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Mayor Bill de Blasio and Manhattan Borough President Gale Brewer visit the "Fearless Girl" statue in Lower Manhattan after the permit for the beloved statue will be extended through next year on Monday, March 27, 2017. Michael Appleton/Mayoral Photography Office
I think this is where the "festive design work for Opening Day and Opening Week" featuring the manager and players will be placed, according to Mike Lufrano at the ELVN meeting tonight.
•La inédita iniciativa permite el acceso a la educación superior a través de una vía especial de ingreso. Las carreras que cursarán los primeros elegidos serán Medicina, Química y Farmacia, Bioquímica y Enfermería.
Desde que llegó a vivir a Antofagasta, Manuel Droguett, entonces estudiante de octavo básico, participó en todas las actividades que el Proyecto Asociativo Regional (PAR) Explora hizo en su Región. “En mi etapa escolar asistí a todos los campamentos, congresos y ferias que hacía el Programa”, comentó, agregando que se dio cuenta que la ciencia era el área en la que se desenvolvía mejor y se sentía más cómodo. Esta motivación es algo que Manuel comparte con los otros tres jóvenes, que fueron seleccionados por el Cupo Explora.
Esta iniciativa, enmarcada en una alianza establecida entre CONICYT y la Cátedra Unesco-Universidad de Santiago, busca promover la inclusión y las vocaciones científicas de jóvenes talentosos de todo Chile, que hayan participado de actividades del Programa Explora. Así, ellos podrán cursar estudios superiores en distintos planteles del país.
El director ejecutivo de CONICYT, Christian Nicolai, señaló que “muchas veces el nivel de desempeño de los estudiantes vulnerables está influenciado por el entorno y no por sus capacidades específicas, pero igualmente, en ocasiones, afecta sus opciones de llegar a la universidad. Es ahí donde apunta este instrumento”.
Además de Manuel Droguett, que se matriculó en Bioquímica en la Universidad de Santiago, también fue elegido Michel Nilo, que cursará Química y Farmacia en la misma casa de estudios. Catalina Sanzana y José Ignacio Muñoz estudiarán en la Universidad de O’Higgins Enfermería y Medicina, respectivamente.
El director de la Cátedra UNESCO de Inclusión a la Educación Superior, Francisco Gil, comentó que “por no recibir una preparación óptima para sortear las pruebas de acceso, se estima que una cantidad importante de estudiantes talentosos queda fuera del sistema por provenir de sectores de mayor vulnerabilidad”.
Los jóvenes que tienen capacidades para cursar estudios superiores no necesariamente tienen las mejores notas, revela una investigación del Centro de Estudios y Desarrollo de Talentos Penta UC, realizada en conjunto con Cátedra UNESCO. Una cifra reveladora es que el 50% no logra las calificaciones suficientes para estar dentro del 10% de los alumnos con mejor rendimiento en sus colegios.
“Para CONICYT es muy importante motivar a los jóvenes a interesarse por la ciencia y la tecnología. Esperamos que iniciativas como ésta, que buscan identificar y apoyar las vocaciones tempranas de los estudiantes, y apoyarlas en su ingreso a la educación superior, se traduzcan en una contribución al desarrollo de nuestro país”, afirmó Christian Nicolai.
José Ignacio Muñoz
“Explora Influyó de forma importante en mi decisión, porque en todas las actividades en las que participé, puede reconocer en mí muchas cualidades de una persona que trabaja en ciencias. También contribuyó a mi impresión de cómo uno debiese aportar al país y a la sociedad. Todo eso te da un sentido de responsabilidad y de que siempre tienes que estar superándote”.
Michel Nilo
“En mi colegio empecé a trabajar en el club de ciencias, en específico en la propagación de árboles nativos de Chile. Ése fue mi primer acercamiento y estuvo apoyado por Explora. Ahí sentí que me motivaba ese mundo. Participé también de un congreso regional, que fue una experiencia totalmente nueva y, al estar ahí, me di cuenta que quería seguir por un camino científico”.
Manuel Droguett
“Desde octavo básico que vengo trabajando en temas científicos, gracias a Explora. En la primera academia que participé, yo quería hacer robótica, pero como no había robots disponibles, me metí a ciencia. Empecé a ir a los laboratorios y ahí me di cuenta de que esto era lo mío. En todas las oportunidades que tuve, siempre trabajé con bacterias. Creo que voy a seguir ese camino, es lo que más me gusta”.
Catalina Sanzana
“Explora está apoyando en el alumnado, de forma constante, con las actividades de valoración científica. A veces, los colegios nos hacen enfocarnos más en lenguaje o matemáticas y acá hemos encontrado herramientas para perseverar en las asignaturas científicas que a algunos de nosotros nos motivan. Muchas veces están las ganas, pero no están estas herramientas necesarias”.
Fotos CONICYT
Demolition permit approved. The bridge was not maintained after the line to Koroit and Port Fairy closed in the 1970's. Heritage Victoria have approved its demolition.
Location
OVER MERRI RIVER, DENNINGTON, WARRNAMBOOL CITY
Victorian Heritage Register (VHR) Number
H0151
Level of Significance
Registered
Extent of Registration
1. The bridge structure marked B1 on Diagram 0151 held by the Executive Director
2. All the land marked L1on Diagram 0151 held by the Executive Director including 5 metres on the upstream and downstream sides of the bridge and 10 metres at either end of the bridge.
Statement of Significance
What is significant?
Dennington Railway Bridge is a long single-track railway bridge of timber-beam on timber piers construction built in 1890 as an important component of the Warrnambool-Koroit section of the Terang-Port Fairy Railway. The bridge spans the Merri River immediately west of Dennington township in an area of open treeless farmland making the long low bridge visible from a considerable distance.
Completion of the Warrnambool-Port Fairy sections of the railway allowed the rapid transport of fresh fish and crayfish from the coast and potatoes and onions from the Koroit area via the Dennington Bridge to the metropolitan markets of Melbourne and Geelong. The section of railway line between Warrnambool and Koroit for which the Dennington Railway Bridge was created, was also a key link-section providing access to a wide-ranging network of western Victorian railways linked up through major railway-junction points at Koroit, Hamilton, Horsham and Ararat. From the 1890s the railways were able to provide more efficient transport than road haulage to coastal steamers and competition to the shipping of Warrnambool, Belfast and Portland, that had previously provided the far Western District's main freight links with Melbourne and the wider world. The section of rail line from Warrnambool to Port Fairy that includes the Dennington Railway Bridge closed in 1977.
Dennington Railway Bridge was constructed to a standard 15 feet (4.6 metres) span length and comprises forty-one spans, giving a total deck length of 188 metres. It was originally constructed to the in the Victorian Railways standard design of 1877 with two piles per pier, braced with stay-piles. The bridge was subsequently converted to its present four piles per pier through the addition of a longer cross head and two outer raked piers as part of a state-wide upgrade of railway bridges following the introduction of heavier and faster trains after 1900. In most bridges this upgrade resulted in the removal of stay piles however at Dennington the main stream section of the bridge retains an extensive and intact system of stay-piles on both the up and down stream sides of each four pile pier, thought to be the largest remaining set of stay piles in Victoria.
How is it significant?
Dennington Railway Bridge is of historic and scientific (engineering) significance to the State of Victoria.
Why is it significant?
Dennington Bridge is of historic significance as a key component of the Terang-Port Fairy Railway, the final stage of east-west rail service connecting Geelong to Warrnambool and Port Fairy which, when completed in 1890, for the first time enabled the rapid and efficient transport of the agricultural and fishing produce from the far Western Districts to the metropolitan markets of Geelong and Melbourne.
Dennington Bridge is of scientific (engineering) significance to the state of Victoria in being the most intact surviving example of a large timber-beam rail bridge with an extensive system of stay-piles on either side of its main river-channel section. Dennington Railway Bridge with its deck length of 188 metres is also of significance as the fourth-longest surviving rail bridge built to the standard Victorian Railways fifteen-feet (4.6 metre) timber-beam-span design, developed in the 1870s. A small number of surviving early long timber railway bridges of this design include the bridge over the Wannon River on the Branxholme - Casterton line (1884, 293 metres); the Yarra Glen viaduct on the Lilydale Healesville line (1880s, 260 metres) and the Latrobe River overflow bridge on the Traralgon - Stratford line (1877, 242 metres).
The Dennington Bridge is of aesthetic significance at a local level for the contribution of the long low timber bridge to the rolling farmland landscape of the Western District.
J3 TA2013 Puebla FC vs Santos Laguna Liga MX
Redacción: Héctor Padilla Lozano @HPADILLALOZANO | LAE Manuel Vela Flickr – Facebook // Fotografía Lyz Vega - Manuel Vela para Mv Fotografía Profesional / Edición y retoque www.pueblaexpres.com en Twitter @Mv_ManuelVela
Puebla., Puebla a 31 de Julio de 2013
ENCOMENDADOS AL MISMO SANTO
El Puebla de la franja, sin lugar a duda, tuvo su peor partido de lo que va en la temporada, aunque contó con mucha fortuna al final del mismo ante el cuadro de la comarca lagunera, Santos.
Ante una entrada de regular a baja en el dos veces mundialista coloso de la calzada Ignacio Zaragoza, la franja buscaba su primera victoria del torneo, con el objetivo de sumar puntos que le vayan permitiendo generar una confianza en el equipo, sobre todo por la tabla de cocientes, donde Atlante y Atlas, sumaron en esta jornada 3 de la liga MX Bancomer al empatar entre sí.
Puebla, comenzando el cotejo tuvo serio problemas en su defensa, debido a que el equipo Albiverde se fue en busca de la portería defendida por Jorge Villalpando, ya que en el minuto 4, el equipo santista cobró una falta por su lado derecho en relación a su ataque, rematando Alanís que se había ido al ataque de cabeza y donde el cancerbero poblano, desvió a una mano el esférico que le hizo un extraño, para caer hasta donde estaba Rodolfo Salinas, quien como recurso hizo vistosa media golpeando el balón que fue a estrellarse en el poste derecho de la cabaña local.
La respuesta del equipo blanquiazul se generó de inmediato al 6 con tiro de derecha de Moreno que pasó a un costado de Sánchez. Al 11 en una réplica de la jugada anterior Alustiza recortó de izquierda y de derecha golpeó, extendiéndose el vinil a un lado de la portería norteña.
Sin embargo, al 33 Calderón prolonga hacia el lado derecho el esférico, buscando a Rentería que ante la complacencia de Ruvalcaba, quien lo marcó a distancia, cruzó su disparo de derecha a media altura para abatir a Villalpando Romo y poner al frente en el tanteador al cuadro lagunero.
Esta anotación, vino a reforzar la forma en la cual el equipo camotero, no se encontraba en la cancha, debido a que en sector defensivo se pasaban problemas, ante todo por el costado donde estaba Ruvalcaba, el cual, fue una avenida para los atacantes santistas. Aquí le falló la estrategia en buena parte a Lapuente Díaz, ya que el aludido Ruvalcaba es derecho y cubría el sector izquierdo, todo ello muy bien detectado por el estratega Lusitano, Caixinha.
En el 40 tiro de “chango” hizo potente disparo pero sin colocación, ya que fue a parar justo al centro de la meta visitante donde se encontraba Oswaldo Sánchez. Al 44 vino la jugada más peligrosa del Puebla en el primer tiempo, cuando en saque de esquina cobrado por Medina, el balón fue peinado hacia el centro del área chica de Santos, donde lo esperaba Moreno y cuando ya se coreaba su anotación, Brayan Martínez, con impetuosidad se barrió antes por el balón no golpeándolo bien y saliendo muy tenue a las manos del portero verde.
Para el segundo tiempo, Puebla comenzó a presionar las salidas del cuadro visitante, el cual, no obstante, todavía al 68 Néstor Calderón realizó un disparo de derecha que Villalpando contuvo bien. El mismo Villalpando al 72 ya era factor, cuando el delantero Herrera se plantó frente a él y saco su remate que le fue achicado bien.
Aquí se veía más un posible segundo gol de los laguneros que el empate de la franja, donde ni Damarcus que entró de cambio y jugó por banda izquierda, ni Alustiza por el otro costado gravitaban. El público comenzó a exigir a los jugadores locales más empuje, sin embargo, la defensa de los visitantes se había parado bien atrás, esperando finiquitar el partido con una descolgada de Darwin Quinteros o Calderón.
Cuando ya se pensaba que la franja se perfilaba a su primera derrota de la temporada y con ello, nuevamente las voces que pedirían la cabeza del técnico Lapuente, vino al 91 un cabezazo dentro del área comarqueña por parte de Diego De Buen, donde Sánchez a una mano en jugada vistosa mandó para saque de esquina.
Y en la siguiente jugada en una casi réplica del torneo anterior, por ese mismo lado, sólo que ahora en saque de esquina, Leandro Augusto que había entrado de cambio, cobró de zurda al centro del área, donde Luis Miguel Noriega, saltó en busca del vinil y giró la cabeza para incrustar la de gajos en el lado derecho de la cabaña de Santos para empatar el partido y sacar el grito de gol retenido en la garganta de los aficionados congregados en las gradas del Cuauhtémoc. Nuevamente, se empataba un juego en los últimos minutos, nuevamente lo hacía Noriega como aquel 20 de enero de éste año, donde también saltó para incrustar su remate de cabeza y darle en ese momento el triunfo al cuadro poblano.
Puebla, aún no pierde pero tampoco gana, no obstante, sigue sumando aunque sea de a punto, donde es difícil que así se alcancen buenos objetivos.
El encuentro fue muy complicado, debido a que enfrentó a un gran equipo que sabe jugar a lo largo y ancho de toda la cancha y no siempre tendrá a la diosa fortuna de su lado. De igual forma, el técnico Lapuente Díaz, no debe ser tan predecible en su estrategia, como el caso ya referido de Ruvalcaba, donde afortunadamente para la causa camotera, ya no hubo repercusiones.
El fin de semana, la franja hará una visita complicada al estadio Zoque, para enfrentar a los Jaguares de Chiapas, quienes también van a querer sumar de a tres por la cuestión de los cocientes, esperamos ver cómo le va al equipo.
El árbitro del partido Fernando Guerrero, tuvo un buen desempeño, sacando las tarjetas en tiempo como lo fue el caso de Araujo y Calderón por los albiverdes, así como a Jesús Chávez y al anotador Noriega por los locales.
Finalmente los equipos iniciaron así:
Puebla: Villalpando, Lacerda, Chávez, de Buen, Noriega, Medina (Beasley), Rojas, Ruvalcaba (Leandro), Martínez, Moreno y Alustiza (Arce).
SANTOS: O. Sánchez, O. Alanís, Ibáñez, Rodríguez, A. Rentería (Crosas), M.Cejas (Quinteros), N. Calderón, N. Araujo, E.Herrera (Orozco), R.Salinas y J.Abella
La opinión expresada en esta columna es responsabilidad de quien la escribe y no busca generar conflictos entre los involucrados, si no generar conciencia en cada lector.
[Manuel Vela Photography Copyright©] This image is protected under International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission. / Esta imagen se protege conforme a leyes de Derechos de Autor internacionales y no se puede transferir, reproducir, copiar, transmitir o manipular sin el permiso de escritura.]
Rahmatullah, 43, a carpenter from Helmand's capital, Lashkar Gah, returns to Lashkar Gah from Marja, after getting a Taliban permission slip for travel on the eve of the Afghan presidential elections.
Pictured: Public scoping meeting in Auburn, Ala.
The U.S. Army Corps of Engineers Savannah District hosted a series of public scoping meetings to gather feedback from citizens, stakeholders, state and local governments and agencies on the proposed Glades Reservoir project. The meetings were held March 20, 21 and 22, 2012 in Gainesville, Ga., Auburn, Ala., and Eastpoint, Fla.
The Corps of Engineers is evaluating a permit application submitted by Hall County, Ga., for the construction and operation of an 850-acre flow augmentation reservoir and associated pipelines and facilities. The reservoir is proposed to be located on Flat Creek, a tributary to the Chattahoochee River upstream of Lake Sidney Lanier.
The Corps of Engineers is working with contractor AECOM to prepare and Environmental Impact Statement on the proposed project in order to make an informed permit decision. The scoping meetings were a critical first step to identify key issues and concerns to help the Corps narrow the scope of the EIS. The EIS will analyze social, economic and environmental impacts of the proposed project, including downstream effects, water quality and quantity, impacts to wetlands, endangered species, cultural resources, alternatives, and more. The public will have an opportunity to comment on the draft EIS and final EIS documents as part of the National Environmental Policy Act (NEPA) process. For more information, visit www.gladesreservoir.com
USACE photo by Tracy Robillard.
(06/07/2011) Con la charla “Propiedad Industrial y Libre Competencia: ¿Monopolios permitidos?” finalizó este miércoles 6 de julio el ciclo gratuito de Charlas sobre Propiedad Industrial y Políticas Públicas organizado por INAPI en la Biblioteca Nacional.
La actividad contó con la destacada participación de Javier Tapia, Jefe de la División de Estudios y Promoción de la Fiscalía Nacional Económica; Enrique Vergara, Ex Fiscal Nacional Económico, Profesor de Derecho Económico de la Universidad Diego Portales y del Centro de Regulación y Competencia de la Universidad de Chile; y Juan Cristóbal Gumucio, socio de Sargent & Krahn y especialista en Libre Competencia y Propiedad Intelectual.
El ciclo de Charlas sobre Propiedad Industrial y Políticas Públicas fue una actividad gratuita organizada por INAPI en el marco de la Exposición cultural "Historia Gráfica de la Propiedad Industrial en Chile".
Leg 5 of CLAWS research trip aboard the NOAA Ship Reuben Lasker in Oregon waters, October 29, 2015. MMTD/SWFSC Permit # 14097.
Demolition permit approved. The bridge was not maintained after the line to Koroit and Port Fairy closed in the 1970's. Heritage Victoria have approved its demolition.
Location
OVER MERRI RIVER, DENNINGTON, WARRNAMBOOL CITY
Victorian Heritage Register (VHR) Number
H0151
Level of Significance
Registered
Extent of Registration
1. The bridge structure marked B1 on Diagram 0151 held by the Executive Director
2. All the land marked L1on Diagram 0151 held by the Executive Director including 5 metres on the upstream and downstream sides of the bridge and 10 metres at either end of the bridge.
Statement of Significance
What is significant?
Dennington Railway Bridge is a long single-track railway bridge of timber-beam on timber piers construction built in 1890 as an important component of the Warrnambool-Koroit section of the Terang-Port Fairy Railway. The bridge spans the Merri River immediately west of Dennington township in an area of open treeless farmland making the long low bridge visible from a considerable distance.
Completion of the Warrnambool-Port Fairy sections of the railway allowed the rapid transport of fresh fish and crayfish from the coast and potatoes and onions from the Koroit area via the Dennington Bridge to the metropolitan markets of Melbourne and Geelong. The section of railway line between Warrnambool and Koroit for which the Dennington Railway Bridge was created, was also a key link-section providing access to a wide-ranging network of western Victorian railways linked up through major railway-junction points at Koroit, Hamilton, Horsham and Ararat. From the 1890s the railways were able to provide more efficient transport than road haulage to coastal steamers and competition to the shipping of Warrnambool, Belfast and Portland, that had previously provided the far Western District's main freight links with Melbourne and the wider world. The section of rail line from Warrnambool to Port Fairy that includes the Dennington Railway Bridge closed in 1977.
Dennington Railway Bridge was constructed to a standard 15 feet (4.6 metres) span length and comprises forty-one spans, giving a total deck length of 188 metres. It was originally constructed to the in the Victorian Railways standard design of 1877 with two piles per pier, braced with stay-piles. The bridge was subsequently converted to its present four piles per pier through the addition of a longer cross head and two outer raked piers as part of a state-wide upgrade of railway bridges following the introduction of heavier and faster trains after 1900. In most bridges this upgrade resulted in the removal of stay piles however at Dennington the main stream section of the bridge retains an extensive and intact system of stay-piles on both the up and down stream sides of each four pile pier, thought to be the largest remaining set of stay piles in Victoria.
How is it significant?
Dennington Railway Bridge is of historic and scientific (engineering) significance to the State of Victoria.
Why is it significant?
Dennington Bridge is of historic significance as a key component of the Terang-Port Fairy Railway, the final stage of east-west rail service connecting Geelong to Warrnambool and Port Fairy which, when completed in 1890, for the first time enabled the rapid and efficient transport of the agricultural and fishing produce from the far Western Districts to the metropolitan markets of Geelong and Melbourne.
Dennington Bridge is of scientific (engineering) significance to the state of Victoria in being the most intact surviving example of a large timber-beam rail bridge with an extensive system of stay-piles on either side of its main river-channel section. Dennington Railway Bridge with its deck length of 188 metres is also of significance as the fourth-longest surviving rail bridge built to the standard Victorian Railways fifteen-feet (4.6 metre) timber-beam-span design, developed in the 1870s. A small number of surviving early long timber railway bridges of this design include the bridge over the Wannon River on the Branxholme - Casterton line (1884, 293 metres); the Yarra Glen viaduct on the Lilydale Healesville line (1880s, 260 metres) and the Latrobe River overflow bridge on the Traralgon - Stratford line (1877, 242 metres).
The Dennington Bridge is of aesthetic significance at a local level for the contribution of the long low timber bridge to the rolling farmland landscape of the Western District.
Entangled right whale Catalog #4904 was sighted on January 8, 2023 approximately 16NM off Salvo, NC. Catalog #4904 is a 4-year-old female, the daughter of #1204 “Spindle.” The entanglement is life-threatening and includes rope through the mouth that connects to several wraps of deeply embedded rope around the base of her tail, and rope trailing behind the whale creating energy-draining drag. Entanglement in fishing gear can persist from weeks to months to even years, and whales can experience great pain inflicted by the entangling material. Disentanglement response to #4904 was not possible due to her location and the time of day, but responders are on the lookout for additional sightings of this whale. The last known sighting of #4904 (pre-entanglement) was in May 2022 in Massachusetts Bay.
More information: www.fisheries.noaa.gov/national/endangered-species-conser...
Photo Credit: Clearwater Marine Aquarium Research Institute, taken under NOAA permit #20556. Funded by United States Army Corps of Engineers
"Walmart Seeks Permit to Do Tests With Drones" by HIROKO TABUCHI via NYT t.co/ZJtYJAyyw0 (via Twitter twitter.com/felipemassone/status/658796344690216960)
I have arrived at my 50th Stranger! Coby and Keith, two of the sweetest guys I have met in such along time. I'm not going to use the words graffiti or tagging here because that is not what they were doing. At Venice Beach, CA, there is an area that you can create your work of art as long as you get a permit from the parks & rec dept., it is free, and you do it on the weekends only. So your artwork stays up for a short time to be displayed to thousands that pass by. I was intrigued by watching these guys from a far and then approached to chat with them. I found out that they drove approximately 2 hours from their home to do this where it is legal. They had a bag of spray cans, about $60 dollars worth that they use until the last drop and take about 6-8 hours to finish their masterpiece. I really was in awe that these guys drove this far (not the first time) to express themselves where it is legal and not destructive. I sure do give them the props and a great shout out to their parents.I'm not actually sure what their final artwork looked like because they had hours to go. Thanks guys, it was a lot of fun.
Agenda: To consider the application for renewal of Permit No.
65/STA/1990 valid upto 16.07.2015 operating by the S/C KL 14 N 599 on the Interstate route Kannur – Mangalore via Kasaragodu, Kumbla, Kurichipalla, Manjeswar and Thalapady on Single Point tax basis - reg.
Applicant :
Sri. S.A.Wahab, Mehboob Motor Service, KPR Rao Road, Kasargod District. D2/146/22.3/STA/2000
Decision :
Perused the Judgment in WP(C) Nos.3653/14, 17910/15 and
9 25067/15 of the Hon’ble High Court, heard the counsel for the applicant and objector. The learned counsel for the objector raised his objection, but has not produced any relevant documents to support his objection. The Hon’ble High Court in the Judgment in WP(C) Nos.3653/14 & 17910/15 dismissed the writ petition as infructuous. Hence renewal of permit granted to S/C KL 14 N 599 on the Interstate route Kannur – Mangalore subject to the countersignature of STA, Karnataka.
-----------------------------
Item No. 3
Agenda:
To consider the application for renewal of permit No.65/STA/1990 valid up to 16.07.2020 in respect of the Stage Carriage KL 14 N 599 on the Inter State route Kannur-Mangalore via Kasaragod, Kumbla, Kurichipalla, Manjeswaram and Talapady on single point tax basis - reg.
Applicant: Sri.S A Wahab, Mehboob Motor Service, KPR Rao Road, Kasaragod.
D2/64/2020-TC
Hace un tiempo ya, nuestro amigo Ray subió a su galería esta misma foto y su texto tan completo deja poco lugar a nuevas aportaciones: flic.kr/p/fCUqeD
Y me permito repetirla porque leí hace poco otro artículo del profesor Castiñeiras, distinto del que Ray cita (en el que ya habla de "imagen de la discordia", "arma diabólica" y cuestiones tan metafísicas como "amplificación de los efectos del pecado original"), que me dejó un tanto confuso y, curioseando en internet, he comprobado que las verdades a medias y las interpretaciones sin fundamentar se repiten como un eco.
Para él, el ballestero (junto al centauro, la sirena y el hombre cabalgado sobre un gallo) son "personificaciones del pecado". De ahí a que en otras webs se diga que representa el mal hay un corto paso que no ha habido dificultad en dar pese a la enorme diferencia de los conceptos.
Castiñeiras considera que el relieve procede de la puerta septentrional y se basa en la descripción del Calixtino: "Hay talladas por todo alrededor muchas imágenes de santos, de bestias, de hombres, de ángeles, de mujeres, de flores y de otras criaturas, cuya esencia y calidad no podemos describir a causa de su gran cantidad" [...] A la izquierda de la entrada lateral sobre las puertas se ven en relieve los meses del año y muchas hermosas alegorías" (Calixtino, V, 9). Bien pudiera ser así, sin duda, pero el mismo códice describe en la puerta meridional, es decir, la actual de Platerías: "El muro, por arriba y por abajo, tanto a la derecha como a la izquierda, está bellamente esculpido con flores, hombres, santos, bestias, aves, peces y con otras labores que no podemos describir", es decir, prácticamente lo mismo. El que en Platerías hubiera que quitar y reubicar piezas parece bastante lógico dada su historia. La afirmación de Castiñeiras, que no hipótesis, le lleva a atribuir esta pieza al "maestro de la Puerta Francígena" y a relacionarla con Moissac a través de Toulouse y los viajes de Gelmírez.
Leo en la web "arquivoltas" que la sirena es "imagen ahora del engaño y el embrujo de los placeres del mundo" y bien que estoy de acuerdo con ella y no con esa asociación sirena-lujuria, basada en hechos mucho más tardíos, de los que hay ecos en Cervantes, que tantas veces se hace. Y añade: "Por ello la figura es herida por las flechas del Centauro, representando así una alegoría de la lucha contra el mal". Y se me ocurre que quien lucha contra el mal es el bien, luego el centauro no puede ser "personificación del pecado" como antes había escrito Castiñeiras. Sin embargo, García Omedes también identifica al ballestero con el mal.
Parece necesario recordar que estamos en un templo cristiano y que los únicos conceptos válidos para interpretarlo son los que utiliza esta religión, no los que a nosotros se nos antojen. Para la RAE, "mal" es sinónimo de "malo", pero en la doctrina cristiana "el mal" se usa en sustantivo como una forma más de designar al demonio. La última frase de la oración más relevante que contiene el N.T., el "Padre nuestro", enseñada directamente por Jesús como forma de orar, es: "líbranos del mal". Y las iglesias cristianas (católica, protestante y ortodoxa) han entendido siempre que ese "mal" es Satanás. La mayoría de las iglesias ortodoxas utilizan la palabra "maligno" en lugar de "mal". Así, iríamos a parar a que ballestero sería sinónimo de Satanás..
Un último apunte sobre la ballesta: citar las frases a medias es una forma de engaño. Y, contra lo que leemos en muchas webs, insistir en que el II Concilio de Letrán (1139) prohibía, en su canon 29, no sólo el uso de la ballesta "contra los cristianos", sino también el del arco y la honda, es decir, armas que podían matar desde cierta distancia y ante las que cabía poca defensa. No he podido averiguar el porqué de este canon pero me adhiero a las tesis de que trataba de dar solución a un problema temporal y concreto. Pero ello no convertía a la ballesta, como se ha escrito, en personificación o instrumento del mal o del pecado en forma alguna; fue usada por los ejércitos cristianos no ya en su lucha contra los invasores, sino en sus propias guerras internas. La Historia Compostelana (primera mitad siglo XII), recoge textos como éste que Ray acertadamente cita y yo repito: "Los pontífices de la iglesia de Santiago, protegidos por armas militares, acostumbraban a marchar a la guerra y a reprimir duramente la audacia de los sarracenos, por lo que entre los gallegos surgió este refrán: 'Obispo de Santiago, báculo y ballesta'" (II,1)
Quizá este ballestero esté ligado más con ese recuerdo y menos con tantos "males", "pecados" y compañía, que ya aburren. La historia y sus protagonistas a comienzos del siglo XII fue la que fue y no cabe olvidarla.
consellodacultura.gal/publicacions-dixitais/lecturaonline...
www.arquivoltas.com/21-LaCoruna/01-Santiago-10a.htm
HISTORIA COMPOSTELANA, Akal, Madrid, 1994, p.297.
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This is the continuation of a photo-project that I began in the summer of 2008 (which you can see in this Flickr set), and continued throughout 2009, 2010, and 2011 (as shown in this Flickr set, this Flickr set, and this Flickr set): a random collection of "interesting" people in a broad stretch of the Upper West Side of Manhattan -- between 72nd Street and 104th Street, especially along Broadway and Amsterdam Avenue. These are the people in my neighborhood, aka "peeps in the 'hood."
As I indicated when I first started this project nearly four years ago, I don't like to intrude on people's privacy, so I normally use a zoom telephoto lens in order to photograph them while they're still 50-100 feet away from me; but that means I have to continue focusing my attention on the people and activities half a block away, rather than on what's right in front of me. Sometimes I find an empty bench on a busy street corner, and just sit quietly for an hour, watching people hustling past on the other side of the street; they're almost always so busy listening to their iPod, or talking on their cellphone, or daydreaming about something, that they never look up and see me aiming my camera in their direction.
I've also learned that, in many cases, the opportunities for an interesting picture are very fleeting -- literally a matter of a couple of seconds, before the person(s) in question move on, turn away, or stop doing whatever was interesting. So I've learned to keep my camera switched on, and not worry so much about zooming in for a perfectly-framed picture ... after all, once the digital image is uploaded to my computer, it's pretty trivial to crop out the parts unrelated to the main subject. Indeed, some of my most interesting photos have been so-called "hip shots," where I don't even bother to raise the camera up to my eye; I just keep the zoom lens set to the maximum wide-angle aperture, point in the general direction of the subject, and take several shots. As long as I can keep the shutter speed fairly high (which sometimes requires a fairly high ISO setting), I can usually get some fairly crisp shots -- even if the subject is walking in one direction, and I'm walking in the other direction, while I'm snapping the photos.
With only a few exceptions, I've generally avoided photographing bums, drunks, crazies, and homeless people. There are plenty of them around, and they would certainly create some dramatic pictures; but they generally don't want to be photographed, and I don't want to feel like I'm taking advantage of them. There have been a few opportunities to take some "sympathetic" pictures of such people, which might inspire others to reach out and help them. This is one example, and here is another example.
The other thing I've noticed, while carrying on this project for the past four years, is that while there are lots of interesting people to photograph, there are far, far, far more people who are not so interesting. They're probably fine people, and they might even be more interesting than the ones I've photographed ... unfortunately, there was just nothing memorable about them. They're all part of this big, crowded city; but for better or worse, there are an awful lot that you won't see in these Flickr sets of mine...
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In response to the Congressional budget debacle which proved that DC is but a colony -- prone to being singled out unlike any other city in the country -- a number of activists, elected officials, and general citizens came out in force upon the grounds of Capitol Hill.
The crowd first formed on the sidewalk, but after some opening remarks by elected officials and activists: they quickly spilled into the street. The Capitol Police had been on hand & I'd thought it amusing that a couple were taking photos & videos... it wasn't until I saw the wristbands come out when I realised these weren't officers enjoying the moment; they were recording evidence.
With many minutes of warning, large portions of the group shifted over the sidewalk; whilst a core of dedicated supporters -- including our Mayor, a number of councilmembers, and members of DC Vote -- remained behind to block the roadway. The officers began to surround the group & repeated their warnings to get back on the sidewalk or face arrest.
Now in all fairness to the Capitol Police: they were doing their job. They were quite courteous about it & the protest was similarly jubilant right back. One woman was first to be bound, soon followed by several other activists. Then came Muriel Bowser: first councilmember to be arrested.
In general, I tend to dislike political grandstanding... but this was different. If our council was being arrested by our own police, I'd think it a cheesy photo op... but now our locally-elected officials were being arrested by the very forces we were out to protest: the Feds. This wasn't a mere photo op arrest; this was actually a legitimate arrest... the kind of thing that goes on your record; the kind of thing you spent a night in jail for.
Now granted, I don't expect anyone will be in jail longer than tomorrow; I'd be surprised if any were still locked up by midnight tonight. But it was Councilmember Bowser's arrest which really hit a moment... you could see the look on her face was of some worried concern: someone who had never been arrested before & didn't show up here today expecting to be arrested. As she was placed into the police van: her look of concern changed to a bit more worry. I mean this as no knock against Councilmember Bowser's committment; rather I felt it really help to humanise the entire event. It made me respect her all the more.
Yvette Alexander stood right beside us for quite some time, complicated in that she didn't have her ID on her. While it was entertaining to see our top officials being frisked, it was also quite entertaining that our easily-recognisable councilmember needed her ID... prompting a standerby to call one of her staffers with the best introduction I've ever heard over a phone: "Hi, your councilmember has been arrested." Also, kudos to Councilmember Alexander for going to jail in high heels!
There is a lot I can complain about with the council in general; and certainly with individual councilmembers & even the mayor. Heck, that's what politicians are for: you're not supposed to always like them. But this was an opportunity to set aside some of those issues (frankly, I'd say DC was glad to have a unifying moment after the past couple weeks) and cheer on our own brothers & sisters as they stood up in support of our rights.
It was certainly a proud moment to be a DC resident and a fine boost to our collective esteem after several weeks of turmoil within our local & federal levels of government. It's aggravating that my support for small & local government is inhibited by those in Congress whom advocate small & local government. If I wanted to live in a colony, I'd have moved to Williamsburg.
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Aspidistra es una planta dura.
Esta especie se caracteriza por su reducida demanda de luz, lo que permite colocarla en macetas en rincones y pasillos, donde otras plantas no resistirían.
Debe regarse con moderación.
Disminuir el riego en invierno.
Aunque toleran el aire seco rociar las hojas una vez a la semana.
Es una planta de crecimiento muy lento por lo que el aporto de abono esta muy restringido a los meses del verano (cuando hay mas riego).
Si las hojas se resquebrajan, debe suprimir el tratamiento de abono.
Es raro que sufra ataques de parásitos aunque es un poco sensible a la cochinilla algodonosa y a la araña roja.
Si se producen sequedades amarillas que se tornan marrones es debido a la sequedad ambiente (cuidado con la calefacción).
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via Tumblr ift.tt/1zwx5Ui via Tumblr ift.tt/1G0JcwT via Tumblr ift.tt/1tShzhK One of the easiest ways to care for the appearance and create the effect you most want to present is with hair care. Just a little tune for your color or slice could make a huge difference in your confidence and your appearance. Use these hair care suggestions to correctly tend to your own hair.Brushing permits the sebum to feed all elements of your hair of the hair. After you have eliminated the troubles out of your hair, wash from the top of the head down for the bottom of the hair. You will then be equally putting gas in your hair.Using a clothes iron is not advantageous to straightening hair though it might sound like good sense. Amazingly, this method continues to be being used. It certainly will not be quite safe and is extremely damaging to hair. There are a variety of straightening irons available on the market, a lot of that are offered in a low cost. These are better for your hair and better to use.Your hair feel and will appear better if you consume healthy meals. Hair lives, and it requires adequate nutrients to grow properly. Bad nutritional intake with nutrient deficiency could cause weak, delicate and dull hair. An incredibly poor diet can even cause your own hair to fall out. To maintain your own hair as healthy as you are able to make sure you consider proper nutrition.Work with a unique shampoo and conditioner from time to time. Certain products are far more efficient than others for treating and taming your hair type. Stop using it, if one manufacturer isn’t creating the results you want. Here you can find trenzas para mujeres negras. For those who have friends with hair like yours, ask her what she uses.To help protect your curls as you sleep, use a satin pillowcase. By absorbing moisture and oils the hair cans dry out. Silk pillowcases protect your own hair and permits you to wake with beautiful waves. Hood or a scarf manufactured from satin also make suitable alternatives.If you’re not able to get your own hair formed as a result of time limitations in the morning then try a chin claw or a clamp. You may get your hair into a good looking style rapidly in this manner. To put hits and unruly waves, use bobby pins and other hair pins.In order to keep hair in perfect condition, prevent over using design products. Over using design products for example hairspray can dry out your hair. You’ll not risk drying your own hair out if you hold these products for times when you have to really have a particular hair style.Don’t rough-up your own hair using the towel when your own hair are drying after having a bath. If not, you might find yourself damaging your own hair. As an alternative, squeeze water out of your hair. You are able to gently pat it along with the towel after you have removed a lot of the water. The towel you use should not be hard as against rough.Once you blowdry your own hair, you may damage it. Keep your blowdryer going consistently therefore it set the cool air setting with the dryer, and often will not remain in the same place for too long. Find knots untangled using your fingers when cleaning it which means you don’t harm your hair.Exercise caution when you wash, so you don’t remove essential oils in the hair. A shampoo that’s harsh and eliminates gas really can make it more oily inside the long haul even though your hair is greasy. Instead, try a gentle shampoo that cleans your hair. Some people also wash their hair with only conditioner a couple of times weekly.Haircare can be a problem proper that desires to convey a particular feature or meaning using their appearance. It may be satisfying and fun to test out new hairstyles that show off character and your facial features. Utilize the guidelines you read inside the post to really have the best hair possible. via Blogger ift.tt/1vXINIl via Flickr ift.tt/1A19Txz via Blogger ift.tt/1G0HVWz via Flickr ift.tt/1G0MhwM via Blogger ift.tt/1FV8YRc
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Jangada é uma embarcação de madeira utilizada por pescadores artesanais da Região Nordeste do Brasil. Jangada é um Barco a vela para pesca em alto mar, feita com seis toras de madeira leve.
A forma da jangada incorpora uma série de interessantes avanços da ciência artesanal neolítica - que realizava experimentos diretos, nos materiais e a partir dos fenômenos presenciados, em "projetos de pesquisa" totalmente guardados na memória dos artesãos.
Em especial sua vela triangular envolve uma série de efeitos avançados, relacionados à dinâmica dos fluidos. Também conhecida como "vela latina", ela permite navegar contra o vento, aproveitando a diferença de pressão do ar, que se forma entre sua "face externa" (aquela que se torna convexa pela pressão interna do vento) e sua "face interna" (aquela que se torna côncava, lado em que se posta o navegante). As grandes embarcações também usaram a vela latina, mas de modo limitado, pois o seu emprego bem sucedido depende crucialmente da presença do navegante, que deve estar atento aos movimentos do vento: as diferenças de pressão são ativamente manipuladas por todo o tempo de navegação contra o vento. Os mesmos princípios são usados para manter os aviões no ar, graças à geometria de suas asas.
No caso da jangada, há uma graciosa curva quase-parabólica na parte superior do triângulo, e outra mais estendida e curta, abaixo. Essa assimetria se deve à altura de manipulação do mastro, que gira suavemente - dessa vez usando o princípio mecânico da alavanca - em torno de seu eixo.
Sua tecnologia de construção consiste no emprego hábil de materiais como madeiras de flutuação (como a balsa paraense, e outras espécies de difícil obtenção na atualidade), tecidos e cordas artesanais. A jangada tradicional não possui elementos em metal (como pregos, braçadeiras, etc); toda a sua estrutura é totalmente fixada por encaixes e amarrações com cordas de fibras selvagens.
A jangada é feita, tipicamente, com 6 paus: 2 no centro (chamados de "meios"), 2 seguintes, dispostos simetricamente (chamados "mimburas", palavra de origem tupi), e 2 externos, chamados de "bordos". Os 4 paus mais centrais (meios e mimburas) são unidos por cavilhas de madeira mais dura que a desses paus. Já os paus de bordo são encavilhados nos mimburas, de modo a ficarem um pouco mais elevados.
Sobre essa armação básica, instalam-se 2 bancos de madeira (cada qual respectivamente suportado por 4 elegantes hastes também de madeira, presos aos mimburas. Sobre essas hastes fixa-se uma tábua de madeira rija. O banco mais central, ou banco "de vante", apóia o mastro da jangada. O outro banco, da ré, também é chamado de banco "do mestre", pois nele trabalha o diretor da jangada (que, com um remo, a dirige). O remo do mestre se encaixa entre o mimbura e um dos paus do meio (o meio de boreste). Há ainda uma outra abertura entre os dois paus do meio, para a passagem da "tábua de bolina". Essa tábua pode ser habilmente graduada em altura (o quanto é enfiada no mar) e inclinação (de forma mais limitada, no plano medial da embarcação). A tábua de bolina reduz o caimento da jangada quando ela navega com a proa bem cingida à linha do vento: isso é "navegar à bolina" (palavra que, por sua vez, vem do inglês "bowline").
Todos os elementos da jangada tradicional são feitos artesanalmente, desde o mastro à vela, das cordas ao banco de navegação, redes de pesca, anzóis, âncora e samburás (cestos para guardar peixes e pertences).
Âncora de jangadaSua tripulação, nas versões da jangada tradicional - ou seja, o modelo mais comum que conhecemos desde o início do século XX -, é de três a cinco pessoas. Essa turma trabalha num espaço de aproximadamente 5 a 7 metros, em média (na maior extensão, embora haja jangadas maiores de 8 metros), por 1,4 a 1,7 metros, na menor extensão.
Suas dimensões são resultado de uma série de "limitantes de projeto" náutico, entre os quais: o tamanho dos troncos disponíveis, a resistência dos encaixes e amarrações, a força necessária para movê-la sobre as ondas, o tamanho das velas e o empuxo do vento sobre elas, a força humana necessária para que apenas um homem (por vez, rotineiramente) a manobre, entre outros. Sua ergonomia é engenhosamente composta e administrada, se compreendermos essa embarcação artesanal com os olhos dos projetistas modernos.
Os pescadores tradicionais sempre obedeceram a regras bem conhecidas de uso das marés, dos regimes de ventos, das correntes, da sazonalidade da pesca. Em função disso, suas incursões no mar variam bastante quanto ao tempo de permanência, ao trajeto navegado, e ao tipo de pesca que conseguem. Um período de permanência comum era de três dias a uma semana (algumas vezes mais, como relatam os antigos pescadores) no mar alto, a até 120 quilômetros da costa. Essa duração é cada vez mais rara, e os jangadeiros dificilmente ultrapassam os três dias, na atualidade, com incursões de até 50 quilômetros distanciados da costa. Da mesma forma, as incursões de grupos de jangadas também são cada vez mais raras, sendo mais freqüente a pesca de uma turma isolada, numa única jangada.
Ainda assim, em vários pontos do litoral cearense há corridas de jangadas, sendo muito famosa a que ocorre anualmente na região do porto do Mucuripe (na capital do Estado do Ceará, Fortaleza). Dezenas de jangadas participam dessas competições populares, num espetáculo sem paralelo no extenso litoral brasileiro.
[editar] O surgimento da jangada no isolado Nordeste Brasileiro
Como é que a jangada chegou ao Brasil? Ou se ela já estava aqui, como parte da cultura dos povos indígenas?
A jangada vem para o Brasil como parte da rica troca havida entre a Índia, a África, a China, o Japão, sobretudo nos primeiros dois séculos da colonização do Brasil, pelo povo português. Incorpora ainda técnicas indígenas de corte de madeiras e extração das fibras de cordoamentos. Vem com as pessoas envolvidas nesse tráfico de outras pessoas, de bens, de animais, de plantas, de saberes - e, claro, especialmente o saber dos pescadores do Oceano Índico e das costas do Moçambique, que usavam barcos artesanais semelhantes às jangadas brasileiras - mas não iguais.
A palavra "jangada" trai essa origem asiática: vem de "changadam", palavra malaiala (língua dravídica da costa do Malabar, no estado indiano de Kerala) e, mais anteriormente, do sânscrito.
Parece, aos olhos de hoje, que as jangadas somente surgem no trecho da costa do Nordeste que vai do Rio Grande do Norte ao Piauí por curiosas razões históricas, pois poderíamos ter jangadeiros em todo o litoral do Brasil, desde o início da Colônia brasileira.
Isso se deveu, sobretudo, à sistemática eliminação de todas as formas de navegar que não fossem controladas pela Coroa portuguesa, em eficiente vigor desde o século XVII, com o início da exploração das Minas Gerais (centro-sul do Brasil), para evitar o contrabando do ouro. Essa faixa do litoral nordeste brasileiro era despovoada e imprópria para portos dos barcos transatlânticos à vela, pois é varrida pela poderosa corrente oceânica da Guiana, que dificultava terrivelmente a chegada de barcos vindos da Europa.
Os primeiros jangadeiros lançaram seus barcos ao mar em meio ao abandono desses séculos de solidão e isolamento, ainda que fossem parte das diversas levas migrantes que povoaram o interior nordestino desde meados do século XVII, trazendo e cultivando o gado cuja carne alimentava os trabalhadores da mineração.
Com sua admirável capacidade de navegar contra o vento, e de usar a força do vento para sobrepujar a corrente oceânica, a jangada encontrou nesse trecho do litoral brasileiro uma situação ideal, até a chegada dos barcos motorizados, que viabilizam os (até hoje curiosamente poucos) portos surgidos desde o século XIX.
O conhecimento da construção dessa família de embarcações artesanais está em extinção: embora ainda haja colônias de pescadores remanescentes das primeiras comunidades que ocuparam o litoral brasileiro (sobretudo no litoral do Estado do Ceará e do Rio Grande do Norte), praticamente não se constrói mais a jangada tradicional, com troncos de madeira de flutuação, as jangadas de troncos. As atuais jangadas são feitas em pranchas de madeira industrializada ou utilizando instrumentos de corte mecanizado - as jangadas de tábuas.
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St Paul's Cathedral is an Anglican cathedral in London, England, and is the seat of the Bishop of London. The cathedral serves as the mother church of the Diocese of London. It is on Ludgate Hill at the highest point of the City of London. Its dedication in honour of Paul the Apostle dates back to the original church on this site, founded in AD 604. The present structure, which was completed in 1710, is a Grade I listed building that was designed in the English Baroque style by Sir Christopher Wren. The cathedral's reconstruction was part of a major rebuilding programme initiated in the aftermath of the Great Fire of London. The earlier Gothic cathedral (Old St Paul's Cathedral), largely destroyed in the Great Fire, was a central focus for medieval and early modern London, including Paul's walk and St Paul's Churchyard, being the site of St Paul's Cross.
The cathedral is one of the most famous and recognisable sights of London. Its dome, surrounded by the spires of Wren's City churches, has dominated the skyline for over 300 years. At 365 ft (111 m) high, it was the tallest building in London from 1710 to 1963. The dome is still one of the highest in the world. St Paul's is the second-largest church building in area in the United Kingdom, after Liverpool Cathedral.
Services held at St Paul's have included the funerals of Admiral Lord Nelson, the Duke of Wellington, Winston Churchill and Margaret Thatcher; jubilee celebrations for Queen Victoria; an inauguration service for the Metropolitan Hospital Sunday Fund; peace services marking the end of the First and Second World Wars; the wedding of Prince Charles and Lady Diana Spencer; the launch of the Festival of Britain; and the thanksgiving services for the Silver, Golden, Diamond, and Platinum Jubilees and the 80th and 90th birthdays of Queen Elizabeth II. St Paul's Cathedral is the central subject of much promotional material, as well as of images of the dome surrounded by the smoke and fire of the Blitz. The cathedral is a working church with hourly prayer and daily services. The tourist entry fee at the door is £23 for adults (January 2023, cheaper if booked online), but no charges are made to worshippers attending advertised services.
The nearest London Underground station is St Paul's, which is 130 yards (120 m) away from St Paul's Cathedral.
History
Before the cathedral
The location of Londinium's original cathedral is unknown, but legend and medieval tradition claims it was St Peter upon Cornhill. St Paul is an unusual attribution for a cathedral, and suggests there was another one in the Roman period. Legends of St Lucius link St Peter upon Cornhill as the centre of the Roman Londinium Christian community. It stands upon the highest point in the area of old Londinium, and it was given pre-eminence in medieval procession on account of the legends. There is, however, no other reliable evidence and the location of the site on the Forum makes it difficult for it to fit the legendary stories. In 1995, a large fifth-century building on Tower Hill was excavated, and has been claimed as a Roman basilica, possibly a cathedral, although this is speculative.
The Elizabethan antiquarian William Camden argued that a temple to the goddess Diana had stood during Roman times on the site occupied by the medieval St Paul's Cathedral. Wren reported that he had found no trace of any such temple during the works to build the new cathedral after the Great Fire, and Camden's hypothesis is no longer accepted by modern archaeologists.
Pre-Norman cathedral
There is evidence for Christianity in London during the Roman period, but no firm evidence for the location of churches or a cathedral. Bishop Restitutus is said to have represented London at the Council of Arles in 314 AD. A list of the 16 "archbishops" of London was recorded by Jocelyn of Furness in the 12th century, claiming London's Christian community was founded in the second century under the legendary King Lucius and his missionary saints Fagan, Deruvian, Elvanus and Medwin. None of that is considered credible by modern historians but, although the surviving text is problematic, either Bishop Restitutus or Adelphius at the 314 Council of Arles seems to have come from Londinium.
Bede records that in AD 604 Augustine of Canterbury consecrated Mellitus as the first bishop to the Anglo-Saxon kingdom of the East Saxons and their king, Sæberht. Sæberht's uncle and overlord, Æthelberht, king of Kent, built a church dedicated to St Paul in London, as the seat of the new bishop. It is assumed, although not proved, that this first Anglo-Saxon cathedral stood on the same site as the later medieval and the present cathedrals.
On the death of Sæberht in about 616, his pagan sons expelled Mellitus from London, and the East Saxons reverted to paganism. The fate of the first cathedral building is unknown. Christianity was restored among the East Saxons in the late seventh century and it is presumed that either the Anglo-Saxon cathedral was restored or a new building erected as the seat of bishops such as Cedd, Wine and Erkenwald, the last of whom was buried in the cathedral in 693.
Earconwald was consecrated bishop of London in 675, and is said to have bestowed great cost on the fabric, and in later times he almost occupied the place of traditionary, founder: the veneration paid to him is second only to that which was rendered to St. Paul. Erkenwald would become a subject of the important High Medieval poem St Erkenwald.
King Æthelred the Unready was buried in the cathedral on his death in 1016; the tomb is now lost. The cathedral was burnt, with much of the city, in a fire in 1087, as recorded in the Anglo-Saxon Chronicle.
Old St Paul's
The fourth St Paul's, generally referred to as Old St Paul's, was begun by the Normans after the 1087 fire. A further fire in 1135 disrupted the work, and the new cathedral was not consecrated until 1240. During the period of construction, the style of architecture had changed from Romanesque to Gothic and this was reflected in the pointed arches and larger windows of the upper parts and East End of the building. The Gothic ribbed vault was constructed, like that of York Minster, of wood rather than stone, which affected the ultimate fate of the building.
An enlargement programme commenced in 1256. This "New Work" was consecrated in 1300 but not complete until 1314. During the later Medieval period St Paul's was exceeded in length only by the Abbey Church of Cluny and in the height of its spire only by Lincoln Cathedral and St. Mary's Church, Stralsund. Excavations by Francis Penrose in 1878 showed that it was 585 feet (178 m) long and 100 feet (30 m) wide (290 feet (88 m) across the transepts and crossing). The spire was about 489 feet (149 m) in height.[citation needed] By the 16th century the building was deteriorating.
The English Reformation under Henry VIII and Edward VI (accelerated by the Chantries Acts) led to the destruction of elements of the interior ornamentation and the chapels, shrines, and chantries.
The would come to include the removal of the cathedral's collection of relics, which by the sixteenth century was understood to include:
the body of St Erkenwald
both arms of St Mellitus
a knife thought to belong to Jesus
hair of Mary Magdalen
blood of St Paul
milk of the Virgin Mary
the head of St John
the skull of Thomas Becket
the head and jaw of King Ethelbert
part of the wood of the cross,
a stone of the Holy Sepulchre,
a stone from the spot of the Ascension, and
some bones of the eleven thousand virgins of Cologne.
Old St Paul's in 1656 by Wenceslaus Hollar, showing the rebuilt west facade
In October 1538, an image of St Erkenwald, probably from the shrine, was delivered to the master of the king's jewels. Other images may have survived, at least for a time. More systematic iconoclasm happened in the reign of Edward VI: the Grey Friar's Chronicle reports that the rood and other images were destroyed in November 1547.
In late 1549, at the height of the iconoclasm of the reformation, Sir Rowland Hill altered the route of his Lord Mayor's day procession and said a de profundis at the tomb of Erkenwald. Later in Hill's mayoralty of (1550) the high altar of St Paul's was removed overnight to be destroyed, an occurrence that provoked a fight in which a man was killed. Hill had ordered, unusually for the time, that St Barnabus's Day would not be kept as a public holiday ahead of these events.
Three years later, by October 1553, "Alle the alteres and chappelles in alle Powlles churche" were taken down.[19] In August, 1553, the dean and chapter were cited to appear before Queen Mary's commissioners.
Some of the buildings in the St Paul's churchyard were sold as shops and rental properties, especially to printers and booksellers. In 1561 the spire was destroyed by a lightning strike, an event that Roman Catholic writers claimed was a sign of God's judgment on England's Protestant rulers. Bishop James Pilkington preached a sermon in response, claiming that the lightning strike was a judgement for the irreverent use of the cathedral building. Immediate steps were taken to repair the damage, with the citizens of London and the clergy offering money to support the rebuilding. However, the cost of repairing the building properly was too great for a country and city recovering from a trade depression. Instead, the roof was repaired and a timber "roo"’ put on the steeple.
In the 1630s a west front was added to the building by England's first classical architect, Inigo Jones. There was much defacing and mistreatment of the building by Parliamentarian forces during the Civil War, and the old documents and charters were dispersed and destroyed. During the Commonwealth, those churchyard buildings that were razed supplied ready-dressed building material for construction projects, such as the Lord Protector's city palace, Somerset House. Crowds were drawn to the north-east corner of the churchyard, St Paul's Cross, where open-air preaching took place.
In the Great Fire of London of 1666, Old St Paul's was gutted. While it might have been possible to reconstruct it, a decision was taken to build a new cathedral in a modern style. This course of action had been proposed even before the fire.
Present St Paul's
The task of designing a replacement structure was officially assigned to Sir Christopher Wren on 30 July 1669. He had previously been put in charge of the rebuilding of churches to replace those lost in the Great Fire. More than 50 city churches are attributable to Wren. Concurrent with designing St Paul's, Wren was engaged in the production of his five Tracts on Architecture.
Wren had begun advising on the repair of the Old St Paul's in 1661, five years before the fire in 1666. The proposed work included renovations to interior and exterior to complement the classical facade designed by Inigo Jones in 1630. Wren planned to replace the dilapidated tower with a dome, using the existing structure as a scaffold. He produced a drawing of the proposed dome which shows his idea that it should span nave and aisles at the crossing. After the Fire, it was at first thought possible to retain a substantial part of the old cathedral, but ultimately the entire structure was demolished in the early 1670s.
In July 1668 Dean William Sancroft wrote to Wren that he was charged by the Archbishop of Canterbury, in agreement with the Bishops of London and Oxford, to design a new cathedral that was "Handsome and noble to all the ends of it and to the reputation of the City and the nation". The design process took several years, but a design was finally settled and attached to a royal warrant, with the proviso that Wren was permitted to make any further changes that he deemed necessary. The result was the present St Paul's Cathedral, still the second largest church in Britain, with a dome proclaimed as the finest in the world. The building was financed by a tax on coal, and was completed within its architect's lifetime with many of the major contractors engaged for the duration.
The "topping out" of the cathedral (when the final stone was placed on the lantern) took place on 26 October 1708, performed by Wren's son Christopher Jr and the son of one of the masons. The cathedral was declared officially complete by Parliament on 25 December 1711 (Christmas Day). In fact, construction continued for several years after that, with the statues on the roof added in the 1720s. In 1716 the total costs amounted to £1,095,556 (£174 million in 2021).
Consecration
On 2 December 1697, 31 years and 3 months after the Great Fire destroyed Old St Paul's, the new cathedral was consecrated for use. The Right Reverend Henry Compton, Bishop of London, preached the sermon. It was based on the text of Psalm 122, "I was glad when they said unto me: Let us go into the house of the Lord." The first regular service was held on the following Sunday.
Opinions of Wren's cathedral differed, with some loving it: "Without, within, below, above, the eye / Is filled with unrestrained delight", while others hated it: "There was an air of Popery about the gilded capitals, the heavy arches ... They were unfamiliar, un-English ...".
Since 1900
St. Paul's was the target of two suffragette bombing attacks in 1913 and 1914 respectively, which nearly caused the destruction of the cathedral. This was as part of the suffragette bombing and arson campaign between 1912 and 1914, in which suffragettes from the Women's Social and Political Union, as part of their campaign for women's suffrage, carried out a series of politically motivated bombings and arson nationwide. Churches were explicitly targeted by the suffragettes as they believed the Church of England was complicit in reinforcing opposition to women's suffrage. Between 1913 and 1914, 32 churches across Britain were attacked.
The first attack on St. Paul's occurred on 8 May 1913, at the start of a sermon. A bomb was heard ticking and discovered as people were entering the cathedral. It was made out of potassium nitrate. Had it exploded, the bomb likely would have destroyed the historic bishop's throne and other parts of the cathedral. The remains of the device, which was made partly out of a mustard tin, are now on display at the City of London Police Museum.
A second bombing of the cathedral by the suffragettes was attempted on 13 June 1914, however the bomb was again discovered before it could explode. This attempted bombing occurred two days after a bomb had exploded at Westminster Abbey, which damaged the Coronation Chair and caused a mass panic for the exits. Several other churches were bombed at this time, such as St Martin-in-the-Fields church in Trafalgar Square and the Metropolitan Tabernacle.
War damage
The cathedral survived the Blitz although struck by bombs on 10 October 1940 and 17 April 1941. The first strike destroyed the high altar, while the second strike on the north transept left a hole in the floor above the crypt. The latter bomb is believed to have detonated in the upper interior above the north transept and the force was sufficient to shift the entire dome laterally by a small amount.
On 12 September 1940 a time-delayed bomb that had struck the cathedral was successfully defused and removed by a bomb disposal detachment of Royal Engineers under the command of Temporary Lieutenant Robert Davies. Had this bomb detonated, it would have totally destroyed the cathedral; it left a 100-foot (30 m) crater when later remotely detonated in a secure location. As a result of this action, Davies and Sapper George Cameron Wylie were each awarded the George Cross. Davies' George Cross and other medals are on display at the Imperial War Museum, London.
One of the best known images of London during the war was a photograph of St Paul's taken on 29 December 1940 during the "Second Great Fire of London" by photographer Herbert Mason, from the roof of a building in Tudor Street showing the cathedral shrouded in smoke. Lisa Jardine of Queen Mary, University of London, has written:
Wreathed in billowing smoke, amidst the chaos and destruction of war, the pale dome stands proud and glorious—indomitable. At the height of that air-raid, Sir Winston Churchill telephoned the Guildhall to insist that all fire-fighting resources be directed at St Paul's. The cathedral must be saved, he said, damage to the fabric would sap the morale of the country.
Post-war
On 29 July 1981, the wedding of Prince Charles and Lady Diana Spencer was held at the cathedral. The couple selected St Paul's over Westminster Abbey, the traditional site of royal weddings, because the cathedral offered more seating.
Extensive copper, lead and slate renovation work was carried out on the Dome in 1996 by John B. Chambers. A 15-year restoration project—one of the largest ever undertaken in the UK—was completed on 15 June 2011.
Occupy London
In October 2011 an anti-capitalism Occupy London encampment was established in front of the cathedral, after failing to gain access to the London Stock Exchange at Paternoster Square nearby. The cathedral's finances were affected by the ensuing closure. It was claimed that the cathedral was losing revenue of £20,000 per day. Canon Chancellor Giles Fraser resigned, asserting his view that "evicting the anti-capitalist activists would constitute violence in the name of the Church". The Dean of St Paul's, the Right Revd Graeme Knowles, then resigned too. The encampment was evicted at the end of February 2012, by court order and without violence, as a result of legal action by the City of London Corporation.
2019 terrorist plot
On 10 October 2019, Safiyya Amira Shaikh, a Muslim convert, was arrested following an MI5 and Metropolitan Police investigation. In September 2019, she had taken photos of the cathedral's interior. While trying to radicalise others using the Telegram messaging software, she planned to attack the cathedral and other targets such as a hotel and a train station using explosives. Shaikh pleaded guilty and was sentenced to life imprisonment.
National events
The size and location of St Paul's has made it an ideal setting for Christian services marking great national events. The opportunity for long processions culminating in the dramatic approach up Ludgate Hill, the open area and steps at the west front, the great nave and the space under the dome are all well suited for ceremonial occasions. St Paul's can seat many more people than any other church in London, and in past centuries, the erection of temporary wooden galleries inside allowed for congregations exceeding 10,000. In 1935, the dean, Walter Matthews, wrote:
No description in words can convey an adequate idea of the majestic beauty of a solemn national religious ceremony in St Paul's. It is hard to believe that there is any other building in the world that is so well adapted to be the setting of such symbolical acts of communal worship.
National events attended by the royal family, government ministers and officers of state include national services of thanksgiving, state funerals and a royal wedding. Some of the most notable examples are:
Thanksgiving service for the Acts of Union 1707, 1 May 1707
State funeral of Horatio Nelson, 9 January 1806
State funeral of the Duke of Wellington, 18 November 1852
Diamond Jubilee of Queen Victoria, 22 June 1897
Thanksgiving service for the Treaty of Versailles, 6 July 1919
Silver Jubilee of George V, 6 May 1935
Thanksgiving services for VE Day and VJ Day, 13 May and 19 August 1945
Silver Jubilee of Elizabeth II, 7 June 1977
Wedding of Prince Charles and Lady Diana Spencer, 29 July 1981
Golden Jubilee of Elizabeth II, 4 June 2002
Diamond Jubilee of Elizabeth II, 5 June 2012
Ceremonial funeral of Margaret Thatcher, 17 April 2013
Thanksgiving service for the Queen's 90th Birthday, 10 June 2016
Platinum Jubilee National Service of Thanksgiving, 3 June 2022
Ministry and functions
St Paul's Cathedral is a busy church with four or five services every day, including Matins, Eucharist and Evening Prayer or Choral Evensong. In addition, the cathedral has many special services associated with the City of London, its corporation, guilds and institutions. The cathedral, as the largest church in London, also has a role in many state functions such as the service celebrating the Diamond Jubilee of Queen Elizabeth II. The cathedral is generally open daily to tourists and has a regular programme of organ recitals and other performances. The Bishop of London is Sarah Mullally, whose appointment was announced in December 2017 and whose enthronement took place in May 2018.
Dean and chapter
The cathedral chapter is currently composed of seven individuals: the dean, three residentiary canons (one of whom is, exceptionally, lay), one "additional member of chapter and canon non-residentiary" (ordained), and two lay canons. Each has a different responsibility in the running of the cathedral. As of October 2022:
Dean — Andrew Tremlett (since 25 September 2022)
Precentor — James Milne (since 9 May 2019)
Treasurer — vacant
Chancellor — Paula Gooder (since 9 May 2019; lay reader since 23 February 2019)
Steward — Neil Evans (since June 2022)
Additional member of chapter and canon non-residentiary — Sheila Watson (since January 2017).
Lay Canon — Pamela (Pim) Jane Baxter (since March 2014). Deputy Director at the National Portrait Gallery, with experience in opera, theatre and the visual arts.
Lay Canon — Sheila Nicoll (since October 2018). She is Head of Public Policy at Schroder Investment Management.
Lay Canon — Clement Hutton-Mills (since March 2021). He is also a Managing Director at Goldman Sachs.
Lay Canon — Gillian Bowen (since June 2022). She is Chief Executive Officer of YMCA London City and North and is a magistrate.
Director of Music
The Director of Music is Andrew Carwood. Carwood was appointed to succeed Malcolm Archer as Director of Music, taking up the post in September 2007. He is the first non-organist to hold the post since the 12th century.
Paul's Cathedral
Organs
An organ was commissioned from Bernard Smith in 1694.
In 1862 the organ from the Panopticon of Science and Art (the Panopticon Organ) was installed in a gallery over the south transept door.
The Grand Organ was completed in 1872, and the Panopticon Organ moved to the Victoria Rooms in Clifton in 1873.
The Grand Organ is the fifth-largest in Great Britain, in terms of number of pipes (7,256), with 5 manuals, 136 ranks of pipes and 137 stops, principally enclosed in an impressive case designed in Wren's workshop and decorated by Grinling Gibbons.
Details of the organ can be found online at the National Pipe Organ Register.
Choir
St Paul's Cathedral has a full professional choir, which sings regularly at services. The earliest records of the choir date from 1127. The present choir consists of up to 30 boy choristers, eight probationers and the vicars choral, 12 professional singers. In February 2017 the cathedral announced the appointment of the first female vicar choral, Carris Jones (a mezzo-soprano), to take up the role in September 2017. In 2022, it was announced that girls would be admitted to a cathedral choir in 2025.
During school terms the choir sings Evensong six times per week, the service on Mondays being sung by a visiting choir (or occasionally said) and that on Thursdays being sung by the vicars choral alone. On Sundays the choir also sings at Mattins and the 11:30 am Eucharist.
Many distinguished musicians have been organists, choir masters and choristers at St Paul's Cathedral, including the composers John Redford, Thomas Morley, John Blow, Jeremiah Clarke, Maurice Greene and John Stainer, while well-known performers have included Alfred Deller, John Shirley-Quirk and Anthony Way as well as the conductors Charles Groves and Paul Hillier and the poet Walter de la Mare.
Wren's cathedral
In designing St Paul's, Christopher Wren had to meet many challenges. He had to create a fitting cathedral to replace Old St Paul's, as a place of worship and as a landmark within the City of London. He had to satisfy the requirements of the church and the tastes of a royal patron, as well as respecting the essentially medieval tradition of English church building which developed to accommodate the liturgy. Wren was familiar with contemporary Renaissance and Baroque trends in Italian architecture and had visited France, where he studied the work of François Mansart.
Wren's design developed through five general stages. The first survives only as a single drawing and part of a model. The scheme (usually called the First Model Design) appears to have consisted of a circular domed vestibule (possibly based on the Pantheon in Rome) and a rectangular church of basilica form. The plan may have been influenced by the Temple Church. It was rejected because it was not thought "stately enough". Wren's second design was a Greek cross, which was thought by the clerics not to fulfil the requirements of Anglican liturgy.
Wren's third design is embodied in the "Great Model" of 1673. The model, made of oak and plaster, cost over £500 (approximately £32,000 today) and is over 13 feet (4 m) tall and 21 feet (6 m) long. This design retained the form of the Greek-Cross design but extended it with a nave. His critics, members of a committee commissioned to rebuild the church, and clergy decried the design as too dissimilar to other English churches to suggest any continuity within the Church of England. Another problem was that the entire design would have to be completed all at once because of the eight central piers that supported the dome, instead of being completed in stages and opened for use before construction finished, as was customary. The Great Model was Wren's favourite design; he thought it a reflection of Renaissance beauty. After the Great Model, Wren resolved not to make further models and not to expose his drawings publicly, which he found did nothing but "lose time, and subject [his] business many times, to incompetent judges". The Great Model survives and is housed within the cathedral itself.
Wren's fourth design is known as the Warrant design because it received a Royal warrant for the rebuilding. In this design Wren sought to reconcile Gothic, the predominant style of English churches, to a "better manner of architecture". It has the longitudinal Latin Cross plan of a medieval cathedral. It is of 1+1⁄2 storeys and has classical porticos at the west and transept ends, influenced by Inigo Jones's addition to Old St Paul's. It is roofed at the crossing by a wide shallow dome supporting a drum with a second cupola, from which rises a spire of seven diminishing stages. Vaughan Hart has suggested that influence in the design of the spire may have been drawn from the oriental pagoda. Not used at St Paul's, the concept was applied in the spire of St Bride's, Fleet Street. This plan was rotated slightly on its site so that it aligned, not with true east, but with sunrise on Easter of the year construction began. This small change in configuration was informed by Wren's knowledge of astronomy.
Final design
The final design as built differs substantially from the official Warrant design. Wren received permission from the king to make "ornamental changes" to the submitted design, and Wren took great advantage of this. Many of these changes were made over the course of the thirty years as the church was constructed, and the most significant was to the dome: "He raised another structure over the first cupola, a cone of brick, so as to support a stone lantern of an elegant figure ... And he covered and hid out of sight the brick cone with another cupola of timber and lead; and between this and the cone are easy stairs that ascend to the lantern" (Christopher Wren, son of Sir Christopher Wren). The final design was strongly rooted in St. Peter's Basilica in Rome. The saucer domes over the nave were inspired by François Mansart's Church of the Val-de-Grâce, which Wren had seen during a trip to Paris in 1665.
The date of the laying of the first stone of the cathedral is disputed. One contemporary account says it was 21 June 1675, another 25 June and a third on 28 June. There is, however, general agreement that it was laid in June 1675. Edward Strong later claimed it was laid by his elder brother, Thomas Strong, one of the two master stonemasons appointed by Wren at the beginning of the work.
Structural engineering
Wren's challenge was to construct a large cathedral on the relatively weak clay soil of London. St Paul's is unusual among cathedrals in that there is a crypt, the largest in Europe, under the entire building rather than just under the eastern end. The crypt serves a structural purpose. Although it is extensive, half the space of the crypt is taken up by massive piers which spread the weight of the much slimmer piers of the church above. While the towers and domes of most cathedrals are supported on four piers, Wren designed the dome of St Paul's to be supported on eight, achieving a broader distribution of weight at the level of the foundations. The foundations settled as the building progressed, and Wren made structural changes in response.
One of the design problems that confronted Wren was to create a landmark dome, tall enough to visually replace the lost tower of St Paul's, while at the same time appearing visually satisfying when viewed from inside the building. Wren planned a double-shelled dome, as at St Peter's Basilica. His solution to the visual problem was to separate the heights of the inner and outer dome to a much greater extent than had been done by Michelangelo at St Peter's, drafting both as catenary curves, rather than as hemispheres. Between the inner and outer domes, Wren inserted a brick cone which supports both the timbers of the outer, lead-covered dome and the weight of the ornate stone lantern that rises above it. Both the cone and the inner dome are 18 inches thick and are supported by wrought iron chains at intervals in the brick cone and around the cornice of the peristyle of the inner dome to prevent spreading and cracking.
The Warrant Design showed external buttresses on the ground floor level. These were not a classical feature and were one of the first elements Wren changed. Instead he made the walls of the cathedral particularly thick to avoid the need for external buttresses altogether. The clerestory and vault are reinforced with flying buttresses, which were added at a relatively late stage in the design to give extra strength. These are concealed behind the screen wall of the upper story, which was added to keep the building's classical style intact, to add sufficient visual mass to balance the appearance of the dome and which, by its weight, counters the thrust of the buttresses on the lower walls.
Designers, builders and craftsmen
During the extensive period of design and rationalisation, Wren employed from 1684 Nicholas Hawksmoor as his principal assistant. Between 1696 and 1711 William Dickinson was measuring clerk. Joshua Marshall (until his early death in 1678) and Thomas and his brother Edward Strong were master masons, the latter two working on the construction for its entirety. John Langland was the master carpenter for over thirty years. Grinling Gibbons was the chief sculptor, working in both stone on the building itself, including the pediment of the north portal, and wood on the internal fittings. The sculptor Caius Gabriel Cibber created the pediment of the south transept while Francis Bird was responsible for the relief in the west pediment depicting the Conversion of St Paul, as well as the seven large statues on the west front. The floor was paved by William Dickinson in black and white marble in 1709–10 Jean Tijou was responsible for the decorative wrought ironwork of gates and balustrades. The ball and cross on the dome were provided by an armorer, Andrew Niblett. Following the war damage mentioned above, many craftsmen were employed to restore the wood carvings and stone work that had been destroyed by the bomb impact. One of particular note is Master Carver, Gino Masero who was commissioned to carve the replacement figure of Christ, an eight-foot sculpture in lime which currently stands on the High Altar.
Description
St Paul's Cathedral is built in a restrained Baroque style which represents Wren's rationalisation of the traditions of English medieval cathedrals with the inspiration of Palladio, the classical style of Inigo Jones, the baroque style of 17th century Rome, and the buildings by Mansart and others that he had seen in France. It is particularly in its plan that St Paul's reveals medieval influences. Like the great medieval cathedrals of York and Winchester, St Paul's is comparatively long for its width, and has strongly projecting transepts. It has much emphasis on its facade, which has been designed to define rather than conceal the form of the building behind it. In plan, the towers jut beyond the width of the aisles as they do at Wells Cathedral. Wren's uncle Matthew Wren was the Bishop of Ely, and, having worked for his uncle, Wren was familiar with the unique octagonal lantern tower over the crossing of Ely Cathedral, which spans the aisles as well as the central nave, unlike the central towers and domes of most churches. Wren adapted this characteristic in designing the dome of St Paul's.[91] In section St Paul's also maintains a medieval form, having the aisles much lower than the nave, and a defined clerestory.
Exterior
The most renowned exterior feature is the dome, which rises 365 feet (111 m) to the cross at its summit, and dominates views of the city. The height of 365 feet is explained by Wren's interest in astronomy. Until the late 20th century St Paul's was the tallest building on the City skyline, designed to be seen surrounded by the delicate spires of Wren's other city churches. The dome is described by Sir Banister Fletcher as "probably the finest in Europe", by Helen Gardner as "majestic", and by Sir Nikolaus Pevsner as "one of the most perfect in the world". Sir John Summerson said that Englishmen and "even some foreigners" consider it to be without equal.
Dome
Wren drew inspiration from Michelangelo's dome of St Peter's Basilica, and that of Mansart's Church of the Val-de-Grâce, which he had visited. Unlike those of St Peter's and Val-de-Grâce, the dome of St Paul's rises in two clearly defined storeys of masonry, which, together with a lower unadorned footing, equal a height of about 95 feet. From the time of the Greek Cross Design it is clear that Wren favoured a continuous colonnade (peristyle) around the drum of the dome, rather than the arrangement of alternating windows and projecting columns that Michelangelo had used and which had also been employed by Mansart. Summerson suggests that he was influenced by Bramante's "Tempietto" in the courtyard of San Pietro in Montorio. In the finished structure, Wren creates a diversity and appearance of strength by placing niches between the columns in every fourth opening. The peristyle serves to buttress both the inner dome and the brick cone which rises internally to support the lantern.
Above the peristyle rises the second stage surrounded by a balustraded balcony called the "Stone Gallery". This attic stage is ornamented with alternating pilasters and rectangular windows which are set just below the cornice, creating a sense of lightness. Above this attic rises the dome, covered with lead, and ribbed in accordance with the spacing of the pilasters. It is pierced by eight light wells just below the lantern, but these are barely visible. They allow light to penetrate through openings in the brick cone, which illuminates the interior apex of this shell, partly visible from within the cathedral through the ocular opening of the lower dome.
The lantern, like the visible masonry of the dome, rises in stages. The most unusual characteristic of this structure is that it is of square plan, rather than circular or octagonal. The tallest stage takes the form of a tempietto with four columned porticos facing the cardinal points. Its lowest level is surrounded by the "Golden Gallery" and its upper level supports a small dome from which rises a cross on a golden ball. The total weight of the lantern is about 850 tons.
West front
For the Renaissance architect designing the west front of a large church or cathedral, the universal problem was how to use a facade to unite the high central nave with the lower aisles in a visually harmonious whole. Since Alberti's additions to Santa Maria Novella in Florence, this was usually achieved by the simple expedient of linking the sides to the centre with large brackets. This is the solution that Wren saw employed by Mansart at Val-de-Grâce. Another feature employed by Mansart was a boldly projecting Classical portico with paired columns. Wren faced the additional challenge of incorporating towers into the design, as had been planned at St Peter's Basilica. At St Peter's, Carlo Maderno had solved this problem by constructing a narthex and stretching a huge screen facade across it, differentiated at the centre by a pediment. The towers at St Peter's were not built above the parapet.
Wren's solution was to employ a Classical portico, as at Val-de-Grâce, but rising through two storeys, and supported on paired columns. The remarkable feature here is that the lower story of this portico extends to the full width of the aisles, while the upper section defines the nave that lies behind it. The gaps between the upper stage of the portico and the towers on either side are bridged by a narrow section of wall with an arch-topped window.
The towers stand outside the width of the aisles, but screen two chapels located immediately behind them. The lower parts of the towers continue the theme of the outer walls, but are differentiated from them in order to create an appearance of strength. The windows of the lower story are smaller than those of the side walls and are deeply recessed, a visual indication of the thickness of the wall. The paired pilasters at each corner project boldly.
Above the main cornice, which unites the towers with the portico and the outer walls, the details are boldly scaled, in order to read well from the street below and from a distance. The towers rise above the cornice from a square block plinth which is plain apart from large oculi, that on the south being filled by the clock, while that on the north is void. The towers are composed of two complementary elements, a central cylinder rising through the tiers in a series of stacked drums, and paired Corinthian columns at the corners, with buttresses above them, which serve to unify the drum shape with the square plinth on which it stands. The entablature above the columns breaks forward over them to express both elements, tying them together in a single horizontal band. The cap, an ogee-shaped dome, supports a gilded finial in the form of a pineapple.
The transepts each have a semi-circular entrance portico. Wren was inspired in the design by studying engravings of Pietro da Cortona's Baroque facade of Santa Maria della Pace in Rome. These projecting arcs echo the shape of the apse at the eastern end of the building.
Walls
The building is of two storeys of ashlar masonry, above a basement, and surrounded by a balustrade above the upper cornice. The balustrade was added, against Wren's wishes, in 1718. The internal bays are marked externally by paired pilasters with Corinthian capitals at the lower level and Composite at the upper level. Where the building behind is of only one story (at the aisles of both nave and choir) the upper story of the exterior wall is sham. It serves a dual purpose of supporting the buttresses of the vault, and providing a satisfying appearance when viewed rising above buildings of the height of the 17th-century city. This appearance may still be seen from across the River Thames.
Between the pilasters on both levels are windows. Those of the lower storey have semi-circular heads and are surrounded by continuous mouldings of a Roman style, rising to decorative keystones. Beneath each window is a floral swag by Grinling Gibbons, constituting the finest stone carving on the building and some of the greatest architectural sculpture in England. A frieze with similar swags runs in a band below the cornice, tying the arches of the windows and the capitals. The upper windows are of a restrained Classical form, with pediments set on columns, but are blind and contain niches. Beneath these niches, and in the basement level, are small windows with segmental tops, the glazing of which catches the light and visually links them to the large windows of the aisles. The height from ground level to the top of the parapet is approximately 110 feet.
Fencing
The original fencing, designed by Wren, was dismantled in the 1870s. The surveyor for the government of Toronto had it shipped to Toronto, where it has since adorned High Park.
Interior
Internally, St Paul's has a nave and choir in each of its three bays. The entrance from the west portico is through a square domed narthex, flanked by chapels: the Chapel of St Dunstan to the north and the Chapel of the Order of St Michael and St George to the south. The nave is 91 feet (28 m) in height and is separated from the aisles by an arcade of piers with attached Corinthian pilasters rising to an entablature. The bays, and therefore the vault compartments, are rectangular, but Wren roofed these spaces with saucer-shaped domes and surrounded the clerestory windows with lunettes. The vaults of the choir are decorated with mosaics by Sir William Blake Richmond. The dome and the apse of the choir are all approached through wide arches with coffered vaults which contrast with the smooth surface of the domes and punctuate the division between the main spaces. The transepts extend to the north and south of the dome and are called (in this instance) the North Choir and the South Choir.
The choir holds the stalls for the clergy, cathedral officers and the choir, and the organ. These wooden fittings, including the pulpit and Bishop's throne, were designed in Wren's office and built by joiners. The carvings are the work of Grinling Gibbons whom Summerson describes as having "astonishing facility", suggesting that Gibbons aim was to reproduce popular Dutch flower painting in wood. Jean Tijou, a French metalworker, provided various wrought iron and gilt grilles, gates and balustrades of elaborate design, of which many pieces have now been combined into the gates near the sanctuary.
The cathedral is some 574 feet (175 m) in length (including the portico of the Great West Door), of which 223 feet (68 m) is the nave and 167 feet (51 m) is the choir. The width of the nave is 121 feet (37 m) and across the transepts is 246 feet (75 m). The cathedral is slightly shorter but somewhat wider than Old St Paul's.
Dome
The main internal space of the cathedral is that under the central dome which extends the full width of the nave and aisles. The dome is supported on pendentives rising between eight arches spanning the nave, choir, transepts, and aisles. The eight piers that carry them are not evenly spaced. Wren has maintained an appearance of eight equal spans by inserting segmental arches to carry galleries across the ends of the aisles, and has extended the mouldings of the upper arch to appear equal to the wider arches.
Above the keystones of the arches, at 99 feet (30 m) above the floor and 112 feet (34 m) wide, runs a cornice which supports the Whispering Gallery so called because of its acoustic properties: a whisper or low murmur against its wall at any point is audible to a listener with an ear held to the wall at any other point around the gallery. It is reached by 259 steps from ground level.
The dome is raised on a tall drum surrounded by pilasters and pierced with windows in groups of three, separated by eight gilded niches containing statues, and repeating the pattern of the peristyle on the exterior. The dome rises above a gilded cornice at 173 feet (53 m) to a height of 214 feet (65 m). Its painted decoration by Sir James Thornhill shows eight scenes from the life of St Paul set in illusionistic architecture which continues the forms of the eight niches of the drum. At the apex of the dome is an oculus inspired by that of the Pantheon in Rome. Through this hole can be seen the decorated inner surface of the cone which supports the lantern. This upper space is lit by the light wells in the outer dome and openings in the brick cone. Engravings of Thornhill's paintings were published in 1720.
Apse
The eastern apse extends the width of the choir and is the full height of the main arches across choir and nave. It is decorated with mosaics, in keeping with the choir vaults. The original reredos and high altar were destroyed by bombing in 1940. The present high altar and baldacchino are the work of W. Godfrey Allen and Stephen Dykes Bower. The apse was dedicated in 1958 as the American Memorial Chapel. It was paid for entirely by donations from British people. The Roll of Honour contains the names of more than 28,000 Americans who gave their lives while on their way to, or stationed in, the United Kingdom during the Second World War. It is in front of the chapel's altar. The three windows of the apse date from 1960 and depict themes of service and sacrifice, while the insignia around the edges represent the American states and the US armed forces. The limewood panelling incorporates a rocket—a tribute to America's achievements in space.
Artworks, tombs and memorials
St Paul's at the time of its completion, was adorned by sculpture in stone and wood, most notably that of Grinling Gibbons, by the paintings in the dome by Thornhill, and by Jean Tijou's elaborate metalwork. It has been further enhanced by Sir William Richmond's mosaics and the fittings by Dykes Bower and Godfrey Allen. Other artworks in the cathedral include, in the south aisle, William Holman Hunt's copy of his painting The Light of the World, the original of which hangs in Keble College, Oxford. The St. Paul's version was completed with a significant input from Edward Robert Hughes as Hunt was now suffering from glaucoma. In the north choir aisle is a limestone sculpture of the Madonna and Child by Henry Moore, carved in 1943. The crypt contains over 200 memorials and numerous burials. Christopher Wren was the first person to be interred, in 1723. On the wall above his tomb in the crypt is written in Latin: Lector, si monumentum requiris, circumspice ("Reader, if you seek his monument, look around you").
The largest monument in the cathedral is that to the Duke of Wellington by Alfred Stevens. It stands on the north side of the nave and has on top a statue of Wellington astride his horse "Copenhagen". Although the equestrian figure was planned at the outset, objections to the notion of having a horse in the church prevented its installation until 1912. The horse and rider are by John Tweed. The Duke is buried in the crypt. The tomb of Horatio, Lord Nelson is located in the crypt, next to that of Wellington. The marble sarcophagus which holds his remains was made for Cardinal Wolsey but not used as the cardinal had fallen from favour. At the eastern end of the crypt is the Chapel of the Order of the British Empire, instigated in 1917, and designed by John Seely, Lord Mottistone. There are many other memorials commemorating the British military, including several lists of servicemen who died in action, the most recent being the Gulf War.
Also remembered are Florence Nightingale, J. M. W. Turner, Arthur Sullivan, Hubert Parry, Samuel Johnson, Lawrence of Arabia, William Blake, William Jones and Sir Alexander Fleming as well as clergy and residents of the local parish. There are lists of the Bishops and cathedral Deans for the last thousand years. One of the most remarkable sculptures is that of the Dean and poet, John Donne. Before his death, Donne posed for his own memorial statue and was depicted by Nicholas Stone as wrapped in a burial shroud, and standing on a funeral urn. The sculpture, carved around 1630, is the only one to have survived the conflagration of 1666 intact. The treasury is also in the crypt but the cathedral has very few treasures as many have been lost, and on 22 December 1810 a major robbery took almost all of the remaining precious artefacts.
The funerals of many notable figures have been held in the cathedral, including those of Lord Nelson, the Duke of Wellington, Winston Churchill, George Mallory and Margaret Thatcher.
Clock and bells
A clock was installed in the south-west tower by Langley Bradley in 1709 but was worn out by the end of the 19th century. The present mechanism was built in 1893 by Smith of Derby incorporating a design of escapement by Edmund Denison Beckett similar to that used by Edward Dent on Big Ben's mechanism in 1895. The clock mechanism is 19 feet (5.8 m) long and is the most recent of the clocks introduced to St Paul's Cathedral over the centuries. Since 1969 the clock has been electrically wound with equipment designed and installed by Smith of Derby, relieving the clock custodian from the work of cranking up the heavy drive weights.
The south-west tower also contains four bells, of which Great Paul, cast in 1881 by J. W. Taylor of Taylor's bell foundry of Loughborough, at 16+1⁄2 long tons (16,800 kg) was the largest bell in the British Isles until the casting of the Olympic Bell for the 2012 London Olympics. Although the bell is traditionally sounded at 1 pm each day, Great Paul had not been rung for several years because of a broken chiming mechanism. In the 1970s the fastening mechanism that secured the clapper had fractured, sending both through the clock mechanism below and causing damage which cost £30,000 to repair. In about 1989 the clapper fractured completely, although less damage was sustained. On 31 July 2021, during the London Festival of the Bells, Great Paul rang for the first time in two decades, being hand swung by the bell ringers. The clock bells included Great Tom, which was moved from St Stephen's Chapel at the Palace of Westminster and has been recast several times, the last time by Richard Phelps. It chimes the hour and is traditionally tolled on occasions of a death in the royal family, the Bishop of London, or the Lord Mayor of London, although an exception was made at the death of the US president James Garfield. It was last tolled for the death of Queen Elizabeth II in 2022, ringing once every minute along with other bells across the country in honor of the 96 years of her life. In 1717, Richard Phelps cast two more bells that were added as "quarter jacks" that ring on the quarter hour. Still in use today, the first weighs 13 long cwt (1,500 lb; 660 kg), is 41 inches (100 cm) in diameter and is tuned to A♭; the second weighs 35 long cwt (3,900 lb; 1,800 kg), is 58 inches (150 cm) in diameter and is tuned to E♭.
The north-west tower contains a ring of 12 bells by John Taylor & Co of Loughborough hung for change ringing. In January 2018 the bells were removed for refurbishment and were rehung in September that year, being rung again for the first time on All Saints' Day. The original service or "Communion" bell dating from 1700 and known as "the Banger" is rung before 8 am services.
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Numa manhã de sábado me foi permitido adentrar-me no colégio Colégio Santa Rita, tradicional educandário do estado da Paraíba, situado na cidade de Areia. Fundado em 1911, foi mantido por administrações locais, até 1937, quando chegaram à cidade freiras alemãs (Irmãs Franciscanas de Dillingen). Foi formador de varias gerações, não só de areienses, mas de jovens (moças) procedentes de cidades da Paraíba e de outros estados, sob regime de internato. Hoje funciona num outro sistema, formando jovens de ambos os sexos e em regime de externato, mas mantém o estilo de disciplina e ordem implantado pelas freiras alemãs.
Castillo de Almansa
Situación
El castillo de Almansa se alza sobre una enhiesta formación rocosa denominada Cerro del Águila, dominando a gran altura la población de Almansa y la llanura sobre la que se asienta. Almansa es una localidad estratégica por ser una encrucijada de caminos que permite las comunicaciones con las comunidades vecinas.
Historia
Los orígenes del castillo de Almansa se remontan al período almohade, cuya característica forma de construcción, el tapial, permanece patente aún hoy día en alguno de sus muros, siendo ésta parte la más antigua conservada en el castillo.
El castillo fue reconquistado por Jaime I, quien lo cedió a la Orden del Temple, pasando posteriormente al reino de Castilla. Alfonso X el Sabio lo dotó de dos fueros, el de Requena y el de Cuenca.
Aunque fue ya famoso por su importancia a principios del siglo XII, el castillo actual fue construido por el infante Don Juan Manuel en el siglo XIV.
Aunque el castillo fue ya famoso por su importancia a principios del siglo XII, en el siglo XIV pasó a manos del infante don Juan Manuel, quien lo mandó reconstruir sobre las fortificaciones musulmanas, diferenciándose claramente la mampostería cristiana del tapial árabe. Su aspecto actual corresponde, además, a las reformas realizadas en la época del marqués de Villena, Don Juan Pacheco.
En 1707 el castillo fue escenario, durante la Guerra de Sucesión, de una batalla de renombre histórico, la batalla de Almansa. En ella, fueron derrotados y capturados nueve mil soldados austriacos. Venció el ejército franco-español, encabezado por el duque de Berwick. A partir de esta batalla, se inclinó la guerra a favor del asentamiento de Felipe V y la dinastía de los Borbones en el Trono de España.
A partir del siglo XVI, el castillo de Almansa, al igual que otros muchos castillos españoles, entró en un largo proceso de abandono, ya que sus principales funciones quedaron en desuso, con el lógico deterioro que esto conlleva.
En 1919 el alcalde de Almansa denunció el estado ruinoso del castillo y solicitó permiso para su demolición, pero gracias a los informes realizados por la Real Academia de la Historia y la Real academia de Bellas Artes de San Fernando, en contra de la petición del Ayuntamiento, el castillo de Almansa no sólo se salvó, sino que además, por Real Orden de febrero de 1921 fue declarado Monumento Histórico Artístico Nacional.
En 1952 el castillo experimentó una profunda restauración en su periferia. En el interior no reconstruido, solo quedaron unos escasos restos que permiten conjeturar su primitiva configuración. Durante las obras realizadas se descubrió una bellísima escalera de caracol que desde la torre del homenaje da acceso a la terraza superior de dicho torreón. En 1990 se puso un marcha un proyecto de reparación y estabilización de los agrietamientos, que consistió básicamente en el cosido de los estratos rocosos, mediante la colocación de anclajes y recalce de las murallas con inyecciones de cemento. Se colocaron diez vigas-contrafuertes para la recogida de las cabezas de los anclajes, que se pueden apreciar en el flanco oriental.
Descripción
Se asienta sobre un montículo rocoso que dificulta su acceso. Su forma es rectangular y se divide en dos recintos a distintas alturas alturas. En la parte más elevada, hay una muralla rematada en almenas y, en la parte más baja, hay torreones. En la zona de mayor altura del recinto, se localiza la torre del homenaje que es de grandes dimensiones y que se encuentra rematada en almenas.
El recinto inferior del castillo posee dos puertas de acceso. la puerta del lado oeste, por la que se entraba a pie y a caballo a través de su imponente barbacana, es la que se utiliza actualmente. Atravesando el patio de armas se encuentra la puerta del lado este, por la que se accedía con carros y carruajes.
La torre del homenaje es la parte más destacada de todo el edificio, y se encuentra jalonando la muralla en la parte más alta del recinto. Su planta es rectangular y la entrada se encuentra en alto, para hacer el acceso más difícil. La torre tieve escasos vanos y está rematada por almenas para su defensa. En la parte superior de la torre hay una terraza almenada a la que se accede por una escalera de caracol tallada en la roca, con elementos de cantería, y que está considerada una maravilla dentro del gótico de la zona.
Entre las partes defensivas del castillo destaca la muralla, que se extiende a lo largo del cerro sobre el que se asienta. Su monótona estructura se rompe con las torres semicirculares de sus esquinas, que tienen una barbacana defensiva para su acceso. Como el resto de la construcción, toda la estructura esta rematada con almenas piramidales.
Materiales
El castillo está construido en piedra. En los lienzos o muros, se utiliza el sillarejo, es decir, piedra poco trabajada. Y, en las esquinas de las torres, se utiliza el sillar, es decir, piedra labrada en su totalidad. En las partes hechas en época musulmana, se utilizó el tapial.
Estado de conservación
El estado del edificio es bueno pues en el siglo XX se iniciaron las labores de restauración (1952 y 1990). Hoy en día, se ha acondicionado para la visita de los turistas.
Propiedad y uso
Es propiedad del Ayuntamiento de Almansa, y su destino es turístico.
Visitas
Es un lugar muy frecuentado por los turistas interesados en nuestro patrimonio artístico, y permanece abierto todos los días excepto los martes.
Horario de lunes a viernes: de 11:00 horas a 13:00 horas y de 17:00 horas a 18:30 horas.
Horario de sábados, domingos y festivos: de 11:00 horas a 14:00 horas y de 16:00 horas a 18:30 horas.
Entrada: Normal: 3 euros.
Niños menores de 14 años: 1,8 euros.
Jubilados: 1,8 euros.
Grupos (+15 pax): 1,8 euros. Teléfono del Ayuntamiento de Almansa, (967) 31 15 50.
Protección
Fue declarado Monumento Histórico Artístico Nacional por Real Orden de febrero de 1921.. Bajo la protección de la Declaración genérica del Decreto de 22 de abril de 1949, y la Ley 16/1985 sobre el Patrimonio Histórico Español.
Photograph from India Game Developer Summit 2010 (Lite Ed.) held in Bangalore, India, 27 February 2010, produced by Saltmarch Media. Photograph ©Copyright Saltmarch Media. Non-commercial use permitted with attribution and linkback to this page on Saltmarch's Flickr photostream. All other rights reserved.
A partir de hoy, los ciudadanos que deseen solicitar al Consejo Nacional de Personas Envejecientes (CONAPE), la acogida de un adulto mayor, podrán hacerlo en línea utilizando la plataforma www.repúblicadigital.gob.do.
Foto: Presidencia Republica Dominicana
Enlace noticia:
presidencia.gob.do/noticias/republica-digital-permite-ciu...
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In response to the Congressional budget debacle which proved that DC is but a colony -- prone to being singled out unlike any other city in the country -- a number of activists, elected officials, and general citizens came out in force upon the grounds of Capitol Hill.
The crowd first formed on the sidewalk, but after some opening remarks by elected officials and activists: they quickly spilled into the street. The Capitol Police had been on hand & I'd thought it amusing that a couple were taking photos & videos... it wasn't until I saw the wristbands come out when I realised these weren't officers enjoying the moment; they were recording evidence.
With many minutes of warning, large portions of the group shifted over the sidewalk; whilst a core of dedicated supporters -- including our Mayor, a number of councilmembers, and members of DC Vote -- remained behind to block the roadway. The officers began to surround the group & repeated their warnings to get back on the sidewalk or face arrest.
Now in all fairness to the Capitol Police: they were doing their job. They were quite courteous about it & the protest was similarly jubilant right back. One woman was first to be bound, soon followed by several other activists. Then came Muriel Bowser: first councilmember to be arrested.
In general, I tend to dislike political grandstanding... but this was different. If our council was being arrested by our own police, I'd think it a cheesy photo op... but now our locally-elected officials were being arrested by the very forces we were out to protest: the Feds. This wasn't a mere photo op arrest; this was actually a legitimate arrest... the kind of thing that goes on your record; the kind of thing you spent a night in jail for.
Now granted, I don't expect anyone will be in jail longer than tomorrow; I'd be surprised if any were still locked up by midnight tonight. But it was Councilmember Bowser's arrest which really hit a moment... you could see the look on her face was of some worried concern: someone who had never been arrested before & didn't show up here today expecting to be arrested. As she was placed into the police van: her look of concern changed to a bit more worry. I mean this as no knock against Councilmember Bowser's committment; rather I felt it really help to humanise the entire event. It made me respect her all the more.
Yvette Alexander stood right beside us for quite some time, complicated in that she didn't have her ID on her. While it was entertaining to see our top officials being frisked, it was also quite entertaining that our easily-recognisable councilmember needed her ID... prompting a standerby to call one of her staffers with the best introduction I've ever heard over a phone: "Hi, your councilmember has been arrested." Also, kudos to Councilmember Alexander for going to jail in high heels!
There is a lot I can complain about with the council in general; and certainly with individual councilmembers & even the mayor. Heck, that's what politicians are for: you're not supposed to always like them. But this was an opportunity to set aside some of those issues (frankly, I'd say DC was glad to have a unifying moment after the past couple weeks) and cheer on our own brothers & sisters as they stood up in support of our rights.
It was certainly a proud moment to be a DC resident and a fine boost to our collective esteem after several weeks of turmoil within our local & federal levels of government. It's aggravating that my support for small & local government is inhibited by those in Congress whom advocate small & local government. If I wanted to live in a colony, I'd have moved to Williamsburg.
O exercício permite avaliar e certificar a capacidade operacional da Força Aérea, criando também condições únicas para que os meios da Aliança treinem conjuntamente, desenvolvam interoperabilidade e reforcem a prontidão dos seus meios.
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Wherever sidewalks interrupt multi-use paths a Bicycles Permitted sign should be posted like here in front of Brampton Civic Hospital.
Dia 5 - 12/12/2008, sexta-feira.
Melissa, esperança. Douglas, exemplo.
“Caramba, meio-dia”. O sol refletia tão forte por detrás da cortina que eu imaginei ter perdido a hora, mas não, eram 7h da manhã. Logo pulei da cama e fui direto tomar um banho frio, pois o calor daqui lhe permite tomar esse tipo de atitude insana, que nem no verão do Rio. Sentia a água bater nos meus ombros e pensava sobre como foi linda a noite anterior com a apresentação do coral no parque. O espírito natalino fluia e colidia com o sereno que caia do céu. Mãos para o alto com os bastões iluminados, foi uma noite feliz. Noite Feliz foi a música que finalizou o espetáculo natalino que Blumenau fez e como jamais vi em nenhum outro lugar.
Saí do banho, chequei meus e-mail e fiquei satisfeito em saber que meu Diário foi destaque no clipping interno da empresa onde trabalho em São Paulo, na IBM, que tem mais de 12 mil funcionários no Brasil. Se eu conseguir tocar o coração de pelo menos 10 desses 12 mil funcionários, pra mim já justifica-se trocar boa parte da minha noite de sono o preparando. Dessas 10 pessoas, espero delas que reflitam sobre seus valores e sobre o tema Solidariedade, tão na moda no mundo de hoje, mas pouco colocado em prática de verdade.
Nove horas. Desço pra tomar um café-da-manhã reforçado e logo subo para escovar meus dentes e partir para mais um dia na Vila Germânica. Assim que chego lá, me deparo com aproximadamente 30 voluntários trabalhando no local. Na segunda-feira, dia 08/12, quando comecei meu trabalho, havia mais de 250 pessoas trabalhando no pavilhão. Essa turma está dando um exemplo de cidadania e garra. O trabalho é intenso e ninguém desanima, muito pelo contrário, parece que o desafio tornou-se maior, e todos ali estão na guerra de verdade, e para vencer. Precisamos de mais voluntários! O cansaço é visível nos gestos e olhares de cada um, em cada gota de suor que escorre pelo rosto e umidece a camisa. Enquanto parte do grupo trabalha, outra parte observa e descansa para repor as energias. “Água gelada, por favor”, grita algum dos voluntários, e vamos em frente, pois tem muito caminhão ainda chegando na Vila, e o melhor: hoje vi muito caminhão também saindo para os abrigos. No fim do dia, notei que os galpões estavam com menos donativos do que ontem, em especial a parte de alimentos. Como roupas e água são os itens que mais aparecem nos caminhões, esse estoque parece ter se mantido no mesmo nível dos últimos dias, o que quer dizer que as doações estão chegando a quem devem chegar! Confesso sentir uma maior satisfação ao carregar caminhões que estão levando doações do que descarregar aqueles que chegam com doações. Não que as chegadas de doações devam ser interrompidas ou tenham menos importância, mas é uma questão de pura satisfação pessoal, como se álguem estivesse falando no pé da sua orelha: “Leva logo isso, porque tem gente esperando!”.
Fiquei na dívida com vocês para esclarecer dois fatos: o primeiro refere-se ao motivo pelos professores da rede pública terem deixado a central de doações ontem. O segundo, trata-se do boato que correu sobre a necessidade de entregar o pavilhão da Vila Germânica nessa sexta-feira devido à realização de um evento no fim-de-semana.
Bem, quanto aos professores terem deixado a central, achei a justificativa hiper coerente. Devido à dificuldade com a logística na Vila Germânica, decidiram que grande parte dos caminhões partiriam para as escolas municipais e lá mesmo ocorreriam as triagens, o que resulta na redução do fluxo de doações a passarem pela triagem na central, que já está abarrotada de coisas, e assim agiliza o processo de entregas dos produtos aos desabrigados, já que os mesmos se deslocarão até essas escolas para buscarem os donativos. Achei uma ótima notícia.
Quanto à necessidade da entrega do pavilhão, isso, de fato, vai acontecer, porém, ainda sem data definida. Isso quer dizer que durante esse fim-de-semana muito trabalho ainda está pela frente. A necessidade de entrega do pavilhão é um tema muito polêmico por aqui, pois uns acreditam que seja importante liberar o espaço o mais rápido possível, uma vez que na Vila Germânica acontecem diversos eventos que resultam no aquecimento da economia local. Outros já pensam que é hora de dar prioridade às vítimas e deixar para resolver o problema da economia local mais pra frente. Bem, se perguntarem a minha opinião, ouvirão que acredito ser mais importante, nesse momento, a vida humana, que clama por comida, roupa e acolhimento, então eu acho que pelo menos até a próxima quarta-feira o espaço deve ser dedicado à central de doações. Mas, enfim, sabemos que existem muitas questões por trás, então prefiro não tornar o assunto mais polêmico do que já é. Finalizo meus comentários sobre esse assunto por aqui, mas lhes manterei atualizados sobre a questão.
Sobre o título do diário de hoje... “Melissa, esperança. Douglas, exemplo”.
Hoje conheci duas crianças que iluminaram o meu dia e me fizeram pensar sobre o valor da vida e a importância da solidariedade. Nós somos humanos. Ou a gente trata da gente ou o mundo logo, logo sofrerá com a extinção dessa espécie, pois não seremos capazes de sobreviver a catástrofes que já são esperadas pelos cientistas e pesquisadoras, como a falta d'água e de comida no planeta, por exemplo. Os nomes dessas crianças que imuminaram meu dia são Melissa e Douglas.
A Melissa é uma meninha de aproximadamente um aninho e poucos meses, a coisa mais fofa do mundo. Ela estava no colo de um rapaz e acompanhada pela sua mãe. Melissa é uma das vítimas das enchentes que caíram sobre Blumenau e estava lá à procura de donativos. Não resisti à emoção e pedi para tirar uma foto dela. Ela sorria e ficava doida para pegar a câmera da minha mão. Tirei a foto e a mostrei. Seus olhos brilhavam, enquanto os meus lacrimejam de emoção. Melissa me provocou um sentimento profundo de esperança.
O Douglas é um menino de 13 anos, morador de uma região de Blumenau que não foi atingida gravemente. Douglas é um exemplo para muitos adultos: como está de férias na escola, decidiu, por livre e espontânea vontade, que queria passar dias das suas férias ajudando como voluntário na Vila Germânica. O Douglas carrega caixas pesadas pra lá e pra cá e se diverte com tudo isso. A “brincadeira” preferida dele é o da fila indiana com as caixas de roupas. Ele ri, ele fala, ele quer participar, ele quer ajudar! Douglas é um exemplo pra você, Douglas é um exemplo pra mim. Pena que não há muitos Douglas por aí. Douglas não precisou parar de falar, ele simplesmente fez, antes mesmo de falar ou criticar qualquer coisa. Precisamos de gente que pare de falar e comece logo a fazer! É muita gente falando!!!
Amanhã nasce um novo dia. Que Deus proteja Melissa e Douglas, os heróis do nosso dia.
PS. Hoje tive a boa notícia que amanhã virão 250 voluntários de São Paulo para ajudar nos trabalhos, isso não é maravilhoso?
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Faça download completo do Diário SOS SC em:
Pidgeons meeting at the central market. Actually, they are usually not here, but I noticed a woman feeding them from a large bag. This in the evening after the market closed. Not sure this is permitted, but it made for a nice photo.
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Taubentreffen. Normalerweise sind sie nicht hier. Ich sah eine Frau die einen grossen Sack Futter auf den Platz streute- nachdem der Markt geschlossen war... Bin nicht so sicher das das erlaubt war.
Left the dog and the missus behind for a more energetic walk with views for miles. This is thirty minutes from my front door so I am very lucky in the current crisis that I can stretch my legs with hardly a soul around. Saw a grand total of twelve people over ninety minutes all at extreme distance bar three at the start of my walk from Bittaford in south Devon to Eastern Beacon rocks on the southern edge of Dartmoor. This was around 6.00 in the evening and just as the hazy sun had started to produce more clarity a slab of cloud appeared from the north i.e. Dartmoor, despite it being sunny elsewhere. Convection clouds unfortunately are one of the drawbacks of the high ground in this part of the world.
Permit Number :05/136/1993
Permit Owner:SABU KURIAN
Permit Owner Address: SABCHUMAPPUNKAL HOUSE, ELIKKULAM P. O, PONKUNNAM, KOTTYAM DI.U KURIAN
PAIKA 06:08 am
ERATTUPETTA 06:40 am - 06:48 am
PALA 07:17 am
THALAYOLAPARAMBU 08:17 am - 08:19 am
VYTTILA HUB 09:23 am
VYTTILA HUB 11:04 am
THALAYOLAPARAMBU 12:08 pm
PALA 01:08 pm
ERATTUPETTA 01:37 pm
ERATTUPETTA 01:55 pm
PALA 02:24 pm
THALAYOLAPARAMBU 03:24 pm
VYTTILA HUB 04:28 pm
VYTTILA HUB 05:54 pm
THALAYOLAPARAMBU 06:58 pm
PALA 07:58 pm
ERATTUPETTA 08:27 pm
PAIKA 08:59 pm
Legal and permitted (though you need a tiny footprint and have to haul your water up there). We shared it with a family of goats (though they went a little higher and stayed out of sight before we could get any pix). And, believe me ... I didn't saturate the color of that heather ... it was that vibrant ... the prettiest I've ever seen and feeling so fortunate to have it in my backyard.
“À medida que você ler as palavras deste Livro e permitir que elas penetrem seu espírito, oro para que Deus passe a habitar seu coração, trazendo-lhe cura, poder e misericórdia. Oro para que o Senhor grave nas profundezas de sua alma todos os planos que ele traçou para sua vida e a faça renascer cheia de poder, amor e graça. Seja abençoada, filha do Deus vivo. Seja curada e restaurada inteiramente em nome de Jesus.”
T.D. Jakes — Editor da Bíblia Mulher, Tu Estás Livre!
“Mulher, Tu Estás Livre!” — repercutindo as palavras de Jesus quando ele curou uma mulher que sofria de uma enfermidade havia dezoito anos, T. D. Jakes tem ensinado milhares de mulheres a encontrar cura para as feridas do coração, a livrar-se das mágoas e a caminhar rumo a uma vida plena e fortalecida.
A Bíblia Mulher, Tu Estás Livre! tem ajudado as mulheres a ser vitoriosas e a ter a vida completamente restaurada. Se você está pronta a deixar para trás o passado e o sofrimento, a Bíblia Mulher, Tu Estás Livre! é o que você procura.
Nas belas páginas desta Bíblia em duas cores, você encontrará textos extraídos de alguns dos ensinamentos mais eficazes e conhecidos de T. D. Jakes:
• Mais de 150 artigos para encorajar você em sua busca por plenitude de vida e libertação — os artigos baseiam-se em versículos específicos da Bíblia e estão devidamente indicados para fácil referência.
• 600 pérolas do Evangelho — breves, mas poderosas citações de T.D. Jakes que transmitirão entusiasmo ao coração feminino.
• “Mulheres influentes” — seção de resumos biográficos de 10 mulheres bíblicas, com ênfase nas lições que você poderá aprender com a vida de cada uma delas.
• “Segredos da alma” — orações escritas por T.D. Jakes com a finalidade de ajudar você a começar a orar sobre os aspectos que mais sensibilizam o seu coração.
Recomendo a Bíblia Mulher, Tu Estás Livre!. Convido você não somente a ter e a ler, mas a viver os princípios que são ali ensinados. O mundo precisa de mulheres que façam a diferença, e essa diferença só encontramos na Palavra de Deus.
Maria Luiza Targino (Nina) | Coord. Nacional do Desperta Débora
Edificante, específica e com uma linguagem contemporânea que facilita a leitura e entendimento dos princípios revelados na Palavra de Deus. Com ela as mulheres se sentirão especiais, além de aprenderem com os estudos contidos nela e crescerão rumo à verdadeira liberdade.
Silvia Geruza | Igreja Batista Betesda
Você vai se deliciar lendo a Palavra de Deus com os adereços que T.D.Jakes agrega a ela. Não perca essa oportunidade. Eu me apaixonei.
Nancy Gonçalves Dusilek
Membro Titular da Academia Evangélica de Letras do Brasil
T. D. JAKES , fundador e pastor sênior da Igreja A Casa do Oleiro, uma congregação inter-racial com mais de 30 mil membros, em Dallas, Texas, é palestrante renomado. Seu programa de televisão semanal é visto por milhões de pessoas nos Estados Unidos. Jakes já foi capa da revista Times e é conhecido por sua mensagem sobre a liberdade em Jesus Cristo. É autor dos livros Mulher, tu estás livre!, Homem sem amarras, Homens comuns com potencial extraordinário, 40 dias de poder, todos publicados pela Editora Vida.
Here's "conditional permit" which is "subject to field" (presumably a field inspection). Here's the complete text of the description: DEMOLITION OF EXISTING TENANT CONSTRUCTION IN PREPARATION FOR REMODELING INCLUDING PLUMBING AND ELECTRICAL REMOVAL. -CONDITIONAL PERMIT, SUBJECT TO FIELD. Application #100208179, $50,000.
I was once again honored to be present during the homecoming of Carrier Air Wing 7's at NAS Oceana. CVW-7 has been deployed 10 of the last 12 months. During this most recent part of their split deployment, Carrier Air Wing 7 completed over 5,200 sorties of which more than 1,300 were combat designated.
Thank you very much to NAS Oceana and the families of CVW-7 for permitting me to be a part of this special day!