St Patrick’s Church of Ireland Cathedral, Armagh (Irish: Ardeaglais Phádraig, Ard Mhacha) is the seat of the Anglican Archbishop of Armagh and Diocese of Armagh. Although the origins of the site are as a 5th century Irish stone monastery, said to have been founded by St. Patrick, and there has been a significant church on the site since, its present appearance largely dates from Lewis Nockalls Cottingham’s restoration in the years after 1834, although the fabric of Primate O’Scanlan’s 1268 building remains. Over the centuries, the church on the site has been at least partially destroyed and rebuilt 17 times.

Throughout the Middle Ages, the cathedral was the seat of the Catholic Archbishop of Armagh, head of the Catholic Church in Ireland, and one of the most important churches in Gaelic Ireland. With the 16th-century Protestant Reformation, the cathedral was taken over by the Church of Ireland.

Following Catholic emancipation in the 19th century, a new Catholic cathedral was built in Armagh, also called St Patrick’s Cathedral, on another hilltop half a kilometre away.

Evidence suggests that the hilltop was originally a pagan sanctuary. By the 7th century, it had become the most important monastery and monastic school in the north of Ireland, and monastic settlement grew up around it. Brian Boru, High King of Ireland, visited Armagh in 1004, acknowledging it as the head cathedral of Ireland and bestowing it a large sum of gold. Brian was buried at Armagh cathedral after his death at the Battle of Clontarf in 1014. Armagh’s claim to the primacy of Ireland was formally acknowledged at the Synod of Ráth Breasail in 1111.

The cathedral was renovated and restored under Dean Eoghan McCawell (1505–1549), having suffered from a devastating fire in 1511 and being in poor shape. Soon after his death the cathedral was described by Lord Chancellor Cusack as “one of the fairest and best churches in Ireland”. However, by the end of the Nine Years’ War which devastated Ulster between 1593 and 1603, Armagh lay in ruins.

Following the Nine Years’ War, Armagh came under English control and the town began to be settled by Protestants from Britain, as part of the Plantation of Ulster. During the Irish Rebellion of 1641, many Protestant settlers fled to Armagh cathedral for safety. After negotiations with the besieged settlers, Catholic rebels occupied the town until May 1642.

As mentioned above, the cathedral largely owes its current appearance to a rebuilding between 1834 and 1840 by Archbishop Lord John George Beresford and the architect Lewis Nockalls Cottingham. The fabric remains that of the mediaeval building but much restored. While Cottingham was heavy-handed in his restoration, the researches of T. G. F. Patterson and Janet Myles in the late twentieth century have shown the restoration to have been notably antiquarian for its time. The tracery of the nave windows in particular are careful restorations as is the copy of the font. The capital decoration of the two westernmost pillars of the nave (either side of the West Door internal porch) are mediaeval as are the bulk of the external gargoyle carvings (some resited) of the parapet of the Eastern Arm. Cottingham’s intention of retaining the richly cusped West Door with flanking canopied niches was over-ruled. Subsequent restorations have more radically altered the internal proportions of the mediaeval building, proportions which Cottingham had retained.

Many other Celtic and mediaeval carvings are to be seen within the cathedral which is also rich in eighteenth- and nineteenth-century sculpture. There are works by Francis Leggatt Chantrey, Louis-François Roubiliac, John Michael Rysbrack, Carlo Marochetti and others.

(from Wikipedia)

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).

Born in 1579, John Ogilvie belonged to Scottish nobility. Raised a Calvinist, he was educated on the continent. Exposed to the religious controversies of his day and impressed with the faith of the martyrs, he decided to become a Catholic. In 1596, at age seventeen he was received into the Church at Louvain. Later John attended a variety of Catholic educational institutions, and eventually he sought admission into the Jesuits. He was ordained at Paris in 1610 and asked to be sent to Scotland, hoping some Catholic nobles there would aid him given his lineage. Finding none, he went to London, then back to Paris, and finally returned to Scotland. John's work was successful in bringing back many people to the Faith. Some time later he was betrayed by one posing as a Catholic. After his arrest he was tortured in prison in an effort to get him to reveal the names of other Catholics, but he refused. After three trials, John was convicted of high treason because he converted Protestants to the Catholic Faith as well as denied the king's spiritual jurisdiction by upholding the Pope's spiritual primacy and condemning the oaths of supremacy and allegiance. Sentenced to death, the courageous priest was hanged at Glasgow in 1615 at the age of thirty-six. His feast day is March 10.h

Irises

Light-loving irises, perhaps, can challenge the primacy of roses. And all because these magnificent perennials, even fading, do not lose their decorative. Irises are often called rainbow flower for the rich shades of shapes, sizes and colors.

Allan Gardens Conservatory is a major landmark and tourist attraction in downtown Toronto. Its historic, cast-iron and glass domed "Palm House" was built in 1910 and is designated under

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).

IN ENGLISH BELOW THE LINE

Caminant pels serens carrers de Mdina, es disfruta de la seva magnificencia tot i la calor d'inicis de la tarda.

El centre politic i social de l'illa de Malta fou fins finals de l'edat mitjana, al centre de l'illa, en els turons que dominen la plana central. Aquí, des d'època fenicia s'hi establí LA ciutat de Malta, originariament Melita, pel que sembla. Així continuà durant tota la llarga ocupació romana. Amb les sotragades de l'expansió islamica, aquesta ciutat que havia anat expandint-se, fou arrasada i deshabitada força temps. Després fou habitada per arabs nord-africans, que li posaren un nou nom, Medina, ja que era la única ciutat a tot Malta. Això continuà així fins i tot amb el nou domini primer normand, després angeví i després català de Malta. La ciutat, anomenada localment Mdina, o també Cittá Vecchia - Cittá Notabile, no cedí la primacía política fins que l'Ordre de l'Hospital arribà el 1523 per a establir la nova capital al Gran Port, a Birgu, interesats en el domini naval com estaven ells. Finalment, Valetta agafà el relleu fins als nostres dies.

Però Mdina, amb la seva extensió fora muralles amb un altre nom (Rabat, és a dir, "barriada"). continua essent un pol cultural de Malta. I la seva posició privilegiada es nota quan hi arribes, amb unes vistes fantastiques sobre l'entorn, i una arquitectura noble i serena, literalment de pedra picada. L'anomenen "la ciutat del silenci".

ca.wikipedia.org/wiki/Mdina

====================================

While walking through the stone streets of Mdina, even in a hot July afternoon, you can admire it's beautiful serenity.

The political and social center of the island of Malta was until the end of the Middle Ages, in the center of the island, on the hills that dominate the central plain. Here, since Phoenician times, THE city of Malta was established, originally Melita, apparently. It continued like this throughout the long Roman occupation. With the upheavals of Islamic expansion, this city that had been expanding, was razed and uninhabited for quite a while. It was then inhabited by North African Arabs, who gave it a new name, Medina, since it was the only city in all of Malta. This continued even with the new first Norman, then Angevin and then Catalan rule of Malta. The city, locally called Mdina, or also Cittá Vecchia - Cittá Notabile, did not cede political primacy until the Order of the Hospital arrived in 1523 to establish the new capital in the Grand Port, in Birgu, interested in naval dominance as they were. Finally, Valletta took over until today.

But Mdina, with its extension outside the walls with another name (Rabat, meaning "neighborhood"). continues to be a cultural hub of Malta. And its privileged position is noticeable when you arrive, with fantastic views over the surroundings, and a noble and serene architecture, literally of stone masonry. They call it "the city of silence"

en.wikipedia.org/wiki/Mdina

Entered into the Kreative People Group's "Social Distortion" challenge.

www.flickr.com/groups/1752359@N21/discuss/72157698121152170/

Another older, Pano-Sabotage piece, pulled out of the archives and dusted off. I have hundreds of these things in there. It's good to find the ones that somehow never made it to the screen for whatever reason and getting them out there.

Boys' Night Out. Common across the world. Our group of same -gender friends means so much, everything, to us when we're in our teens and twenties. There's a bond there that fortifies us and makes life extremely fun and exciting.

Here though, the image suggests a darker side, a twist or perversion of that social order. "Friends" now rarely give each other eye contact, even when they're together. Their faces are resolutely IN their phones. Not only their faces but their whole consciousnesses. This primacy of the digital and virtual over the actual and real is rotting away bonds that were once universal. Friends, couples, relatives all physically together but none of them present to the situation or each other.

Here the mannequins suggest the outward event of a boys' night out but peopled, so to speak, by mockeries of human beings. An apt metaphor of the growing social malaise.

Image shot July 27, 2015, posted 2018.

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© Richard S Warner ( Visionheart ) - 2015, 2018. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.

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I am VERY proud to announce that I was chosen to be the feature artist of the "Kreative People" Group's Spring Gallery - Running until the end of June. I really must thank both abstractartangel77 and Xandram for bestowing me with this great honour. The link to the gallery appears below:

Please visit my Kreative People Highlight Gallery HERE

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).

Cathédrale Saint-Jean-Baptiste, Lyon, Auvernia-Ródano-Alpes, France.

La Cathédrale Saint-Jean-Baptiste de Lyon, a menudo llamada simplemente catedral de Lyon o Primatiale Saint-Jean-Baptiste-et-Saint-Étienne​ es la catedral y primado de Lyon (Francia). El término primado viene de Primat des Gaules, título histórico del obispo de Lyon.

Construida entre 1180 y 1480, mezcla el estilo Románico con el Gótico. Cuenta con un reloj astronómico del siglo XIV.

La construcción comenzó en el siglo XII con la pared del monasterio. Las partes más bajas del ábside, las capillas de ambos lados y el transepto fueron construidos entre 1165 y 1180 en estilo Románico. El techo del ábside y el transepto en estilo Gótico, las dos torres orientales, los primeros cuatro tramos de la nave y la bóveda fueron completados entre el siglo XII y el primer tercio del siglo XIII.

A mediados del siglo XIII, las ventanas del coro y los dos rosetones del transepto fueron completados. Entre finales del siglo XII y el primer tercio del siglo XIV, los últimos cuatro tramos y la parte más baja de la fachada fueron completadas. El final del siglo XIV presenció la terminación de los últimos tramos de la bóveda y los rosetones de la fachada en 1392.

En el siglo XV, la parte superior de la fachada y las torres fueron completadas. La estatua de Dios Padre fue ubicada en la parte más alta del frontón en 1481. La capilla de los Borbones (nombrada así por los arzobispos que ordenaron su construcción), de un estilo Gótico tardío, fue construida entre finales del siglo XV y comienzos del siglo XVI.

En 1562, la catedral fue destruida por las tropas calvinistas del barón de Adrets. Las ventanas de la gran nave medieval y del tímpano del largo portal fueron destruidas en el siglo XVIII por orden de los Canónigos. Durante la revolución, la catedral sufrió algunos daños.

Entre 1791 y 1793, el arzobispo Lamourette ordenó la modificación de los coros. Esto incluyó la destrucción del atril.

El coro fue restaurado a su disposición medieval entre 1935 y 1936. Durante la liberación de Lyon en septiembre de 1944, algunas de las vidrieras de colores fueron destruidas.

La fachada fue restaurada en 1982.

The Cathédrale Saint-Jean-Baptiste de Lyon, often called simply Lyon Cathedral or Primatiale Saint-Jean-Baptiste-et-Saint-Étienne is the cathedral and primate of Lyon (France). The term primacy comes from Primat des Gaules, the historical title of the Bishop of Lyon.

Built between 1180 and 1480, it mixes the Romanesque style with the Gothic. It has an astronomical clock from the 14th century.

Construction began in the 12th century with the wall of the monastery. The lower parts of the apse, the chapels on both sides and the transept were built between 1165 and 1180 in the Romanesque style. The roof of the apse and the transept in Gothic style, the two eastern towers, the first four sections of the nave and the vault were completed between the 12th century and the first third of the 13th century.

In the middle of the 13th century, the windows of the choir and the two rose windows of the transept were completed. Between the end of the 12th century and the first third of the 14th century, the last four sections and the lowest part of the facade were completed. The end of the 14th century witnessed the completion of the last sections of the vault and the rose windows of the facade in 1392.

In the 15th century, the upper part of the facade and the towers were completed. The statue of God the Father was located in the highest part of the pediment in 1481. The Bourbon Chapel (named after the archbishops who ordered its construction), of a late Gothic style, was built between the end of the 15th century and the beginning of the century XVI.

In 1562, the cathedral was destroyed by the Calvinist troops of Baron Adrets. The windows of the great medieval nave and the tympanum of the long portal were destroyed in the 18th century by order of the Canons. During the revolution, the cathedral suffered some damage.

Between 1791 and 1793, Archbishop Lamourette ordered the modification of the choirs. This included the destruction of the lectern.

The choir was restored to its medieval disposition between 1935 and 1936. During the liberation of Lyon in September 1944, some of the stained glass windows were destroyed.

The facade was restored in 1982.

St Patrick’s Church of Ireland Cathedral, Armagh (Irish: Ardeaglais Phádraig, Ard Mhacha) is the seat of the Anglican Archbishop of Armagh and Diocese of Armagh. Although the origins of the site are as a 5th century Irish stone monastery, said to have been founded by St. Patrick, and there has been a significant church on the site since, its present appearance largely dates from Lewis Nockalls Cottingham’s restoration in the years after 1834, although the fabric of Primate O’Scanlan’s 1268 building remains. Over the centuries, the church on the site has been at least partially destroyed and rebuilt 17 times.

Throughout the Middle Ages, the cathedral was the seat of the Catholic Archbishop of Armagh, head of the Catholic Church in Ireland, and one of the most important churches in Gaelic Ireland. With the 16th-century Protestant Reformation, the cathedral was taken over by the Church of Ireland.

Following Catholic emancipation in the 19th century, a new Catholic cathedral was built in Armagh, also called St Patrick’s Cathedral, on another hilltop half a kilometre away.

Evidence suggests that the hilltop was originally a pagan sanctuary. By the 7th century, it had become the most important monastery and monastic school in the north of Ireland, and monastic settlement grew up around it. Brian Boru, High King of Ireland, visited Armagh in 1004, acknowledging it as the head cathedral of Ireland and bestowing it a large sum of gold. Brian was buried at Armagh cathedral after his death at the Battle of Clontarf in 1014. Armagh’s claim to the primacy of Ireland was formally acknowledged at the Synod of Ráth Breasail in 1111.

The cathedral was renovated and restored under Dean Eoghan McCawell (1505–1549), having suffered from a devastating fire in 1511 and being in poor shape. Soon after his death the cathedral was described by Lord Chancellor Cusack as “one of the fairest and best churches in Ireland”. However, by the end of the Nine Years’ War which devastated Ulster between 1593 and 1603, Armagh lay in ruins.

Following the Nine Years’ War, Armagh came under English control and the town began to be settled by Protestants from Britain, as part of the Plantation of Ulster. During the Irish Rebellion of 1641, many Protestant settlers fled to Armagh cathedral for safety. After negotiations with the besieged settlers, Catholic rebels occupied the town until May 1642.

As mentioned above, the cathedral largely owes its current appearance to a rebuilding between 1834 and 1840 by Archbishop Lord John George Beresford and the architect Lewis Nockalls Cottingham. The fabric remains that of the mediaeval building but much restored. While Cottingham was heavy-handed in his restoration, the researches of T. G. F. Patterson and Janet Myles in the late twentieth century have shown the restoration to have been notably antiquarian for its time. The tracery of the nave windows in particular are careful restorations as is the copy of the font. The capital decoration of the two westernmost pillars of the nave (either side of the West Door internal porch) are mediaeval as are the bulk of the external gargoyle carvings (some resited) of the parapet of the Eastern Arm. Cottingham’s intention of retaining the richly cusped West Door with flanking canopied niches was over-ruled. Subsequent restorations have more radically altered the internal proportions of the mediaeval building, proportions which Cottingham had retained.

Many other Celtic and mediaeval carvings are to be seen within the cathedral which is also rich in eighteenth- and nineteenth-century sculpture. There are works by Francis Leggatt Chantrey, Louis-François Roubiliac, John Michael Rysbrack, Carlo Marochetti and others.

(from Wikipedia)

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).

In contrast to the stupas, the hollow gu-style temple is a structure used for meditation, devotional worship of the Buddha and other Buddhist rituals. The gu temples come in two basic styles: "one-face" design and "four-face" design—essentially one main entrance and four main entrances. Other styles such as five-face and hybrids also exist. The one-face style grew out of 2nd century Beikthano, and the four-face out of 7th century Sri Ksetra. The temples, whose main features were the pointed arches and the vaulted chamber, became larger and grander in the Bagan period.

Cathédrale Saint-Jean-Baptiste, Lyon, Auvernia-Ródano-Alpes, France.

La Cathédrale Saint-Jean-Baptiste de Lyon, a menudo llamada simplemente catedral de Lyon o Primatiale Saint-Jean-Baptiste-et-Saint-Étienne​ es la catedral y primado de Lyon (Francia). El término primado viene de Primat des Gaules, título histórico del obispo de Lyon.

Construida entre 1180 y 1480, mezcla el estilo Románico con el Gótico. Cuenta con un reloj astronómico del siglo XIV.

La construcción comenzó en el siglo XII con la pared del monasterio. Las partes más bajas del ábside, las capillas de ambos lados y el transepto fueron construidos entre 1165 y 1180 en estilo Románico. El techo del ábside y el transepto en estilo Gótico, las dos torres orientales, los primeros cuatro tramos de la nave y la bóveda fueron completados entre el siglo XII y el primer tercio del siglo XIII.

A mediados del siglo XIII, las ventanas del coro y los dos rosetones del transepto fueron completados. Entre finales del siglo XII y el primer tercio del siglo XIV, los últimos cuatro tramos y la parte más baja de la fachada fueron completadas. El final del siglo XIV presenció la terminación de los últimos tramos de la bóveda y los rosetones de la fachada en 1392.

En el siglo XV, la parte superior de la fachada y las torres fueron completadas. La estatua de Dios Padre fue ubicada en la parte más alta del frontón en 1481. La capilla de los Borbones (nombrada así por los arzobispos que ordenaron su construcción), de un estilo Gótico tardío, fue construida entre finales del siglo XV y comienzos del siglo XVI.

En 1562, la catedral fue destruida por las tropas calvinistas del barón de Adrets. Las ventanas de la gran nave medieval y del tímpano del largo portal fueron destruidas en el siglo XVIII por orden de los Canónigos. Durante la revolución, la catedral sufrió algunos daños.

Entre 1791 y 1793, el arzobispo Lamourette ordenó la modificación de los coros. Esto incluyó la destrucción del atril.

El coro fue restaurado a su disposición medieval entre 1935 y 1936. Durante la liberación de Lyon en septiembre de 1944, algunas de las vidrieras de colores fueron destruidas.

La fachada fue restaurada en 1982.

The Cathédrale Saint-Jean-Baptiste de Lyon, often called simply Lyon Cathedral or Primatiale Saint-Jean-Baptiste-et-Saint-Étienne is the cathedral and primate of Lyon (France). The term primacy comes from Primat des Gaules, the historical title of the Bishop of Lyon.

Built between 1180 and 1480, it mixes the Romanesque style with the Gothic. It has an astronomical clock from the 14th century.

Construction began in the 12th century with the wall of the monastery. The lower parts of the apse, the chapels on both sides and the transept were built between 1165 and 1180 in the Romanesque style. The roof of the apse and the transept in Gothic style, the two eastern towers, the first four sections of the nave and the vault were completed between the 12th century and the first third of the 13th century.

In the middle of the 13th century, the windows of the choir and the two rose windows of the transept were completed. Between the end of the 12th century and the first third of the 14th century, the last four sections and the lowest part of the facade were completed. The end of the 14th century witnessed the completion of the last sections of the vault and the rose windows of the facade in 1392.

In the 15th century, the upper part of the facade and the towers were completed. The statue of God the Father was located in the highest part of the pediment in 1481. The Bourbon Chapel (named after the archbishops who ordered its construction), of a late Gothic style, was built between the end of the 15th century and the beginning of the century XVI.

In 1562, the cathedral was destroyed by the Calvinist troops of Baron Adrets. The windows of the great medieval nave and the tympanum of the long portal were destroyed in the 18th century by order of the Canons. During the revolution, the cathedral suffered some damage.

Between 1791 and 1793, Archbishop Lamourette ordered the modification of the choirs. This included the destruction of the lectern.

The choir was restored to its medieval disposition between 1935 and 1936. During the liberation of Lyon in September 1944, some of the stained glass windows were destroyed.

The facade was restored in 1982.

Statue of St Patrick at the Hill of Tara. County Meath, Ireland. He visited the kings at Tara in the 430s.

Posit totality

Primacy of reality

Affirmative essence

A reredos of Corsham Stone, representing the Last Supper, was erected behind the altar of St Patrick’s Church of Ireland Cathedral, Armagh, in 1903.

St St Patrick’s Church of Ireland Cathedral, Armagh (Irish: Ardeaglais Phádraig, Ard Mhacha) is the seat of the Anglican Archbishop of Armagh and Diocese of Armagh. Although the origins of the site are as a 5th century Irish stone monastery, said to have been founded by St. Patrick, and there has been a significant church on the site since, its present appearance largely dates from Lewis Nockalls Cottingham’s restoration in the years after 1834, although the fabric of Primate O’Scanlan’s 1268 building remains. Over the centuries, the church on the site has been at least partially destroyed and rebuilt 17 times.

Throughout the Middle Ages, the cathedral was the seat of the Catholic Archbishop of Armagh, head of the Catholic Church in Ireland, and one of the most important churches in Gaelic Ireland. With the 16th-century Protestant Reformation, the cathedral was taken over by the Church of Ireland.

Following Catholic emancipation in the 19th century, a new Catholic cathedral was built in Armagh, also called St Patrick’s Cathedral, on another hilltop half a kilometre away.

Evidence suggests that the hilltop was originally a pagan sanctuary.

By the 7th century, it had become the most important monastery and monastic school in the north of Ireland, and monastic settlement grew up around it. Brian Boru, High King of Ireland, visited Armagh in 1004, acknowledging it as the head cathedral of Ireland and bestowing it a large sum of gold. Brian was buried at Armagh cathedral after his death at the Battle of Clontarf in 1014. Armagh’s claim to the primacy of Ireland was formally acknowledged at the Synod of Ráth Breasail in 1111.

The cathedral was renovated and restored under Dean Eoghan McCawell (1505–1549), having suffered from a devastating fire in 1511 and being in poor shape. Soon after his death the cathedral was described by Lord Chancellor Cusack as “one of the fairest and best churches in Ireland”. However, by the end of the Nine Years’ War which devastated Ulster between 1593 and 1603, Armagh lay in ruins.

Following the Nine Years’ War, Armagh came under English control and the town began to be settled by Protestants from Britain, as part of the Plantation of Ulster. During the Irish Rebellion of 1641, many Protestant settlers fled to Armagh cathedral for safety. After negotiations with the besieged settlers, Catholic rebels occupied the town until May 1642.

As mentioned above, the cathedral largely owes its current appearance to a rebuilding between 1834 and 1840 by Archbishop Lord John George Beresford and the architect Lewis Nockalls Cottingham. The fabric remains that of the mediaeval building but much restored. While Cottingham was heavy-handed in his restoration, the researches of T. G. F. Patterson and Janet Myles in the late twentieth century have shown the restoration to have been notably antiquarian for its time. The tracery of the nave windows in particular are careful restorations as is the copy of the font. The capital decoration of the two westernmost pillars of the nave (either side of the West Door internal porch) are mediaeval as are the bulk of the external gargoyle carvings (some resited) of the parapet of the Eastern Arm. Cottingham’s intention of retaining the richly cusped West Door with flanking canopied niches was over-ruled. Subsequent restorations have more radically altered the internal proportions of the mediaeval building, proportions which Cottingham had retained.

Many other Celtic and mediaeval carvings are to be seen within the cathedral which is also rich in eighteenth- and nineteenth-century sculpture. There are works by Francis Leggatt Chantrey, Louis-François Roubiliac, John Michael Rysbrack, Carlo Marochetti and others.

Cathédrale Saint-Jean-Baptiste, Lyon, Auvernia-Ródano-Alpes, France.

La Cathédrale Saint-Jean-Baptiste de Lyon, a menudo llamada simplemente catedral de Lyon o Primatiale Saint-Jean-Baptiste-et-Saint-Étienne​ es la catedral y primado de Lyon (Francia). El término primado viene de Primat des Gaules, título histórico del obispo de Lyon.

Construida entre 1180 y 1480, mezcla el estilo Románico con el Gótico. Cuenta con un reloj astronómico del siglo XIV.

La construcción comenzó en el siglo XII con la pared del monasterio. Las partes más bajas del ábside, las capillas de ambos lados y el transepto fueron construidos entre 1165 y 1180 en estilo Románico. El techo del ábside y el transepto en estilo Gótico, las dos torres orientales, los primeros cuatro tramos de la nave y la bóveda fueron completados entre el siglo XII y el primer tercio del siglo XIII.

A mediados del siglo XIII, las ventanas del coro y los dos rosetones del transepto fueron completados. Entre finales del siglo XII y el primer tercio del siglo XIV, los últimos cuatro tramos y la parte más baja de la fachada fueron completadas. El final del siglo XIV presenció la terminación de los últimos tramos de la bóveda y los rosetones de la fachada en 1392.

En el siglo XV, la parte superior de la fachada y las torres fueron completadas. La estatua de Dios Padre fue ubicada en la parte más alta del frontón en 1481. La capilla de los Borbones (nombrada así por los arzobispos que ordenaron su construcción), de un estilo Gótico tardío, fue construida entre finales del siglo XV y comienzos del siglo XVI.

En 1562, la catedral fue destruida por las tropas calvinistas del barón de Adrets. Las ventanas de la gran nave medieval y del tímpano del largo portal fueron destruidas en el siglo XVIII por orden de los Canónigos. Durante la revolución, la catedral sufrió algunos daños.

Entre 1791 y 1793, el arzobispo Lamourette ordenó la modificación de los coros. Esto incluyó la destrucción del atril.

El coro fue restaurado a su disposición medieval entre 1935 y 1936. Durante la liberación de Lyon en septiembre de 1944, algunas de las vidrieras de colores fueron destruidas.

La fachada fue restaurada en 1982.

The Cathédrale Saint-Jean-Baptiste de Lyon, often called simply Lyon Cathedral or Primatiale Saint-Jean-Baptiste-et-Saint-Étienne is the cathedral and primate of Lyon (France). The term primacy comes from Primat des Gaules, the historical title of the Bishop of Lyon.

Built between 1180 and 1480, it mixes the Romanesque style with the Gothic. It has an astronomical clock from the 14th century.

Construction began in the 12th century with the wall of the monastery. The lower parts of the apse, the chapels on both sides and the transept were built between 1165 and 1180 in the Romanesque style. The roof of the apse and the transept in Gothic style, the two eastern towers, the first four sections of the nave and the vault were completed between the 12th century and the first third of the 13th century.

In the middle of the 13th century, the windows of the choir and the two rose windows of the transept were completed. Between the end of the 12th century and the first third of the 14th century, the last four sections and the lowest part of the facade were completed. The end of the 14th century witnessed the completion of the last sections of the vault and the rose windows of the facade in 1392.

In the 15th century, the upper part of the facade and the towers were completed. The statue of God the Father was located in the highest part of the pediment in 1481. The Bourbon Chapel (named after the archbishops who ordered its construction), of a late Gothic style, was built between the end of the 15th century and the beginning of the century XVI.

In 1562, the cathedral was destroyed by the Calvinist troops of Baron Adrets. The windows of the great medieval nave and the tympanum of the long portal were destroyed in the 18th century by order of the Canons. During the revolution, the cathedral suffered some damage.

Between 1791 and 1793, Archbishop Lamourette ordered the modification of the choirs. This included the destruction of the lectern.

The choir was restored to its medieval disposition between 1935 and 1936. During the liberation of Lyon in September 1944, some of the stained glass windows were destroyed.

The facade was restored in 1982.

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).

Cathédrale Saint-Jean-Baptiste, Lyon, Auvernia-Ródano-Alpes, France.

La Cathédrale Saint-Jean-Baptiste de Lyon, a menudo llamada simplemente catedral de Lyon o Primatiale Saint-Jean-Baptiste-et-Saint-Étienne​ es la catedral y primado de Lyon (Francia). El término primado viene de Primat des Gaules, título histórico del obispo de Lyon.

Construida entre 1180 y 1480, mezcla el estilo Románico con el Gótico. Cuenta con un reloj astronómico del siglo XIV.

La construcción comenzó en el siglo XII con la pared del monasterio. Las partes más bajas del ábside, las capillas de ambos lados y el transepto fueron construidos entre 1165 y 1180 en estilo Románico. El techo del ábside y el transepto en estilo Gótico, las dos torres orientales, los primeros cuatro tramos de la nave y la bóveda fueron completados entre el siglo XII y el primer tercio del siglo XIII.

A mediados del siglo XIII, las ventanas del coro y los dos rosetones del transepto fueron completados. Entre finales del siglo XII y el primer tercio del siglo XIV, los últimos cuatro tramos y la parte más baja de la fachada fueron completadas. El final del siglo XIV presenció la terminación de los últimos tramos de la bóveda y los rosetones de la fachada en 1392.

En el siglo XV, la parte superior de la fachada y las torres fueron completadas. La estatua de Dios Padre fue ubicada en la parte más alta del frontón en 1481. La capilla de los Borbones (nombrada así por los arzobispos que ordenaron su construcción), de un estilo Gótico tardío, fue construida entre finales del siglo XV y comienzos del siglo XVI.

En 1562, la catedral fue destruida por las tropas calvinistas del barón de Adrets. Las ventanas de la gran nave medieval y del tímpano del largo portal fueron destruidas en el siglo XVIII por orden de los Canónigos. Durante la revolución, la catedral sufrió algunos daños.

Entre 1791 y 1793, el arzobispo Lamourette ordenó la modificación de los coros. Esto incluyó la destrucción del atril.

El coro fue restaurado a su disposición medieval entre 1935 y 1936. Durante la liberación de Lyon en septiembre de 1944, algunas de las vidrieras de colores fueron destruidas.

La fachada fue restaurada en 1982.

The Cathédrale Saint-Jean-Baptiste de Lyon, often called simply Lyon Cathedral or Primatiale Saint-Jean-Baptiste-et-Saint-Étienne is the cathedral and primate of Lyon (France). The term primacy comes from Primat des Gaules, the historical title of the Bishop of Lyon.

Built between 1180 and 1480, it mixes the Romanesque style with the Gothic. It has an astronomical clock from the 14th century.

Construction began in the 12th century with the wall of the monastery. The lower parts of the apse, the chapels on both sides and the transept were built between 1165 and 1180 in the Romanesque style. The roof of the apse and the transept in Gothic style, the two eastern towers, the first four sections of the nave and the vault were completed between the 12th century and the first third of the 13th century.

In the middle of the 13th century, the windows of the choir and the two rose windows of the transept were completed. Between the end of the 12th century and the first third of the 14th century, the last four sections and the lowest part of the facade were completed. The end of the 14th century witnessed the completion of the last sections of the vault and the rose windows of the facade in 1392.

In the 15th century, the upper part of the facade and the towers were completed. The statue of God the Father was located in the highest part of the pediment in 1481. The Bourbon Chapel (named after the archbishops who ordered its construction), of a late Gothic style, was built between the end of the 15th century and the beginning of the century XVI.

In 1562, the cathedral was destroyed by the Calvinist troops of Baron Adrets. The windows of the great medieval nave and the tympanum of the long portal were destroyed in the 18th century by order of the Canons. During the revolution, the cathedral suffered some damage.

Between 1791 and 1793, Archbishop Lamourette ordered the modification of the choirs. This included the destruction of the lectern.

The choir was restored to its medieval disposition between 1935 and 1936. During the liberation of Lyon in September 1944, some of the stained glass windows were destroyed.

The facade was restored in 1982.

Saint Patrick’s Church of Ireland Cathedral stands on the hill from which the City of Armagh derives its name – Ard Mhacha the Height of Macha. Less than half a mile away, on the neighbouring hill, is our sister, St Patrick’s Roman Catholic Cathedral.

Armagh owes everything to its traditional association with St Patrick. As early as the seventh century, Armagh’s primacy was recognized over all the churches of Ireland. As the seat of both Catholic and Anglican Archbishops, it is still the ‘Ecclesiastical Capital’ of Ireland. The legacy of its eighteenth century renaissance is due to the energy of an Anglican Archbishop, Richard Robinson. The landmark Catholic Cathedral was built by three nineteenth-century Primates, William Crolly, Joseph Dixon and Daniel McGettigan.

On the Hill around which Armagh first grew, this Cathedral is, above all, a place of Christian prayer and worship. You are welcome to join us for the Eucharist, Choral Evensong, or, on weekdays, Morning Prayer, all in the Anglican tradition. If you come as a visitor, we hope you will be touched by the beauty of this place, by a spiritual inheritance of over 1500 years, and by the history all around you.

May you leave with the knowledge of God’s presence and love.

Toledo - Naples Metro

Progettata dall'architetto spagnolo Óscar Tusquets ed inaugurata nel 2002, Toledo è una stazione della linea 1 della metropolitana di Napoli ubicata nel quartiere San Giuseppe. Secondo il quotidiano inglese The Daily Telegraph è la stazione della metropolitana più bella d'Europa. Primato confermato anche nella classifica della CNN.

Nel 2013 vince il premio Emirates leaf international award come "Public building of the year".[4] Nel 2015 è la volta del premio 'International Tunnelling Association: Oscar delle opere in sotterraneo', assegnato alla stazione che supera la concorrenza di importanti opere di Sydney e Gerusalemme

Designed by the Spanish architect Óscar Tusquets and inaugurated in 2002, Toledo is a station on line 1 of the Naples metro located in the San Giuseppe district. According to the British newspaper The Daily Telegraph is the most beautiful metro station in Europe. Primacy also confirmed in the CNN ranking.

In 2013 he won the Emirates leaf international award as "Public building of the year". [4] In 2015 it was the turn of the 'International Tunneling Association award: Oscar of underground works', assigned to the station that overcomes the competition of important works of Sydney and Jerusalem

(from Wikipedia)

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).

In contrast to the stupas, the hollow gu-style temple is a structure used for meditation, devotional worship of the Buddha and other Buddhist rituals. The gu temples come in two basic styles: "one-face" design and "four-face" design—essentially one main entrance and four main entrances. Other styles such as five-face and hybrids also exist. The one-face style grew out of 2nd century Beikthano, and the four-face out of 7th century Sri Ksetra. The temples, whose main features were the pointed arches and the vaulted chamber, became larger and grander in the Bagan period.

....

.....not so far from the ancient roman columns of San Lorenzo, in the heart of Milan (Italy)

you can find the artistic street art which represent all the history of this magic city through the main important characters and events...

the citizens of Milan love this place near Porta Ticinese, one of the most characteristic place of the city... they love its history...

this is the creative imagination, the magic hands describing the history....

© All rights reserved

Cremona è la capitale mondiale della liuteria, l’antica arte di costruzione del violino e degli altri strumenti a corda, un primato di cui la città va orgogliosa, perché, fra tutti gli strumenti musicali, il violino è quello che più sa toccare le corde dei sentimenti e suscitare emozioni.

Oltre duecento botteghe liutaie continuano ancora oggi la tradizione, che fu di notissimi liutai cremonesi, come Antonio Stradivari, gli Amati e i Guarneri, mentre una prestigiosa Scuola internazionale di liuteria accoglie e forma ogni anno studenti provenienti da ogni parte del mondo.

Cremona is the world capital of violin making, the ancient art of building the violin and other stringed instruments, a primacy of which the city is proud, because, of all the musical instruments, the violin is the one that most knows how to touch the strings feelings and arouse emotions. More than two hundred violin-making workshops still continue the tradition, which was the work of well-known Cremonese violin makers, such as Antonio Stradivari, the Amati and the Guarneri, while a prestigious international violin making school welcomes and trains students from all over the world every year.

Excerpt from www.artgalleryofhamilton.com/wp-content/uploads/2020/07/L...:

Douglas Bentham (Canadian b. 1947)

Portal 2006-7

Stainless steel

Douglas Bentham has resided in Saskatoon since 1959. Bentham received his BFA in painting from the University of Saskatchewan in 1969, and his MFA in sculpture in 1989. With over forty solo exhibitions and over 100 group exhibitions, his work has gained national and international recognition.

Bentham works “in and around the constructivist process, using an additive/ subtractive approach to collaging.” Early on in his career, Bentham worked with abstract forms through plate, sheet or rod steel that was cut and shaped. By the mid-1980s, “he felt the need to explore the expressive qualities of other materials and began to incorporate such things as found metal objects, wood, Plexiglas, etc., into his work.”

Keith Haring was born in Kutztown, Pennsylvania in 1958. Growing up, Haring was inspired by animated cartoons and comic strips and developed a love for drawing. His father supported Haring in his artistic endeavors, encouraging him to enroll into the Ivy School of Professional Art in 1976, after graduating from high school. This commercial art school made Haring realize that he had little interest in becoming a commercial graphic artist, and after two semesters he dropped out. Soon after, in 1978 he worked on his own and at the School of Visual Arts under Joseph Kosuth and Keith Sonnier, among others, in New York City.

New York City inspired Haring through the energy and constant innovation he found surrounding him. The alternative art community that was developing outside of the gallery and museum space was in the downtown streets, subways and spaces in clubs and dance halls.

Haring’s artwork explores the primacy of the line in expressing his stylistic drawings. Inspired by Christo’s public artwork and Warhol’s unique fusion of art and life, it was at this point that Haring wanted to create truly public art. He began drawing with chalk on matte black paper that was placed in unused subway

advertisements, where eventually commuters became familiar in his work through this bold, rapid rhythmic lines. Through the use of line and the directness of the message, the figures Haring created depicted many universal concepts such as birth, death, love, sex and war.

This work entitled Self-Portrait was created in 1989, after being diagnosed with AIDS in 1988. After this diagnosis, Haring strived to create awareness and activism about AIDS.

(from Wikipedia)

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).

In contrast to the stupas, the hollow gu-style temple is a structure used for meditation, devotional worship of the Buddha and other Buddhist rituals. The gu temples come in two basic styles: "one-face" design and "four-face" design—essentially one main entrance and four main entrances. Other styles such as five-face and hybrids also exist. The one-face style grew out of 2nd century Beikthano, and the four-face out of 7th century Sri Ksetra. The temples, whose main features were the pointed arches and the vaulted chamber, became larger and grander in the Bagan period.

Cathédrale Saint-Jean-Baptiste, Lyon, Auvernia-Ródano-Alpes, France.

La Cathédrale Saint-Jean-Baptiste de Lyon, a menudo llamada simplemente catedral de Lyon o Primatiale Saint-Jean-Baptiste-et-Saint-Étienne​ es la catedral y primado de Lyon (Francia). El término primado viene de Primat des Gaules, título histórico del obispo de Lyon.

Construida entre 1180 y 1480, mezcla el estilo Románico con el Gótico. Cuenta con un reloj astronómico del siglo XIV.

La construcción comenzó en el siglo XII con la pared del monasterio. Las partes más bajas del ábside, las capillas de ambos lados y el transepto fueron construidos entre 1165 y 1180 en estilo Románico. El techo del ábside y el transepto en estilo Gótico, las dos torres orientales, los primeros cuatro tramos de la nave y la bóveda fueron completados entre el siglo XII y el primer tercio del siglo XIII.

A mediados del siglo XIII, las ventanas del coro y los dos rosetones del transepto fueron completados. Entre finales del siglo XII y el primer tercio del siglo XIV, los últimos cuatro tramos y la parte más baja de la fachada fueron completadas. El final del siglo XIV presenció la terminación de los últimos tramos de la bóveda y los rosetones de la fachada en 1392.

En el siglo XV, la parte superior de la fachada y las torres fueron completadas. La estatua de Dios Padre fue ubicada en la parte más alta del frontón en 1481. La capilla de los Borbones (nombrada así por los arzobispos que ordenaron su construcción), de un estilo Gótico tardío, fue construida entre finales del siglo XV y comienzos del siglo XVI.

En 1562, la catedral fue destruida por las tropas calvinistas del barón de Adrets. Las ventanas de la gran nave medieval y del tímpano del largo portal fueron destruidas en el siglo XVIII por orden de los Canónigos. Durante la revolución, la catedral sufrió algunos daños.

Entre 1791 y 1793, el arzobispo Lamourette ordenó la modificación de los coros. Esto incluyó la destrucción del atril.

El coro fue restaurado a su disposición medieval entre 1935 y 1936. Durante la liberación de Lyon en septiembre de 1944, algunas de las vidrieras de colores fueron destruidas.

La fachada fue restaurada en 1982.

The Cathédrale Saint-Jean-Baptiste de Lyon, often called simply Lyon Cathedral or Primatiale Saint-Jean-Baptiste-et-Saint-Étienne is the cathedral and primate of Lyon (France). The term primacy comes from Primat des Gaules, the historical title of the Bishop of Lyon.

Built between 1180 and 1480, it mixes the Romanesque style with the Gothic. It has an astronomical clock from the 14th century.

Construction began in the 12th century with the wall of the monastery. The lower parts of the apse, the chapels on both sides and the transept were built between 1165 and 1180 in the Romanesque style. The roof of the apse and the transept in Gothic style, the two eastern towers, the first four sections of the nave and the vault were completed between the 12th century and the first third of the 13th century.

In the middle of the 13th century, the windows of the choir and the two rose windows of the transept were completed. Between the end of the 12th century and the first third of the 14th century, the last four sections and the lowest part of the facade were completed. The end of the 14th century witnessed the completion of the last sections of the vault and the rose windows of the facade in 1392.

In the 15th century, the upper part of the facade and the towers were completed. The statue of God the Father was located in the highest part of the pediment in 1481. The Bourbon Chapel (named after the archbishops who ordered its construction), of a late Gothic style, was built between the end of the 15th century and the beginning of the century XVI.

In 1562, the cathedral was destroyed by the Calvinist troops of Baron Adrets. The windows of the great medieval nave and the tympanum of the long portal were destroyed in the 18th century by order of the Canons. During the revolution, the cathedral suffered some damage.

Between 1791 and 1793, Archbishop Lamourette ordered the modification of the choirs. This included the destruction of the lectern.

The choir was restored to its medieval disposition between 1935 and 1936. During the liberation of Lyon in September 1944, some of the stained glass windows were destroyed.

The facade was restored in 1982.

(from Wikipedia)

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).

(from Wikipedia)

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).

(from Wikipedia)

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).

IN ENGLISH BELOW THE LINE

El centre politic i social de l'illa de Malta fou fins finals de l'edat mitjana, al centre de l'illa, en els turons que dominen la plana central. Aquí, des d'època fenicia s'hi establí LA ciutat de Malta, originariament Melita, pel que sembla. Així continuà durant tota la llarga ocupació romana. Amb les sotragades de l'expansió islamica, aquesta ciutat que havia anat expandint-se, fou arrasada i deshabitada força temps. Després fou habitada per arabs nord-africans, que li posaren un nou nom, Medina, ja que era la única ciutat a tot Malta. Això continuà així fins i tot amb el nou domini primer normand, després angeví i després català de Malta. La ciutat, anomenada localment Mdina, o també Cittá Vecchia - Cittá Notabile, no cedí la primacía política fins que l'Ordre de l'Hospital arribà el 1523 per a establir la nova capital al Gran Port, a Birgu, interesats en el domini naval com estaven ells. Finalment, Valetta agafà el relleu fins als nostres dies.

Però Mdina, amb la seva extensió fora muralles amb un altre nom (Rabat, és a dir, "barriada"). continua essent un pol cultural de Malta. I la seva posició privilegiada es nota quan hi arribes, amb unes vistes fantastiques sobre l'entorn, i una arquitectura noble i serena, literalment de pedra picada. L'anomenen "la ciutat del silenci".

ca.wikipedia.org/wiki/Mdina

====================================

The political and social center of the island of Malta was until the end of the Middle Ages, in the center of the island, on the hills that dominate the central plain. Here, since Phoenician times, THE city of Malta was established, originally Melita, apparently. It continued like this throughout the long Roman occupation. With the upheavals of Islamic expansion, this city that had been expanding, was razed and uninhabited for quite a while. It was then inhabited by North African Arabs, who gave it a new name, Medina, since it was the only city in all of Malta. This continued even with the new first Norman, then Angevin and then Catalan rule of Malta. The city, locally called Mdina, or also Cittá Vecchia - Cittá Notabile, did not cede political primacy until the Order of the Hospital arrived in 1523 to establish the new capital in the Grand Port, in Birgu, interested in naval dominance as they were. Finally, Valletta took over until today.

But Mdina, with its extension outside the walls with another name (Rabat, meaning "neighborhood"). continues to be a cultural hub of Malta. And its privileged position is noticeable when you arrive, with fantastic views over the surroundings, and a noble and serene architecture, literally of stone masonry. They call it "the city of silence"

en.wikipedia.org/wiki/Mdina

Saint Patrick’s Church of Ireland Cathedral stands on the hill from which the City of Armagh derives its name – Ard Mhacha the Height of Macha. Less than half a mile away, on the neighbouring hill, is our sister, St Patrick’s Roman Catholic Cathedral.

Armagh owes everything to its traditional association with St Patrick. As early as the seventh century, Armagh’s primacy was recognized over all the churches of Ireland. As the seat of both Catholic and Anglican Archbishops, it is still the ‘Ecclesiastical Capital’ of Ireland. The legacy of its eighteenth century renaissance is due to the energy of an Anglican Archbishop, Richard Robinson. The landmark Catholic Cathedral was built by three nineteenth-century Primates, William Crolly, Joseph Dixon and Daniel McGettigan.

On the Hill around which Armagh first grew, this Cathedral is, above all, a place of Christian prayer and worship. You are welcome to join us for the Eucharist, Choral Evensong, or, on weekdays, Morning Prayer, all in the Anglican tradition. If you come as a visitor, we hope you will be touched by the beauty of this place, by a spiritual inheritance of over 1500 years, and by the history all around you.

May you leave with the knowledge of God’s presence and love.

Toledo - Naples Metro

Progettata dall'architetto spagnolo Óscar Tusquets ed inaugurata nel 2002, Toledo è una stazione della linea 1 della metropolitana di Napoli ubicata nel quartiere San Giuseppe. Secondo il quotidiano inglese The Daily Telegraph è la stazione della metropolitana più bella d'Europa. Primato confermato anche nella classifica della CNN.

Nel 2013 vince il premio Emirates leaf international award come "Public building of the year".[4] Nel 2015 è la volta del premio 'International Tunnelling Association: Oscar delle opere in sotterraneo', assegnato alla stazione che supera la concorrenza di importanti opere di Sydney e Gerusalemme

Designed by the Spanish architect Óscar Tusquets and inaugurated in 2002, Toledo is a station on line 1 of the Naples metro located in the San Giuseppe district. According to the British newspaper The Daily Telegraph is the most beautiful metro station in Europe. Primacy also confirmed in the CNN ranking.

In 2013 he won the Emirates leaf international award as "Public building of the year". [4] In 2015 it was the turn of the 'International Tunneling Association award: Oscar of underground works', assigned to the station that overcomes the competition of important works of Sydney and Jerusalem

Dedicated to Saint John, the cathedral of Lyon is one of the most prominent churches of France (it is also a UNESCO World Heritage site). Indeed, the archbishop of Lyon has borne the title of “Primate of the Gauls” since the 2nd century, as Lyon was the first bishopric ever created in the “three Gauls”, as the provinces of Lyon and the Alps, the Aquitaine, and Belgium, were known during the times of the Western Roman Empire. Lyon was then the capital of all those vast territories. This “primacy” conferred to the archbishop of Lyon authority over all other bishops, even that of Paris, the secular capital of more recent times. Now, the title is largely honorific.

The Saint-Jean Cathedral is mostly a Gothic church, and as such of limited interest to me. However, having been built over the span of three centuries, from 1175 to 1480, it was begun as a Romanesque church and there are indeed small parts and details that remain from that period, albeit few and far between.

I have visited that church several times, but I went again on the Saturday before Easter (2022) to try and locate a few of those parts and details...

It was also a good opportunity to test my “Brittany Configuration”, i.e., the gear I will bring on my week-long family trip to Brittany at the beginning of May: as I wasn’t sure what kind of equipment would be allowed inside the cathedral, I brought my new 24–120mm ƒ/4 S lens, with the 14–30mm in case of need (I ended up not needing it), and my very small and light Gitzo Series 0 Traveler tripod, which I used for all exposures indoors. That gear worked very satisfactorily. Of course, the tripod is a lot shorter than my usual one (not to mention my big one!), but one has to make do when one must travel light. That was the idea.

Happy Easter to everyone!

The rhythm of Romanesque: all those elegant piles lining the southern aisle and supporting the vault are from the Romanesque period. They were meant to support groin vaulting but had to be converted to rib vaulting when the cathedral went Gothic in the late 1200s.

Oh, thank you so much for being on the path of wisdom and of my dear ones, as well.

Thank you for remembering me, at all times and for caring about me and mine,

who are very important to me.

Thank you for your ability to express yourself warmly.

Thank you for being kind in contacting me.

Without further thought, I will write in a way that respects you,

in this way I also respect myself.

I will write and answer your email in a respectful manner that always respects both of us.

Oh, thank you very much. I will always write in my own words

...and always express myself in my own words only.

A derogatory type will never and will never dare to insert such or other words

and certainly will not control the way of your correspondence or communication.

My answer to you expresses and will mutually express support.

What we sow, we reap...

and I will always remember your willingness to be independent of someone else's dictates...

of what to say, what to say... or if at all to answer... or to do a "favor" in response to your automatic symbolic smile.

You are not an egoist and I am not an egoist...

we will continue to have a respectable relationship.

As you care about me and the dearest of my heart,

correspondingly I care about you and the dearest of your heart.

The relationship between us is uncontrollable by others.

Oh, thank you so much. You are just as good as me, and even if we are not the same,

caring and truth dictate our ways in life.

Reciprocity is the word.

It's all a question of goodwill, or of being uncontrolled by others,

No one dares to dictate to you.. Never to me!

I will write... exactly as you write, and not just to get out of my way by marking one way or another.

Oh, thanks to you and your importance in a way that does not depend on unnecessary dictates or injustices.

By the way.. if some are controlled by their content.. extremely unfortunate.. The universe will repay accordingly. Now... ask yourself and here is the reference not to primacy in my writings here. When was the last time you thought to let me know? What were you asked, to tell me.. to do.. or simply not to answer.. or not to address... you are controlled! And you became a stranger by someone else's will. And what did you get out of it?... A lot. Hiding the truth is like lying, even if you gain a lot from it.

To those that are controlled by order, such as, reply, no reply, comment with NICE (I become allergic to "nice" ). I have NO THANKS, Sorry... so sorry for those who are controlled or controlled others.

The world could be better because of people like me... But surely It will never be, since you are controlled by giving gifts @ orders.

Copyrights (c) NIra Dabush.

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Photography Photograph Florals Nira Dabush Colourful Magic Studio Floral Flowers.

Balthasar had a great respect for the primacy of Peter, and the hierarchical structure of the Church. But he also knew that the Church is not only that, nor is that what is deepest in the Church.

-Cardinal Joseph Ratzinger

(from Wikipedia)

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).

Cathédrale Saint-Jean-Baptiste, Lyon, Auvernia-Ródano-Alpes, France.

La Cathédrale Saint-Jean-Baptiste de Lyon, a menudo llamada simplemente catedral de Lyon o Primatiale Saint-Jean-Baptiste-et-Saint-Étienne​ es la catedral y primado de Lyon (Francia). El término primado viene de Primat des Gaules, título histórico del obispo de Lyon.

Construida entre 1180 y 1480, mezcla el estilo Románico con el Gótico. Cuenta con un reloj astronómico del siglo XIV.

La construcción comenzó en el siglo XII con la pared del monasterio. Las partes más bajas del ábside, las capillas de ambos lados y el transepto fueron construidos entre 1165 y 1180 en estilo Románico. El techo del ábside y el transepto en estilo Gótico, las dos torres orientales, los primeros cuatro tramos de la nave y la bóveda fueron completados entre el siglo XII y el primer tercio del siglo XIII.

A mediados del siglo XIII, las ventanas del coro y los dos rosetones del transepto fueron completados. Entre finales del siglo XII y el primer tercio del siglo XIV, los últimos cuatro tramos y la parte más baja de la fachada fueron completadas. El final del siglo XIV presenció la terminación de los últimos tramos de la bóveda y los rosetones de la fachada en 1392.

En el siglo XV, la parte superior de la fachada y las torres fueron completadas. La estatua de Dios Padre fue ubicada en la parte más alta del frontón en 1481. La capilla de los Borbones (nombrada así por los arzobispos que ordenaron su construcción), de un estilo Gótico tardío, fue construida entre finales del siglo XV y comienzos del siglo XVI.

En 1562, la catedral fue destruida por las tropas calvinistas del barón de Adrets. Las ventanas de la gran nave medieval y del tímpano del largo portal fueron destruidas en el siglo XVIII por orden de los Canónigos. Durante la revolución, la catedral sufrió algunos daños.

Entre 1791 y 1793, el arzobispo Lamourette ordenó la modificación de los coros. Esto incluyó la destrucción del atril.

El coro fue restaurado a su disposición medieval entre 1935 y 1936. Durante la liberación de Lyon en septiembre de 1944, algunas de las vidrieras de colores fueron destruidas.

La fachada fue restaurada en 1982.

The Cathédrale Saint-Jean-Baptiste de Lyon, often called simply Lyon Cathedral or Primatiale Saint-Jean-Baptiste-et-Saint-Étienne is the cathedral and primate of Lyon (France). The term primacy comes from Primat des Gaules, the historical title of the Bishop of Lyon.

Built between 1180 and 1480, it mixes the Romanesque style with the Gothic. It has an astronomical clock from the 14th century.

Construction began in the 12th century with the wall of the monastery. The lower parts of the apse, the chapels on both sides and the transept were built between 1165 and 1180 in the Romanesque style. The roof of the apse and the transept in Gothic style, the two eastern towers, the first four sections of the nave and the vault were completed between the 12th century and the first third of the 13th century.

In the middle of the 13th century, the windows of the choir and the two rose windows of the transept were completed. Between the end of the 12th century and the first third of the 14th century, the last four sections and the lowest part of the facade were completed. The end of the 14th century witnessed the completion of the last sections of the vault and the rose windows of the facade in 1392.

In the 15th century, the upper part of the facade and the towers were completed. The statue of God the Father was located in the highest part of the pediment in 1481. The Bourbon Chapel (named after the archbishops who ordered its construction), of a late Gothic style, was built between the end of the 15th century and the beginning of the century XVI.

In 1562, the cathedral was destroyed by the Calvinist troops of Baron Adrets. The windows of the great medieval nave and the tympanum of the long portal were destroyed in the 18th century by order of the Canons. During the revolution, the cathedral suffered some damage.

Between 1791 and 1793, Archbishop Lamourette ordered the modification of the choirs. This included the destruction of the lectern.

The choir was restored to its medieval disposition between 1935 and 1936. During the liberation of Lyon in September 1944, some of the stained glass windows were destroyed.

The facade was restored in 1982.

Demonstranten verzamelen zich op de Rynek in Katowice om te protesteren tegen de anti-Europese koers van de nationalistisch-conservatieve regeringspartij PiS. Aanleiding was de uitspraak van het Poolse Constitutionele Hof van enkele dagen eerder. Dit hof, dat de PiS door politieke benoemingen en bestraffingen naar zijn hand heeft gezet, zette de verhoudingen met de EU op scherp met de uitspraak dat de Europese wetgeving niet altijd boven de Poolse gaat. Deze zondagmiddag werd ook gedemonstreerd in andere grote Poolse steden

Demonstrators gathering on Rynek in Katowice to protest against the anti-European policy of the nationalist-conservative governing party PiS. The reason was the verdict of the Polish Constitutional Tribunal, strongly influenced by PiS, a few days before. This court rejected the principle of the primacy of EU law over national legislation in certain judicial matters. Many demonstrators were on the streets in the major Polish cities this Sunday afternoon

UNO DEI GENI PIU' GRANDI IN ASSOLUTO

Il genio della musica, secondo me e di moltissimi appassionati di musica al mondo,è il numero uno incontrastato: Ludwig van Beethoven. Un primato che divide a stretto contatto con Bach e Mozart. Ma del terzetto lui, con la Nona Sinfonia, o meglio con l’Inno alla Gioia che ne fa parte, merita di essere il più popolare a livello mondiale.

-----------------------------------------------------------

ONE OF THE GREATEST GENIUS EVER

The genius of music, in my opinion and in many music lovers in the world, is the undisputed number one: Ludwig van Beethoven. A primacy that he shares in close contact with Bach and Mozart. But of the trio he, with the Ninth Symphony, or rather with the Ode to Joy that is part of it, deserves to be the most popular worldwide.

CANON EOS 6D Mark II con ob. CANON EF 100 mm f./2,8 L Macro IS USM

Cathédrale Saint-Jean-Baptiste, Lyon, Auvernia-Ródano-Alpes, France.

La Cathédrale Saint-Jean-Baptiste de Lyon, a menudo llamada simplemente catedral de Lyon o Primatiale Saint-Jean-Baptiste-et-Saint-Étienne​ es la catedral y primado de Lyon (Francia). El término primado viene de Primat des Gaules, título histórico del obispo de Lyon.

Construida entre 1180 y 1480, mezcla el estilo Románico con el Gótico. Cuenta con un reloj astronómico del siglo XIV.

La construcción comenzó en el siglo XII con la pared del monasterio. Las partes más bajas del ábside, las capillas de ambos lados y el transepto fueron construidos entre 1165 y 1180 en estilo Románico. El techo del ábside y el transepto en estilo Gótico, las dos torres orientales, los primeros cuatro tramos de la nave y la bóveda fueron completados entre el siglo XII y el primer tercio del siglo XIII.

A mediados del siglo XIII, las ventanas del coro y los dos rosetones del transepto fueron completados. Entre finales del siglo XII y el primer tercio del siglo XIV, los últimos cuatro tramos y la parte más baja de la fachada fueron completadas. El final del siglo XIV presenció la terminación de los últimos tramos de la bóveda y los rosetones de la fachada en 1392.

En el siglo XV, la parte superior de la fachada y las torres fueron completadas. La estatua de Dios Padre fue ubicada en la parte más alta del frontón en 1481. La capilla de los Borbones (nombrada así por los arzobispos que ordenaron su construcción), de un estilo Gótico tardío, fue construida entre finales del siglo XV y comienzos del siglo XVI.

En 1562, la catedral fue destruida por las tropas calvinistas del barón de Adrets. Las ventanas de la gran nave medieval y del tímpano del largo portal fueron destruidas en el siglo XVIII por orden de los Canónigos. Durante la revolución, la catedral sufrió algunos daños.

Entre 1791 y 1793, el arzobispo Lamourette ordenó la modificación de los coros. Esto incluyó la destrucción del atril.

El coro fue restaurado a su disposición medieval entre 1935 y 1936. Durante la liberación de Lyon en septiembre de 1944, algunas de las vidrieras de colores fueron destruidas.

La fachada fue restaurada en 1982.

The Cathédrale Saint-Jean-Baptiste de Lyon, often called simply Lyon Cathedral or Primatiale Saint-Jean-Baptiste-et-Saint-Étienne is the cathedral and primate of Lyon (France). The term primacy comes from Primat des Gaules, the historical title of the Bishop of Lyon.

Built between 1180 and 1480, it mixes the Romanesque style with the Gothic. It has an astronomical clock from the 14th century.

Construction began in the 12th century with the wall of the monastery. The lower parts of the apse, the chapels on both sides and the transept were built between 1165 and 1180 in the Romanesque style. The roof of the apse and the transept in Gothic style, the two eastern towers, the first four sections of the nave and the vault were completed between the 12th century and the first third of the 13th century.

In the middle of the 13th century, the windows of the choir and the two rose windows of the transept were completed. Between the end of the 12th century and the first third of the 14th century, the last four sections and the lowest part of the facade were completed. The end of the 14th century witnessed the completion of the last sections of the vault and the rose windows of the facade in 1392.

In the 15th century, the upper part of the facade and the towers were completed. The statue of God the Father was located in the highest part of the pediment in 1481. The Bourbon Chapel (named after the archbishops who ordered its construction), of a late Gothic style, was built between the end of the 15th century and the beginning of the century XVI.

In 1562, the cathedral was destroyed by the Calvinist troops of Baron Adrets. The windows of the great medieval nave and the tympanum of the long portal were destroyed in the 18th century by order of the Canons. During the revolution, the cathedral suffered some damage.

Between 1791 and 1793, Archbishop Lamourette ordered the modification of the choirs. This included the destruction of the lectern.

The choir was restored to its medieval disposition between 1935 and 1936. During the liberation of Lyon in September 1944, some of the stained glass windows were destroyed.

The facade was restored in 1982.

Cathédrale Saint-Jean-Baptiste, Lyon, Auvernia-Ródano-Alpes, France.

La Cathédrale Saint-Jean-Baptiste de Lyon, a menudo llamada simplemente catedral de Lyon o Primatiale Saint-Jean-Baptiste-et-Saint-Étienne​ es la catedral y primado de Lyon (Francia). El término primado viene de Primat des Gaules, título histórico del obispo de Lyon.

Construida entre 1180 y 1480, mezcla el estilo Románico con el Gótico. Cuenta con un reloj astronómico del siglo XIV.

La construcción comenzó en el siglo XII con la pared del monasterio. Las partes más bajas del ábside, las capillas de ambos lados y el transepto fueron construidos entre 1165 y 1180 en estilo Románico. El techo del ábside y el transepto en estilo Gótico, las dos torres orientales, los primeros cuatro tramos de la nave y la bóveda fueron completados entre el siglo XII y el primer tercio del siglo XIII.

A mediados del siglo XIII, las ventanas del coro y los dos rosetones del transepto fueron completados. Entre finales del siglo XII y el primer tercio del siglo XIV, los últimos cuatro tramos y la parte más baja de la fachada fueron completadas. El final del siglo XIV presenció la terminación de los últimos tramos de la bóveda y los rosetones de la fachada en 1392.

En el siglo XV, la parte superior de la fachada y las torres fueron completadas. La estatua de Dios Padre fue ubicada en la parte más alta del frontón en 1481. La capilla de los Borbones (nombrada así por los arzobispos que ordenaron su construcción), de un estilo Gótico tardío, fue construida entre finales del siglo XV y comienzos del siglo XVI.

En 1562, la catedral fue destruida por las tropas calvinistas del barón de Adrets. Las ventanas de la gran nave medieval y del tímpano del largo portal fueron destruidas en el siglo XVIII por orden de los Canónigos. Durante la revolución, la catedral sufrió algunos daños.

Entre 1791 y 1793, el arzobispo Lamourette ordenó la modificación de los coros. Esto incluyó la destrucción del atril.

El coro fue restaurado a su disposición medieval entre 1935 y 1936. Durante la liberación de Lyon en septiembre de 1944, algunas de las vidrieras de colores fueron destruidas.

La fachada fue restaurada en 1982.

The Cathédrale Saint-Jean-Baptiste de Lyon, often called simply Lyon Cathedral or Primatiale Saint-Jean-Baptiste-et-Saint-Étienne is the cathedral and primate of Lyon (France). The term primacy comes from Primat des Gaules, the historical title of the Bishop of Lyon.

Built between 1180 and 1480, it mixes the Romanesque style with the Gothic. It has an astronomical clock from the 14th century.

Construction began in the 12th century with the wall of the monastery. The lower parts of the apse, the chapels on both sides and the transept were built between 1165 and 1180 in the Romanesque style. The roof of the apse and the transept in Gothic style, the two eastern towers, the first four sections of the nave and the vault were completed between the 12th century and the first third of the 13th century.

In the middle of the 13th century, the windows of the choir and the two rose windows of the transept were completed. Between the end of the 12th century and the first third of the 14th century, the last four sections and the lowest part of the facade were completed. The end of the 14th century witnessed the completion of the last sections of the vault and the rose windows of the facade in 1392.

In the 15th century, the upper part of the facade and the towers were completed. The statue of God the Father was located in the highest part of the pediment in 1481. The Bourbon Chapel (named after the archbishops who ordered its construction), of a late Gothic style, was built between the end of the 15th century and the beginning of the century XVI.

In 1562, the cathedral was destroyed by the Calvinist troops of Baron Adrets. The windows of the great medieval nave and the tympanum of the long portal were destroyed in the 18th century by order of the Canons. During the revolution, the cathedral suffered some damage.

Between 1791 and 1793, Archbishop Lamourette ordered the modification of the choirs. This included the destruction of the lectern.

The choir was restored to its medieval disposition between 1935 and 1936. During the liberation of Lyon in September 1944, some of the stained glass windows were destroyed.

The facade was restored in 1982.

Dedicated to Saint John, the cathedral of Lyon is one of the most prominent churches of France (it is also a UNESCO World Heritage site). Indeed, the archbishop of Lyon has borne the title of “Primate of the Gauls” since the 2nd century, as Lyon was the first bishopric ever created in the “three Gauls”, as the provinces of Lyon and the Alps, the Aquitaine, and Belgium, were known during the times of the Western Roman Empire. Lyon was then the capital of all those vast territories. This “primacy” conferred to the archbishop of Lyon authority over all other bishops, even that of Paris, the secular capital of more recent times. Now, the title is largely honorific.

The Saint-Jean Cathedral is mostly a Gothic church, and as such of limited interest to me. However, having been built over the span of three centuries, from 1175 to 1480, it was begun as a Romanesque church and there are indeed small parts and details that remain from that period, albeit few and far between.

I have visited that church several times, but I went again on the Saturday before Easter (2022) to try and locate a few of those parts and details...

It was also a good opportunity to test my “Brittany Configuration”, i.e., the gear I will bring on my week-long family trip to Brittany at the beginning of May: as I wasn’t sure what kind of equipment would be allowed inside the cathedral, I brought my new 24–120mm ƒ/4 S lens, with the 14–30mm in case of need (I ended up not needing it), and my very small and light Gitzo Series 0 Traveler tripod, which I used for all exposures indoors. That gear worked very satisfactorily. Of course, the tripod is a lot shorter than my usual one (not to mention my big one!), but one has to make do when one must travel light. That was the idea.

Happy Easter to everyone!

Yesterday, I showed you the southern apsidal chapel, now this is its northern counterpart. Here as well, everything that is below the rib vaulting is pure Romanesque.

Toledo - Naples Metro

Progettata dall'architetto spagnolo Óscar Tusquets ed inaugurata nel 2002, Toledo è una stazione della linea 1 della metropolitana di Napoli ubicata nel quartiere San Giuseppe. Secondo il quotidiano inglese The Daily Telegraph è la stazione della metropolitana più bella d'Europa. Primato confermato anche nella classifica della CNN.

Nel 2013 vince il premio Emirates leaf international award come "Public building of the year".[4] Nel 2015 è la volta del premio 'International Tunnelling Association: Oscar delle opere in sotterraneo', assegnato alla stazione che supera la concorrenza di importanti opere di Sydney e Gerusalemme

Designed by the Spanish architect Óscar Tusquets and inaugurated in 2002, Toledo is a station on line 1 of the Naples metro located in the San Giuseppe district. According to the British newspaper The Daily Telegraph is the most beautiful metro station in Europe. Primacy also confirmed in the CNN ranking.

In 2013 he won the Emirates leaf international award as "Public building of the year". [4] In 2015 it was the turn of the 'International Tunneling Association award: Oscar of underground works', assigned to the station that overcomes the competition of important works of Sydney and Jerusalem

Cathédrale Saint-Jean-Baptiste, Lyon, Auvernia-Ródano-Alpes, France.

La Cathédrale Saint-Jean-Baptiste de Lyon, a menudo llamada simplemente catedral de Lyon o Primatiale Saint-Jean-Baptiste-et-Saint-Étienne​ es la catedral y primado de Lyon (Francia). El término primado viene de Primat des Gaules, título histórico del obispo de Lyon.

Construida entre 1180 y 1480, mezcla el estilo Románico con el Gótico. Cuenta con un reloj astronómico del siglo XIV.

La construcción comenzó en el siglo XII con la pared del monasterio. Las partes más bajas del ábside, las capillas de ambos lados y el transepto fueron construidos entre 1165 y 1180 en estilo Románico. El techo del ábside y el transepto en estilo Gótico, las dos torres orientales, los primeros cuatro tramos de la nave y la bóveda fueron completados entre el siglo XII y el primer tercio del siglo XIII.

A mediados del siglo XIII, las ventanas del coro y los dos rosetones del transepto fueron completados. Entre finales del siglo XII y el primer tercio del siglo XIV, los últimos cuatro tramos y la parte más baja de la fachada fueron completadas. El final del siglo XIV presenció la terminación de los últimos tramos de la bóveda y los rosetones de la fachada en 1392.

En el siglo XV, la parte superior de la fachada y las torres fueron completadas. La estatua de Dios Padre fue ubicada en la parte más alta del frontón en 1481. La capilla de los Borbones (nombrada así por los arzobispos que ordenaron su construcción), de un estilo Gótico tardío, fue construida entre finales del siglo XV y comienzos del siglo XVI.

En 1562, la catedral fue destruida por las tropas calvinistas del barón de Adrets. Las ventanas de la gran nave medieval y del tímpano del largo portal fueron destruidas en el siglo XVIII por orden de los Canónigos. Durante la revolución, la catedral sufrió algunos daños.

Entre 1791 y 1793, el arzobispo Lamourette ordenó la modificación de los coros. Esto incluyó la destrucción del atril.

El coro fue restaurado a su disposición medieval entre 1935 y 1936. Durante la liberación de Lyon en septiembre de 1944, algunas de las vidrieras de colores fueron destruidas.

La fachada fue restaurada en 1982.

The Cathédrale Saint-Jean-Baptiste de Lyon, often called simply Lyon Cathedral or Primatiale Saint-Jean-Baptiste-et-Saint-Étienne is the cathedral and primate of Lyon (France). The term primacy comes from Primat des Gaules, the historical title of the Bishop of Lyon.

Built between 1180 and 1480, it mixes the Romanesque style with the Gothic. It has an astronomical clock from the 14th century.

Construction began in the 12th century with the wall of the monastery. The lower parts of the apse, the chapels on both sides and the transept were built between 1165 and 1180 in the Romanesque style. The roof of the apse and the transept in Gothic style, the two eastern towers, the first four sections of the nave and the vault were completed between the 12th century and the first third of the 13th century.

In the middle of the 13th century, the windows of the choir and the two rose windows of the transept were completed. Between the end of the 12th century and the first third of the 14th century, the last four sections and the lowest part of the facade were completed. The end of the 14th century witnessed the completion of the last sections of the vault and the rose windows of the facade in 1392.

In the 15th century, the upper part of the facade and the towers were completed. The statue of God the Father was located in the highest part of the pediment in 1481. The Bourbon Chapel (named after the archbishops who ordered its construction), of a late Gothic style, was built between the end of the 15th century and the beginning of the century XVI.

In 1562, the cathedral was destroyed by the Calvinist troops of Baron Adrets. The windows of the great medieval nave and the tympanum of the long portal were destroyed in the 18th century by order of the Canons. During the revolution, the cathedral suffered some damage.

Between 1791 and 1793, Archbishop Lamourette ordered the modification of the choirs. This included the destruction of the lectern.

The choir was restored to its medieval disposition between 1935 and 1936. During the liberation of Lyon in September 1944, some of the stained glass windows were destroyed.

The facade was restored in 1982.

I am a late starter. It's a little weird to still be the same person. I am sure everyone feels this, or rather every thing (and non thing) feels this.

Inspired by Pleroma.

and

en.wikipedia.org/wiki/Primacy_of_Ireland

For previous work on that same primate, see the 'Kelly Green' work below in comments.

Brought to you by the combined miracles of surrogacy and anthropomorphism, from one catfish to another. Amen.

This morning's perspective: 'So what?'.

I could always be wrong.

The Kremlin in Moscow, capital of Russia.

Moscow's history really begins around 1147, when Yuri Dolgoruky, Grand Duke of Kiev, built a wooden fort at the point where the Neglina and Moscow Rivers converge. The city grew rapidly and, despite being razed by the Mongols in 1208, was soon powerful enough to attain primacy among the Russian principalities, acknowledged in 1326 when the seat of the Russian Orthodox Church moved there from Vladimir.

At the same time, stone buildings began to appear in the Kremlin and, by the end of the 14th Century, the citadel was fortified with stone walls. Under Ivan the Great (1462 - 1505), the Kremlin became the centre of a unified Russian state, and was extensively remodeled, as befitted its new status. Meanwhile, Moscow spread outside the walls of the citadel, and the Kremlin became a world apart, the base of the twin powers of state and religion. This period saw the construction of the magnificent Cathedral of the Dormition, the Annunciation and the Archangel, and the uniquely Russian Terem Palace, the royal residence. The addition of the Ivan the Great Bell Tower completed Cathedral Square, and added to the imposing effect of the Kremlin skyline.

Ivan's descendents further developed and adapted the Kremlin complex and, even when Peter the Great moved the capital to St Petersburg, Russia's rulers continued to leave their mark on the medieval town. Peter himself built the Kremlin Arsenal, originally planned as a military museum and now occupied by a barracks, and the 18th and 19th centuries brought Neoclassical masterpieces such as the Senate Building and the Grand Kremlin Palace. After the 1917 Revolution, the Kremlin regained its rightful place as the seat of the Russian government, and the legacy of the Communist era is still visible in the large red stars that top many of the defensive towers, and in the vast, modern State Kremlin Palace, originally the Palace of Congresses.

HDR made from three shots with tripod, AEB -2, 0 +2. Equipment: Canon EOS 500D and EF-S10-22mm f/3.5-4.5 USM. Processed with Photomatix Pro 4.0, Photoshop Elements 7.0, Topaz Adjust 4 and Noise Ninja.

Please don't use my photos without my permission!

[Daily blog] [SmugMug] [500px]

Toledo - Naples Metro

Progettata dall'architetto spagnolo Óscar Tusquets ed inaugurata nel 2002, Toledo è una stazione della linea 1 della metropolitana di Napoli ubicata nel quartiere San Giuseppe. Secondo il quotidiano inglese The Daily Telegraph è la stazione della metropolitana più bella d'Europa. Primato confermato anche nella classifica della CNN.

Nel 2013 vince il premio Emirates leaf international award come "Public building of the year".[4] Nel 2015 è la volta del premio 'International Tunnelling Association: Oscar delle opere in sotterraneo', assegnato alla stazione che supera la concorrenza di importanti opere di Sydney e Gerusalemme

Designed by the Spanish architect Óscar Tusquets and inaugurated in 2002, Toledo is a station on line 1 of the Naples metro located in the San Giuseppe district. According to the British newspaper The Daily Telegraph is the most beautiful metro station in Europe. Primacy also confirmed in the CNN ranking.

In 2013 he won the Emirates leaf international award as "Public building of the year". [4] In 2015 it was the turn of the 'International Tunneling Association award: Oscar of underground works', assigned to the station that overcomes the competition of important works of Sydney and Jerusalem

« Les murs ont des oreilles, dit-on ; ici, ils ont un nez et une bouche. Prisonniers de la pierre, ces visages semblent exprimer la recherche désespérée d’une échappatoire pour pousser un ultime cri. Ont-ils quelque terrible secret à divulguer avant leur disparition dans la gangue qui les enveloppera bientôt ? Dans leur fragilité, leur gratuité, leur susceptibilité au temps, à la dégradation ou au vol, ces pièces sont les témoins éphémères d’un “ici et maintenant” citadin. Elles constituent aussi une tentative d’interrogation sur le statut de l’œuvre d’art ainsi que sur les fondements de sa valeur et de son utilité. Etranger à toute notion de “marché”, mon geste artistique s’approche d’une affirmation de la primauté du rapport direct et intime entre l’œuvre et le regardeur ; je souhaite que ce dernier, mu par la curiosité et sa disposition émotionnelle, se sente invité à un engagement physique. Des transformations résulteront des rencontres avec le public. Presse n’en n’illustre que mieux le fait qu’elle n’existe, qu’elle ne “vaut” que dans et par cette interaction. »

“The walls have ears, they say; here they have a nose and a mouth. Trapped in stone, these faces seem to express the desperate search for an escape route to utter a final cry. Do they have some terrible secret to divulge before their disappearance in the matrix that will soon envelop them? In their fragility, their gratuitousness, their susceptibility to time, degradation or theft, these pieces are fleeting witnesses of a “here and now” city dweller. They also constitute an attempt to question the status of the work of art as well as the foundations of its value and usefulness. Foreign to any notion of "market", my artistic gesture approaches an affirmation of the primacy of the direct and intimate relationship between the work and the viewer; I want the latter, driven by curiosity and his emotional disposition, to feel invited to a physical commitment. Transformations will result from meetings with the public. Press only better illustrates the fact that it exists, that it is only "valid" in and through this interaction. "

Cathédrale Saint-Jean-Baptiste, Lyon, Auvernia-Ródano-Alpes, France.

Reloj astronómico

Originario del siglo XVI.

Indica: la fecha, las posición de la luna, del sol y de la Tierra, además de la de las estrellas sobre Lyon. Está construido bajo los conocimiento de la época, en la que se afirmaba que el sol gira alrededor de la Tierra.

Sobre el reloj, una serie de autómatas comienzan a moverse varias veces al día: animales y una escena que representa la Anunciación.

La Cathédrale Saint-Jean-Baptiste de Lyon, a menudo llamada simplemente catedral de Lyon o Primatiale Saint-Jean-Baptiste-et-Saint-Étienne​ es la catedral y primado de Lyon (Francia). El término primado viene de Primat des Gaules, título histórico del obispo de Lyon.

Construida entre 1180 y 1480, mezcla el estilo Románico con el Gótico. Cuenta con un reloj astronómico del siglo XIV.

La construcción comenzó en el siglo XII con la pared del monasterio. Las partes más bajas del ábside, las capillas de ambos lados y el transepto fueron construidos entre 1165 y 1180 en estilo Románico. El techo del ábside y el transepto en estilo Gótico, las dos torres orientales, los primeros cuatro tramos de la nave y la bóveda fueron completados entre el siglo XII y el primer tercio del siglo XIII.

A mediados del siglo XIII, las ventanas del coro y los dos rosetones del transepto fueron completados. Entre finales del siglo XII y el primer tercio del siglo XIV, los últimos cuatro tramos y la parte más baja de la fachada fueron completadas. El final del siglo XIV presenció la terminación de los últimos tramos de la bóveda y los rosetones de la fachada en 1392.

En el siglo XV, la parte superior de la fachada y las torres fueron completadas. La estatua de Dios Padre fue ubicada en la parte más alta del frontón en 1481. La capilla de los Borbones (nombrada así por los arzobispos que ordenaron su construcción), de un estilo Gótico tardío, fue construida entre finales del siglo XV y comienzos del siglo XVI.

En 1562, la catedral fue destruida por las tropas calvinistas del barón de Adrets. Las ventanas de la gran nave medieval y del tímpano del largo portal fueron destruidas en el siglo XVIII por orden de los Canónigos. Durante la revolución, la catedral sufrió algunos daños.

Entre 1791 y 1793, el arzobispo Lamourette ordenó la modificación de los coros. Esto incluyó la destrucción del atril.

El coro fue restaurado a su disposición medieval entre 1935 y 1936. Durante la liberación de Lyon en septiembre de 1944, algunas de las vidrieras de colores fueron destruidas.

La fachada fue restaurada en 1982.

Astronomical clock

Originally from the 16th century.

It indicates: the date, the position of the moon, the sun and the Earth, as well as the position of the stars over Lyon. It is built under the knowledge of the time, in which it was stated that the sun revolves around the Earth.

Above the clock, a series of automatons begin to move several times a day: animals and a scene representing the Annunciation.

The Cathédrale Saint-Jean-Baptiste de Lyon, often called simply Lyon Cathedral or Primatiale Saint-Jean-Baptiste-et-Saint-Étienne is the cathedral and primate of Lyon (France). The term primacy comes from Primat des Gaules, the historical title of the Bishop of Lyon.

Built between 1180 and 1480, it mixes the Romanesque style with the Gothic. It has an astronomical clock from the 14th century.

Construction began in the 12th century with the wall of the monastery. The lower parts of the apse, the chapels on both sides and the transept were built between 1165 and 1180 in the Romanesque style. The roof of the apse and the transept in Gothic style, the two eastern towers, the first four sections of the nave and the vault were completed between the 12th century and the first third of the 13th century.

In the middle of the 13th century, the windows of the choir and the two rose windows of the transept were completed. Between the end of the 12th century and the first third of the 14th century, the last four sections and the lowest part of the facade were completed. The end of the 14th century witnessed the completion of the last sections of the vault and the rose windows of the facade in 1392.

In the 15th century, the upper part of the facade and the towers were completed. The statue of God the Father was located in the highest part of the pediment in 1481. The Bourbon Chapel (named after the archbishops who ordered its construction), of a late Gothic style, was built between the end of the 15th century and the beginning of the century XVI.

In 1562, the cathedral was destroyed by the Calvinist troops of Baron Adrets. The windows of the great medieval nave and the tympanum of the long portal were destroyed in the 18th century by order of the Canons. During the revolution, the cathedral suffered some damage.

Between 1791 and 1793, Archbishop Lamourette ordered the modification of the choirs. This included the destruction of the lectern.

The choir was restored to its medieval disposition between 1935 and 1936. During the liberation of Lyon in September 1944, some of the stained glass windows were destroyed.

The facade was restored in 1982.

Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pukam Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies"). Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa "parched land"), and Tampadipa "bronzed country"). The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy

Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.

A pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).