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The Bell Tower photographed here in 2005 in front of the Usher Hall, Lothian Road, Edinburgh.
The tower has chiming bells and a clock with a face on each side and was presented to the City of Edinburgh in 1962 by the whisky distillers Arthur Bell & Sons Ltd.
The chimes disrupted concerts (the large hourly bell and four quarter-hour chimes could be clearly heard over the music ) and a mechanical fault caused them to fall out of synch with the clock-faces so it had to be silenced in 2002.
In 2010 it was moved across the road to Festival Square in front of the Sheraton Hotel and the chimes restored. A new mechanism allows the chimes to be temporarily disconnected on demand, and improved soundproofing inside the Usher Hall means problem solved.
Plaque on the tower reads "The Bell Tower presented to the City of Edinburgh by Arthur Bell & Sons Ltd., Scotch Whisky Distillers, Perth 1962."
The clock is made by James Ritchie & Son, Edinburgh. The Bell Clock Tower was designed by T.W. Alexander of West Linton and built by Stuart McLashen & Co, of Canonmills.
Door problemen aan de EETC lok 1251, werd er besloten om de TXL lok uit Venlo naar Den Bosch te halen om deze Autoslaaptrein te laten rijden. Met ruim +60 kwam dan deze charter alsnog op gang, voor de rit naar Allessandria. De zon had het deze middag moeilijk helaas, maar dit zien we niet elke week hier.
IN ENGLISH BELOW THE LINE
La Nº 1A Speed Kodak fou una càmera produida en baix nombre (unes 2100) entre 1909 i 1913, i crec que era una de les més complexes oferides per Kodak, que en general s'orientà a models barats i amateur. La Speed Kodak era inusual en aquell moment per incorporar un obturador de pla focal i no un obturador central com totes les càmeres del tipus "folding pocket", molt populars.
L'obturador, que ocupa tot el cos de la màquina, permetia velocitats de fins a 1/1000, i per això la càmera s'anomena Speed Kodak (de fet, encara hi havia un model més gran i complexe, la Nº 4A Speed Kodak). De fet, aquest obturador indica clàrament el seu origen en les càmeres Graflex, de Folmer & Schwing, empresa recentment adquirida per Eastman Kodak. Fins i tot té una "cosina" produida dins la marca Graflex, la 1A Graflex, amb la que comparteix molts elements (però aquella és una SLR, més complexa). El numeral 1A indica que empraven el desaparescut format 116, però es poden adaptar facilment al encara actual 120.
Fins i tot hi ha la possibilitat que aquesta càmera influís en el naixement de la famosa Leica, tot i que no de manera directa. Si Oskar Barnack, el creador de la famosa càmera de 35mm, va coneixer aquesta Speed Kodak (fabricà els seus prototipus el mateix 1913), potser es fixà en les seves possibilitat, sobretot si es reduïa encara més el volum de la càmera.
Aquest exemplar en concret està en un estat de conservació extern impecable, però l'obturador té alguns problemas, afortunadament minimitzats. L'objectiu és un Bausch & Lomb-Zeiss Tessar, Series Ic f4.5 / 3 1/4x4 1/4. Alhora de provar-la el disparador es movia però la cortina del obturador no. Per sort vaig trobar dibuixos tecnics del mecanisme (en les patents americanes). De fet, les peces son grans i relativament poques, pel que fou facil veure que el problema era que la peça que en apretar el disparador havia de deixar que la cortina es mogues (impelida per una molla que funciona prou bé), estava torçada. Donat que adreçar-la podia comportar trencar-la, vaig llimar les fraccions de mm que molestaven (la gran mida de les peces facilitava això), i ara l'obturador funciona i la càmera fa fotos!
El nº de serie està entorn el 2.400; considernat que van del 1000 a entorn el 3100, és més aviat tardana, fabricada probablement cap al 1911-13.
Desgraciament més de la meitat de les velocitats menys ràpides fan que la cortina no tingui la tensió suficient i no es poden fer servir, però amb les que queden, la càmera pot tirar prou bé!
camerapedia.fandom.com/wiki/No._1A_Speed_Kodak
journal.graflex.org/journal-2015-01.pdf
kodak.3106.net/index.php?p=212&cam=1465
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The Nº 1A Speed Kodak was a camera produced in small numbers (about 2100) between 1909 and 1913, and I think it was one of the most complex offered by Kodak, which was generally geared towards cheap and amateur models. The Speed Kodak was unusual at the time to incorporate a focal plane shutter and not a leaf shutter like all the very popular "folding pocket" type cameras that share this size & body.
This shutter allowed speeds of up to 1/1000, which is why the camera is called Speed Kodak (there was still a larger and more complex model, the Nº 4A Speed Kodak). In fact, this shutter clearly indicates its origin in the Graflex cameras, from Folmer & Schwing, a company recently acquired by Eastman Kodak. It even has a "cousin" produced within the Graflex brand, the 1A Graflex, with which it shares many elements (but that's a more complex camera, being a SLR). The numeral 1A indicates that they used the long gone format 116, but they can be easily adapted to the still current 120.
There is even a possibility that this camera influenced the birth of the famous Leica, although not directly. If Oskar Barnack, the creator of the first really working 35mm camera, came to know this Speed Kodak (he made his prototypes in 1913), perhaps he would look at its possibilities, especially if the volume of the camera was further reduced to 35mm cinema film. Obviously there ara many differences in the mechanism, but not so with the first prototypes (the Ur-Leica), with a quite similar shutter cloth.
This particular specimen is in an impeccable cosmetic condition, but the shutter has some problems, fortunately minimized. The lens is a Bausch & Lomb-Zeiss Tessar, Series Ic f4.5 / 3 1 / 4x4 1/4. At the time of testing it the shutter release did move but the shutter curtain did not. Luckily I found technical drawings of the mechanism (in American patents). In fact, the internal parts are large and relatively few, so it was easy to see that the problem was that when you pulled the trigger, the part that had to let the curtain move (driven by a spring that works well enough), was slightly bent. Since straightening it could lead to breaking it, I filed the annoying mm fractions (the large size of the pieces made that easier), and now the shutter works and the camera takes pictures!
The serial number is around 2,400; considered to range from 1000 to around 3100, it is a rather later camera, probably manufactured around 1911-13.
Unfortunately for more than half of the slower speeds the curtain does not have enough tension and they can’t be used, but with the ones left, the camera can shoot well enough!
camerapedia.fandom.com/wiki/No._1A_Speed_Kodak
Para rematar esta corta serie de la pelea entre el macho montés con un cuerno roto y el contrincante, añado esta del desenlace final: el macho vencedor camina detrás del perdedor, acosándolo y expulsándolo de la zona donde ha tenido lugar la refriega, y donde se encuentran las hembras del rebaño. Todos (y todas) serán testigos de que él ha vencido. La cabra montés (Capra pyrenaica victoriae) derrotada camina durante un largo trecho hasta desaparecer de la zona, seguida en todo momento por la vencedora, como queriéndose asegurar de que se marcha del lugar y que va a dejar de darle problemas. A ratos el gran macho con el cuerno roto, vencedor absoluto hoy, se frota la testuz y la cara contra el corpachón del perdedor, en un acto que, sin duda, debe remarcar su superioridad jerárquica. Humillado, uno de ellos se va.
El protagonista de esta serie regresará al cabo de unos minutos y se incorporará a la vida cotidiana del rebaño, se pondrá a pastar, estará atento al estado de receptividad de las hembras y se dejará ver entre el resto de machos más jóvenes para que tengan claro que no deben incordiarle.
La rueda de la vida continúa.
cuadernodeunnomada.blogspot.com/2024/12/el-protagonista.h...
A BNSF SD70ACe, 3 ES44C4's, NS SD90MAC, and a NS C44-9W lead 31K west after the 5th unit in consist developed brake problems.
Fox News Channel is no longer in Donald Trump’s corner.
That’s a big problem for Trump.
And now Fox News just did something strange to help Joe Biden indict Donald Trump.
Fox News Channel continues to give former Attorney General William Barr copious amounts of air time to smear Donald Trump as a criminal and to defend the FBI’s raid on Mar-a-Lago.
Barr said “As I’ve said all along, there are two questions. Will the government be able to make out a technical case? Will they have evidence by which they could indict somebody, including him? That’s the first question, and I think they are getting very close to that point, frankly.”
Barr added that the question would come down to whether or not it is a good thing for the country to indict a former President.
“At the end of the day, there is another question. Do you indict a former President? What will that do to the country? What kind of precedent will it set? Will the people really understand that this is not failing to return a library book? That this was serious?” Barr added.
Barr claimed it may not be a good idea, but that he still believed Trump committed a crime.
“You have to worry about those things, and I hope that those kinds of factors will incline the administration not to indict him because I don’t want to see him indicted. He’s a former President. But I also think they will be under a lot of pressure to indict him because look, if anyone else would’ve gotten indicted, why not indict him?” Barr concluded.
Barr is one of the many establishment Republicans who would like to see Donald Trump gone.
On his book tour, Barr made it clear that Trump should not run for President again.
But from all appearances, it looks like Trump is getting ready to launch a Presidential campaign.
The only way to stop Trump would be an indictment by the Biden Justice Department that forces him to take a plea bargain where he agrees not to run for President again in exchange for not going to jail.
Joe Biden cannot move ahead with a prosecution of Donald Trump unless a solid majority of Americans agree.
And it appears that Fox News is using William Barr as a former Trump administration Attorney General to try and convince Trump supporters that Joe Biden is right and that they need to support prosecuting the former President.
The roller coaster at the seaside near me was carrying out maintenance on its roller coaster. The entire amusement park is surrounded by a tall wall topped with barbed wire. It always looks incongruous to me... I always see it as an amusement prison. This is, of course, one of the roller coaster cars and the grey strip is the roller coaster track...although it looks rather like a pole!
La Cattedrale di Santa Maria Fiore - Duomo, Firenze (Florença)
www.google.com/maps?q=florença%20italia&layer=c&...
Following, a text, in english, from Wikipedia, the Free Encyclopedia:
The Basilica di Santa Maria del Fiore (English: Basilica of Saint Mary of the Flower) is the cathedral church of Florence, Italy. The Duomo, as it is ordinarily called, was begun in 1296 in the Gothic style to the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th century Gothic Revival façade by Emilio De Fabris.
The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. The three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major attraction to tourists visiting the region of Tuscany. The basilica is one of Italy's largest churches, and until development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.
The cathedral is the mother church of the Roman Catholic Archdiocese of Florence, whose archbishop is currently Giuseppe Betori.
he Basilica di Santa Maria del Fiore was built on the site of an earlier cathedral dedicated to Saint Reparata.[1] The ancient building, founded in the early 5th century and having undergone many repairs, was crumbling with age, as attested in the 14th century Nuova Cronica of Giovanni Villani,[2] and was no longer large enough to serve the growing population of the city.[2] Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, as seen at Pisa and particularly Siena where the enormous proposed extensions were never completed.
The new church was designed by Arnolfo di Cambio and approved by city council in 1294. Arnolfo di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio. He designed three wide naves ending under the octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on September 9, 1296 by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 170 years, the collective efforts of several generations; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.
After Arnolfo died in 1302, work on the cathedral slowed for the following thirty years. The project obtained new impetus, when the relics of Saint Zenobius were discovered in 1330 in Santa Reparata. In 1331, the Arte della Lana, the [=[Guilds of Florence|guild of wool merchants]], took over exclusive patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died in 1337, Andrea Pisano continued the building until work was again halted due to the Black PDeath in 1348.
In 1349 work resumed on the cathedral under a series of architects, commencing with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359 Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the center nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravante and Andrea Orcagna. By 1375 the old church Santa Reparata was pulled down. The nave was finished by 1380, and by 1418 only the dome remained incomplete.
On 19 August 1418, the Arte della Lana announced a structural design competition for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, who was supported by Cosimo de Medici. Ghiberti had been winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two remained acute. Brunelleschi won and received the commission.[3]
Ghiberti, appointed coadjutator, was drawing a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, would potentially earn equal credit, while spending most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423 Brunelleschi was back in charge and took over sole responsibility.[4]
Work started on the dome in 1420 and was completed in 1436. The cathedral was consecrated by Pope Eugene IV on March 25, 1436 (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame: the Roman Pantheon, a circular dome, was built in 117–128 AD with support structures. It was one of the most impressive projects of the Renaissance. During the consecration service in 1436, Guillaume Dufay's similarly unique motet Nuper rosarum flores was performed. The structure of this motet was strongly influenced by the structure of the dome.
The decoration of the exterior of the cathedral, begun in the 14th century, was not completed until 1887, when the polychrome marble façade was completed to the design of Emilio De Fabris. The floor of the church was relaid in marble tiles in the 16th century.
The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent baptistery the Battistero di San Giovanni and Giotto's Bell Tower. There are two lateral doors, the Doors of the Canonici (south side) and the Door of the Mandorla (north side) with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia. The six lateral windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common feature in Italian Gothic.
During its long history, this cathedral has been the seat of the Council of Florence (1439), heard the preachings of Girolamo Savonarola and witnessed the murder of Giuliano di Piero de' Medici on Sunday, 26 April 1478 (with Lorenzo Il Magnifico barely escaping death) in the Pazzi conspiracy.
Exterior
Plan and structure
The cathedral of Florence is built as a basilica, having a wide central nave of four square bays, with an aisle on either side. The chancel and transepts are of identical polygonal plan, separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and aisles are separated by wide pointed Gothic arches resting on composite piers.
The dimensions of the building are enormous: length 153 metres (502 ft), width 38 metres (124 ft), width at the crossing 90 metres (295 ft). The height of the arches in the aisles is 23 metres (75 ft). The height from pavement to the opening of the lantern in the dome is also 90 metres (295 ft).
Dome
By the beginning of the fifteenth century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15 ft) high 9.2 metres (30 ft) long, was standing in a side isle of the unfinished building, and had long ago become sacrosanct.[5] It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
The Duomo viewed from the heights of Piazzale Michelangelo
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravante's model was chosen over a competing one by Giovanni di Lapo Ghini.[6] That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts, in addition to being a style favored by central Italy's traditional enemies to the north.[7] Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. A wooden form had held the Pantheon dome aloft while its concrete set, but for the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[8] Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of bricks, due to its light weight compared to stone and easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco and still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one each at the top and bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. He was also able to accomplish this by setting vertical "ribs" on the corners of the octagon curving towards the center point. The ribs had slits, where platforms could be erected out of and work could progressively continue as they worked up,a system for scaffolding.[9]
A circular masonry dome, such as that of Hagia Sophia in Istanbul can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.[10]
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome at its base; it has no embedded chains.[11]
A modern understanding of physical laws and the mathematical tools for calculating stresses was centuries into the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design was for an octagonal lantern with eight radiating buttresses and eight high arched windows (now on display in the Museum Opera del Duomo). Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (375 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
The commission for this bronze ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.[12]
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".[13]
The decorations of the drum gallery by Baccio d'Agnolo were never finished after being disapproved by no one less than Michelangelo.
A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.[14]
The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the nineteenth century.
Façade
Façade of the cathedral
The original façade, designed by Arnolfo di Cambio and usually attributed to Giotto, was actually begun twenty years after Giotto's death.[citation needed] A mid-15th century pen-and-ink drawing of this so-called Giotto's façade is visible in the Codex Rustici, and in the drawing of Bernardino Poccetti in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them Andrea Orcagna and Taddeo Gaddi. This original façade was only completed in its lower portion and then left unfinished. It was dismantled in 1587-1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. Some of the original sculptures are on display in the Museum Opera del Duomo, behind the cathedral. Others are now in the Berlin Museum and in the Louvre. The competition for a new façade turned into a huge corruption scandal. The wooden model for the façade of Buontalenti is on display in the Museum Opera del Duomo. A few new designs had been proposed in later years but the models (of Giovanni Antonio Dosio, Giovanni de' Medici with Alessandro Pieroni and Giambologna) were not accepted. The façade was then left bare until the 19th century.
Main portal of the cathedral
In 1864, a competition was held to design a new façade and was won by Emilio De Fabris (1808–1883) in 1871. Work began in 1876 and completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's bell tower and the Baptistery, but some think it is excessively decorated.
The whole façade is dedicated to the Mother of Christ.
Main portal
The three huge bronze doors date from 1899 to 1903. They are adorned with scenes from the life of the Madonna. The mosaics in the lunettes above the doors were designed by Niccolò Barabino. They represent (from left to right): Charity among the founders of Florentine philanthropic institutions, Christ enthroned with Mary and John the Baptist, and Florentine artisans, merchants and humanists. The pediment above the central portal contains a half-relief by Tito Sarrocchi of Mary enthroned holding a flowered scepter. Giuseppe Cassioli sculpted the right hand door.
On top of the façade is a series of niches with the twelve Apostles with, in the middle, the Madonna with Child. Between the rose window and the tympanum, there is a gallery with busts of great Florentine artists.
Interior
The Gothic interior is vast and gives an empty impression. The relative bareness of the church corresponds with the austerity of religious life, as preached by Girolamo Savonarola.
Many decorations in the church have been lost in the course of time, or have been transferred to the Museum Opera del Duomo, such as the magnificent cantorial pulpits (the singing galleries for the choristers) of Luca della Robbia and Donatello.
As this cathedral was built with funds from the public, some important works of art in this church honour illustrious men and military leaders of Florence:
Dante Before the City of Florence by Domenico di Michelino (1465). This painting is especially interesting because it shows us, apart from scenes of the Divine Comedy, a view on Florence in 1465, a Florence such as Dante himself could not have seen in his time.
Funerary Monument to Sir John Hawkwood by Paolo Uccello (1436). This almost monochrome fresco, transferred on canvas in the 19th c., is painted in terra verde, a color closest to the patina of bronze.
Equestrian statue of Niccolò da Tolentino by Andrea del Castagno (1456). This fresco, transferred on canvas in the 19th c., in the same style as the previous one, is painted in a color resembling marble. However, it is more richly decorated and gives more the impression of movement. Both frescoes portray the condottieri as heroic figures riding triumphantly. Both painters had problems when applying in painting the new rules of perspective to foreshortening: they used two unifying points, one for the horse and one for the pedestal, instead a single unifying point.
Busts of Giotto (by Benedetto da Maiano), Brunelleschi (by Buggiano - 1447), Marsilio Ficino, and Antonio Squarcialupi (a most famous organist). These busts all date from the 15th and the 16th century.
Above the main door is the colossal clock face with fresco portraits of four Prophets or Evangelists by Paolo Uccello (1443). This one-handed liturgical clock shows the 24 hours of the hora italica (Italian time), a period of time ending with sunset at 24 hours. This timetable was used till the 18th century. This is one of the few clocks from that time that still exist and are in working order.
The church is particularly notable for its 44 stained glass windows, the largest undertaking of this kind in Italy in the 14th and 15th century. The windows in the aisles and in the transept depict saints from the Old and the New Testament, while the circular windows in the drum of the dome or above the entrance depict Christ and Mary. They are the work of the greatest Florentine artists of their times, such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno.
Christ crowning Mary as Queen, the stained-glass circular window above the clock, with a rich range of coloring, was designed by Gaddo Gaddi in the early 14th century.
Donatello designed the stained-glass window (Coronation of the Virgin) in the drum of the dome (the only one that can be seen from the nave).
The beautiful funeral monument of Antonio d'Orso (1323), bishop of Florence, was made by Tino da Camaino, the most important funeral sculptor of his time.
The monumental crucifix, behind the Bishop's Chair at the high altar, is by Benedetto da Maiano (1495–1497). The choir enclosure is the work of the famous Bartolommeo Bandinelli. The ten-paneled bronze doors of the sacristy were made by Luca della Robbia, who has also two glazed terracotta works inside the sacristy: Angel with Candlestick and Resurrection of Christ.
In the back of the middle of the three apses is the altar of Saint Zanobius, first bishop of Florence. Its silver shrine, a masterpiece of Ghiberti, contains the urn with his relics. The central compartment shows us one his miracles, the reviving of a dead child. Above this shrine is the painting Last Supper by the lesser-known Giovanni Balducci. There was also a glass-paste mosaic panel The Bust of Saint Zanobius by the 16th century miniaturist Monte di Giovanni, but it is now on display in the Museum Opera del Duomo.
Many decorations date from the 16th-century patronage of the Grand Dukes, such as the pavement in colored marble, attributed to Baccio d'Agnolo and Francesco da Sangallo (1520–26). Some pieces of marble from the façade were used, topside down, in the flooring (as was shown by the restoration of the floor after the 1966 flooding).
It was suggested that the interior of the 45 metre (147 ft) wide dome should be covered with a mosaic decoration to make the most of the available light coming through the circular windows of the drum and through the lantern. Brunelleschi had proposed the vault to glimmer with resplendent gold, but his death in 1446 put an end to this project, and the walls of the dome were whitewashed. Grand Duke Cosimo I de' Medici decided to have the dome painted with a representation of The Last Judgment. This enormous work, 3,600 metres² (38 750 ft²) of painted surface, was started in 1568 by Giorgio Vasari and Federico Zuccari and would last till 1579. The upper portion, near the lantern, representing The 24 Elders of Apoc. 4 was finished by Vasari before his death in 1574. Federico Zuccari and a number of collaborators, such as Domenico Cresti, finished the other portions: (from top to bottom) Choirs of Angels; Christ, Mary and Saints; Virtues, Gifts of the Holy Spirit and Beatitudes; and at the bottom of the cuppola: Capital Sins and Hell. These frescoes are considered Zuccari's greatest work. But the quality of the work is uneven because of the input of different artists and the different techniques. Vasari had used true fresco, while Zuccari had painted in secco. During the restoration work ended in 1995, the entire pictorial cycle of the The Last Judgment was photographed with specially designed equipment and all the information collected in a catalogue. All the restoration information along with reconstructed images of the frescos were stored and managed in the Thesaurus Florentinus computer system.
Crypt
The cathedral underwent difficult excavations between 1965 and 1974. The subterranean vaults were used for the burial of Florentine bishops throughout the centuries.
Recently[when?] the archaeological history of this huge area was reconstructed through the work of Dr Franklin Toker: remains of Roman houses, an early Christian pavement, ruins of the former cathedral of Santa Reparata and successive enlargements of this church. Close to the entrance, in the part of the crypt open to the public, is the tomb of Brunelleschi. While its location is prominent, the actual tomb is simple and humble. That the architect was permitted such a prestigious burial place is proof of the high esteem he was given by the Florentines.
Also buried in the former cathedral of Santa Reparata was Conrad II of Italy.
A seguir, um texto, em português, da Wikipédia a Enciclopédia Livre:
A Basílica di Santa Maria del Fiore é a catedral, ou Duomo[1], da Arquidiocese da Igreja Católica Romana de Florença. Notabilizada por sua monumental cúpula - obra do celebrado arquiteto renascentista Brunelleschi - e pelo campanário, de Giotto, é uma das obras da arte gótica e da primeira renascença italiana, considerada de fundamenal importância para a História da Arquitetura, registro da riqueza e do poder da capital da Toscana nos séculos XIII e XIV. Seu nome (cuja tradução é Santa Maria da Flor) parece referir-se ao lilium, símbolo de Florença, mas, documento [2] do Século XV, por outro lado, informa que “flor”, no caso, refere a Cristo.
História
O Duomo de Florença, como o vemos hoje, é o resultado de um trabalho que se estendeu por seis séculos. Seu projeto básico foi elaborado por Arnolfo di Cambio no final do século XIII, sua cúpula é obra de Filippo Brunelleschi, e sua fachada teve de esperar até o século XIX para ser concluída. Ao longo deste tempo uma série de intervenções estruturais e decorativas no exterior e interior enriqueceriam o monumento, dentre elas a construção de duas sacristias e a execução de esculturas e afrescos por Paolo Uccello, Andrea del Castagno, Giorgio Vasari e Federico Zuccari, autor do Juízo Final no interior da cúpula. Foi construída no lugar da antiga catedral dedicada a Santa Reparata, que funcionou durante nove séculos até ser demolida completamente em 1375.
Em 1293, durante a República Florentina, o notário Ser Mino de Cantoribus sugeriu a substituição de Santa Reparata por uma catedral ainda maior e mais magnificente, de tal forma que "a indústria e o poder do homem não pudessem inventar ou mesmo tentar nada maior ou mais belo", e estava preparado para finaciar a construção. Entretanto, esperava-se que a população contribuísse, e todos os testamentos passaram a incluir uma cláusula de doação para as obras. O projeto foi confiado a Arnolfo em 1294, e ele cerimoniosamente lançou a pedra fundamental em 8 de setembro de 1296.
Arnolfo trabalhou na construção até 1302, ano de sua morte, e embora o estilo dominante da época fosse o gótico, seu projeto foi concebido com uma grandiosiddade clássica. Arnolfo só pôde trabalhar em duas capelas e na fachada, que ele teve tempo de completar e decorar só em parte. Com a morte do arquiteto o trabalho de construção sofreu uma parada. Um novo impulso foi dado quando em 1330 foi descoberto o corpo de São Zenóbio em Santa Reparata, que ainda estava parcialmente de pé. Giotto di Bondone então foi indicado supervisor em 1334, e mesmo que não tivesse muito tempo de vida (morreu em 1337) ele decidiu concentrar suas energias na construção do campanário. Giotto foi sucedido por Andrea Pisano até 1348, quando a peste reduziu a população da cidade de 90 mil para 45 mil habitantes.
Sob Francesco Talenti, supervisor entre 1349 e 1359, o campanário foi concluído e preparou-se um novo projeto para o Duomo, com a colaboração de Giovanni di Lapo Ghini: a nave central foi dividida em quatro espaços quadrangulares com duas alas retangulares, reduzindo o número de janelas planejadas por Arnolfo. Em 1370 a construção já estava bem adiantada, o mesmo se dando com o novo projeto para a abside, que foi circundada por tribunas que amplificaram o trifólio de Arnolfo. Por fim Santa Reparata terminou de ser demolida em 1375. Ao mesmo tempo continuou-se o trabalho de revestimento externo com mármores e decoração em torno das entradas laterais, a Porta dei Canonici (sul) e a Porta della Mandorla (norte), esta coroada com um relevo da Assunção, última obra de Nanni di Banco.
Contudo, o problema da cúpula ainda não fora resolvido. Brunelleschi fez seu primeiro projeto em 1402, mas o manteve em segredo. Em 1418, a Opera del Duomo, a centenária empresa administradora dos trabalhos na Catedral, anunciou um concurso que Brunelleschi haveria de vencer, mas o trabalho não iniciaria senão dois anos mais tarde, continuando até 1434. A Catedral foi consagrada pelo Papa Eugênio IV em 25 de março (o Ano Novo florentino) de 1436, 140 anos depois do início da construção. Os arremates que ainda esperavam conclusão eram a lanterna da cúpula (colocada em 1461) e o revestimento externo com mármores brancos de Carrara, verdes de Prato, e vermelhos de Siena, de acordo com o projeto original de Arnolfo.
A fachada
A fachada original, desenhada por Arnolfo di Cambio, só foi começada em meados do século XV, realizada de fato por vários artistas em uma obra coletiva, mas de toda forma só foi terminada até o terço inferior. Esta parte foi desmantelada por ordem de Francesco I de Medici entre 1587 e 1588, pois era considerada totalmente fora de moda naquela altura. O concurso que foi aberto para a criação de uma nova fachada acabou em um escândalo, e os desenhos subseqüentes que foram apresentados não foram aceitos. A fachada ficou, então, despida até o século XIX, mas estatuária e ornamentos originais sobrevivem no Museu Opera del Duomo e em museus de Paris e Berlim.
Em 1864, Emilio de Fabris venceu um concurso para uma nova fachada, que é a que vemos hoje, um enorme e magistral trabalho de mosaico em mármores coloridos em estilo neogótico, com uma volumetria dinâmica e harmoniosa. Pronta em 1887, foi dedicada à Virgem Maria, e é ricamente adornada com estatuária de elegante e austero desenho. Em 1903 terminaram-se as monumentais portas de bronze, com várias cenas em relevo e outras decorações.
Interior
Sua planta é basilical, com três naves, divididas por grandes arcos suportados por colunas monumentais. Tem 153 metros de comprido por 38 metros de largo, e 90 metros no transepto. Seus arcos se elevam até 23 metros de altura, e o cume da cúpula, a 90 metros.
Suas decorações internas são austeras, e muitas se perderam no curso dos séculos. Alguns elementos acharam abrigo no Museu Opera del Duomo, como os coros de Luca della Robbia e Donatello. Subsistem também os monumentos a Dante, a John Hawkwood, a Niccolò da Tolentino, a Antonio d'Orso, e os bustos de Giotto (de Benedetto da Maiano), Brunelleschi (de Buggiano - 1447), Marsilio Ficino, e Antonio Squarcialupi.
Sobre a porta de entrada há um relógio colossal com decoração em pintura de Paolo Uccello, e acertado de acordo com a hora italica, uma divisão do tempo comumente empregada na Itália até o século XVIII, que dava o por-do-sol como o início do dia.
Os vitrais são os maiores em seu gênero na Itália entre os séculos XIV e XV, com imagens de santos do Velho e Novo Testamento. O crucifixo é obra de Benedetto da Maiano, a talha do coro de Bartolommeo Bandinelli, e as portas da sacristia são de Luca della Robbia.
Testing the crappy RF 16mm f2.8. Why crappy? Well, it's distortion is nearly fisheye-like, and there are no lens profiles for C1 (why I won't buy the RF 14-35/4 IS L, why shares the same background). Normal distortion correction does help a bit, but this lens suffers also from a mustache distortion, and therefor it's impossible to shoot RAW with it.
All images are straight outta cam, internal red filter b&w processing, Canon's internal distortion correction works pretty well. (I shot a rectangular grid to see what I can do in comparison with the Jpegs, where I saw a decent rest of problems even in the Jpegs, which you probably won't notice in real life; it was impossible to correct in C1 in an acceptable way. In landscapes you probbably won't notice, but otherwise it's a Jpeg-only lens.) Will probably sell it, when I see another lens I'd buy.
Got a Corona problem? Make a Corona idol! It's a traditional method. What could possibly go wrong? That picture was made on a roll of long expired Agfa Vista 400 (the real thing, not the now discontinued Fujifilm rebranding) that had 07/03 written on it, and 20 views (not 24) on it. I've gone though a few expired films, this one is definitely on the more psyhedelic end of the spectrum. The palm still goes tho a roll of Konica VX 400 - see bellow.
Pentax ME and SMC Pentax 50mm f/1.7, expired Agfa Vista 400 (exposed as ISO 125) developed with the Rollei C41 kit and digitalized using kit zoom and extension tubes.
Thank you everyone for your visits, faves and comments, they are always appreciated :)
Uh oh...Executive Ellen can't get to work until she gets her garage door fixed.
This photo is loosely based on our garage door problem from yesterday. I heard a loud, unidentified noise in the morning. We searched the house but didn't find the problem until we were ready to leave in the afternoon. It turns out that the garage door spring had snapped, making it impossible to open the garage door and get our cars out until it had been repaired. You'd be surprised at how expensive it is to replace a garage door spring - yikes! At least no damage was done and our garage door did not fall off like Executive Ellen's did :-)
A big "Thank You" to the repairman who showed up within 20 minutes, on Labor Day, to fix our garage door :-)
After the Lake Pátzcuaro butterefly fishermen put on a tourist show on how they fish by net, all but one of them line up holding their nets out while one of them canvasses the tourist boat for Pesos.
The fish they catch in Lake Pátzcuaro are called Charalitos: small lake fish, fried in large flat pans and served as a snack with salt, chili, and lime.
Not the healthiest snack, but a unique taste for the more adventurous. And not a good idea IMO because:
Until 2007, only Pátzcuaro had a water treatment facility with smaller communities discharging wastewater directly into the lake, causing grave pollution problems. Contamination has mostly been chemical, trash and wastewater, as well as sediment during the rainy season.
The critical areas are near the two main villages, Patzcuaro and Janitzio.
Not be catching me eating any of the little morsels.
The butterfly fisherman were also located on the back of the $50 Peso Mexican banknote.
Faith thought some beach images would make a perfect addition to her portfolio, so we cooked up the rather ambitious plan to do a sunrise shoot at the Tybee Island pier.
I used The Photographer's Ephemeris web app to calculate the precise time of sunrise so that I could be set up and ready to go well ahead of that time. With Faith running late we only had about 3 minutes to test my lighting setup before the sun peaked over the horizon. Unfortunately, I didn't get any great pictures until the sun was already a little ways up in the sky, but this was at least close.
The biggest problem with this shoot was the wind. I expected the wind to be constant but relatively gentle, which it was not. It was blowing about 15-20mph throughout the entire shoot. Had it been less windy, I would have had a much larger selection of modifiers at my disposal. However, my least sail-like modifier - the Mola Demi - became my only feasible option (aside from a bare flash).
strobist: 1 White Lightning x3200, camera left, diffused by a Mola Demi beauty dish with opal and PAD reflector gelled with a 1/4 CTS gel. 1 Canon 580EX, camera right, bare, 1/4 CTO gelled. Both monolight and flash triggered via Cybersyncs. Monolight powered via Vagabond II. Setup shot here.
In 1922, the social housing company "Gentse Maatschappij voor Goedkope Woningen"commisioned Ghent architect Oscar Van de Voorde to design a garden suburb on Sint-Bernadette street. In 1923 the houses were realized by the cooperative company "De Bouwwerklieden"
It was a social neighborhood with houses and apartments. Many of the houses have become uninhabitable over the years due to moisture problems and moldy walls. Residents have long attested to unhealthy living conditions. Walls crumble, roof structures are rotten. The social housing company has been working on the case for years. But whether the moldy homes would be renovated or demolished always remained uncertain. But now it is final. The neighborhood will be demolished in 2022 and a completely new social neighborhood will be built.
An action committee was formed to keep the neighborhood alive, some residents preferred not to leave. And the neighborhood was also brightened up by street artists for the time being.
There are also a few photos at the end with other buildings that characterize this neighborhood. As well as the new buildings for housing.
The problem with memories is that the ones that really hurt you sticks like Tattoos on the wall of your heart.It’s a memory that is stuck in your head. It’s in the past, but it comes back and bites. It’s a tattoo because it’s a memory that hurts, but doesn’t disappear.
Wish we have a choice to delete the ones which you hate haunting you and save just the ones you like to cherish...
taken when was looking around the turbine hall of the tate modern with sgoralnick a few months back. basically doris salcedo has put a massive crack in the floor of the turbine hall and what a nice crack it is to, only problem is a few people found it to hard to have a look at the crack with out falling in it or getting there limbs stuck in it so its now behind a barrier. i fund this out when looking in to Meg Pickard's photo stream today. i reckon the same people who have the legs stuck in doris salcedo crack are the same people making such a fuss over flickr video.
A little catch up today. Here's another new species though it has at least four that are quite similar. I don't know how it got its name. I'm just happy he was on that piece of straw long enough for me to focus. In a case like this, you know it's a damselfly. You look at the eyes (easier than for a dragon even from this perspective), the thorax, and the tail end. The tail ends of dragons and damsels have 20 or so variations and they are very telling.
The problem is that, if you have no macro lens* to get physically close, you have to be able to severely crop to get close enough to see whether the subgenital plat is ringed, Hudsonian, treeline, Quebec, lake, Whitehouse's, Muskeg and on and on. Better to just limite this to club, forktail, paddletailed, spiketailed, or baskettailed.
Anyway, I would have said Clubtail for this until I got very close and saw that it was a Forktail. And I went on from there.
*A macro lens would be great, but for the very small damselflies, you either have to get in the water with them, or try a telephoto/zoom lens and crop. That's why an ISO of 400 or more will be the default, and with [Canon] "powershots" that almost invariably will produce noise that is ... deafening.
Note: The name can be deceiving. The Diablo Valley (in which Walnut Creek and now two million people reside) are 25-30 miles east of San Francisco. Doesn't seem like much, does it? Separated from SF and the Bay by the Berkeley "hills" (mountains to people in the mid-west and east), the fog that often envelops the city by the Bay does not reach the three hot valleys surrounding the mountain. There can be - usually is - a 30 to even 40 degree difference. Imagine the differences in habitats with that temperature difference (and the -10 to -20 degree differences in winter). Basically, if you want to know what's here in a particular month, look up Coastal versus Valley. Several years ago, I had an appointment on the Peninsula (San Jose to SF): I came through the Caldecott Tunnel and the temperature went from 102 to 62 degrees. As I said...
IN ENGLISH BELOW THE LINE
La meva Graflex Pacemaker Speed Graphic, la primer càmera que vaig fer servir per a plaques de col·lodió (en 4x5 polzades).
Es tracta d'un ambrotip de format 18x24 cm, realitzat amb una GOMZ FK 18X24 fabricada el 1960; objectiu Industar I-37 f4/300mm; Col·lodió Old Workhorse de Franalog; revelador Mammoth MD7.
Les plaques de col·lodió es realitzen al moment, cobrint una placa de vidre o planxa metal·lica negra amb col·lodió i sals de cadmi i/o potassi, sensibilitzat amb nitrat de plata. Aleshores s'ha de fer la fotografia i revelar-la en uns 5 minuts, abans no s'assequi la emulsió. És un dels processos fotogràfics més antics del món, inventat el 1851, i que dominà fins el 1880. Però ara ha resorgit, ja que les imatges, molt treballades, que dona són úniques, màgiques i i irrepetibles.
ca.wikipedia.org/wiki/Col%C2%B7lodi%C3%B3_humit
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My Graflex Pacemaker Speed Graphic, the first camera I used for wet plate collodion, shot in 18x24 cm with a quite larger camera.
Clear glass ambrotype in 18x24 cm format, made with a GOMZ FK 18X24 made in 1960; Industar-37 f4/300mm lens; Old Workhorse collodion by Franalog; Mammoth MD7 developer.
The collodion plates are made covering a glass plate or black metal plate with collodion and salts of cadmium and / or potassium, sensitized with silver nitrate. Then you have to take the photo and reveal it in about 5 minutes, before the emulsion dries. It is one of the oldest photographic processes in the World, invented in 1851, and which dominated photography until 1880. But now it has resurfaced, as the images, very elaborate to create, that it gives are unique, razor sharp, magical and unrepeatable.
en.wikipedia.org/wiki/Collodion_process
intrepidcamera.co.uk/blog/rikard-osterlund-guide-to-wet-p...
The Doctor goes to Jake's study, accompanied by Martha and Jenna, to inform Jake of a problem that has arisen.
"I'm afraid its true Jenna, the Doctor who is here in residence at BAM HQ is a fraud!"
"But I have been with him Doctor, helped him with adventure's, here at BAM HQ!" injected Jenna.
"I see.., well it must be an exact copy, or maybe a future or past self of me???"
"But he looks just like you Doctor, do you regenerate with the same face??" asked Jenna.
"Only in emergencies, usually my body changes completely..., maybe its the liquid flesh?, no, impossible!, it won't be around for another few thousand years" pondered the Doctor.