sempre tesi ad affermare la propria forza e ad ampliare la propria sfera di dominio. Ed anche Galgano, come gli altri cavalieri, era fiero e prepotente e la sua giovinezza spensierata e frivola.
Con il passar del tempo Galgano cominciò a rendersi conto dell' inutilità del suo modo di vivere, provando il tormento di non avere uno scopo di vita.
In questo stato d'animo maturò la voglia di cambiare decidendo di ritirarsi sulla collina di Montesiepi, a poca distanza da Monticiano.
Galgano abbandonò il suo mondo, disgustato dalle nefandezze commesse e da quelle che vedeva continuamente commettere, per dedicarsi ad una vita di eremitaggio e penitenza nella ricerca di quella pace che il suo tempo non consentiva e di quel desiderio e contemplazione di Dio che solo la vita ascetica poteva permettere.
Come segno tangibile di rinuncia perpetua ad ogni forma di violenza prese la sua spada e la conficcò in una roccia che affiorava dal terreno, con l'intenzione di usarla come croce dinanzi a cui pregare anzichè come arma con cui offendere. Un grande gesto simbolico di estrema forza. Era l'anno 1180.
Galgano il 3 dicembre 1181, morì.
Nel 1185 fu dichiarato Santo da Papa Lucio III.
Negli anni immediatamente successivi alla sua morte venne costruita sul suo eremo una chiesetta, meglio nota come la Rotonda o Cappella di Montesiepi.
Qualche decennio piu' tardi, nel 1218, si iniziava la costruzione che assieme alla cappella di Montesiepi, ancora oggi costituisce l'insieme religioso piu' rilevante in ambito toscano. Nel 1262 i lavori erano pressochè compiuti ; nel 1288 l'Abbazia veniva consacrata.
Tanto rilevante era l'importanza sociale ed economica della struttura cistercense che il Comune di Siena allacciò' i rapporti con i monaci; nel 1257 uno di essi, Don Ugo, aveva ricoperto la carica di "Camerlengo", cioè responsabile dell' erario pubblico Senese; fra' Melano è ricordato per aver stipulato nel 1266 il contratto con Nicola Pisano per la costruzione del pulpito marmoreo nel Duomo di Siena.
La peste del 1348 colpì duramente la comunità monastica, per cui iniziò un progressivo declino, culminato nel 1474, quando i monaci decisero di trasferirsi a Siena, nel palazzo detto di San Galgano; nel secolo successivo la chiesa fu privata della copertura in piombo; nè servirono a molto gli interventi di restauro del 1577; le cronache riferiscono della struttura sempre piu' fatiscente nei decenni successivi, finchè due episodi determinarono in modo irreversibile le sorti dell'Abbazia: nel 1781 crollavano le parti rimanenti della copertura, nel 1786 un fulmine colpì anche il campanile.
Nel 1789 l'Abbazia venne sconsacrata e di lì a poco trasformata in fattoria; alcuni parziali interventi di restauro, effettuati nel corso dell'Ottocento tamponarono i danni maggiori, ma un vero e proprio intervento di restauro fu iniziato solo nel 1926 con lo scopo di preservare consolidandolo, quanto rimaneva della struttura originaria.
Piu' fortunata la sorte dell'eremo di Montesiepi. la pianta della chiesa, circolare, richiama i mausolei di origine Romana; il parato esterno alterna un alto basamento di pietra ad una zona bicroma a fasce di marmo e mattoni alternate per terminare con un ampio anello di soli mattoni. Sulla copertura venne costruita una lanterna del XVI secolo, mentre il campanile a vela appartiene al XIV secolo.
L'interno è particolarmente suggestivo per la semplicità dell'impianto e l'arditezza di alcune soluzioni architettoniche, come la cupola centrale, che alterna, come all'esterno, file di pietra bianca a contrasto con il rosso dei mattoni. La pianta circolare è interrotta solo da un' abside intervallata da una stretta monofora. Al centro della rotonda spunta il masso in cui, secondo la tradizione, San Galgano infisse la Spada. All'edificio originario venne aggiunto nel 1340 un corpo rettangolare, addossato al lato nord, con volta a crociera spartita in quattro vani; il nuovo locale venne affrescato con un ciclo dedicato alle "storie della Vergine", eseguito da Ambrogio Lorenzetti e dalla sua bottega; nella parete centrale è illustrata nel registro superiore, una maestà con angeli e Santi, ai piedi della scena è raffigurata Eva distesa; nel registro superiore è dipinta la Annunciazione.
Durante i restauri del 1966 furono recuperate le sinopie, che contribuiscono ad una lettura piu' approfondita del ciclo pittorico. Per quanto riguarda l'annunciazione emergono divergenze con la versione poi realizzata a fresco: nella sinopia la Vergine appare quasi sconvolta dall' arrivo dell'Angelo e abbraccia la colonna, quasi a difendersi dall'improvvisa apparizione volgendo il volto. Tutto il ciclo è fortemente allusivo al tema della maternità che sembra riaffiorare nella figura di Eva dal ventre prominente sotto la veste leggera. la raffigurazione della Maestà si ricollega alla visione di San Galgano che aveva contemplato la Vergine coi dodici apostoli; nella pittura di Ambrogio Lorenzetti compaiono Pietro, Paolo, Giovanni Battista, Giovanni Evangelista; le altre figure che sostituiscono gli apostoli della visione sono un pontefice ( forse Lucio III, che aveva canonizzato San Galgano) e quattro monaci, di cui due cistercensi.
La presenza di Ambrogio Lorenzetti a Montesiepi, documentata nel 1334; conferma la datazione tarda del complesso, eseguito negli ultimi anni di attività dell' artista, prima della sua scomparsa avvenuta, quasi sicuramente, nel 1348,
durante la peste: da quell' anno infatti non si hanno piu' notizie del pittore.
www.holyspiritspeaks.org/videos/gospel-movie-the-mystery-...
The Lord Jesus Has Come Back | Gospel Movie "The Mystery of Godliness"
Introduction
Lin Bo'en was an elder at a house church in China. During all his years as a believer, he felt honored to suffer for the Lord, and valued the knowledge and attainment of the Lord Jesus Christ above anything else in the world. One fateful day, he went out to preach and heard some shocking news: The Lord Jesus has returned in the flesh, and He is Christ of the last days—Almighty God! Lin Bo'en was puzzled. When the Lord returns, He is supposed to descend with the clouds, so why would He incarnate Himself and do His work in secret? What mysteries were hidden behind God's incarnation? If the Lord has truly returned, why haven't we been raptured? … An intense debate unfolds between Lin Bo'en and his co-workers and the preachers from The Church of Almighty God … Will they finally be able to understand that Almighty God is the return of the Lord Jesus, the appearance of God in the flesh?
Eastern Lightning, The Church of Almighty God was created because of the appearance and work of Almighty God, the second coming of the Lord Jesus, Christ of the last days. It is made up of all those who accept Almighty God's work in the last days and are conquered and saved by His words. It was entirely founded by Almighty God personally and is led by Him as the Shepherd. It was definitely not created by a person. Christ is the truth, the way, and the life. God's sheep hear God's voice. As long as you read the words of Almighty God, you will see God has appeared.
Special statement: This video production was produced as a not-for-profit piece by the Church of Almighty God. The actors that appear in this production are performing on a not-for-profit basis, and have not been paid in any way. This video may not be distributed for profit to any third party, and we hope that everyone will share it and distribute it openly. When you distribute it, please note the source. Without the consent of the Church of Almighty God, no organization, social group, or individual may tamper with or misrepresent the contents of this video.
The content of this video has been translated entirely by professional translators. However, due to linguistic differences etc., a small number of inaccuracies are inevitable. If you discover any such inaccuracies, please refer to the original Chinese version, and feel free to get in touch to let us know.
Icones plantarum rariorum.
Vindobonae :||Londini :||Lugduni Batavorum :||Argentorati :C.F. Wappler ;||B. White et filium ;||S. et J. Luchtmans :||A. König,1781-1793..
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Image Title: Idaho Strawberry
Date: 1908
Place: Idaho
Description/Caption: 2081 The Big Idaho Strawberry
Medium: Real Photo Postcard (RPPC)
Photographer/Maker: M.L. Oakes
Cite as: ID-J-0034, WaterArchives.org
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From treesforlife.org:
Think of any fairy tale illustration of elves or goblins sitting on or under a toadstool, and most likely the cap of such a fungus will be bright red with white spots. The autumnal abundance and vibrant colours of the fly agaric mushroom make it probably the most widely recognised of our fungi. As the name suggests it was formerly used as an insecticide, with pieces often floated in milk, to intoxicate and kill flies attracted by its aroma. Similarly most people will be wary of its poisonous reputation (though fatal reactions are rare), and appreciation of this mushroom will mostly be limited to the aesthetic. It has been suggested that northern Europeans' wariness of mushrooms may stem from long-established taboos relating to the use of mushrooms containing mind expanding substances. These would originally have been reserved for those shamans or priests who served as intermediaries between the common folk and the unseen worlds of spirit.
The fly agaric may have been the earliest source of entheogens, that is hallucinogenic substances used for religious or shamanic purposes, the use of which date back possibly over 10,000 years. Fly agaric has been put forward as the most likely candidate for the mysterious Soma, mentioned in around 150 hymns of the Hindu Rig-Veda, which was written between 1500 - 500 BC by Aryans in the Indus valley. Soma was a moon god, as well as a related plant and a holy brew which were also worshipped. Though there have been many suggestions as to the identity of the plant, fly agaric fits many of the Vedic references as a substance with which to contact the gods.
Fly agaric contains two toxins, ibotenic acid and muscimol, which are responsible for its psychoactive and hallucinogenic effects. To minimise its toxic side effects fly agaric would be processed in some way eg. dried, made into a drink, smoked or made into ointments. Care in its preparation and ritual were paramount. The Celtic Druids, for example, purified themselves by fasting and meditating for three days, drinking only water. Amongst the Koryak people of north-eastern Siberia the ceremonial use of fly agaric involved the shaman ingesting the mushroom, after which others would drink his urine to partake of its entheogenic effects. Though this sounds distinctly unpleasant to modern ears, if the shaman had been fasting, the urine would have been mainly water containing the hallucinogenic compounds. The body absorbs the fly agaric's hallucinogens first, and then expels the toxins from the stomach. The hallucinogenic chemicals then exert their influence on the body and are expelled unaltered in the urine. Reindeer in northern Europe are also attracted to the fly agaric's euphoric effects and Siberian people would notice the drunken behaviour of such animals and slaughter them to get the same effects from eating the meat.
Modern research has also shown that the two active ingredients' effect on the brain can inhibit fear and the startle reflex. This would corroborate theories that the ferocious Viking Berserker warriors used fly agaric prior to going into battle, bringing on the uncontrolled rage and fearlessness for which they were renowned.
Fly agaric has been a popular icon for the Midwinter and Christmas festivities in central Europe for a long time and is found on Christmas cards and as replica decorations for tree and wreath. Our current concept of Santa Claus can be traced back as an amalgamation of several characters of popular European folklore, such as a more pagan Scandinavian house goblin who offered protection from malevolent spirits in return for a feast at midwinter, and the fourth century Byzantine archbishop who became St Nicolas and was renowned for his kindness to children. More recently it has been suggested that the Siberian use of fly agaric may have played a part in the development of the legend of Santa Claus too. At midwinter festivals the shaman would enter the yurt through the smoke hole and down the central supporting birch pole, bringing with him a bag of dried fly agaric. After conducting his ceremonies he would leave the same way he had come. Ordinary people would have believed the shaman could fly himself, or with the aid of reindeer which they also knew to have a taste for fly agaric. Santa is now dressed in the same colours as the fly agaric, carries a sack with special gifts, comes and goes via the chimney, can fly with reindeer and lives in the 'Far North'.
Source: en.wikipedia.org/wiki/Toronto
Toronto is the provincial capital of Ontario. With a recorded population of 2,731,571 in 2016, it is the most populous city in Canada and the fourth most populous city in North America. The city is the anchor of the Golden Horseshoe, an urban agglomeration of 9,245,438 people (as of 2016) surrounding the western end of Lake Ontario, while the Greater Toronto Area (GTA) proper had a 2016 population of 6,417,516. Toronto is an international centre of business, finance, arts, and culture, and is recognized as one of the most multicultural and cosmopolitan cities in the world.
People have travelled through and inhabited the Toronto area, located on a broad sloping plateau interspersed with rivers, deep ravines, and urban forest, for more than 10,000 years. After the broadly disputed Toronto Purchase, when the Mississauga surrendered the area to the British Crown, the British established the town of York in 1793 and later designated it as the capital of Upper Canada. During the War of 1812, the town was the site of the Battle of York and suffered heavy damage by American troops. York was renamed and incorporated in 1834 as the city of Toronto. It was designated as the capital of the province of Ontario in 1867 during Canadian Confederation. The city proper has since expanded past its original borders through both annexation and amalgamation to its current area of 630.2 km2 (243.3 sq mi).
The diverse population of Toronto reflects its current and historical role as an important destination for immigrants to Canada. More than 50 percent of residents belong to a visible minority population group, and over 200 distinct ethnic origins are represented among its inhabitants. While the majority of Torontonians speak English as their primary language, over 160 languages are spoken in the city.
Toronto is a prominent centre for music, theatre, motion picture production, and television production, and is home to the headquarters of Canada's major national broadcast networks and media outlets. Its varied cultural institutions, which include numerous museums and galleries, festivals and public events, entertainment districts, national historic sites, and sports activities, attract over 43 million tourists each year. Toronto is known for its many skyscrapers and high-rise buildings, in particular the tallest free-standing structure in the Western Hemisphere, the CN Tower.
The city is home to the Toronto Stock Exchange, the headquarters of Canada's five largest banks, and the headquarters of many large Canadian and multinational corporations. Its economy is highly diversified with strengths in technology, design, financial services, life sciences, education, arts, fashion, aerospace, environmental innovation, food services, and tourism.
Source: en.wikipedia.org/wiki/Hockey_Hall_of_Fame
The Hockey Hall of Fame (French: Temple de la renommée du hockey) is a museum and hall of fame located in Toronto, Ontario, Canada. Dedicated to the history of ice hockey, it holds exhibits about players, teams, National Hockey League (NHL) records, memorabilia and NHL trophies, including the Stanley Cup. Founded in Kingston, Ontario, the Hockey Hall of Fame was established in 1943 under the leadership of James T. Sutherland. The first class of honoured members was inducted in 1945, before the Hall of Fame had a permanent location. It moved to Toronto in 1958 after the NHL withdrew its support for the International Hockey Hall of Fame in Kingston, Ontario, due to funding issues. Its first permanent building opened at Exhibition Place in 1961. The hall was relocated in 1993, and is now in Downtown Toronto, inside Brookfield Place, and a historic Bank of Montreal building. The Hockey Hall of Fame has hosted International Ice Hockey Federation (IIHF) exhibits and the IIHF Hall of Fame since 1998.
An 18-person committee of players, coaches and others meets annually in June to select new honourees, who are inducted as players, builders or on-ice officials. In 2010, a subcategory was established for female players. The builders' category includes coaches, general managers, commentators, team owners and others who have helped build the game. Honoured members are inducted into the Hall of Fame in an annual ceremony held at the Hall of Fame building in November, which is followed by a special "Hockey Hall of Fame Game" between the Toronto Maple Leafs and a visiting team. As of 2019, 284 players (including six women), 111 builders and 16 on-ice officials have been inducted into the Hall of Fame. The Hall of Fame has been criticized for focusing mainly on players from the National Hockey League and largely ignoring players from other North American and international leagues.