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You may view more of my images of Ickworth House, Park and gardens, by clicking "here" !
From the Archieves, reprocessed, using Photoshop CC 2024.
With over 1,800 acres of parkland designed by Capability Brown, the house and its grounds were created as an homage to Italy, the country so beloved by Frederick Augustus Hervey, the 4th Earl of Bristol. The Earl-Bishop spent his life travelling the continent, gathering together a vast collection of paintings, sculpture and artefacts. Already possessed of several houses, he conceived Ickworth primarily as a museum for his treasures. At his death only the Rotunda - the giant circular structure at the centre of the two wings, described by Hervey's wife as 'a stupendous moment of Folly' - was nearing completion. The house was eventually finished by his son. Although Hervey's treasures, confiscated during the French invasion of Italy, were destined never to occupy Ickworth, his descendants made it their life's work to rebuild what has become an exceptional collection of art and silver. Paintings housed in the galleries include works by Velázquez, Titian and Poussin, while the collection of 18th-century portraits of the family is exceptionally fine, featuring canvases by Gainsborough, Reynolds, Vigée-Lebrun and Hogarth. In addition to one of the very best British collections of Georgian Huguenot silver, Ickworth is also home to an impressive array of Regency furniture, porcelain, and domestic objects. More made a career of producing idealised Italian landscapes. His Landscape with Classical Figures, Cicero at his Villa, painted in 1780 and funded in 1993, is a typical work, the misty soft-focus and pastel light adding to its appeal. Hugh Douglas Hamilton's The Earl Bishop of Bristol and Derry Seated before the Prospect of Rome shows Hervey seated at what is thought to be the southern tip of the Borghese Gardens. Ickworth's parklands and gardens can provide a day's activity in their own right. The south gardens are modelled on the formal Italian style, while the gardens to the west of the house are more informal. Visitors can walk or cycle out into the park itself and up to the Fairy Lake. Bright and modern, The West Wing Restaurant overlooks the gardens and can be guaranteed to catch any sunlight on offer. It serves everything from hot meals to snacks, and at weekends the restaurant is open for breakfast. If you're after something rather more formal, try Frederick's restaurant at Ickworth Hotel in the grounds.
“The dragon roared, and spat out fire, the house caught on fire.
“Hold the dragon back!” Exclaimed Aidric. “I'll put out the fire!”
The knights were noble, valiant men, but they didn't stand a chance. Magic was needed. And magic was what Aidric possessed.
Aidric raised his staff, and a mighty green light sprang forth from it! The water from the pond swirled, and raised up, creating a sphere of water. The sphere shot out to he fire, and as fast as the fire had came, it was gone.
The dragon swiped a mighty paw, and felled Sir Theodoren. With a roar, a stream of fire spewed from the dragons mouth, engulfing Sir Theo.
“No!!” Cried Sir Espan.
Espan raised his sword, and charged the dragon.
“Stay back!” Yelled Aidric. “I'm coming”
Aidric raised his staff again, and the brilliant light of green was back, twice as large as before!
All the water in the pond swirled out, and with superhuman strength, it slammed into the head of the dragon! The dragon let out a mighty roar! Espan, and Sir Rowan took advantage of the dragons temporary blindness, and charged with their swords.
The dragon flapped its magnificent wings, and flew up into the air. A spell from the ancient language spewed from Aidrics mouth, and the dragon was pushed back, far into the open plain.
The dragon flew away, recognizing it's defeat.
The knights cheered! Aidric let out a sigh of relief. For now, the battle was over.
But the dragon would be back. And it would be stronger than ever.”
My entry to the Dragon contest, hosted by the amazing Siercon and Coral. Sorry about the not-so-good backstory. It would have been better if I had took more time to write the story, but oh well.
Photographer as the White Rabbit Damn that mushroom!
Or maybe Donnie Darko.
First of a Halloween series. More, much more, to come.
thank you soooo much, k for this awesome possessed by luke chueh!! xoxo!! ^^/
possessed by luke chueh
2007 may 19
© woolloomooloo / woolloomooloosky. all rights reserved.
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The cult of the three holy martyr brothers Alfio, Filadelfo and Cirino is widespread in almost all of Eastern Sicily since the early Middle Ages, the news we have on the life and martyrdom of the three brothers are contained in a document written by a Basilian monk , his own name Basilio, whose manuscript is in the Vatican Library, with the number 1591; the manuscript reports that the three saints suffered the persecution of Valerian and martyrdom in 253; the three brothers were born in Vaste, in the province of Lecce, were arrested (and later martyred) for having professed the Christian religion using their noble influence, as their parents, Vitale and Beatrice had previously done, who were also they barbarously martyred for professing their religious beliefs; the three brothers, after having undergone several trials throughout the central-southern territory of Italy, since no one wanted to condemn them with a definitive sentence as belonging to one of the most important families of the empire, were brought to Taormina by Tertullo, a young Roman patrician and head of the island, who, failing to detach them from their creed, sent them to Lentini; during the journey, the group stopped in two places, here the villages of Sant'Alfio and Trecastagni were born, then they reached Catania and were imprisoned here, finally they were taken to Lentini, where they died through atrocious tortures. Before undergoing martyrdom, they were intercessors of miraculous works, Tecla and Giustina were two young countesses, among them cousins, Tecla for more than six years suffered from a severe form of paralysis in the legs, while Giustina was blind in one eye, they learning of miraculous healings that occurred through their intercession during their forced journey from Rome to Lentini, they turned to them, receiving healing. On the day of their torture they were handcuffed and whipped in the streets of the city, exposed naked and barefoot to the ridicule of the people: Alfio's tongue was ripped off (he became the patron saint of the Mutes), Philadelphus was burned on a grill, Cirino was thrown in a cauldron of boiling pitch. The villages of Sant’Alfio and Trecastagni, on the slopes of Etna, and of Lentini, commemorate the three Saints Brothers with very heartfelt and participatory traditional feast. The photographic story that I present here was made this year 2022 on the occasion of the feast held on May 10 in the Etnean village of Trecastagni (the name Trecastagni seems to derive from the Latin "tres casti agni" that is "three chaste lambs", but not everyone agrees on this etymology; the feast is celebrated on May 10, as their martyrdom took place on this day in 253 , Alfio was twenty-two years and seven months old, Philadelphus twenty-one, Cirino nineteen and eight months). The feast and the procession celebrated in Trecastagni have much in common with the one celebrated, always in honor of the Three Holy Brothers, in the town of Sant'Alfio (see my previous photographic story), even if in Trecastagni there is something larger and more varied; in the late afternoon on May 9, a competition of pyrotechnic games begins, which will be the thunderous background sound until late at night, in the night between On 9th and 10th the so-called "naked" arrive, who are not naked, they arrive, out of devotion, from the most varied and even distant localities, they are dressed in red shorts and a red strip on the chest, sometimes they are bare-chested, others, with a white T-shirt, they are barefoot, sometimes they wear woolen socks, they carry a large lighted candle on their shoulders, having arrived inside the Sanctuary, in front of the cell where the Three Brothers are still enclosed, the devotees tired from the long journey, recover their strength, indulging in an emotional invocation "face to face", mentioning only the name of Alfio (as representative of all three brothers); the morning of the 10th is a day of great celebration, sellers of fresh and very fragrant garlic can be seen along the streets, there are stalls selling products of all kinds, from food, to various objects, such as hats, shoes or clothes, characteristic tambourines Sicilians with sacred images printed on them; the carts arrive in the parade, the "Sicilian" ones painted with battle scenes between the brave Paladins against the ferocious Saracens, but there are also the carts that once served to transport people and/or things; a visit inside the Sanctuary will reveal the presence of objects possessed by “miracled” people and left as a gift as testimony (busts, corrective corsets, sticks, crutches, letters of thanks), there are “ex voto” in wax, reproducing the miraculously healed organs such as arms, heads, legs, there are "ex votos" in silver, also reproducing the miraculously healed organs, there are "ex votos" in the form of oil paintings, on wooden or metal plates, with the names of the "miracled" and the scenes that describe what happened (from the most ancient ones, where falls from horses or overturned carts are often painted, to then make way for more recent tragedies, with accidents caused by motor vehicles; episodes of war; surgery). Before 1.00 pm the so-called "unveiled" takes place, from the cell of the Sanctuary, in which the Three Holy Brothers were imprisoned for almost a year, They are exposed with great emotion of those present; the "rail" on which the statues will be brought down is prepared with great skill, to thus take their place on the float. At 1.00 pm sharp the vara leaves the Sanctuary, amidst the ovation of all the faithful who have come in large numbers from many centres, near and far, thus begins the exciting and moving rite (some children cry, frightened) with children being shown to the Three Holy Brothers, some of them very young, taken by the expert hands of the devotees present on the vara, thus invoke their benevolence and protection. The vara then moves towards the outskirts of the town, with great effort on the part of the shooters, who use two large ropes to pull it, they have to overcome a steep climb, then the vara at 3.00 pm enters the Mother Church, at 06.00 pm the vara follow another well-established itinerary. With the octave of the feast, on May 17, the festivities end, the Saints will remain unveiled until the first Sunday of June, after which they will be locked up again in their cell, until the following year.
Il culto dei tre fratelli santi martiri Alfio, Filadelfo e Cirino è molto diffuso in quasi tutta la Sicilia Orientale fin dall'alto medioevo, le notizie che possediamo sulla vita e sul martirio dei tre fratelli, sono contenute in un documento scritto da un monaco basiliano, di nome proprio Basilio, il cui manoscritto si trova nella Biblioteca Vaticana, col numero 1591; il manoscritto riporta che i tre Santi hanno subito il la persecuzione di Valeriano ed il martirio nel 253; i tre fratelli nacquero a Vaste, in provincia di Lecce, vennero arrestati (ed in seguito martirizzati) per aver professato la religione cristiana utilizzando la loro influenza nobile, come avevano fatto in precedenza i loro genitori, Vitale e Beatrice, i quali furono anch’essi barbaramente martirizzati per aver professato il loro credo religioso; i tre fratelli, dopo aver subito parecchi processi per tutto il territorio centro-meridionale d'Italia, visto che nessuno voleva condannarli con una sentenza definitiva in quanto appartenenti ad una delle famiglie più importanti dell’impero, furono portati a Taormina da Tertullo, giovane patrizio romano e Preside dell'isola, il quale non riuscendo a scostarli dal loro credo li inviò a Lentini; durante il tragitto, il gruppo si fermò in due luoghi, qui in seguito nacquero i paesi di Sant'Alfio e Trecastagni, poi giunsero a Catania e qui furono rinchiusi in carcere, infine furono condotti a Lentini, dove trovarono la morte mediante atroci supplizi. Prima di subire il martirio, essi furono intercessori di opere miracolose, Tecla e Giustina erano due giovani contesse, tra loro cugine, Tecla da più di sei anni soffriva di una grave forma di paralisi alle gambe, mentre Giustina era cieca in un occhio, esse venendo a conoscenza di guarigioni miracolose avvenute per loro intercessione durante il loro tragitto forzato da Roma a Lentini, si rivolsero a loro, ricevendo la guarigione. Il giorno del loro supplizio furono ammanettati e frustati per le vie della città, esposti nudi e scalzi allo scherno del popolo: ad Alfio venne strappata la lingua (divenne così il Santo protettore dei Muti), Filadelfo fu bruciato su di una graticola, Cirino fu gettato in una caldaia di pece bollente. I paesi di Sant’Alfio e di Trecastagni, alle pendici dell’Etna, e di Lentini, ricordano i tre Santi Fratelli con delle feste tradizionali molto sentite e partecipate. Il racconto fotografico che qui presento, è stato realizzato quest’anno 2022, in occasione della festa che si tiene il 10 maggio nel paese etneo di Trecastagni (il nome Trecastagni sembra derivare dal latino “tres casti agni” cioè “tre casti agnelli”, ma non tutti sono d’accordo su questa etimologia; la festa si celebra il 10 maggio, in quanto in tale giorno del 253 avvenne il loro martirio, Alfio aveva ventidue anni e sette mesi, Filadelfo ventuno, Cirino diciannove e otto mesi). La festa e la processione che si celebrano a Trecastagni hanno molto in comune con quella celebrata, sempre in onore dei Tre Santi Fratelli, nel paese di Sant’Alfio (vedi il mio precedente racconto fotografico), anche se a Trecastagni si assiste a qualcosa di più grande e variegato; nel pomeriggio inoltrato del 9 maggio inizia una gara di giochi pirotecnici, che farà da fragoroso sottofondo fino a notte inoltrata, nella notte tra il 9 ed il 10 arrivano i cosiddetti “nudi”, che poi nudi non sono, essi arrivano, per devozione, dalle più svariate ed anche lontane località, sono vestiti con pantaloncini ed una fascia sul petto rossi, a volte sono a petto nudo, altre, con una magliettina bianca, sono scalzi, a volte indossano calze di lana, portano in spalla un grosso cero acceso, arrivati dentro al Santuario, davanti alla cella dove ancora sono racchiusi i Tre Fratelli, i devoti stanchi per il lungo viaggio, recuperano le loro forze, lasciandosi andare ad un emozionante invocazione “a tu per tu”, nominando solo il nome di Alfio (come rappresentante di tutti e tre i fratelli); la mattina del 10 è giorno di gran festa, si vedono venditori di aglio fresco e profumatissimo lungo le strade, ci sono bancarelle che vendono prodotti di ogni genere, da quelli alimentari, ad oggetti svariati, come cappelli, scarpe o vestiti, caratteristici i tamburelli siciliani con sopra stampate immagini sacre; arrivano i carretti in sfilata, quelli “Siciliani” dipinti con scene di battaglie tra i prodi Paladini contro i feroci Saraceni, ma ci sono anche i carretti che una volta servivano per il trasporto di persone e/o cose; una visita dentro il Santuario rivelerà la presenza di oggetti posseduti da persone “miracolate” e lasciate in dono come testimonianza (busti, corpetti correttivi, bastoni, stampelle, lettere di ringraziamento), ci sono “ex voto” in cera, con arti miracolati e guariti, come braccia, teste, gambe, ci sono “ex voto” in argento, anch’essi riproducenti gli organi miracolati, ci sono "ex voto" in forma di dipinti ad olio, su tavole in legno o metalliche, con sopra i nomi dei “miracolati” e le scene che descrivono quanto accaduto (da quelle più antiche, ove spesso sono dipinte le cadute da cavallo od i carretti ribaltatisi, per poi lasciare posto a tragedie più recenti, con gli incidenti causati dai mezzi a motore; episodi di guerra; interventi chirurgici). Prima delle ore 13,00 avviene la cosiddetta “svelata”, la cella del Santuario, nella quale i Tre Santi Fratelli sono stati rinchiusi per quasi un anno, vengono esposti con grande commozione dei presenti; si prepara con grande perizia “il binario” sul quale le statue verranno fatte scendere, per prendere così posto sulla vara (il fercolo). Alle 13,00 in punto la vara esce dal Santuario, in mezzo all’ovazione di tutti i fedeli giunti numerosissimi da tantissimi centri, vicini e lontani, inizia così il rito emozionante e commovente (qualche bambino piange, spaventato) della presentazione dei bimbi messi al cospetto dei Tre Santi Fratelli, alcuni in tenerissima età, presi dalle mani espertissime dei devoti presenti sulla vara, si invoca in tal modo la loro benevolenza e protezione. La vara successivamente si sposta verso la periferia del paese, con gran fatica da parte dei tiratori, che utilizzano due grossi canapi per tirarla, essi devono vincere una ripida salita, la vara alle ore 15,00 entra così nella Chiesa Madre, alle ore 18,00 la vara fuoriesce, per percorre un altro itinerario ben stabilito. Con l’ottava della festa, il 17 maggio, i festeggiamenti terminano, i Santi rimarranno svelati fino alla prima domenica di giugno, dopo verranno rinchiusi nuovamente nella loro cella, fino all’anno successivo.
"Everything that is new or uncommon raises a pleasure in the imagination, because it fills the soul with an agreeable surprise, gratifies its curiousity, and gives it and idea of whish it was not befoere possessed." - Joseph Addison (English Essayist, Poet, Dramatist and Stateman, 1672 - 1719)
"Surprise is the greatest gift which life can grant us." - Boris Pasternak (Russian Poet and Writer, Nobel Prize Winner, 1890 - 1960)
Thanks a lot for your ongoing support, my dear friends! BTW, anyone knows the name of this unusual plant...?
Best seen on black - press L or click on icon above.
visit for style information & where you can get these items ((^~^))
thewanderingfaun.blogspot.com/
Pixiuis a Chinese mythical hybrid creature considered powerful protectors of the souls of the dead,and feng shui practitioners. They resemble strong, winged lions and is an earth and sea variation. They are particularly an influential and auspicious creature for wealth, and is said to have a voracious appetite exclusively for gold, silver, and jewels. Therefore, traditionally to the Chinese, Pixiu have always been regarded as auspicious creatures that possessed mystical powers capable of drawing wealth from all directions. According to the Chinese zodiac, Pixiu are especially helpful for those who are going through a bad year. -- Courtesy Wikipedia.
Chinese Restaurant, Orem, Utah
Some of you have kindly inquired after the cat, and I reckon I have neglected her on my photostream lately. She is fine, tho at times, acts a bit odd...as here, reacting to a simple suggestion that it might be time to come in the house.
A friend suggested that this demeanor may be evident in all females who have yet to be fixed...a thought finding a great deal of merit and legitimacy in my mind...until I became aware that she was speaking of cats...
[More intimidating large]
Cover art by Ray Theobald.
5 short stories all using John Glasby pseudonyms .
1 - The Dark Possessed - Michael Hamilton (Glasby)
2 - Ebb Tide - Max Chartair (Glasby)
3 - Doorway To Darkness - A.J. Merak (Glasby)
4 - The Crimson Evil - J.J. Hansley (Glasby)
5 - The Shadow Of Terror - Randall Conway (Glasby)
This was going to be a simple photo where, in order to lighten up my photostream a bit, I'd drape some Christmas tree lights around myself and make a lovely arty shot. Something, you know, nice.
And then... well, I turned them on and they caught fire and now I'm in considerable pain.
Why me?
Oh wait... maybe it's because I hate Christmas?
Yup.
That'll be it.
Yup.
Anyway...er maybe you'd love to:
Strobist:
Bowens Gemini Pro 500 with little softbox above camera pointing down at about 45 degrees, set on 1.0. Triggered by PC cord cable.
Ahkmou body shall be replaced
If anyone doesn’t understand what’s going on it’s basically Ahkmou inner evil has forced him too tear off his head, giving the demons inside him freedom to be exploited.👍
You may view more of my images of Ickworth House, Park and gardens, by clicking "here" !
With over 1,800 acres of parkland designed by Capability Brown, the house and its grounds were created as an homage to Italy, the country so beloved by Frederick Augustus Hervey, the 4th Earl of Bristol. The Earl-Bishop spent his life travelling the continent, gathering together a vast collection of paintings, sculpture and artefacts. Already possessed of several houses, he conceived Ickworth primarily as a museum for his treasures. At his death only the Rotunda - the giant circular structure at the centre of the two wings, described by Hervey's wife as 'a stupendous moment of Folly' - was nearing completion. The house was eventually finished by his son. Although Hervey's treasures, confiscated during the French invasion of Italy, were destined never to occupy Ickworth, his descendants made it their life's work to rebuild what has become an exceptional collection of art and silver. Paintings housed in the galleries include works by Velázquez, Titian and Poussin, while the collection of 18th-century portraits of the family is exceptionally fine, featuring canvases by Gainsborough, Reynolds, Vigée-Lebrun and Hogarth. In addition to one of the very best British collections of Georgian Huguenot silver, Ickworth is also home to an impressive array of Regency furniture, porcelain, and domestic objects. More made a career of producing idealised Italian landscapes. His Landscape with Classical Figures, Cicero at his Villa, painted in 1780 and funded in 1993, is a typical work, the misty soft-focus and pastel light adding to its appeal. Hugh Douglas Hamilton's The Earl Bishop of Bristol and Derry Seated before the Prospect of Rome shows Hervey seated at what is thought to be the southern tip of the Borghese Gardens. Ickworth's parklands and gardens can provide a day's activity in their own right. The south gardens are modelled on the formal Italian style, while the gardens to the west of the house are more informal. Visitors can walk or cycle out into the park itself and up to the Fairy Lake. Bright and modern, The West Wing Restaurant overlooks the gardens and can be guaranteed to catch any sunlight on offer. It serves everything from hot meals to snacks, and at weekends the restaurant is open for breakfast. If you're after something rather more formal, try Frederick's restaurant at Ickworth Hotel in the grounds.
You may view more of my images of Ickworth House, Park and gardens, by clicking "here" !
From the Achieves, reprocessed using Photoshop CC 2020.
With over 1,800 acres of parkland designed by Capability Brown, the house and its grounds were created as an homage to Italy, the country so beloved by Frederick Augustus Hervey, the 4th Earl of Bristol. The Earl-Bishop spent his life travelling the continent, gathering together a vast collection of paintings, sculpture and artefacts. Already possessed of several houses, he conceived Ickworth primarily as a museum for his treasures. At his death only the Rotunda - the giant circular structure at the centre of the two wings, described by Hervey's wife as 'a stupendous moment of Folly' - was nearing completion. The house was eventually finished by his son. Although Hervey's treasures, confiscated during the French invasion of Italy, were destined never to occupy Ickworth, his descendants made it their life's work to rebuild what has become an exceptional collection of art and silver. Paintings housed in the galleries include works by Velázquez, Titian and Poussin, while the collection of 18th-century portraits of the family is exceptionally fine, featuring canvases by Gainsborough, Reynolds, Vigée-Lebrun and Hogarth. In addition to one of the very best British collections of Georgian Huguenot silver, Ickworth is also home to an impressive array of Regency furniture, porcelain, and domestic objects. More made a career of producing idealised Italian landscapes. His Landscape with Classical Figures, Cicero at his Villa, painted in 1780 and funded in 1993, is a typical work, the misty soft-focus and pastel light adding to its appeal. Hugh Douglas Hamilton's The Earl Bishop of Bristol and Derry Seated before the Prospect of Rome shows Hervey seated at what is thought to be the southern tip of the Borghese Gardens.
Ickworth's parklands and gardens can provide a day's activity in their own right. The south gardens are modelled on the formal Italian style, while the gardens to the west of the house are more informal. Visitors can walk or cycle out into the park itself and up to the Fairy Lake. Bright and modern, The West Wing Restaurant overlooks the gardens and can be guaranteed to catch any sunlight on offer. It serves everything from hot meals to snacks, and at weekends the restaurant is open for breakfast. If you're after something rather more formal, try Frederick's restaurant at Ickworth Hotel in the grounds.
This scene was shot in my back yard in the NY City area where I'm a bit too lazy to clean up the leaves. The skull, chains, and gargoyle props are cheap plastic Halloween props from Target. The model, @Sandra Santiago, supplied the dress.
This was shot in the late afternoon in the shade with a Speedlite on a 10 foot tripod. The camera was mounted on a tripod at the height of the model's knee.
A Colombian boy, held by his fellow believers, screams of pain while being allegedly possessed by demons during the exorcism ritual performed at a house church in Bogota, Colombia. Hundreds of Christian belivers, joined in nameless groups, gather every week in unmarked home churches dispersed in the city outskirts, to carry out prayers of liberation and exorcism. Community members and their religious activities are usually conducted by a charismatic pastor or preacher. Using either non-contactive methods (reading religous formulas from bible, displaying Christian symbols and icons) or rough body-pressure-points techniques and forced burping, a leading pastor commands the supposed evil spirit, which is generally believed to come from witchcraft, to depart a person’s mind and body. The demon’s expulsion often consists of multiple rites and may last for several months. © Jan Sochor Photography
Accidental double exposure, Kiev 88CM, MIR 38B F/3.5 65mm lens and expired (January 1979) Svema foto 65 shot at 20 iso and semi-stand developed 1 hour (10-sec stir at 30 minutes) in Rodinal 7mls + 593mls of water.
1958 Plymouth Fury
Hot Wheels
Retro Entertainment
John Carpenter's Christine
Hollywood Does Mystic Beach 2017
Porky's Famous Firehouse BBQ
Olympus OM-D E-M5 Mark II
Olympus M.14-42mm F3.5-5.6 II R
For more info about the dioramas, check out the FAQ: 1stPix FAQ
Carlo Borromeo (Arona, Ducado de Milán, 2 de octubre de 1538 - Milán, 3 de noviembre de 1584) fue un cardenal italiano, arzobispo de Milán y uno de los grandes reformadores católicos de la época postridentina. Era sobrino del papa Pío IV y la Iglesia católica lo venera como santo.
es.wikipedia.org/wiki/Carlos_Borromeo
Charles Borromeo (Italian: Carlo Borromeo, Latin: Carolus Borromeus, 2 October 1538 – 3 November 1584) was the Latin archbishop of Milan from 1564 to 1584 and a cardinal of the Catholic Church. He was a leading figure of the Counter-Reformation combat against the Protestant Reformation together with St. Ignatius of Loyola and St. Philip Neri. In that role he was responsible for significant reforms in the Catholic Church, including the founding of seminaries for the education of priests. He is honored as a saint by the Catholic Church, with a feast day on November 4.
en.wikipedia.org/wiki/Charles_Borromeo
La iglesia de san Carlos Borromeo (en alemán, Karlskirche) es una iglesia barroca de Viena, situada en Kreuzherrengasse, 1, en la parte sur de Karlsplatz, al borde del primer distrito, y doscientos metros por fuera de la Ringstrasse.
Durante la fuerte epidemia de peste que azotó Viena en 1713 y que se cobró la vida de unas 8.000 personas, el emperador Carlos VI prometió que, tan pronto, como la ciudad se viera libre de esta calamidad, levantaría un templo dedicado a san Carlos Borromeo, arzobispo de Milán y héroe de la epidemia de peste de 1576. Al año siguiente de la epidemia se anunció un concurso para el proyecto de la iglesia que fue adjudicado a Johann Bernhard Fischer von Erlach. Los fondos que permitieron sufragar la construcción de la iglesia fueron aportados forzosamente por los judíos de Viena. La iglesia es un símbolo de poder religioso y político de la dinastía imperial de los Habsburgo.
Las obras se iniciaron en 1716, y tras la muerte del arquitecto en 1723, las obras fueron continuadas, hasta su terminación en 1737, por su hijo Joseph Emanuel Fischer von Erlach.
La iglesia constituye una obra maestra del eclecticismo barroco, en el que se combinan diferentes estilos: la fachada central representa un pórtico griego, las columnas a su lado son de inspiración barroca y sobre la entrada domina una gigantesca cúpula. Los dos pabellones laterales muestran influencias del barroco romano y decoración oriental. El edificio tiene una altura de 80 metros por unos 60 de ancho y constituye el segundo templo más amplio de la capital después de la catedral de San Esteban
En el exterior destaca el frontis en el que se incluyen las dos columnas citadas, con relieves que muestran periodos de la vida de San Carlos Borromeo. Están inspiradas en la columna Trajana de Roma y su decoración espiral presenta escenas de la vida de San Carlos Borromeo. El tema que se representa en la columna izquierda es la constancia y el valor en la de la derecha.
En el frontón se encuentran relieves obra de Giovanni Stanetti, que describen los sufrimientos de la ciudad durante la peste de 1713, la estatua del santo patrón corona el frontón. Las escaleras de la entrada se encuentra flanqueada por ángeles que representan el antiguo y el nuevo testamento.
El interior alberga tallas y retablos realizados por los artistas más famosos de la época como Daniel Gran y Altomonte. Destaca la cúpula en la que se pueden contemplar un fresco pintado por Johann Michael Rottmayr de Salzburgo, realizado entre 1725 y 1730, denominado "La apoteosis de san Carlos Borromeo" y que sería el último encargo que cumplió el artista. En él se representa la intercesión de Carlos Borromeo, con el apoyo de la Virgen María, y en torno a ellos las virtudes cardinales.
El altar mayor en el que participaron Alberto Camesina y Ferdinand Maxmilián Brokoff, presenta un relieve de estuco con San Carlos sobre una nube, ascendiendo a los cielos.
Los pabellones que conducen a las entradas laterales tienen decoración de influencia china.
Los frescos de las capillas laterales fueron pintados por Daniel Gran.
La iglesia está cerca de la estación Karlsplatz del Metro de Viena, por la que pasan las líneas U1, U2 y U4; también se puede llegar desde las estaciones de tranvía Gußhausstrasse (línea D) o Wien Resselgasse (líneas 1 y 62).
es.wikipedia.org/wiki/Iglesia_de_San_Carlos_Borromeo_(Viena)
The Rektoratskirche St. Karl Borromäus, commonly called the Karlskirche (English: St. Charles Church), is a Baroque church located on the south side of Karlsplatz in Vienna, Austria. Widely considered the most outstanding baroque church in Vienna, as well as one of the city's greatest buildings, the church is dedicated to Saint Charles Borromeo, one of the great counter-reformers of the sixteenth century.
Located on the edge of the Innere Stadt, approximately 200 meters outside the Ringstraße, the church contains a dome in the form of an elongated ellipsoid.
In 1713, one year after the last great plague epidemic, Charles VI, Holy Roman Emperor, pledged to build a church for his namesake patron saint, Charles Borromeo, who was revered as a healer for plague sufferers. An architectural competition was announced, in which Johann Bernhard Fischer von Erlach prevailed over, among others, Ferdinando Galli-Bibiena and Johann Lukas von Hildebrandt. Construction began in 1716 under the supervision of Anton Erhard Martinelli. After J.B. Fischer's death in 1723, his son, Joseph Emanuel Fischer von Erlach, completed the construction in 1737 using partially altered plans. The church originally possessed a direct line of sight to the Hofburg and was also, until 1918, the imperial patron parish church.
As a creator of historic architecture, the elder Fischer von Erlach united the most diverse of elements. The façade in the center, which leads to the porch, corresponds to a Greek temple portico. The neighboring two columns, crafted by Lorenzo Mattielli, found a model in Trajan's Column in Rome. Next to those, two tower pavilions extend out and show the influence of the Roman baroque (Bernini and Borromini). Above the entrance, a dome rises up above a high drum, which the younger J.E. Fischer shortened and partly altered.
Next to the Church was the Spitaler Gottesacker. The composer Antonio Vivaldi died in Vienna and was buried there on July 28, 1741 but his tomb has been lost over time. The church hosts regular Vivaldi concerts in his honour.
Hedwig Kiesler (age 19), later American movie actress and inventor Hedy Lamarr, married Friedrich Mandl (age 32), businessman and Austrofascist, in the tiny chapel of this elaborate church on 10 August 1933. With over 200 prominent guests attending, Kiesler wore “a black-and-white print dress” and carried “a bouquet of white orchids.”
Since Karlsplatz was restored as an ensemble in the late 1980s, the church has garnered fame because of its dome and its two flanking columns of bas-reliefs, as well as its role as an architectural counterweight to the buildings of the Musikverein and of the Vienna University of Technology. The church is cared for by a religious order, the Knights of the Cross with the Red Star, and has long been the parish church as well as the seat of the Catholic student ministry of the Vienna University of Technology.
The iconographical program of the church originated from the imperial official Carl Gustav Heraeus and connects Saint Charles Borromeo with his imperial benefactor. The relief on the pediment above the entrance with the cardinal virtues and the figure of the patron on its apex point to the motivation of the donation. This sculpture group continues onto the attic story as well. The attic is also one of the elements which the younger Fischer introduced. The columns display scenes from the life of Charles Borromeo in a spiral relief and are intended to recall the two columns, Boaz and Jachim, that stood in front of the Temple at Jerusalem. They also recall the Pillars of Hercules and act as symbols of imperial power. The entrance is flanked by angels from the Old and New Testaments.
This program continues in the interior as well, above all in the dome fresco by Johann Michael Rottmayr of Salzburg and Gaetano Fanti, which displays an intercession of Charles Borromeo, supported by the Virgin Mary. Surrounding this scene are the cardinal virtues. The frescos in a number of side chapels are attributed to Daniel Gran.
The high altarpiece portraying the ascension of the saint was conceptualized by the elder Fischer and executed by Ferdinand Maxmilian Brokoff. The altar paintings in the side chapels are by various artists, including Daniel Gran, Sebastiano Ricci, Martino Altomonte and Jakob van Schuppen. A wooden statue of St. Anthony by Josef Josephu is also on display.
As strong effect emanates from the directing of light and architectural grouping, in particular the arch openings of the main axis. The color scheme is characterized by marble with sparring and conscious use of gold leaf. The large round glass window high above the main altar with the Hebrew Tetragrammaton/Yahweh symbolizes God's omnipotence and simultaneously, through its warm yellow tone, God's love. Below is a representation of Apotheosis of Saint Charles Borromeo.
Next to the structures at Schönbrunn Palace, which maintain this form but are more fragmented, the church is Fischer's greatest work. It is also an expression of the Austrian joie de vivre stemming from the victorious end of the Turkish Wars.
The pulpit of the church was probably designed by Joseph Emanuel Fischer von Erlach, and his plans might have been executed by a French furniture maker, Claude Le Fort du Plessy in 1735 although there are no surviving documents attesting their authorship or the manufacturing of the church furniture. It is a wooden structure with rich floral, vegetal, rosette and rocaille ornaments, the finer carvings made of hard walnut, in a gold and brown colour scheme. The abat-voix forms a theatrical canopy with two putti holding a cross and a chalice with host; there is a flaming urn on the top. Around 1860 the abat-voix was enlarged. A wide rim was added distorting the original proportions, obscuring the elegant, swirling lines and creating a top-heavy effect. In 2006-2007 this rim was removed after a long debate and the pulpit was restored. The missing carvings of the canopy decorations were reconstructed and the original appearance of the structure was re-established.
The 'Moopan' (Chieftan) of the Paniya tribe in a settlement in the jungles of South Wayanad,Kerala. He is believed to be possessed by the God they worship, and is seen here dancing and running around holding a stick in one hand and a bell in the other .
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© 2007 Anuj Nair. All rights reserved.
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© 2007 Anuj Nair. All rights reserved.
All images are the property of Anuj Nair. Using these images without permission is in violation of international copyright laws (633/41 DPR19/78-Disg 154/97-L.248/2000). All materials may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any forms or by any means, including electronic, mechanical, photocopying, recording without written permission of Anuj Nair. Every violation will be pursued penally.
Johann Michael Rottmayr (bautizado el 11 de diciembre de 1656 en Laufen an der Salzach, Austria- Viena, 25 de octubre de 1730) fue un pintor austriaco. Fue el primer pintor barroco, además de Martino Altomonte destacado al norte de los Alpes.
Su primer aprendizaje como pintor lo realizó con su madre. Más tarde se perfeccionó en el taller de Johann Carl Loth en Venecia (1675-1688). Así obtuvo un estilo que era mezcla de Venecia y Nápoles. Estuvo en Passau y desde 1689 en adelante trabajó en Salzburgo. En el Palacio Arzobispal pintó temas mitológicos en los techos.
A partir de 1706 vivió de continuo en Viena, y también estuvo activo en monasterios de la Baja Austria. Pinta numerosos frescos, en los que destaca el color y el uso del escorzo como medios ilusionistas. Su obra, lo mismo que la de Altomonte, preludia el rococó.
Entre sus obras al fresco, cabe citar:
Apoteosis en la cúpula de la sala de los ancestros en el palacio Vranov, Frain (1696)
Techo del Palacio Pommersfelden (1716-1718)
Iglesia colegial de Melk (1716-1722)
Iglesia de San Carlos Borromeo en Viena (1726)
Murales en el "Palacio Garten" de Viena, actual Museo Liechtenstein
es.wikipedia.org/wiki/Johann_Michael_Rottmayr
Johann Michael Rottmayr (11 December 1656 – 25 October 1730), was an Austrian painter.
Rottmayr was born in Laufen an der Salzach, Bavaria. Along with his Laufen-born contemporary, Hans Adam Weissenkircher, he received his education from Johann Carl Loth in Venice. Just as Weissenkircher had brought the Italian Renaissance to the southern Alps and the court of the Princes of Eggenberg in Graz, so Rottmayr brought it north of the Alps and from 1689 onwards worked in Salzburg, where he was employed as the general painter of the Prince-Bishop of Salzburg.
Johann Michael Rottmayr painted the inside of the central dome of the Melk Abbey. This particular painting was recently selected as the main motif of a very high value collectors' coin: the Austrian Melk Abbey commemorative coin, minted on April 18, 2007. The reverse side gives a view up into the central dome of the church, with its typical vision of heaven.
en.wikipedia.org/wiki/Johann_Michael_Rottmayr
La iglesia de san Carlos Borromeo (en alemán, Karlskirche) es una iglesia barroca de Viena, situada en Kreuzherrengasse, 1, en la parte sur de Karlsplatz, al borde del primer distrito, y doscientos metros por fuera de la Ringstrasse.
Durante la fuerte epidemia de peste que azotó Viena en 1713 y que se cobró la vida de unas 8.000 personas, el emperador Carlos VI prometió que, tan pronto, como la ciudad se viera libre de esta calamidad, levantaría un templo dedicado a san Carlos Borromeo, arzobispo de Milán y héroe de la epidemia de peste de 1576. Al año siguiente de la epidemia se anunció un concurso para el proyecto de la iglesia que fue adjudicado a Johann Bernhard Fischer von Erlach. Los fondos que permitieron sufragar la construcción de la iglesia fueron aportados forzosamente por los judíos de Viena. La iglesia es un símbolo de poder religioso y político de la dinastía imperial de los Habsburgo.
Las obras se iniciaron en 1716, y tras la muerte del arquitecto en 1723, las obras fueron continuadas, hasta su terminación en 1737, por su hijo Joseph Emanuel Fischer von Erlach.
La iglesia constituye una obra maestra del eclecticismo barroco, en el que se combinan diferentes estilos: la fachada central representa un pórtico griego, las columnas a su lado son de inspiración barroca y sobre la entrada domina una gigantesca cúpula. Los dos pabellones laterales muestran influencias del barroco romano y decoración oriental. El edificio tiene una altura de 80 metros por unos 60 de ancho y constituye el segundo templo más amplio de la capital después de la catedral de San Esteban
En el exterior destaca el frontis en el que se incluyen las dos columnas citadas, con relieves que muestran periodos de la vida de San Carlos Borromeo. Están inspiradas en la columna Trajana de Roma y su decoración espiral presenta escenas de la vida de San Carlos Borromeo. El tema que se representa en la columna izquierda es la constancia y el valor en la de la derecha.
En el frontón se encuentran relieves obra de Giovanni Stanetti, que describen los sufrimientos de la ciudad durante la peste de 1713, la estatua del santo patrón corona el frontón. Las escaleras de la entrada se encuentra flanqueada por ángeles que representan el antiguo y el nuevo testamento.
El interior alberga tallas y retablos realizados por los artistas más famosos de la época como Daniel Gran y Altomonte. Destaca la cúpula en la que se pueden contemplar un fresco pintado por Johann Michael Rottmayr de Salzburgo, realizado entre 1725 y 1730, denominado "La apoteosis de san Carlos Borromeo" y que sería el último encargo que cumplió el artista. En él se representa la intercesión de Carlos Borromeo, con el apoyo de la Virgen María, y en torno a ellos las virtudes cardinales.
El altar mayor en el que participaron Alberto Camesina y Ferdinand Maxmilián Brokoff, presenta un relieve de estuco con San Carlos sobre una nube, ascendiendo a los cielos.
Los pabellones que conducen a las entradas laterales tienen decoración de influencia china.
Los frescos de las capillas laterales fueron pintados por Daniel Gran.
La iglesia está cerca de la estación Karlsplatz del Metro de Viena, por la que pasan las líneas U1, U2 y U4; también se puede llegar desde las estaciones de tranvía Gußhausstrasse (línea D) o Wien Resselgasse (líneas 1 y 62).
es.wikipedia.org/wiki/Iglesia_de_San_Carlos_Borromeo_(Viena)
The Rektoratskirche St. Karl Borromäus, commonly called the Karlskirche (English: St. Charles Church), is a Baroque church located on the south side of Karlsplatz in Vienna, Austria. Widely considered the most outstanding baroque church in Vienna, as well as one of the city's greatest buildings, the church is dedicated to Saint Charles Borromeo, one of the great counter-reformers of the sixteenth century.
Located on the edge of the Innere Stadt, approximately 200 meters outside the Ringstraße, the church contains a dome in the form of an elongated ellipsoid.
In 1713, one year after the last great plague epidemic, Charles VI, Holy Roman Emperor, pledged to build a church for his namesake patron saint, Charles Borromeo, who was revered as a healer for plague sufferers. An architectural competition was announced, in which Johann Bernhard Fischer von Erlach prevailed over, among others, Ferdinando Galli-Bibiena and Johann Lukas von Hildebrandt. Construction began in 1716 under the supervision of Anton Erhard Martinelli. After J.B. Fischer's death in 1723, his son, Joseph Emanuel Fischer von Erlach, completed the construction in 1737 using partially altered plans. The church originally possessed a direct line of sight to the Hofburg and was also, until 1918, the imperial patron parish church.
As a creator of historic architecture, the elder Fischer von Erlach united the most diverse of elements. The façade in the center, which leads to the porch, corresponds to a Greek temple portico. The neighboring two columns, crafted by Lorenzo Mattielli, found a model in Trajan's Column in Rome. Next to those, two tower pavilions extend out and show the influence of the Roman baroque (Bernini and Borromini). Above the entrance, a dome rises up above a high drum, which the younger J.E. Fischer shortened and partly altered.
Next to the Church was the Spitaler Gottesacker. The composer Antonio Vivaldi died in Vienna and was buried there on July 28, 1741 but his tomb has been lost over time. The church hosts regular Vivaldi concerts in his honour.
Hedwig Kiesler (age 19), later American movie actress and inventor Hedy Lamarr, married Friedrich Mandl (age 32), businessman and Austrofascist, in the tiny chapel of this elaborate church on 10 August 1933. With over 200 prominent guests attending, Kiesler wore “a black-and-white print dress” and carried “a bouquet of white orchids.”
Since Karlsplatz was restored as an ensemble in the late 1980s, the church has garnered fame because of its dome and its two flanking columns of bas-reliefs, as well as its role as an architectural counterweight to the buildings of the Musikverein and of the Vienna University of Technology. The church is cared for by a religious order, the Knights of the Cross with the Red Star, and has long been the parish church as well as the seat of the Catholic student ministry of the Vienna University of Technology.
The iconographical program of the church originated from the imperial official Carl Gustav Heraeus and connects Saint Charles Borromeo with his imperial benefactor. The relief on the pediment above the entrance with the cardinal virtues and the figure of the patron on its apex point to the motivation of the donation. This sculpture group continues onto the attic story as well. The attic is also one of the elements which the younger Fischer introduced. The columns display scenes from the life of Charles Borromeo in a spiral relief and are intended to recall the two columns, Boaz and Jachim, that stood in front of the Temple at Jerusalem. They also recall the Pillars of Hercules and act as symbols of imperial power. The entrance is flanked by angels from the Old and New Testaments.
This program continues in the interior as well, above all in the dome fresco by Johann Michael Rottmayr of Salzburg and Gaetano Fanti, which displays an intercession of Charles Borromeo, supported by the Virgin Mary. Surrounding this scene are the cardinal virtues. The frescos in a number of side chapels are attributed to Daniel Gran.
The high altarpiece portraying the ascension of the saint was conceptualized by the elder Fischer and executed by Ferdinand Maxmilian Brokoff. The altar paintings in the side chapels are by various artists, including Daniel Gran, Sebastiano Ricci, Martino Altomonte and Jakob van Schuppen. A wooden statue of St. Anthony by Josef Josephu is also on display.
As strong effect emanates from the directing of light and architectural grouping, in particular the arch openings of the main axis. The color scheme is characterized by marble with sparring and conscious use of gold leaf. The large round glass window high above the main altar with the Hebrew Tetragrammaton/Yahweh symbolizes God's omnipotence and simultaneously, through its warm yellow tone, God's love. Below is a representation of Apotheosis of Saint Charles Borromeo.
Next to the structures at Schönbrunn Palace, which maintain this form but are more fragmented, the church is Fischer's greatest work. It is also an expression of the Austrian joie de vivre stemming from the victorious end of the Turkish Wars.
The pulpit of the church was probably designed by Joseph Emanuel Fischer von Erlach, and his plans might have been executed by a French furniture maker, Claude Le Fort du Plessy in 1735 although there are no surviving documents attesting their authorship or the manufacturing of the church furniture. It is a wooden structure with rich floral, vegetal, rosette and rocaille ornaments, the finer carvings made of hard walnut, in a gold and brown colour scheme. The abat-voix forms a theatrical canopy with two putti holding a cross and a chalice with host; there is a flaming urn on the top. Around 1860 the abat-voix was enlarged. A wide rim was added distorting the original proportions, obscuring the elegant, swirling lines and creating a top-heavy effect. In 2006-2007 this rim was removed after a long debate and the pulpit was restored. The missing carvings of the canopy decorations were reconstructed and the original appearance of the structure was re-established.
Fort Lauderdale /ˌfɔərt ˈlɔːdərdeɪl/ (frequently abbreviated as Ft. Lauderdale) is a city in the U.S. state of Florida, 28 miles (45 km) north of Miami. It is the county seat of Broward County. As of the 2010 census, the city had a population of 165,521. It is a principal city of the Miami metropolitan area, which was home to an estimated 6,012,331 people at the 2015 census.
The city is a popular tourist destination, with an average year-round temperature of 75.5 °F (24.2 °C) and 3,000 hours of sunshine per year. Greater Fort Lauderdale which takes in all of Broward County hosted 12 million visitors in 2012, including 2.8 million international visitors. The city and county in 2012 collected $43.9 million from the 5% hotel tax it charges, after hotels in the area recorded an occupancy rate for the year of 72.7 percent and an average daily rate of $114.48. The district has 561 hotels and motels comprising nearly 35,000 rooms. Forty six cruise ships sailed from Port Everglades in 2012. Greater Fort Lauderdale has over 4,000 restaurants, 63 golf courses, 12 shopping malls, 16 museums, 132 nightclubs, 278 parkland campsites, and 100 marinas housing 45,000 resident yachts.
Fort Lauderdale is named after a series of forts built by the United States during the Second Seminole War. The forts took their name from Major William Lauderdale (1782–1838), younger brother of Lieutenant Colonel James Lauderdale. William Lauderdale was the commander of the detachment of soldiers who built the first fort. However, development of the city did not begin until 50 years after the forts were abandoned at the end of the conflict. Three forts named "Fort Lauderdale" were constructed; the first was at the fork of the New River, the second at Tarpon Bend on the New River between the Colee Hammock and Rio Vista neighborhoods, and the third near the site of the Bahia Mar Marina.
The area in which the city of Fort Lauderdale would later be founded was inhabited for more than two thousand years by the Tequesta Indians. Contact with Spanish explorers in the 16th century proved disastrous for the Tequesta, as the Europeans unwittingly brought with them diseases, such as smallpox, to which the native populations possessed no resistance. For the Tequesta, disease, coupled with continuing conflict with their Calusa neighbors, contributed greatly to their decline over the next two centuries. By 1763, there were only a few Tequesta left in Florida, and most of them were evacuated to Cuba when the Spanish ceded Florida to the British in 1763, under the terms of the Treaty of Paris (1763), which ended the Seven Years' War. Although control of the area changed between Spain, United Kingdom, the United States, and the Confederate States of America, it remained largely undeveloped until the 20th century.
The Fort Lauderdale area was known as the "New River Settlement" before the 20th century. In the 1830s there were approximately 70 settlers living along the New River. William Cooley, the local Justice of the Peace, was a farmer and wrecker, who traded with the Seminole Indians. On January 6, 1836, while Cooley was leading an attempt to salvage a wrecked ship, a band of Seminoles attacked his farm, killing his wife and children, and the children's tutor. The other farms in the settlement were not attacked, but all the white residents in the area abandoned the settlement, fleeing first to the Cape Florida Lighthouse on Key Biscayne, and then to Key West.
The first United States stockade named Fort Lauderdale was built in 1838, and subsequently was a site of fighting during the Second Seminole War. The fort was abandoned in 1842, after the end of the war, and the area remained virtually unpopulated until the 1890s. It was not until Frank Stranahan arrived in the area in 1893 to operate a ferry across the New River, and the Florida East Coast Railroad's completion of a route through the area in 1896, that any organized development began. The city was incorporated in 1911, and in 1915 was designated the county seat of newly formed Broward County.
Fort Lauderdale's first major development began in the 1920s, during the Florida land boom of the 1920s. The 1926 Miami Hurricane and the Great Depression of the 1930s caused a great deal of economic dislocation. In July 1935, an African-American man named Rubin Stacy was accused of robbing a white woman at knife point. He was arrested and being transported to a Miami jail when police were run off the road by a mob. A group of 100 white men proceeded to hang Stacy from a tree near the scene of his alleged robbery. His body was riddled with some twenty bullets. The murder was subsequently used by the press in Nazi Germany to discredit US critiques of its own persecution of Jews, Communists, and Catholics.
When World War II began, Fort Lauderdale became a major US base, with a Naval Air Station to train pilots, radar operators, and fire control operators. A Coast Guard base at Port Everglades was also established.
On July 4, 1961 African Americans started a series of protests, wade-ins, at beaches that were off-limits to them, to protest "the failure of the county to build a road to the Negro beach". On July 11, 1962 a verdict by Ted Cabot went against the city's policy of racial segregation of public beaches.
Today, Fort Lauderdale is a major yachting center, one of the nation's largest tourist destinations, and the center of a metropolitan division with 1.8 million people.
Credit for the data above is given to the following website:
Creepy vibes.
This oufit was pretty much inspired by one of "ᴏᴢ | ᴇʟᴏʜɪᴍ" outfits. IDK how to link people, sorry. Also Hayden, Clemm and a bunch of other stuff inspired me.
Etty Hillesum, Lecture by Patrick Woodhouse
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“I have been possessed by a great yearning to go and find, far from men and far from toil, the place where dwell the vast forces that cradle and possess us, where my over-tense activity might indefinitely become ever more relaxed.”
-Cosmic Life, Pierre Teilhard De Chardin