View allAll Photos Tagged Prominent
With two sunspots and multiple prominence's.
Lunt LS80Tha/B18/DSII with 2.5x Powermate and Grasshopper 3 camera
Nebotičnik (English: the Skyscraper) is a prominent high-rise located in the centre of Ljubljana, Slovenia, and is one of the city's most recognisable landmarks.[5] Its thirteen storeys rise to a height of 70.35 m (231 ft). It was designed by the Slovenian architect Vladimir Šubic for the Pension Institute, the building's investor. Construction began on 19 April 1931 and the building opened on 21 February 1933.[6] It was, upon completion, the tallest building in the Kingdom of Yugoslavia, and the ninth-tallest high-rise in Europe.[7] It was and would remain for some time the tallest residential building in Europe (source: Wikipedia)
.
If you liked my work, take a look at my Instagram gallery, where I share some of the things I've been doing (travels, music, lifestyle) and where I post other pictures that are not yet on Flickr as well as some edits. It would greatly help me in my photographic journey. Thanks a lot for your support.
North Antrim - May 2023. This species is much less common than the similar Lesser Swallow Prominent in Ireland. I only get one or two a year up here, so it was a pleasant surprise to get one in the garden recently.
Chevrolet Monte Carlo (2nd Gen) (1973-77) Engine 305 cu in (5000cc) V8
Production 823,956 (2nd Gen)
Registration Number RYC 511 (Taunton)
CHEVROLET ALBUM
www.flickr.com/photos/45676495@N05/sets/72157623638181561...
The Chevrolet Monte Carlo is a two-door coupe, manufactured over six generation over model years 1969-2007 with a hiatus between 1989-94.
The second generation was introduced for 1973 and designed by Charles Stewart, Bill Porter, Leo Casillo. Now no longer referred to as a Hardtop, rather a pillared Colonade Coupe, with rear side opera windows and frameless door glass. Prominent styling features included an egg-crate grille with a Monte Carlo emblem in front and vertical taillights above the bumper. The front bumper was a large federally mandated 5 mph impact bumper required for 1973 models by federal safety standards for all passenger cars sold in the U.S., the regulations were extended in 1974 to also cover the rear bumpers. Also new was a double-shell roof for improved noise reduction and rollover protection along with the flush-mounted pull-up exterior door handles. The separate body-on-frame construction carried over for 1973, as was the basic all-coil suspension.
The standard engine was a 145 hp (108 kW) net 350 CID (5.7 L) Turbo-Fire V8. Optional engines included a 175 hp (130 kW) net 350 CID V8 with a four-barrel carburettor and a four-barrel carburetted 454 CID Turbo-Jet V8 rated at 245 hp (183 kW) net
The model had annual detail changes, for 1976 there was a new crosshatch grille and vertically mounted rectangular headlamps, along with reshaped taillights Under the hood, a new 140 hp (104 kW) 305 CID 2-barrel V8 became the standard engine with the 145 hp (108 kW) 350 2-barrel V8 and 175 hp (130 kW) 400 CID V8 both optional
Diolch am 94,062,045 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 94,062,045 amazing views, every one is greatly appreciated.
Shot 28.05.2022 at Smallwood Steam Rally. Cheshire REF 160-121
This prominent temple in the heart of Shanghai gave the Jing'an District it's name.
Jing'an Temple (静安寺) was originally built in 247 and located besides Suzhou Creek. Because the original location was deemed unstable due to erosion and flooding the temple was moved to it's current location in 1216.
In 1860, during the Taiping Rebellion, the temple was destroyed and in 1880 re-build.
In 1966, during the Cultural Revolution, the temple was converted to a plastic factory and during this usage the main hall burned down in 1972, the temple was in ruins.
Religious activities began again in 1979, and the temple was choosen as the key Buddhist temple in China. Restoration began in 1984 and the first phase lasted until 1991. The second (still ongoing) reconstruction phase began in 1998. From the outside the temple appears complete, but inside one still sees the reconstruction works ongoing.
Because the Df has an extremely good working automatic white balance, the photo was taken with a forced "Daylight" setting to enhance the golden tones.
© All Rights Reserved - you may not use this image in any form without my prior permission.
Furcula sp., I believe. Found at Pleasant Valley Conservancy SNA in southern Wisconsin. Dane County, Wisconsin, USA.
Found on small plant (possibly cherry), mixed hardwood forest.
Single exposure, uncropped, handheld, in situ. Canon MT-24EX flash unit, Ian McConnachie diffuser.
Rudbeckia is a plant genus in the Asteraceae or composite family. Rudbeckia flowers feature a prominent, raised central disc in black, brown shades of green, and in-between tones, giving rise to their familiar common names of coneflowers and black-eyed-susans. Wikipedia
Family: Asteraceae
Scientific name: Rudbeckia
Rank: Genus
Higher classification: Heliantheae
Subtribe: Rudbeckiinae
Subfamily: Asteroideae
Italien / Belluno - Marmolata
seen from Monte Nuvolau (2,574 m)
gesehen vom Monte Nuvolau (2.574 m)
Marmolada (Ladin: Marmolèda; German: Marmolata, pronounced [maʁmoˈlaːta]) is a mountain in northeastern Italy and the highest mountain of the Dolomites (a section of the Alps). It lies between the borders of Trentino and Veneto. The Marmolada is an ultra-prominent peak (Ultra), known as the "Queen of the Dolomites".
Geography
The mountain is located about 100 kilometres (62 mi) north-northwest of Venice, from which it can be seen on a clear day. It consists of a ridge running west to east. Towards the south it breaks suddenly into sheer cliffs, forming a rock face several kilometres long. On the north side there is a comparatively flat glacier, the only large glacier in the Dolomites (the Marmolada Glacier, Ghiacciaio della Marmolada).
The ridge is composed of several summits, decreasing in altitude from west to east: Punta Penia 3,343 metres (10,968 ft), Punta Rocca 3,309 metres (10,856 ft), Punta Ombretta 3,230 metres (10,600 ft), Monte Serauta 3,069 metres (10,069 ft), and Pizzo Serauta 3,035 metres (9,957 ft). An aerial tramway goes to the top of Punta Rocca. During the ski season the Marmolada's main ski run is opened for skiers and snowboarders alike, making it possible to ski down into the valley.
History
Paul Grohmann made the first ascent in 1864, along the north route. The south face was climbed for the first time in 1901 by Beatrice Tomasson, Michele Bettega and Bartolo Zagonel.
Until the end of World War I the border between Austria-Hungary and Italy ran over Marmolada, so it formed part of the front line during that conflict. Austro-Hungarian soldiers were quartered in deep tunnels bored into the northern face's glacier, and Italian soldiers were quartered on the south face's rocky precipices. It was also the site of fierce mine warfare on the Italian Front. As glaciers retreat, soldiers' remains and belongings are occasionally discovered.
On July 3, 2022, a serac collapsed which led to the sliding downstream of over 200 000 m3 of ice and debris, killing eleven people and wounding eight more.
(Wikipedia)
Die Marmolata (italienisch Marmolada, ladinisch Marmoleda, der Name soll von der Ähnlichkeit des Felsens mit Marmor herrühren) ist der höchste Berg der Dolomiten und Teil der Marmolatagruppe. Die Marmolata ist ein westöstlich verlaufender Gratrücken, der von der Punta Penia (3343 m s.l.m.) über die Punta Rocca (3309 m s.l.m.) und die Punta Ombretta (3230 m s.l.m.) zum Pizzo Serauta (3035 m s.l.m.) und der Punta Serauta (3069 m s.l.m.) führt. Dieser Gratrücken bricht nach Süden in einer geschlossenen, zwei Kilometer breiten und bis zu 800 Meter hohen Steilwand ins Ombrettatal ab. Die auf der Nordseite zum Passo Fedaia vergleichsweise sanft abfallende Flanke trägt den einzigen größeren Gletscher der Dolomiten (Ghiacciaio della Marmolada).
Zur Geschichte der Marmolata
Die Sage vom Marmolatagletscher
Eine Südtiroler Sage erklärt (ätiologisch) den Ursprung des Marmolatagletschers so: Ursprünglich gab es auf der Marmolata kein Eis und Schnee, sondern fruchtbare Almen und Wiesen. Vor einem Marienfeiertag im August unterbrachen die Bauern wie üblich die Heuernte und gingen ins Tal, um in die Kirche zu gehen. Doch zweien war die gebotene Feiertagsruhe gleichgültig, sie arbeiteten den ganzen Feiertag durch, um ihr Heu noch trocken in die Heuschober zu bringen. Tatsächlich fing es auch gleich an zu schneien. Doch es schneite immer weiter und hörte gar nicht mehr auf, bis schließlich die ganze Marmolata von einem Gletscher bedeckt war. Eine andere Version berichtet von einer gottlosen Gräfin, welche die Bauern zur Heuarbeit gezwungen hatte. Während sich die Bauern retten konnten, wurde die Gräfin samt Gesinde von den Schneemassen begraben.
Die Besteigungsgeschichte bis 1914
Am 3. August 1802 erreichen drei Priester (Don Giovanni Costadedòi, Don Giuseppe Terza, Don Tommaso Pezzei), ein Chirurg (Hauser) und ein bischöflicher Richter (Peristi) vom Passo Fedaia aus den Höhenkamm bei der Punta Rocca. Beim Abstieg verliert die Gruppe Don Giuseppe Terza vermutlich durch Spaltensturz. Es ist ein Unfall, der dem Aberglauben neue Nahrung gab, was dazu beigetragen haben mag, dass erst 50 Jahre später ein neuer Besteigungsversuch unternommen wurde. Diesmal waren es drei Priester aus dem Bereich Agordo (Don Pietro Munga, Don Alessio Marmolada, Don Lorenzo Nikolai) und der 17-jährige Adelsspross Gian Antonio De Manzoni. Als Führer der Gruppe wird der bergerfahrene „Führer“ Pellegrino Pellegrini engagiert, der den Gämsjäger Gasparo de Pian mitnimmt. Diese Sechsergruppe steigt am 25. August 1856 vom Passo Fedaia, mit einfachen Steigeisen ausgerüstet, über den Gletscher zum Grat an und bezeichnet sich als Erstbesteiger, obwohl ihr Bericht keinen Nachweis enthält, dass man die Punta Rocca tatsächlich bestiegen hat.
1860 bezeichnet sich John Ball (mit dem Führer Victor Tairraz und John Birkbeck) ebenfalls als Erstersteiger der Marmolata, was jedoch widerlegt wurde.
Tatsächlich wurde die Punta Rocca erst im Juli 1862 vom Wiener Bergsteiger und Gründungsmitglied des Österreichischen Alpenvereins Paul Grohmann auf der Nordroute bestiegen. Er fand weder auf dem kurzen, schwierigen Gipfelgrat, noch auf dem Gipfel Besteigungsspuren. Die um 35 Meter höhere Punta Penia wird am 28. September 1864 ebenfalls von Paul Grohmann gemeinsam mit den beiden Bergführern Angelo und Fulgenzio Dimai bestiegen. In den 1880er Jahren nimmt das Dolomitenbergsteigen einen gewaltigen Aufschwung, was zur Errichtung von Schutzhütten am Fedaiasattel (Alpenvereinssektion Bamberg) und beim Ombrettapass (Contrinhaus der Alpenvereinssektion Nürnberg) führt. Die Sektion Nürnberg bemühte sich auch um einen relativ einfach zu begehenden Weg auf die Punta Penia und finanziert die Versicherung des Westgrates, der von Hans Seyffert, Eugen Dittmann mit Führer Luigi Rizzi am 21. Juli 1898 erstbestiegen wurde. Der sehr beliebte, exponierte Klettersteig wurde am 5. August 1903 eröffnet.
Den ersten Weg durch die Südwand (Schwierigkeitsgrad II) fanden die Bergführer Cesare Tomè, Santo De Toni und ihr Begleiter Luigi Farenza am 21. August 1897 mit Hilfe einer Schlucht. Den Grat erreichten sie allerdings zwei Kilometer östlich des Hauptgipfels. Die erste Südwandroute auf die Punta Penia, die heute als „Via Classica“ (IV) bekannt ist, wurde am 1. Juni 1901 von den Bergführern Michele Bettega, Bortolo Zagonel und der Britin Beatrice Tomasson eröffnet.
Die Marmolata und der Erste Weltkrieg
Die Marmolata war im Ersten Weltkrieg als Grenzberg zwischen Österreich-Ungarn und Italien Frontgebiet. Die österreichischen Stellungen verliefen vom Passo Fedaia über den Sasso Undici zur Forcella Serauta und weiter entlang des Kammes nach Westen. Die italienischen Stellungen befanden sich ostwärts bzw. südlich davon. Die Italiener bemühten sich vor allem entlang des Grates Richtung Punta Rocca vorzudringen, was jedoch auch unter Einsatz von Sprengstollen nicht gelang. Um den Nachschub zu den Stellungen am Kamm sicherzustellen, gruben bzw. sprengten die Österreicher Stollen in den Gletscher, die neben der Versorgung auch Unterkunftszwecken dienten, was zur Errichtung einer regelrechten „Eisstadt“ führte. In Zusammenhang mit diesen Kampfhandlungen steht auch das größte Lawinenunglück der Alpingeschichte. Am 13. Dezember 1916 verschüttete eine Nassschneelawine das westlich des Fedaiapasses gelegene österreichische Reservelager Gran Poz, wobei an die 300 Soldaten ums Leben kamen (→ Lawinenkatastrophe vom 13. Dezember 1916).
Die Erschließung ab 1918
Nach dem Krieg schreiben vom 8. bis 9. September 1929 Luigi Micheluzzi, Roberto Perathoner und Demetrio Christomannos mit der Ersteigung des Südpfeilers der Punta Penia (VI) Alpingeschichte. Sie hatten lediglich ein Hanfseil mit und schlugen ganze sieben Haken. Bezüglich der korrekten Besteigung tauchten allerdings Zweifel auf. Jedenfalls bezeichneten einige Nachbegeher (Fritz Kasparek, Hans Steger) diesen Weg als den schwierigsten ihrer Kletterlaufbahn, vor dem Zweiten Weltkrieg wird er lediglich sieben Mal begangen. Mit der Südwestwand der Punta Penia (VI+) durch Gino Soldà und Umberto Conforto und vor allem mit der ebenfalls 1936 durch die von Batista Vinatzer und Ettore Castiglioni erstiegenen Südwand der Punta di Rocca (VI+) kamen noch vor dem Zweiten Weltkrieg hervorragende Routen dazu. Die Vinatzerführe trug lange Zeit den Ruf der schwierigsten Dolomitenführe. Nach dem Krieg trugen sich mit Armando Aste, Toni Egger, Claudio Barbier, Walter Philipp und Georges Livanos Spitzen des Nachkriegsbergsteigens in die Liste der Erstbegeher ein. In den 1980er Jahren sollte sich zeigen, dass die schon beendet erschienene Erschließung durch die Freikletterbewegung neue Impulse erhielt. Eine neue Generation eroberte die Silberplatten, wobei vor allem Heinz Mariacher Pionierarbeit leistete. Bekannt wurde auch der Weg durch den Fisch (IX-), den tschechische Bergsteiger erstbegingen.
Tourismus heute
Über die Westseite des Gletschers verläuft der anspruchsvollste Teil des sogenannten Dolomiten-Höhenweges Nr. 2. Auf die Punta Penia führt ein Klettersteig mit der Schwierigkeits-Bewertung B vom Contrinhaus auf der Südseite via Marmolatascharte und Westgrat (daher der Name Westgrat-Klettersteig). Der Klettersteig trägt auch den Namen Hans-Seyffert-Weg. Eine sehr eindrucksvolle Bergtour führt am Fuß der Marmolata-Südwand von Malga Ciapela über den Passo Ombretta und das Contrinhaus nach Alba bei Canazei.
Auf die Marmolata führt auch eine Seilbahn;[3] die in den Jahren 2004 und 2005 erneuerte Anlage führt in drei Abschnitten von Malga Ciapela (1467 m s.l.m.) über die Stationen Banc/Coston d'Antermoia (2350 m) und Serauta (2950 m) auf die Punta Rocca genannte Bergstation (3265 m), von der man den Marmolata-Nebengipfel Punta Rocca (3309 m) in einer halben Stunde erreichen kann. Das in die Seilbahnstation Serauta integrierte Gebirgskriegsmuseum in 2950 m Seehöhe ist das wohl höchstgelegene Museum Europas. Von der Bergstation Punta Rocca lässt sich durch einen Stollen unschwer das kleine Felsheiligtum Madonna della Neve erreichen, das Papst Johannes Paul II. bei einem Besuch persönlich konsekriert hat.
Eine der längsten Skiabfahrten der Alpen, die Bellunese, ist ca. 12 km lang. Sie führt von der Punta Rocca 1900 Höhenmeter bergab über den Passo Fedaia nach Malga Ciapela.
Bis etwa 2000 fand auf dem Marmolata-Gletscher Sommerskifahren mit einigen Schleppliften statt. Dieses Angebot wurde danach seltener und 2005 – auch auf Druck von Umweltschutzverbänden – komplett gestrichen. Bis zum Jahr 2008 gab es eine weitere Liftkette von der Passhöhe des Fedaiapasses zur Punta Serauta. 2008 wurde der Schlepplift stillgelegt; 2012 brannte die Talstation der Sesselbahn auf der Passhöhe nieder und wurde seitdem nicht wieder aufgebaut. Die hierdurch stark verminderte Kapazität und der große Andrang führen oft zu langen Wartezeiten (eine Stunde und mehr) bei der Talstation der nun einzigen Seilbahn auf die Marmolata in Malga Ciapela.
Gletschersturz 2022
Am 3. Juli 2022 kam es zu einem Gletschersturz am Gipfelgletscher der Punta Rocca. Wohl aufgrund außergewöhnlich hoher Temperaturen und eindringenden Wassers riss ein Eisblock auf etwa 200 Meter Breite ab, die Eis- und Gesteinsmassen stürzten auf die darunterliegende Normalroute zur Punta Penia, auf der zu diesem Zeitpunkt mehrere Seilschaften unterwegs waren. Zahlreiche Tote und Vermisste waren die Folge. Als Auslöser wurde der Klimawandel gesehen: Nach einem warmen und niederschlagsarmen Winter habe sich im folgenden Sommer Schmelzwasser unter dem Gletschereis gesammelt und dessen Haftung reduziert.
Schutzhütten im Marmolata-Gebiet
Rifugio Contrin (2016 m, A.N.A., traditionsreiches Haus südwestlich der Marmolata-Südwand)
Rifugio Falier (2074 m, CAI, am Fuß der Marmolata-Südwand im Val Ombretta)
Bivacco Marco Dal Bianco (2727 m, Biwakschachtel am Passo Ombretta)
Capanna Punta Penia (3340 m, privat, kleine Schutzhütte in Gipfelnähe)
(Wikipedia)
19th July 2021
Camera: Voigtlander Prominent 35mm Rangefinder.
Lens: Voigtlander 35mm Skoparon f/3.5.
Film: Ilford Pan F Plus ISO 50 35mm black & white negative.
Development: ID-11 1 + 3 20C/18m.
Copyright 2021 Tasmania Film Photography.
ALL RIGHTS RESERVED
Broke.
Broke was settled around 1824. The most prominent settler was John Blaxland, brother of explorer Gregory Blaxland who crossed the Blue Mountains in 1813. Around 1830 John and his son Arthur combined received land grants totalling 8,000 acres along Wollombi Brook as compensation for a legal dispute with the government. Wrangles with Governor Bligh to obtain his original land grant were protracted and Blaxland was even imprisoned for a month. His original land grant was on the Nepean River near Sydney. John Blaxland was an Anglican and so he donated two acres for a church and cemetery in 1861. St Andrews Anglican Church, a timber framed structure, opened in 1865 but was not consecrated. The timber church was replaced with a red brick one which was consecrated in 1889. It is now privately owned behind a high fence near the school. The village of Broke emerged as it was at the end of the overland route from Sydney to the Hunter Valley – The Great North Road used to moving livestock. Although the Blaxland homestead no longer exists there is a memorial at the site. The village still has some 19th century buildings apart from the 1889 Anglican Church at 38 Wollombi St. They include the original school 1876, the original Post Office 1882 – now a residence, the village hall 1898, and the Catholic Church 1904 at 26 Wollombi St. Today the main product is wine and Broke-Fordwich is a sub region of the Hunter Valley wine district.
Widespread resident. Prominent white spotting on crown, mantle, and wing coverts, brown spotting on underparts. Has pale facial discs and pale hind collar.
See the family here or the solo here.
Nikon D850, 500mm f/4e lens, f/4, 1/800, ISO 320.
Thanks to all of you who fave and comment on the photograph.
Oligocentria semirufescens - Red-washed Prominent
Catchfly Ct, Columbia
Howard County, MD
Quad 39076_B7
Prominent was innovative and sophisticated camera made from 1950 to 1960 ish. First camera with leaf shutter and interchangeable lenses. It never gave huge choice of lenses but ant least Nokton 50mm f1.5 and Ultron 50mm f2 were excellent and, at least as name, survived to those days.
This one is Type 127 with accessories shoe and Synchro-Compur shutter. Probably from 1952-53
A larger view of Hunter Peak in Wyoming's Beartooth Mountains. This peak rises to only 9,034 feet, however it's rapid rise makes it one of the prominent peaks in this locale.
Adults of the saddled prominent are brownish-gray moths, with a wing spread of 1 1/2 to 2 inches. They emerge from early June to mid-July from pupae that passed the winter within the upper 2 inches of the soil and leaf litter.
Eggs are laid individually and mostly on the underside of hardwood leaves from mid-June to mid-July. Hatching takes place after 9-10 days.
Larvae, at first, appear as very tiny reddish-brown "antlered," spiny caterpillars. When the larvae molt for the second stage they lose the "antlers" and are smooth-skinned, except for 2 small horns behind the head. During later stages they lose these horns and are generally of a yellowish-green color. The last stages have a prominent saddle-shaped patch of contrasting red to brown colors on the mid-back. Larvae at this stage resemble those of the variable oakleaf caterpillar but the saddle is much more distinct and mature larvae occur much earlier (July). At maturity, some 5 weeks after hatching when the larvae are about 1 1/2 inches long, they drop or crawl to the ground to pupate.
Nikon D7100
Tokina 100mm f/2.8 AT-X AF Pro D Macro
100mm - f7.1 - 1/240 - ISO 100
I just had to return and check on the Wavy-lined Prominents the other day... and the colorful Autumn leaves they're dining on just made it irresistible for more shots!
Reino Unido de Gran Bretaña - Escocia - Glasgow - Necrópolis
ENGLISH
The Glasgow Necropolis is a Victorian cemetery in Glasgow, Scotland. It is on a low but very prominent hill to the east of Glasgow Cathedral (St. Mungo's Cathedral). Fifty thousand individuals have been buried here. Typically for the period only a small percentage are named on monuments and not every grave has a stone. Approximately 3500 monuments exist here.
Following the creation of Père Lachaise Cemetery in Paris a wave of pressure began for cemeteries in Britain. This required a change in the law to allow burial for profit. Previously the parish church held responsibility for burying the dead but there was a growing need to give an alternative solution. Glasgow was one of the first to join this campaign, having a growing population, with fewer and fewer attending church. The planning of the cemetery began formally by the Merchants' House of Glasgow in 1831, in anticipation of a change in the law. The Cemeteries Act was passed in 1832 and the floodgates opened. Glasgow Necropolis officially opened in April 1833. Just prior to this, in September 1832 a Jewish burial ground had been established in the north-west section of the land. This small area was declared "full" in 1851.
Predating the cemetery, the statue of John Knox sitting on a column at the top of the hill, dates from 1825.
Alexander Thomson designed a number of its tombs, and John Bryce and David Hamilton designed other architecture for the grounds.
The main entrance is approached by a bridge over what was then the Molendinar Burn. The bridge, which was designed by David Hamilton was completed in 1836. It became known as the "Bridge of Sighs" because it was part of the route of funeral processions (the name is an allusion to the Bridge of Sighs in Venice). The ornate gates (by both David and James Hamilton) were erected in 1838, restricting access onto the bridge.
Three modern memorials lie between the gates and the bridge: a memorial to still-born children; a memorial to the Korean War; and a memorial to Glaswegian recipients of the Victoria Cross.
Across the bridge the original scheme was to enter the area via a tunnel but this proved unviable. The ornate entrance of 1836 remains.
The cemetery, as most early Victorian cemeteries, is laid out as an informal park, lacking the formal grid layouts of later cemeteries. This layout is further enhanced by the complex topography. The cemetery's paths meander uphill towards the summit, where many of the larger monuments stand, clustered around the John Knox Monument.
The Glasgow Necropolis was described by James Stevens Curl as "literally a city of the dead". Glasgow native Billy Connolly has said: "Glasgow's a bit like Nashville, Tennessee: it doesn't care much for the living, but it really looks after the dead."
*******************************************************************************
ESPAÑOL
La Necrópolis de Glasgow (en inglés: Glasgow Necropolis) es un cementerio victoriano de Glasgow, Escocia, Reino Unido. Está en una colina baja, pero muy importante, en el este de la Catedral de Glasgow (Catedral de San Mungo). Cincuenta mil personas han sido enterradas aquí. Típicamente, para el período sólo un pequeño porcentaje fue nombrado en los monumentos y no todas las tumbas tienen una lápida. Hay aproximadamente 3.500 monumentos.
La planificación del cementerio comenzó formalmente por la Cámara de Glasgow de Comerciantes en 1831, a la espera de un cambio en la ley. La Ley de Cementerios se aprobó en 1832 lo que permitió su apertura. La necrópolis se inauguró oficialmente en abril de 1833. Justo antes de esto, en septiembre 1832 un cementerio judío se había establecido en la sección noroeste de la tierra. Esta pequeña área fue declarada "completa" en 1851.
La Necrópolis de Glasgow está en una tierra llamada ‘The Craigs’ la cual fue comprada por la Casa de los Comerciantes de Glasgow en 1650 y se convirtió en un parque público durante casi 200 años. El concepto de un cementerio jardín se basó en el Cementerio Pere laChaise después de que un miembro de la Casa de los Comerciantes hubiera visitado a París. La Necrópolis fue abierta oficialmente en 1833. Este cementerio fue creado con la intención de ser multi-religioso y el primer entierro en 1832 fue el de un judío, Joseph Levi, joyero, que murió de disentería y fue enterrado en el recinto de los judíos. En 1833 el primer entierro cristiano fue el de Elizabeth Miles, madrastra del superintendente George Mylne. Después de 1860, las primeras extensiones este y sur fueron hechas encima de la Pedrera de Ladywell y en 1877 y 1892/3 fueron construidas las extensiones finales al norte y al sureste, casi doblando el área del cementerio. La Necrópolis ahora tiene 37 acres (15 has).
Tuvieron lugar 50.000 entierros en la Necrópolis con 3.500 monumentos, lo que parecen ser espacios verdes abiertos en varias zonas de las tierras son de hecho sepulcros no marcados. En 1877 el río Molendinar, que corría debajo del Puente de Sighs, era subterrá- neo. Este río pequeño fue en el que se dijo que St. Mungo pescaba salmones y que ahora es subterráneo en dirección a Clyde.
La Necrópolis fue uno de los pocos cementerios en guardar los expedientes de los muertos, incluyendo la profesión, la edad, el sexo y la causa de la muerte. En julio de 1878 el libro de visitantes mostró que 13.733 personas visitaron la Necrópolis de Glasgow - 12.400 ciudadanos y 1.333 otros visitantes. En 1966, la Casa de los Comerciantes donó £50,000 y la Necrópolis al Ayuntamiento de la Ciudad de Glasgow es el que ahora la administra y mantiene. Se han quitado los bancos y las divisiones de los sepulcros y la mayor parte del área ha sido plantada de césped como medida de mantenimiento.
Hay aquí monumentos diseñados por los principales arquitectos y escultores de la época, incluyendo Alexander ‘Greek’ Thomson, Charles Rennie Mackintosh y JT Rochead, uno de cada estilo arquitectónico, dichos monumentos no sólo eran creados para los empresarios y ricos prominentes de la designada ‘segunda ciudad del imperio' sino también erigidos por aportaciones públicas para algunos ciudadanos que no habrían podido de otra manera ser enterrados aquí.
La Necrópolis de Glasgow fue el primer cementerio jardín pero otros le siguieron incluyendo Sighthill en 1840, la Necrópolis meridional en 1840 y la Necrópolis del este en 1847. La comunidad católica abrió el St Mary’s Churchyard en Calton en 1839 y el cementerio de St Peter en Dalbeth en 1851.
El acto ‘Burial Grounds’ (Escocia) de 1855 condujo al cierre de la vieja iglesia y del cementerio. Los primeros de los nuevos cementerios en las cercanías de la ciudad fueron Craigton en 1873, Cathcart en 1878, Lambhill (85 acres) en 1881, la Necrópolis occidental en 1882 y St Kentigern en 1882 (noroeste de la ciudad).
El primer crematorio que se construyo en Escocia fue el Crematorio de Glasgow en las tierras de la Necrópolis occidental en 1895.
Massive power pylon taking power from Glen Canyon Dam for distribution. Near Page, Arizona.
Happy Telegraph Tuesday!
The Metropolitan Cathedral of Saints Vitus, Wenceslaus and Adalbert is a Roman Catholic metropolitan cathedral in Prague, the seat of the Archbishop of Prague. Until 1997, the cathedral was dedicated only to Saint Vitus, and is still commonly named only as St. Vitus Cathedral.
This cathedral is a prominent example of Gothic architecture, and is the largest and most important church in the country. Located within Prague Castle and containing the tombs of many Bohemian kings and Holy Roman Emperors, the cathedral is under the ownership of the Czech government as part of the Prague Castle complex. Cathedral dimensions are 124 by 60 metres (407 ft × 197 ft), the main tower is 102.8 metres (337 ft) high, front towers 82 metres (269 ft), arch height 33.2 metres (109 ft).
The current cathedral is the third of a series of religious buildings at the site, all dedicated to St. Vitus. The first church was an early Romanesque rotunda founded by Wenceslaus I, Duke of Bohemia in 930. This patron saint was chosen because Wenceslaus had acquired a holy relic – the arm of St. Vitus – from Emperor Henry I. It is also possible that Wenceslaus, wanting to convert his subjects to Christianity more easily, chose a saint whose name (Svatý Vít in Czech) sounds very much like the name of Slavic solar deity Svantevit.[citation needed] Two religious populations, the increasing Christian and decreasing pagan community, lived simultaneously in Prague castle at least until the 11th century.
In the year 1060, as the bishopric of Prague was founded, prince Spytihněv II embarked on building a more spacious church, as it became clear the existing rotunda was too small to accommodate the faithful. A much larger and more representative Romanesque basilica was built in its spot. Though still not completely reconstructed, most experts agree it was a triple-aisled basilica with two choirs and a pair of towers connected to the western transept. The design of the cathedral nods to Romanesque architecture of the Holy Roman Empire, most notably to the abbey church in Hildesheim and the Speyer Cathedral. The southern apse of the rotunda was incorporated into the eastern transept of the new church because it housed the tomb of St. Wenceslaus, who had by now become the patron saint of the Czech princes. A bishop's mansion was also built south of the new church, and was considerably enlarged and extended in the mid 12th-century.
Construction of the present-day Gothic Cathedral began on 21 November 1344, when the seat of Prague was elevated to an archbishopric. King John of Bohemia laid the foundation stone for the new building.[3] The patrons were the chapter of cathedral (led by a Dean), the Archbishop Arnost of Pardubice, and, above all, Charles IV, King of Bohemia and a soon-to-be Holy Roman Emperor, who intended the new cathedral to be a coronation church, family crypt, treasury for the most precious relics of the kingdom, and the last resting place cum pilgrimage site of patron saint Wenceslaus. The first master builder was a Frenchman Matthias of Arras, summoned from the Papal Palace in Avignon. Matthias designed the overall layout of the building as, basically, an import of French Gothic: a triple-naved basilica with flying buttresses, short transept, five-bayed choir and decagon apse with ambulatory and radiating chapels. However, he lived to build only the easternmost parts of the choir: the arcades and the ambulatory. The slender verticality of Late French Gothic and clear, almost rigid respect of proportions distinguish his work today.
After Matthias' death in 1352, 23-year-old Peter Parler assumed control of the cathedral workshop as master builder. He was son of the architect of the Heilig-Kreuz-Münster in Schwäbisch Gmünd. Initially, Parler only worked on plans left by his predecessor, building the sacristy on the north side of the choir and the chapel on the south. Once he finished all that Matthias left unfinished, he continued according to his own ideas. Parler's bold and innovative design brought in a unique new synthesis of Gothic elements in architecture. This is best exemplified in the vaults he designed for the choir. The so-called Parler's vaults or net-vaults have double (not single, as in classic High Gothic groin vaults) diagonal ribs that span the width of the choir-bay. The crossing pairs of ribs create a net-like construction (hence the name), which considerably strengthens the vault. They also give a lively ornamentation to the ceiling, as the interlocking vaulted bays create a dynamic zigzag pattern the length of the cathedral.
While Matthias of Arras was schooled as a geometer, thus putting an emphasis on rigid systems of proportions and clear, mathematical compositions in his design, Parler was trained as a sculptor and woodcarver. He treated architecture as a sculpture, almost as if playing with structural forms in stone. Aside from his bold vaults, the peculiarities of his work can also be seen in the design of pillars (with classic, bell-shaped columns which were almost forgotten by High Gothic), the ingenious dome vault of new St. Wenceslaus chapel, the undulating clerestory walls, the original window tracery (no two of his windows are the same, the ornamentation is always different) and the blind tracery panels of the buttresses. Architectural sculpture was given a considerable role while Parler was in charge of construction, as can be seen in the corbels, the passageway lintels, and, particularly, in the busts on the triforium, which depict faces of the royal family, saints, Prague bishops, and the two master builders, including Parler himself.
Work on the cathedral, however, proceeded slowly, because the Emperor commissioned Parler with many other projects, such as the construction of the new Charles Bridge in Prague and many churches throughout the Czech realm. By 1397, when Peter Parler died, only the choir and parts of the transept were finished.
After Peter Parler's death in 1399 his sons, Wenzel Parler and particularly Johannes Parler, continued his work; they in turn were succeeded by a certain Master Petrilk, who by all accounts was also a member of Parler's workshop. Under these three masters, the transept and the great tower on its south side were finished. So was the gable which connects the tower with the south transept. Nicknamed 'Golden Gate' (likely because of the golden mosaic of Last Judgment depicted on it), it is through this portal that the kings entered the cathedral for coronation ceremonies.
The entire building process came to a halt with the beginning of Hussite War in the first half of 15th century. The war brought an end to the workshop that operated steadily over for almost a century, and the furnishings of cathedral, dozens of pictures and sculptures, suffered heavily from the ravages of Hussite iconoclasm. As if this was not enough, a great fire in 1541 heavily damaged the cathedral.
Perhaps the most outstanding place in the cathedral is the Chapel of St. Wenceslaus, which houses relics of the saint. Peter Parler constructed the room between 1356 (the year he took over) and 1364 with a ribbed vault. The lower portions of the walls are decorated with over 1300 semi-precious stones and paintings depicting the Passion of Christ dating from the original decoration of the chapel in 1372–1373. The upper area of the walls have paintings depicting the life of St. Wenceslaus, by the Master of the Litoměřice Altarpiece between 1506 and 1509. Above the altar, is a Gothic statue of St. Wenceslaus created by Jindřich Parler (Peter's nephew) in 1373. The Chapel is not open to the public, but it can be viewed from the doorways.
A small door with seven locks, in the southwest corner of the chapel, leads to the Crown Chamber containing the Czech Crown Jewels, which are displayed to the public only once every eight years.
Through most of the following centuries, the cathedral stood only half-finished. It was built to the great tower and a transept, which was closed by a provisional wall. In the place of a three-aisled nave-to-be-built, a timber-roofed construction stood, and services were held separately there from the interior of the choir. Several attempts to continue the work on the cathedral were mostly unsuccessful. In the latter half of the 15th century, king Vladislaus II commissioned the great Renaissance-Gothic architect Benedict Ried to continue the work on the cathedral, but almost as soon as the work began, it was cut short because of lack of funds. Later attempts to finish the cathedral only brought some Renaissance and Baroque elements into the Gothic building, most notably the obviously different Baroque spire of the south tower by Nikolaus Pacassi (1753 till 1775) and the great organ in the northern wing of transept.
In 1844, Václav Pešina, an energetic St. Vitus canon, together with Neo-Gothic architect Josef Kranner presented a program for renovation and completion of the great cathedral at the gathering of German architects in Prague. The same year a society under the full name "Union for Completion of the Cathedral of St. Vitus in Prague" was formed, whose aim was to repair, complete and rid the structure of everything mutilated and stylistically inimical. Josef Kranner headed the work from 1861 to 1866 which consisted mostly of repairs, removing Baroque decorations deemed unnecessary and restoring the interior. In 1870 workers finally laid the foundations of the new nave, and in 1873, after Kramer's death, architect Josef Mocker assumed control of the reconstruction. He designed the west façade in a typical classic Gothic manner with two towers, and the same design was adopted, after his death, by the third and final architect of restoration, Kamil Hilbert.
In the 1920s the sculptor Vojtěch Sucharda worked on the façade, and the famous Czech Art Nouveau painter Alfons Mucha decorated the new windows in the north part of nave. Frantisek Kysela designed the rose window from 1925 to 1927, which depicts scenes from the Biblical story of creation. By the time of St. Wenceslaus jubilee in 1929, the St. Vitus cathedral was finally finished, nearly 600 years after it was begun. Despite the fact that entire western half of Cathedral is a Neo-Gothic addition, much of the design and elements developed by Peter Parler were used in the restoration, giving the Cathedral as a whole a harmonious, unified look.
My friend Karen and I met for a fantastic Saturday exploring the rather primitive swamps of the Upper Delta...we met up at daybreak after the nearly 90 minute drive north and made some awesome finds!
Three years ago, almost to the day, Karen found a mature 'lifer' Double Toothed Prominent (see below) and she found this one yesterday on the same tree! It is a younger instar and its baby 'teeth' have some growing to do! The formations on their backs remind me of my beloved Grand Teton mountains!
First Church is a prominent church in the New Zealand city of Dunedin. It is located in the heart of the city on Moray Place, 100 metres to the south of the city centre. The church is the city's primary Presbyterian church. The building is regarded as the most impressive of New Zealand's nineteenth-century churches, and is listed by Heritage New Zealand as a Category I structure.
Prior to the construction of the church, smaller earlier buildings had been used by the congregation, but the rapid rise in the city's population meant that a larger, more permanent structure was necessary.
The original First Church stood close to the former beach in the city's lower High Street. This was a rough, weatherboard building, erected very quickly, and capable of holding some 200 people. It was opened in September 1848, within six months of the arrival of the city's first permanent European settlers from Scotland. So hasty was the construction of the building that early congregations had to remain standing, as seating was not installed until three months later.
A stone church was built in 1850 which expanded and extended the original structure, doubling its capacity. This building not only served as a church, but, in the city's early days, was also a school, public lecture hall, and served as the Otago Provincial Council chambers. The building was utilitarian, and may have only ever been intended as a temporary solution, as plans for a more stately building were being mooted as early as 1856. After construction of the permanent church, the 1848 and 1850 buildings were used as a wool store, but were destroyed by fire in 1865.
From 1864 a third structure ("The Interim Church") was used, on a site above the previous buildings on Dowling Street. A sturdy wooden structure on a stone base, it had seating for 600, and was used until the present building was ready for use in 1873. The wooden building was dismantled and moved to Fryatt Street, where is served as a tram workshop; part of the original stone foundations on Dowling Street are still visible adjoining a city council car park.
The current church stands on the stump of Bell Hill, a major promontory which initially divided the heart of Dunedin in two. In the city's early years, gold was discovered inland, resulting in rapid growth in the city. The hill became a massive obstacle to the development of Dunedin, and a decision was made by the Otago Provincial Council to make a substantial excavation into the hill. This resulted in a cutting through which one of the city's main streets, Princes Street, now passes, and the reduction of the height of Bell Hill by some 12 metres. Much of the excavated soil and stone was used in the reclamation of land which now forms the Southern Endowment of South Dunedin. The church's site, on a promontory of what is left of the hill, commands views to the south across Queen's Gardens towards the Otago Harbour and South Dunedin.
The building, in decorated Gothic style, was designed in 1862 by Robert Lawson, who also designed the city's Knox Church, which has a similar tower. Lawson had won a competition for the design of the church from among six entrants. Construction was delayed after the decision to reduce Bell Hill, with the foundation stone being laid in May 1868 by Dr. Thomas Burns, and was officially opened on 23 November 1873, by which time Burns, its champion, had already died. The church is dominated by its multi-pinnacled tower crowned by a spire rising to 56.4 metres. The spire is unusual as it is pierced by two-storeyed gabled windows on all sides, which give an illusion of even greater height. Such was Lawson's perfectionism that the top of the spire had to be dismantled and rebuilt when it failed to measure up to his standards. It can be seen from much of central Dunedin, and dominates the skyline of lower Moray Place, and has a capacity of over 1000.
The expense of the building was not without criticism. Some members of the Presbyterian synod felt the metropolitan church should not have been so privileged over the country districts where congregants had no purpose designed places of worship or only modest ones. The Reverend Dr Burns's championship of the project ensured it was carried through against such objections.
Externally, First Church successfully replicates the effect, if on a smaller scale, of the late Norman cathedrals of England. The cathedral-like design and size can best be appreciated from the rear. There is an apse flanked by turrets, which are dwarfed by the massive gable containing the great rose window. It is this large circular window which after the spire becomes the focal point of the rear elevations. The whole architectural essay appears here almost European. Inside, instead of the stone vaulted ceiling of a Norman cathedral, there are hammer beams supporting a ceiling of pitched wood and a stone pointed arch acts as a simple proscenium to the central pulpit. Above this diffused light enters through a rose window of stained glass. This is flanked by further lights on the lower level, while twin organ pipes emphasise the symmetry of the pulpit.
At 56.4 metres, the spire makes the building one of the tallest in the South Island, and it was the island's tallest building until the construction of ChristChurch Cathedral, Christchurch was completed in 1881. It again held that rank briefly from 1888, after the latter building was damaged by an earthquake. The church is currently the city's tallest building, and the fourth tallest building in the South Island (after Pacific Tower, the Forsyth Barr Building, and Rydge's Hotel, all in Christchurch).
The building is constructed of Oamaru stone, set on foundations of basalt breccia from Port Chalmers, with details carved by Louis Godfrey, who also did much of the woodcarving in the interior. The use of "cathedral glass", coloured but unfigured glass pending the donation of a pictorial window for the rose window is characteristic of Otago's 19th-century churches, where donors were relatively few reflecting the generally "low church" sentiments of the place. Similar examples can be found in several of Lawson's other churches throughout Otago.
Other notable features of the building include stained glass windows dedicated to those fallen in war and to the Otago Mounted Rifles. For many years, the church housed a 1908 Norman & Baird organ, though this was replaced in 1983 by a digital organ by Allen. A full set of eight change-ringing bells, cast by the Whitechapel Bell Foundry, was installed in 1975 and are rung by members of the Australian and New Zealand Association of Bellringers. At that time the only such set in a Presbyterian church outside the United Kingdom and claimed to be the southernmost ring of bells in the world. A large bell on a pedestal stands outside the church, sent from Scotland in 1851. Also located in the grounds in front of the church is a memorial plaque to Dr. Burns. The entrance gates to the church feature two lamps which started life as Edinburgh street lamps, another connection to the homeland of many of the city's first settlers.
A miniature of the church was created by Lawson in the city's Northern Cemetery as a family tomb for noted early Dunedinite William Larnach.
Regular Sunday services are held in the church in English, Cook Island Maori, and Samoan. The church is also used for a variety of both religious and secular civic and cultural events within the city.
Height: 249 feet
Access: car or hike
In Guy W. Talbot State Park, this fall of Latourell Creek is named after Joseph Latourell, a prominent Columbia River Gorge settler. It is on the Historic Highway, 3.4 miles west of Exit 28 off I-84. It's a short walk to the viewpoint from the park's picnic area to the viewpoint.
www.waterfallsnorthwest.com/nws/waterfall.php?st=&num...
Wishing everyone a Happy Blue Monday and a wonderful week......♥
Hugs Tom