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The Lofoten Museum is located in the former fishing village Storvågan by Kabelvåg in Lofoten. The museum was founded in 1976 and is part of Museum Nord and the Coastal Works Museum. The facility consists of a homestead with farmhouse from 1815, farm buildings, fisherman's cabins, boathouse with Nordland boats and garden with historic perennials.
The museum also has exhibitions about Lofoten fishing, harbors and lighthouses along the coast and about the medieval town of Vágar which was close to the museum area.
When I got to the studio this afternoon, I found that two of three main electrical circuits on my phase three system were not working. After making certain the fuses were not blown, I contacted my electrician. Although I was on call for the hospital, I took a chance and had him come out to investigate the problem. We made certain there was no break in continuity all the way to the main panel, but we could not access the meter box because of a lock placed on it by Entergy.
A call to Entergy had their technicians out in a little under twenty minutes. Frankly, I have to say I was impressed at the response time. They opened the meter box, and thankfully, the problem was on their end. The service line was covered with vines and brush.
Because I will be busy at the hospital anyway, I agreed to let them come back in the morning to take care of the problem in daylight. They agreed to have the problem resolved by noon. I have a shoot tomorrow night. Hopefully things will work out.
I took this shot for my 365 project right before I cut off the remaining phase's power and darkened the building.
Strobist: AB1600 with gridded 60X30 softbox camera left.Reflector camera right. Triggered by Cybersync.
School of Félix Resurrección Hidalgo (1855 - 1913
After Hidalgo, El Pescador de Sucag
dated 1886 (lower right)
oil on canvas
26” x 44” (66 cm x 112 cm)
Opening bid: PHP 1,600,000
Provenance: Private Collection, Bilbao, Spain
Félix Resurrección Hidalgo would be one of those youth that led a charmed life. His mother’s side of the family were the Padillas, the extremely wealthy propertyowners of Binondo. Social historian Augusto M.R. Gonzalez would recount in his knowledgeable blog “Remembrance of Things Awry” that Hidalgo was furthermore a bit of child prodigy. “For starters,” Gonzalez notes, “he is recorded to have painted at the age of four in 1859. His maternal grandfather Narciso Padilla was himself immortalized by the Tondo maestro Antonio Malantic. Narciso was a rich lawyer and merchant with several businesses and many commercial real estate properties in Manila and surrounding “arrabales” or districts. Narciso’s daughter, Barbara “Baritay” Padilla de Resurreccion Hidalgo, Felix’s mother, inherited many valuable properties from him, among them several big warehouses in the Divisoria entrepot in Tondo which lined the Pasig river. The affluent Padilla family had [ and still has ] a long history distinguished by high professional achievement, wealth, conservatism, and prudence. The Padilla descendants recall that, with characteristic frugality, their forebears had transferred the “bahay na bato” ancestral house in Lingayen, Pangasinan beam by beam and brick by brick to Calle General Solano in posh San Miguel district, Manila in the late 1800s.” Hidalgo was allowed to enroll in the Manila Academia only on condition that he would continue his formal college education. He never graduated with the degree in law that his family wanted but he did received one in philosophy. In 1876, he would be selected among the favored few of the Academia to enter his works at the Centennial International Exposition in Philadelphia, a world’s fair to mark the 100th anniversary of the signing of the United States’ Declaration of Independence. It was a singular honor for such a young man. (Simon Flores, 15 years his senior, was one of the other artists known to have been selected.) Before being sent abroad for display, they were first exhibited to no doubt an adoring crowd at the Teatro Circo de Bilibid. Only a very few of these paintings from Hidalgo’s “Philippine period” are known to exist, secreted away in private collections in this country as well as in public holdings in Madrid, rarely if ever exhibited, such as those in the Prado, Spain’s national museum. The work at hand is a verdant scene, the bamboo thickets and azure sky reflected in the limpid waters of what one presumes is the only river the young Hidalgo was familiar with, the Rio Pasig. A sinewy fisherman wields a net that trails in the deep blue waters, a young lad tends to the catch held in a couple of baskets. The fisherman’s wife dressed in the red (kundiman) cloth of the Filipino peasant, raises her arms, as if pushing gently with an oar hidden from view by her wide sleeves. A light mist the soft sunlight hints that it is just at the break of dawn. The following year after this first tour de force, Hidalgo would be included in the roster of artists for the de luxe edition of Fr. Manuel Blanco’s Flora de Filipinas. In the words of scholar P.R. Santiago, it featured a “who’s who of Philippine art at the time.” Hidalgo was eventually named second prize for the best cover artwork. (His teacher Sáez took the first prize, although that hardly seemed fair since Sáez was not only the director of the Manila Academia but was also on the board of judges.) All these achievements would only add to his mantle of glamor and in 1879, he would be named a scholar to the much vaunted Royal Academy of Fine Arts of San Fernando in Madrid. It is easy to imagine how the affection and adulation for Hidalgo’s fame and honor would have generated a series of works by students at the Academia. Their main course of education—as with all European art schools—was the copying of works of the masters. (Lisa Guerrero Nakpil)
Lot 139 of the Leon Gallery auction on 28 November 2020. Please see leon-gallery.com/auctions/The-Kingly-Treasures-Auction-2020 for more details.
Roman ruins of Villa Cardillio
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Roman Ruins of Villa Cardillio (Ruinas Romanas de Vila Cardílio)
Ruins (Ruinas)
Official name: Vila Lusitano-Romana de Vila Cardílio
The Roman ruins of Villa Cardillio (Portuguese: Ruinas romanas de Vila Cardílio) is an archaeological site located in central Portugal, situated in the rural civil parish of Santa Maria, located approximately 3 km from the centre of the municipal seat of Torres Novas. Receiving its name from a mosaic pavement onsite, the specific translation of piece is still unclear, but assumed that the site was owned by a couple. The ruins were first excavated in 1962, yielding hundreds of coins and well as ceramics, bronze works, Assyrian and Egyptian glass works, as well as some jewellery and a statue of Eros.
History[edit]
The first construction of this "villa" occurred in the first century, of which only remains the primitive atrium and the remains of the thermal baths (which later adapted into the successive infrastructures.[1][2]
Vila Cadílio's second phase occurred of around the 4th century, being the property of Cardílio and Avita.[1][2]
In 1930, the site served as a mine, whose property-owner (from Casais da Caveira) removed 360 cartloads of rock from the site.[1] The first archaeological interest in the site occurred in 1932; Jalhay and Afonso do Paço began investigating the grounds, cataloguing the built-up environment.[1]
Formal excavations of the site occurred between 1963 and 1964, under the direction of Afonso do Paço. It was revised in 1980, under the direction of Jorge Alarcão and supervised by Drs. Monteiro and Quinteira, from the Faculty of Letters at the University of Coimbra.[1] This intervention used a stratigraphic method of excavation, utilizing a graticule plan of the site. Of the remnants encountered until 1963, were the following: a clay statue, amphora, coins dated between 145 A.D. and 408 A.D., and a statue of Eros in Carrara marble.[1] During subsequent excavations in 1963-1964 fragments of terra sigillata were discovered, that included various periods of fabrication: ceramic utensils (such as vases, plates and amphorae); metal objects (a bird, a bronze bell and fibula; and glass, ivory and bone. Material from the 1980-1981 were not published.[1]
On 1 June 1992, the site was placed under the authority of the Instituto Português do Património Arquitectónico (the forerunner of IGESPAR under decree-law 106F/92.[1]
Architecture
Example of the tilework found in Vila Cardílio
The site is located in the rural suburbs of the civil parish of Santa Maria, in the municipality of Torres Novas, on a cultivated plain that circles the Almonda River, 2 kilometres (1.2 mi) from the centre of Torres Novas.
The "curigum" collected water during the summer months, permitting not just irrigation, but cooling of the spaces.[1] Over the pavement of many of the dependencies were encountered imbrex tiles, and studs that connected them within the structure.[1]
It is a unique example of Roman villa, that actually identifies the property-owners: Cardílio and Avita.[1] It is also an important villa that existed alongside the Roman towns of Santa Vitória do Ameixial and Torre de Palma, their mosaics comparable to those of Milreu and Conímbriga.[1][3]
This vila was organized around the vast "peristylum", about 20 metres (66 ft) long and circled by twelve columns that protected a square 11 metres (36 ft)courtyard, with a 7 metres (23 ft) deep pool (in the extreme southern part of the property). Around this area was a 3.5 metres (11 ft) long section, with six mosaic panels in "opus-tessellatum" in geometric patterns.[1] Meanwhile, between these panels and the courtyard and 0.5 metres (1.6 ft) channel in "opus signinum", the "curigum".[1]
To the east of the "peristylum", is the "exedra" a 10 metres (33 ft) by 6.5 metres (21 ft) area, paved in "opus signinum", at the back of which is an apse, proceeded by a porticom with four (in front) and two lateral columns.[1]
West of the "peristylum", is the "ostium", the principal entrance, with mosaic pavement, forming various decorative, geometric and figurative panels. On one of these is the inscription: "VIVENTES / CARDILIUM / ETAVITAM / FELIXTURRE", while on another is a figure of a Roman couple, circled by craters, a sickle, birds, diametrically opposed 2x2 posts and with flowers in the corners.[1][2] The inscription of the Roman propertyowners has had differencing interpretations, that included: "Felix of Turre created the mosaics in homage to Cardílio and Avita";[4] "Felix created the picture of Cardílio and Avita, in life, in the locality called Turris";[5] "Torre was happy while Cardílio and Avita lived";[6] "Cardílio and Avita lived here in the happy tower"[1][2][7] The objects repreesnted in the property-owner's panel, the sickle and the craters, may have represented the cultivation of wheat and vineyard.[1][8]
There also exist vestiges of a "frigidarium" (cold baths), "caldarium" (hot baths) and respective "hypocaustum", as well as a pool, to the west of the"peristylum".[1] These thermal zones are actually over older deposits, of which two tanks still remain.[1] To the north of the"ostium" is a tank encircled by columns on three sides, which may have represented the atrium of an older building.[1]
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You’ve seen those nifty diagrams about the life of a lead. Sure, you have. Pull one out and take a closer look – right there, between real estate lead generation and conversion. Nurturing real estate leads – See it?
Lead nurturing
You can’t get from one to the other without lead nurturing.
So, why do so many agents get all ticked off when their leads don’t convert – despite the fact that they’ve done zilch to get them there?
Because they’ve left out the most important step.
Don’t let “I’m too busy” stand in the way. You simply MUST focus on nurturing real estate leads.
Don’t surrender
What “location, location, location” is to real estate agents, “Don’t give up before the miracle happens” is to those in recovery. It’s a mantra, sure, but it expresses a truth just as valid as how important location is to a property purchase.
What’s the “miracle” in real estate lead generation?
It’s that moment when a lead – some random person who visited your website or real estate blog called you from a marketing piece you sent out or found you on Zillow – reaches out to you.
Out of all the agents in town, what are the chances this lead chose to call you?
Rather than dwell on the existentials, let’s get down to the basics of what to do with this miracle – how to keep it going and get you to a paycheck. That’s where nurturing real estate leads comes into play.
Let’s do it
That’s the end result – the three simple words you most want to hear (aside from “We’re on record,” that is).
Your goal, then, is to get your leads to finally decide it’s time to pull the trigger – to move them from what you think is that immovable “I’m not ready” to “Let’s do it”
Naturally, not all of your leads are in the same position in your funnel, at the same time. Yeah, it’s frustrating as hell. But that’s the sales cycle, so accept it or be forever irked. Of course, it helps to be generating new leads all the while.
Console yourself with the knowledge that most of these leads will end up transacting. They will eventually buy or sell property. Now, it may be with you, or it may be with another agent.
Most likely, it won’t be immediate
But, you’re not two-years old, so you can handle deferred gratification, right?
So, use the time between now and then to become their agent of choice. The guy or gal whom they wouldn’t think of NOT using to help them. That’s the end result of nurturing real estate leads.
This requires follow up
Everybody says that, right? But what does it mean?
It means forging a relationship with these people. It means consistently following up with them, offering valuable information, without being pushy.
It’s a tall order, we know.
That all important CRM
When I was an agent, Top Producer was brand new. Yeah, I’m a dinosaur. Their CRM (although that’s not what they called it) was high-tech for the time, but rather clunky.
Today’s CRMs, including Top Producer’s, are an indispensable part of an agent’s business.
NOTE TO ROOKIES: Get one. You will never be sorry you made the investment
You absolutely must keep track of every lead and then keep track of where they are in the sales cycle and what you are doing to nurture them.
Consider using Corcoran Consulting’s method: Leads are classified as A, B, or C. The “A” leads are the hottest (those who are ready to pull the buy/sell trigger), “B” folks are getting there and “C” leads are the looky-lou’s (but NEVER count them out).
If you’re alphabet-intolerant, use “Hot, Warm, Cold.” In fact, we like that one even better.
Then comes nurturing real estate leads
Whichever method you choose determines your follow-up efforts. Those “A,” or hot leads need your love right now. Contact them, leave messages and keep calling. In fact, commit to four or five follow-up calls before resigning these folks to the drip system.
Those “B” leads are the ones that typically fall through the cracks. Don’t let them. As an agent, those were the ones that most commonly came through for me.
Consistently stay in touch with them, giving them relevant and valuable content. A newsletter works well here.
Although a simple reminder that you have the world’s best real estate blog on the world’s best real estate website will work as well
Keep dripping on your “C” or cold leads as well. In fact, drip until they die or buy/sell.
How?
With content that is relevant to their position in the sales funnel.
New listing alerts that match their criteria
Market updates
Your spiffy newsletter
What neighborhood did they express an interest in? Give them news about happenings in and around it.
Basic buying and selling stuff – down payment assistance programs in your area, repairs to skip and those worth making, how to get ready to sell/buy.
Think “speed”
Agents with beefy contact management solutions have the advantage of being able to monitor what leads do on their websites and then tailor their campaigns to those actions.
When you know what a lead is thinking, you can accelerate your responses, in kind.
Imagine knowing that one of your leads forwards one of your blog posts or clicks on a link in your newsletter or keeps visiting a particular property in your IDX. THAT is knowledge that is oh, so powerful.
When nurturing real estate leads, knowing when to accelerate a lead from one level to the next gives you a distinct advantage.
Sure, a phone call is the logical next step, but don’t let up on your drip campaign. In fact, it becomes even more pertinent because now you know how to laser-focus your content.
Experts (who I am too lazy to look up and refer you to now – so you’ll need to take my word for it) claim that six to 18 months may pass before a lead is incubated.
This is where your blog comes in
This is where you can be more personal, allowing these leads to get to know you, to appreciate your expertise and to learn to trust you.
Those red-hot or even simmering leads should get an email blast with blog links. They will come, and they will engage, if your content is engaging and relevant to their needs. Utilize the right tools to nurture your leads.
If you pay attention to nurturing leads you’ll know when the time is right for you to pull the trigger.
Dump the canned scripts and use sincerity as your main sales tool. Few others do – think how refreshing it will be to your leads when you actually nurture them instead of tell them how amazing you think you are.
Need to learn how to generate leads in 2018?
Find out how to generate leads using IDX searches in this video
The post Nurturing Real Estate Leads – How To Get The Most Out Of Your Leads appeared first on Easy Agent Pro.
Nurturing Real Estate Leads – How To Get The Most Out Of Your Leads syndicated from theopusnews.wordpress.com/
Roman ruins of Villa Cardillio
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Roman Ruins of Villa Cardillio (Ruinas Romanas de Vila Cardílio)
Ruins (Ruinas)
Official name: Vila Lusitano-Romana de Vila Cardílio
The Roman ruins of Villa Cardillio (Portuguese: Ruinas romanas de Vila Cardílio) is an archaeological site located in central Portugal, situated in the rural civil parish of Santa Maria, located approximately 3 km from the centre of the municipal seat of Torres Novas. Receiving its name from a mosaic pavement onsite, the specific translation of piece is still unclear, but assumed that the site was owned by a couple. The ruins were first excavated in 1962, yielding hundreds of coins and well as ceramics, bronze works, Assyrian and Egyptian glass works, as well as some jewellery and a statue of Eros.
History[edit]
The first construction of this "villa" occurred in the first century, of which only remains the primitive atrium and the remains of the thermal baths (which later adapted into the successive infrastructures.[1][2]
Vila Cadílio's second phase occurred of around the 4th century, being the property of Cardílio and Avita.[1][2]
In 1930, the site served as a mine, whose property-owner (from Casais da Caveira) removed 360 cartloads of rock from the site.[1] The first archaeological interest in the site occurred in 1932; Jalhay and Afonso do Paço began investigating the grounds, cataloguing the built-up environment.[1]
Formal excavations of the site occurred between 1963 and 1964, under the direction of Afonso do Paço. It was revised in 1980, under the direction of Jorge Alarcão and supervised by Drs. Monteiro and Quinteira, from the Faculty of Letters at the University of Coimbra.[1] This intervention used a stratigraphic method of excavation, utilizing a graticule plan of the site. Of the remnants encountered until 1963, were the following: a clay statue, amphora, coins dated between 145 A.D. and 408 A.D., and a statue of Eros in Carrara marble.[1] During subsequent excavations in 1963-1964 fragments of terra sigillata were discovered, that included various periods of fabrication: ceramic utensils (such as vases, plates and amphorae); metal objects (a bird, a bronze bell and fibula; and glass, ivory and bone. Material from the 1980-1981 were not published.[1]
On 1 June 1992, the site was placed under the authority of the Instituto Português do Património Arquitectónico (the forerunner of IGESPAR under decree-law 106F/92.[1]
Architecture
Example of the tilework found in Vila Cardílio
The site is located in the rural suburbs of the civil parish of Santa Maria, in the municipality of Torres Novas, on a cultivated plain that circles the Almonda River, 2 kilometres (1.2 mi) from the centre of Torres Novas.
The "curigum" collected water during the summer months, permitting not just irrigation, but cooling of the spaces.[1] Over the pavement of many of the dependencies were encountered imbrex tiles, and studs that connected them within the structure.[1]
It is a unique example of Roman villa, that actually identifies the property-owners: Cardílio and Avita.[1] It is also an important villa that existed alongside the Roman towns of Santa Vitória do Ameixial and Torre de Palma, their mosaics comparable to those of Milreu and Conímbriga.[1][3]
This vila was organized around the vast "peristylum", about 20 metres (66 ft) long and circled by twelve columns that protected a square 11 metres (36 ft)courtyard, with a 7 metres (23 ft) deep pool (in the extreme southern part of the property). Around this area was a 3.5 metres (11 ft) long section, with six mosaic panels in "opus-tessellatum" in geometric patterns.[1] Meanwhile, between these panels and the courtyard and 0.5 metres (1.6 ft) channel in "opus signinum", the "curigum".[1]
To the east of the "peristylum", is the "exedra" a 10 metres (33 ft) by 6.5 metres (21 ft) area, paved in "opus signinum", at the back of which is an apse, proceeded by a porticom with four (in front) and two lateral columns.[1]
West of the "peristylum", is the "ostium", the principal entrance, with mosaic pavement, forming various decorative, geometric and figurative panels. On one of these is the inscription: "VIVENTES / CARDILIUM / ETAVITAM / FELIXTURRE", while on another is a figure of a Roman couple, circled by craters, a sickle, birds, diametrically opposed 2x2 posts and with flowers in the corners.[1][2] The inscription of the Roman propertyowners has had differencing interpretations, that included: "Felix of Turre created the mosaics in homage to Cardílio and Avita";[4] "Felix created the picture of Cardílio and Avita, in life, in the locality called Turris";[5] "Torre was happy while Cardílio and Avita lived";[6] "Cardílio and Avita lived here in the happy tower"[1][2][7] The objects repreesnted in the property-owner's panel, the sickle and the craters, may have represented the cultivation of wheat and vineyard.[1][8]
There also exist vestiges of a "frigidarium" (cold baths), "caldarium" (hot baths) and respective "hypocaustum", as well as a pool, to the west of the"peristylum".[1] These thermal zones are actually over older deposits, of which two tanks still remain.[1] To the north of the"ostium" is a tank encircled by columns on three sides, which may have represented the atrium of an older building.[1]
Roman ruins of Villa Cardillio
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Roman Ruins of Villa Cardillio (Ruinas Romanas de Vila Cardílio)
Ruins (Ruinas)
Official name: Vila Lusitano-Romana de Vila Cardílio
The Roman ruins of Villa Cardillio (Portuguese: Ruinas romanas de Vila Cardílio) is an archaeological site located in central Portugal, situated in the rural civil parish of Santa Maria, located approximately 3 km from the centre of the municipal seat of Torres Novas. Receiving its name from a mosaic pavement onsite, the specific translation of piece is still unclear, but assumed that the site was owned by a couple. The ruins were first excavated in 1962, yielding hundreds of coins and well as ceramics, bronze works, Assyrian and Egyptian glass works, as well as some jewellery and a statue of Eros.
History[edit]
The first construction of this "villa" occurred in the first century, of which only remains the primitive atrium and the remains of the thermal baths (which later adapted into the successive infrastructures.[1][2]
Vila Cadílio's second phase occurred of around the 4th century, being the property of Cardílio and Avita.[1][2]
In 1930, the site served as a mine, whose property-owner (from Casais da Caveira) removed 360 cartloads of rock from the site.[1] The first archaeological interest in the site occurred in 1932; Jalhay and Afonso do Paço began investigating the grounds, cataloguing the built-up environment.[1]
Formal excavations of the site occurred between 1963 and 1964, under the direction of Afonso do Paço. It was revised in 1980, under the direction of Jorge Alarcão and supervised by Drs. Monteiro and Quinteira, from the Faculty of Letters at the University of Coimbra.[1] This intervention used a stratigraphic method of excavation, utilizing a graticule plan of the site. Of the remnants encountered until 1963, were the following: a clay statue, amphora, coins dated between 145 A.D. and 408 A.D., and a statue of Eros in Carrara marble.[1] During subsequent excavations in 1963-1964 fragments of terra sigillata were discovered, that included various periods of fabrication: ceramic utensils (such as vases, plates and amphorae); metal objects (a bird, a bronze bell and fibula; and glass, ivory and bone. Material from the 1980-1981 were not published.[1]
On 1 June 1992, the site was placed under the authority of the Instituto Português do Património Arquitectónico (the forerunner of IGESPAR under decree-law 106F/92.[1]
Architecture
Example of the tilework found in Vila Cardílio
The site is located in the rural suburbs of the civil parish of Santa Maria, in the municipality of Torres Novas, on a cultivated plain that circles the Almonda River, 2 kilometres (1.2 mi) from the centre of Torres Novas.
The "curigum" collected water during the summer months, permitting not just irrigation, but cooling of the spaces.[1] Over the pavement of many of the dependencies were encountered imbrex tiles, and studs that connected them within the structure.[1]
It is a unique example of Roman villa, that actually identifies the property-owners: Cardílio and Avita.[1] It is also an important villa that existed alongside the Roman towns of Santa Vitória do Ameixial and Torre de Palma, their mosaics comparable to those of Milreu and Conímbriga.[1][3]
This vila was organized around the vast "peristylum", about 20 metres (66 ft) long and circled by twelve columns that protected a square 11 metres (36 ft)courtyard, with a 7 metres (23 ft) deep pool (in the extreme southern part of the property). Around this area was a 3.5 metres (11 ft) long section, with six mosaic panels in "opus-tessellatum" in geometric patterns.[1] Meanwhile, between these panels and the courtyard and 0.5 metres (1.6 ft) channel in "opus signinum", the "curigum".[1]
To the east of the "peristylum", is the "exedra" a 10 metres (33 ft) by 6.5 metres (21 ft) area, paved in "opus signinum", at the back of which is an apse, proceeded by a porticom with four (in front) and two lateral columns.[1]
West of the "peristylum", is the "ostium", the principal entrance, with mosaic pavement, forming various decorative, geometric and figurative panels. On one of these is the inscription: "VIVENTES / CARDILIUM / ETAVITAM / FELIXTURRE", while on another is a figure of a Roman couple, circled by craters, a sickle, birds, diametrically opposed 2x2 posts and with flowers in the corners.[1][2] The inscription of the Roman propertyowners has had differencing interpretations, that included: "Felix of Turre created the mosaics in homage to Cardílio and Avita";[4] "Felix created the picture of Cardílio and Avita, in life, in the locality called Turris";[5] "Torre was happy while Cardílio and Avita lived";[6] "Cardílio and Avita lived here in the happy tower"[1][2][7] The objects repreesnted in the property-owner's panel, the sickle and the craters, may have represented the cultivation of wheat and vineyard.[1][8]
There also exist vestiges of a "frigidarium" (cold baths), "caldarium" (hot baths) and respective "hypocaustum", as well as a pool, to the west of the"peristylum".[1] These thermal zones are actually over older deposits, of which two tanks still remain.[1] To the north of the"ostium" is a tank encircled by columns on three sides, which may have represented the atrium of an older building.[1]
Roman ruins of Villa Cardillio
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Roman Ruins of Villa Cardillio (Ruinas Romanas de Vila Cardílio)
Ruins (Ruinas)
Official name: Vila Lusitano-Romana de Vila Cardílio
The Roman ruins of Villa Cardillio (Portuguese: Ruinas romanas de Vila Cardílio) is an archaeological site located in central Portugal, situated in the rural civil parish of Santa Maria, located approximately 3 km from the centre of the municipal seat of Torres Novas. Receiving its name from a mosaic pavement onsite, the specific translation of piece is still unclear, but assumed that the site was owned by a couple. The ruins were first excavated in 1962, yielding hundreds of coins and well as ceramics, bronze works, Assyrian and Egyptian glass works, as well as some jewellery and a statue of Eros.
History[edit]
The first construction of this "villa" occurred in the first century, of which only remains the primitive atrium and the remains of the thermal baths (which later adapted into the successive infrastructures.[1][2]
Vila Cadílio's second phase occurred of around the 4th century, being the property of Cardílio and Avita.[1][2]
In 1930, the site served as a mine, whose property-owner (from Casais da Caveira) removed 360 cartloads of rock from the site.[1] The first archaeological interest in the site occurred in 1932; Jalhay and Afonso do Paço began investigating the grounds, cataloguing the built-up environment.[1]
Formal excavations of the site occurred between 1963 and 1964, under the direction of Afonso do Paço. It was revised in 1980, under the direction of Jorge Alarcão and supervised by Drs. Monteiro and Quinteira, from the Faculty of Letters at the University of Coimbra.[1] This intervention used a stratigraphic method of excavation, utilizing a graticule plan of the site. Of the remnants encountered until 1963, were the following: a clay statue, amphora, coins dated between 145 A.D. and 408 A.D., and a statue of Eros in Carrara marble.[1] During subsequent excavations in 1963-1964 fragments of terra sigillata were discovered, that included various periods of fabrication: ceramic utensils (such as vases, plates and amphorae); metal objects (a bird, a bronze bell and fibula; and glass, ivory and bone. Material from the 1980-1981 were not published.[1]
On 1 June 1992, the site was placed under the authority of the Instituto Português do Património Arquitectónico (the forerunner of IGESPAR under decree-law 106F/92.[1]
Architecture
Example of the tilework found in Vila Cardílio
The site is located in the rural suburbs of the civil parish of Santa Maria, in the municipality of Torres Novas, on a cultivated plain that circles the Almonda River, 2 kilometres (1.2 mi) from the centre of Torres Novas.
The "curigum" collected water during the summer months, permitting not just irrigation, but cooling of the spaces.[1] Over the pavement of many of the dependencies were encountered imbrex tiles, and studs that connected them within the structure.[1]
It is a unique example of Roman villa, that actually identifies the property-owners: Cardílio and Avita.[1] It is also an important villa that existed alongside the Roman towns of Santa Vitória do Ameixial and Torre de Palma, their mosaics comparable to those of Milreu and Conímbriga.[1][3]
This vila was organized around the vast "peristylum", about 20 metres (66 ft) long and circled by twelve columns that protected a square 11 metres (36 ft)courtyard, with a 7 metres (23 ft) deep pool (in the extreme southern part of the property). Around this area was a 3.5 metres (11 ft) long section, with six mosaic panels in "opus-tessellatum" in geometric patterns.[1] Meanwhile, between these panels and the courtyard and 0.5 metres (1.6 ft) channel in "opus signinum", the "curigum".[1]
To the east of the "peristylum", is the "exedra" a 10 metres (33 ft) by 6.5 metres (21 ft) area, paved in "opus signinum", at the back of which is an apse, proceeded by a porticom with four (in front) and two lateral columns.[1]
West of the "peristylum", is the "ostium", the principal entrance, with mosaic pavement, forming various decorative, geometric and figurative panels. On one of these is the inscription: "VIVENTES / CARDILIUM / ETAVITAM / FELIXTURRE", while on another is a figure of a Roman couple, circled by craters, a sickle, birds, diametrically opposed 2x2 posts and with flowers in the corners.[1][2] The inscription of the Roman propertyowners has had differencing interpretations, that included: "Felix of Turre created the mosaics in homage to Cardílio and Avita";[4] "Felix created the picture of Cardílio and Avita, in life, in the locality called Turris";[5] "Torre was happy while Cardílio and Avita lived";[6] "Cardílio and Avita lived here in the happy tower"[1][2][7] The objects repreesnted in the property-owner's panel, the sickle and the craters, may have represented the cultivation of wheat and vineyard.[1][8]
There also exist vestiges of a "frigidarium" (cold baths), "caldarium" (hot baths) and respective "hypocaustum", as well as a pool, to the west of the"peristylum".[1] These thermal zones are actually over older deposits, of which two tanks still remain.[1] To the north of the"ostium" is a tank encircled by columns on three sides, which may have represented the atrium of an older building.[1]
Roman ruins of Villa Cardillio
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Roman Ruins of Villa Cardillio (Ruinas Romanas de Vila Cardílio)
Ruins (Ruinas)
Official name: Vila Lusitano-Romana de Vila Cardílio
The Roman ruins of Villa Cardillio (Portuguese: Ruinas romanas de Vila Cardílio) is an archaeological site located in central Portugal, situated in the rural civil parish of Santa Maria, located approximately 3 km from the centre of the municipal seat of Torres Novas. Receiving its name from a mosaic pavement onsite, the specific translation of piece is still unclear, but assumed that the site was owned by a couple. The ruins were first excavated in 1962, yielding hundreds of coins and well as ceramics, bronze works, Assyrian and Egyptian glass works, as well as some jewellery and a statue of Eros.
History[edit]
The first construction of this "villa" occurred in the first century, of which only remains the primitive atrium and the remains of the thermal baths (which later adapted into the successive infrastructures.[1][2]
Vila Cadílio's second phase occurred of around the 4th century, being the property of Cardílio and Avita.[1][2]
In 1930, the site served as a mine, whose property-owner (from Casais da Caveira) removed 360 cartloads of rock from the site.[1] The first archaeological interest in the site occurred in 1932; Jalhay and Afonso do Paço began investigating the grounds, cataloguing the built-up environment.[1]
Formal excavations of the site occurred between 1963 and 1964, under the direction of Afonso do Paço. It was revised in 1980, under the direction of Jorge Alarcão and supervised by Drs. Monteiro and Quinteira, from the Faculty of Letters at the University of Coimbra.[1] This intervention used a stratigraphic method of excavation, utilizing a graticule plan of the site. Of the remnants encountered until 1963, were the following: a clay statue, amphora, coins dated between 145 A.D. and 408 A.D., and a statue of Eros in Carrara marble.[1] During subsequent excavations in 1963-1964 fragments of terra sigillata were discovered, that included various periods of fabrication: ceramic utensils (such as vases, plates and amphorae); metal objects (a bird, a bronze bell and fibula; and glass, ivory and bone. Material from the 1980-1981 were not published.[1]
On 1 June 1992, the site was placed under the authority of the Instituto Português do Património Arquitectónico (the forerunner of IGESPAR under decree-law 106F/92.[1]
Architecture
Example of the tilework found in Vila Cardílio
The site is located in the rural suburbs of the civil parish of Santa Maria, in the municipality of Torres Novas, on a cultivated plain that circles the Almonda River, 2 kilometres (1.2 mi) from the centre of Torres Novas.
The "curigum" collected water during the summer months, permitting not just irrigation, but cooling of the spaces.[1] Over the pavement of many of the dependencies were encountered imbrex tiles, and studs that connected them within the structure.[1]
It is a unique example of Roman villa, that actually identifies the property-owners: Cardílio and Avita.[1] It is also an important villa that existed alongside the Roman towns of Santa Vitória do Ameixial and Torre de Palma, their mosaics comparable to those of Milreu and Conímbriga.[1][3]
This vila was organized around the vast "peristylum", about 20 metres (66 ft) long and circled by twelve columns that protected a square 11 metres (36 ft)courtyard, with a 7 metres (23 ft) deep pool (in the extreme southern part of the property). Around this area was a 3.5 metres (11 ft) long section, with six mosaic panels in "opus-tessellatum" in geometric patterns.[1] Meanwhile, between these panels and the courtyard and 0.5 metres (1.6 ft) channel in "opus signinum", the "curigum".[1]
To the east of the "peristylum", is the "exedra" a 10 metres (33 ft) by 6.5 metres (21 ft) area, paved in "opus signinum", at the back of which is an apse, proceeded by a porticom with four (in front) and two lateral columns.[1]
West of the "peristylum", is the "ostium", the principal entrance, with mosaic pavement, forming various decorative, geometric and figurative panels. On one of these is the inscription: "VIVENTES / CARDILIUM / ETAVITAM / FELIXTURRE", while on another is a figure of a Roman couple, circled by craters, a sickle, birds, diametrically opposed 2x2 posts and with flowers in the corners.[1][2] The inscription of the Roman propertyowners has had differencing interpretations, that included: "Felix of Turre created the mosaics in homage to Cardílio and Avita";[4] "Felix created the picture of Cardílio and Avita, in life, in the locality called Turris";[5] "Torre was happy while Cardílio and Avita lived";[6] "Cardílio and Avita lived here in the happy tower"[1][2][7] The objects repreesnted in the property-owner's panel, the sickle and the craters, may have represented the cultivation of wheat and vineyard.[1][8]
There also exist vestiges of a "frigidarium" (cold baths), "caldarium" (hot baths) and respective "hypocaustum", as well as a pool, to the west of the"peristylum".[1] These thermal zones are actually over older deposits, of which two tanks still remain.[1] To the north of the"ostium" is a tank encircled by columns on three sides, which may have represented the atrium of an older building.[1]
Roman ruins of Villa Cardillio
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Roman Ruins of Villa Cardillio (Ruinas Romanas de Vila Cardílio)
Ruins (Ruinas)
Official name: Vila Lusitano-Romana de Vila Cardílio
The Roman ruins of Villa Cardillio (Portuguese: Ruinas romanas de Vila Cardílio) is an archaeological site located in central Portugal, situated in the rural civil parish of Santa Maria, located approximately 3 km from the centre of the municipal seat of Torres Novas. Receiving its name from a mosaic pavement onsite, the specific translation of piece is still unclear, but assumed that the site was owned by a couple. The ruins were first excavated in 1962, yielding hundreds of coins and well as ceramics, bronze works, Assyrian and Egyptian glass works, as well as some jewellery and a statue of Eros.
History[edit]
The first construction of this "villa" occurred in the first century, of which only remains the primitive atrium and the remains of the thermal baths (which later adapted into the successive infrastructures.[1][2]
Vila Cadílio's second phase occurred of around the 4th century, being the property of Cardílio and Avita.[1][2]
In 1930, the site served as a mine, whose property-owner (from Casais da Caveira) removed 360 cartloads of rock from the site.[1] The first archaeological interest in the site occurred in 1932; Jalhay and Afonso do Paço began investigating the grounds, cataloguing the built-up environment.[1]
Formal excavations of the site occurred between 1963 and 1964, under the direction of Afonso do Paço. It was revised in 1980, under the direction of Jorge Alarcão and supervised by Drs. Monteiro and Quinteira, from the Faculty of Letters at the University of Coimbra.[1] This intervention used a stratigraphic method of excavation, utilizing a graticule plan of the site. Of the remnants encountered until 1963, were the following: a clay statue, amphora, coins dated between 145 A.D. and 408 A.D., and a statue of Eros in Carrara marble.[1] During subsequent excavations in 1963-1964 fragments of terra sigillata were discovered, that included various periods of fabrication: ceramic utensils (such as vases, plates and amphorae); metal objects (a bird, a bronze bell and fibula; and glass, ivory and bone. Material from the 1980-1981 were not published.[1]
On 1 June 1992, the site was placed under the authority of the Instituto Português do Património Arquitectónico (the forerunner of IGESPAR under decree-law 106F/92.[1]
Architecture
Example of the tilework found in Vila Cardílio
The site is located in the rural suburbs of the civil parish of Santa Maria, in the municipality of Torres Novas, on a cultivated plain that circles the Almonda River, 2 kilometres (1.2 mi) from the centre of Torres Novas.
The "curigum" collected water during the summer months, permitting not just irrigation, but cooling of the spaces.[1] Over the pavement of many of the dependencies were encountered imbrex tiles, and studs that connected them within the structure.[1]
It is a unique example of Roman villa, that actually identifies the property-owners: Cardílio and Avita.[1] It is also an important villa that existed alongside the Roman towns of Santa Vitória do Ameixial and Torre de Palma, their mosaics comparable to those of Milreu and Conímbriga.[1][3]
This vila was organized around the vast "peristylum", about 20 metres (66 ft) long and circled by twelve columns that protected a square 11 metres (36 ft)courtyard, with a 7 metres (23 ft) deep pool (in the extreme southern part of the property). Around this area was a 3.5 metres (11 ft) long section, with six mosaic panels in "opus-tessellatum" in geometric patterns.[1] Meanwhile, between these panels and the courtyard and 0.5 metres (1.6 ft) channel in "opus signinum", the "curigum".[1]
To the east of the "peristylum", is the "exedra" a 10 metres (33 ft) by 6.5 metres (21 ft) area, paved in "opus signinum", at the back of which is an apse, proceeded by a porticom with four (in front) and two lateral columns.[1]
West of the "peristylum", is the "ostium", the principal entrance, with mosaic pavement, forming various decorative, geometric and figurative panels. On one of these is the inscription: "VIVENTES / CARDILIUM / ETAVITAM / FELIXTURRE", while on another is a figure of a Roman couple, circled by craters, a sickle, birds, diametrically opposed 2x2 posts and with flowers in the corners.[1][2] The inscription of the Roman propertyowners has had differencing interpretations, that included: "Felix of Turre created the mosaics in homage to Cardílio and Avita";[4] "Felix created the picture of Cardílio and Avita, in life, in the locality called Turris";[5] "Torre was happy while Cardílio and Avita lived";[6] "Cardílio and Avita lived here in the happy tower"[1][2][7] The objects repreesnted in the property-owner's panel, the sickle and the craters, may have represented the cultivation of wheat and vineyard.[1][8]
There also exist vestiges of a "frigidarium" (cold baths), "caldarium" (hot baths) and respective "hypocaustum", as well as a pool, to the west of the"peristylum".[1] These thermal zones are actually over older deposits, of which two tanks still remain.[1] To the north of the"ostium" is a tank encircled by columns on three sides, which may have represented the atrium of an older building.[1]
Roman ruins of Villa Cardillio
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Roman Ruins of Villa Cardillio (Ruinas Romanas de Vila Cardílio)
Ruins (Ruinas)
Official name: Vila Lusitano-Romana de Vila Cardílio
The Roman ruins of Villa Cardillio (Portuguese: Ruinas romanas de Vila Cardílio) is an archaeological site located in central Portugal, situated in the rural civil parish of Santa Maria, located approximately 3 km from the centre of the municipal seat of Torres Novas. Receiving its name from a mosaic pavement onsite, the specific translation of piece is still unclear, but assumed that the site was owned by a couple. The ruins were first excavated in 1962, yielding hundreds of coins and well as ceramics, bronze works, Assyrian and Egyptian glass works, as well as some jewellery and a statue of Eros.
History[edit]
The first construction of this "villa" occurred in the first century, of which only remains the primitive atrium and the remains of the thermal baths (which later adapted into the successive infrastructures.[1][2]
Vila Cadílio's second phase occurred of around the 4th century, being the property of Cardílio and Avita.[1][2]
In 1930, the site served as a mine, whose property-owner (from Casais da Caveira) removed 360 cartloads of rock from the site.[1] The first archaeological interest in the site occurred in 1932; Jalhay and Afonso do Paço began investigating the grounds, cataloguing the built-up environment.[1]
Formal excavations of the site occurred between 1963 and 1964, under the direction of Afonso do Paço. It was revised in 1980, under the direction of Jorge Alarcão and supervised by Drs. Monteiro and Quinteira, from the Faculty of Letters at the University of Coimbra.[1] This intervention used a stratigraphic method of excavation, utilizing a graticule plan of the site. Of the remnants encountered until 1963, were the following: a clay statue, amphora, coins dated between 145 A.D. and 408 A.D., and a statue of Eros in Carrara marble.[1] During subsequent excavations in 1963-1964 fragments of terra sigillata were discovered, that included various periods of fabrication: ceramic utensils (such as vases, plates and amphorae); metal objects (a bird, a bronze bell and fibula; and glass, ivory and bone. Material from the 1980-1981 were not published.[1]
On 1 June 1992, the site was placed under the authority of the Instituto Português do Património Arquitectónico (the forerunner of IGESPAR under decree-law 106F/92.[1]
Architecture
Example of the tilework found in Vila Cardílio
The site is located in the rural suburbs of the civil parish of Santa Maria, in the municipality of Torres Novas, on a cultivated plain that circles the Almonda River, 2 kilometres (1.2 mi) from the centre of Torres Novas.
The "curigum" collected water during the summer months, permitting not just irrigation, but cooling of the spaces.[1] Over the pavement of many of the dependencies were encountered imbrex tiles, and studs that connected them within the structure.[1]
It is a unique example of Roman villa, that actually identifies the property-owners: Cardílio and Avita.[1] It is also an important villa that existed alongside the Roman towns of Santa Vitória do Ameixial and Torre de Palma, their mosaics comparable to those of Milreu and Conímbriga.[1][3]
This vila was organized around the vast "peristylum", about 20 metres (66 ft) long and circled by twelve columns that protected a square 11 metres (36 ft)courtyard, with a 7 metres (23 ft) deep pool (in the extreme southern part of the property). Around this area was a 3.5 metres (11 ft) long section, with six mosaic panels in "opus-tessellatum" in geometric patterns.[1] Meanwhile, between these panels and the courtyard and 0.5 metres (1.6 ft) channel in "opus signinum", the "curigum".[1]
To the east of the "peristylum", is the "exedra" a 10 metres (33 ft) by 6.5 metres (21 ft) area, paved in "opus signinum", at the back of which is an apse, proceeded by a porticom with four (in front) and two lateral columns.[1]
West of the "peristylum", is the "ostium", the principal entrance, with mosaic pavement, forming various decorative, geometric and figurative panels. On one of these is the inscription: "VIVENTES / CARDILIUM / ETAVITAM / FELIXTURRE", while on another is a figure of a Roman couple, circled by craters, a sickle, birds, diametrically opposed 2x2 posts and with flowers in the corners.[1][2] The inscription of the Roman propertyowners has had differencing interpretations, that included: "Felix of Turre created the mosaics in homage to Cardílio and Avita";[4] "Felix created the picture of Cardílio and Avita, in life, in the locality called Turris";[5] "Torre was happy while Cardílio and Avita lived";[6] "Cardílio and Avita lived here in the happy tower"[1][2][7] The objects repreesnted in the property-owner's panel, the sickle and the craters, may have represented the cultivation of wheat and vineyard.[1][8]
There also exist vestiges of a "frigidarium" (cold baths), "caldarium" (hot baths) and respective "hypocaustum", as well as a pool, to the west of the"peristylum".[1] These thermal zones are actually over older deposits, of which two tanks still remain.[1] To the north of the"ostium" is a tank encircled by columns on three sides, which may have represented the atrium of an older building.[1]
Roman ruins of Villa Cardillio
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Roman Ruins of Villa Cardillio (Ruinas Romanas de Vila Cardílio)
Ruins (Ruinas)
Official name: Vila Lusitano-Romana de Vila Cardílio
The Roman ruins of Villa Cardillio (Portuguese: Ruinas romanas de Vila Cardílio) is an archaeological site located in central Portugal, situated in the rural civil parish of Santa Maria, located approximately 3 km from the centre of the municipal seat of Torres Novas. Receiving its name from a mosaic pavement onsite, the specific translation of piece is still unclear, but assumed that the site was owned by a couple. The ruins were first excavated in 1962, yielding hundreds of coins and well as ceramics, bronze works, Assyrian and Egyptian glass works, as well as some jewellery and a statue of Eros.
History[edit]
The first construction of this "villa" occurred in the first century, of which only remains the primitive atrium and the remains of the thermal baths (which later adapted into the successive infrastructures.[1][2]
Vila Cadílio's second phase occurred of around the 4th century, being the property of Cardílio and Avita.[1][2]
In 1930, the site served as a mine, whose property-owner (from Casais da Caveira) removed 360 cartloads of rock from the site.[1] The first archaeological interest in the site occurred in 1932; Jalhay and Afonso do Paço began investigating the grounds, cataloguing the built-up environment.[1]
Formal excavations of the site occurred between 1963 and 1964, under the direction of Afonso do Paço. It was revised in 1980, under the direction of Jorge Alarcão and supervised by Drs. Monteiro and Quinteira, from the Faculty of Letters at the University of Coimbra.[1] This intervention used a stratigraphic method of excavation, utilizing a graticule plan of the site. Of the remnants encountered until 1963, were the following: a clay statue, amphora, coins dated between 145 A.D. and 408 A.D., and a statue of Eros in Carrara marble.[1] During subsequent excavations in 1963-1964 fragments of terra sigillata were discovered, that included various periods of fabrication: ceramic utensils (such as vases, plates and amphorae); metal objects (a bird, a bronze bell and fibula; and glass, ivory and bone. Material from the 1980-1981 were not published.[1]
On 1 June 1992, the site was placed under the authority of the Instituto Português do Património Arquitectónico (the forerunner of IGESPAR under decree-law 106F/92.[1]
Architecture
Example of the tilework found in Vila Cardílio
The site is located in the rural suburbs of the civil parish of Santa Maria, in the municipality of Torres Novas, on a cultivated plain that circles the Almonda River, 2 kilometres (1.2 mi) from the centre of Torres Novas.
The "curigum" collected water during the summer months, permitting not just irrigation, but cooling of the spaces.[1] Over the pavement of many of the dependencies were encountered imbrex tiles, and studs that connected them within the structure.[1]
It is a unique example of Roman villa, that actually identifies the property-owners: Cardílio and Avita.[1] It is also an important villa that existed alongside the Roman towns of Santa Vitória do Ameixial and Torre de Palma, their mosaics comparable to those of Milreu and Conímbriga.[1][3]
This vila was organized around the vast "peristylum", about 20 metres (66 ft) long and circled by twelve columns that protected a square 11 metres (36 ft)courtyard, with a 7 metres (23 ft) deep pool (in the extreme southern part of the property). Around this area was a 3.5 metres (11 ft) long section, with six mosaic panels in "opus-tessellatum" in geometric patterns.[1] Meanwhile, between these panels and the courtyard and 0.5 metres (1.6 ft) channel in "opus signinum", the "curigum".[1]
To the east of the "peristylum", is the "exedra" a 10 metres (33 ft) by 6.5 metres (21 ft) area, paved in "opus signinum", at the back of which is an apse, proceeded by a porticom with four (in front) and two lateral columns.[1]
West of the "peristylum", is the "ostium", the principal entrance, with mosaic pavement, forming various decorative, geometric and figurative panels. On one of these is the inscription: "VIVENTES / CARDILIUM / ETAVITAM / FELIXTURRE", while on another is a figure of a Roman couple, circled by craters, a sickle, birds, diametrically opposed 2x2 posts and with flowers in the corners.[1][2] The inscription of the Roman propertyowners has had differencing interpretations, that included: "Felix of Turre created the mosaics in homage to Cardílio and Avita";[4] "Felix created the picture of Cardílio and Avita, in life, in the locality called Turris";[5] "Torre was happy while Cardílio and Avita lived";[6] "Cardílio and Avita lived here in the happy tower"[1][2][7] The objects repreesnted in the property-owner's panel, the sickle and the craters, may have represented the cultivation of wheat and vineyard.[1][8]
There also exist vestiges of a "frigidarium" (cold baths), "caldarium" (hot baths) and respective "hypocaustum", as well as a pool, to the west of the"peristylum".[1] These thermal zones are actually over older deposits, of which two tanks still remain.[1] To the north of the"ostium" is a tank encircled by columns on three sides, which may have represented the atrium of an older building.[1]
west oakland, california
this sweet, tough, 87yrs old, widower, great grand mother, property owner, Louisianaian, lady has been my next door neighbor for 17 years and is a grandmother to me.
this was taken while she was infront her house and i was headed into mine.
nikon d2x - nikkor 105mm f/1.8
ca. 1967, Abiquiu, New Mexico, USA --- Georgia O'Keeffe at the entrance of her Abiquiu home with mounted elk horn on the wall. --- Image by © Condé Nast Archive/CORBIS
Lawica Farm (run by the State from 1950). Since 1895 the country estate was the property of Napoleon Rutkowski (1868-1931), friend of Casimir Przerwa-Tetmajer and Stanislaus Przybyszewski. Count Rutkowski was a popular composer of salon music and mood music, and insurgent in Greater Poland Uprising (1918-1919). His farm, the only one in Sierakow Commune which did not succumb to germanization during the Partitions of Poland, was a base for the fast ‘Lawica Crew’ in the 1919 fight for independence against German enemies in the vicinity of Kamionna and Kolno. A number of centuries-old oak trees with a circumference of up to 5 m, one beech tree with a circumference of about 360 cm, one larch tree (310 cm), and two yew trees grow in the nearby park.
Roman ruins of Villa Cardillio
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Roman Ruins of Villa Cardillio (Ruinas Romanas de Vila Cardílio)
Ruins (Ruinas)
Official name: Vila Lusitano-Romana de Vila Cardílio
The Roman ruins of Villa Cardillio (Portuguese: Ruinas romanas de Vila Cardílio) is an archaeological site located in central Portugal, situated in the rural civil parish of Santa Maria, located approximately 3 km from the centre of the municipal seat of Torres Novas. Receiving its name from a mosaic pavement onsite, the specific translation of piece is still unclear, but assumed that the site was owned by a couple. The ruins were first excavated in 1962, yielding hundreds of coins and well as ceramics, bronze works, Assyrian and Egyptian glass works, as well as some jewellery and a statue of Eros.
History[edit]
The first construction of this "villa" occurred in the first century, of which only remains the primitive atrium and the remains of the thermal baths (which later adapted into the successive infrastructures.[1][2]
Vila Cadílio's second phase occurred of around the 4th century, being the property of Cardílio and Avita.[1][2]
In 1930, the site served as a mine, whose property-owner (from Casais da Caveira) removed 360 cartloads of rock from the site.[1] The first archaeological interest in the site occurred in 1932; Jalhay and Afonso do Paço began investigating the grounds, cataloguing the built-up environment.[1]
Formal excavations of the site occurred between 1963 and 1964, under the direction of Afonso do Paço. It was revised in 1980, under the direction of Jorge Alarcão and supervised by Drs. Monteiro and Quinteira, from the Faculty of Letters at the University of Coimbra.[1] This intervention used a stratigraphic method of excavation, utilizing a graticule plan of the site. Of the remnants encountered until 1963, were the following: a clay statue, amphora, coins dated between 145 A.D. and 408 A.D., and a statue of Eros in Carrara marble.[1] During subsequent excavations in 1963-1964 fragments of terra sigillata were discovered, that included various periods of fabrication: ceramic utensils (such as vases, plates and amphorae); metal objects (a bird, a bronze bell and fibula; and glass, ivory and bone. Material from the 1980-1981 were not published.[1]
On 1 June 1992, the site was placed under the authority of the Instituto Português do Património Arquitectónico (the forerunner of IGESPAR under decree-law 106F/92.[1]
Architecture
Example of the tilework found in Vila Cardílio
The site is located in the rural suburbs of the civil parish of Santa Maria, in the municipality of Torres Novas, on a cultivated plain that circles the Almonda River, 2 kilometres (1.2 mi) from the centre of Torres Novas.
The "curigum" collected water during the summer months, permitting not just irrigation, but cooling of the spaces.[1] Over the pavement of many of the dependencies were encountered imbrex tiles, and studs that connected them within the structure.[1]
It is a unique example of Roman villa, that actually identifies the property-owners: Cardílio and Avita.[1] It is also an important villa that existed alongside the Roman towns of Santa Vitória do Ameixial and Torre de Palma, their mosaics comparable to those of Milreu and Conímbriga.[1][3]
This vila was organized around the vast "peristylum", about 20 metres (66 ft) long and circled by twelve columns that protected a square 11 metres (36 ft)courtyard, with a 7 metres (23 ft) deep pool (in the extreme southern part of the property). Around this area was a 3.5 metres (11 ft) long section, with six mosaic panels in "opus-tessellatum" in geometric patterns.[1] Meanwhile, between these panels and the courtyard and 0.5 metres (1.6 ft) channel in "opus signinum", the "curigum".[1]
To the east of the "peristylum", is the "exedra" a 10 metres (33 ft) by 6.5 metres (21 ft) area, paved in "opus signinum", at the back of which is an apse, proceeded by a porticom with four (in front) and two lateral columns.[1]
West of the "peristylum", is the "ostium", the principal entrance, with mosaic pavement, forming various decorative, geometric and figurative panels. On one of these is the inscription: "VIVENTES / CARDILIUM / ETAVITAM / FELIXTURRE", while on another is a figure of a Roman couple, circled by craters, a sickle, birds, diametrically opposed 2x2 posts and with flowers in the corners.[1][2] The inscription of the Roman propertyowners has had differencing interpretations, that included: "Felix of Turre created the mosaics in homage to Cardílio and Avita";[4] "Felix created the picture of Cardílio and Avita, in life, in the locality called Turris";[5] "Torre was happy while Cardílio and Avita lived";[6] "Cardílio and Avita lived here in the happy tower"[1][2][7] The objects repreesnted in the property-owner's panel, the sickle and the craters, may have represented the cultivation of wheat and vineyard.[1][8]
There also exist vestiges of a "frigidarium" (cold baths), "caldarium" (hot baths) and respective "hypocaustum", as well as a pool, to the west of the"peristylum".[1] These thermal zones are actually over older deposits, of which two tanks still remain.[1] To the north of the"ostium" is a tank encircled by columns on three sides, which may have represented the atrium of an older building.[1]
Rutkowski’s Family Tomb in Sierakow (Napoleon Rutkowski - well-known composer, owner of a Lawica farm, insurgent, and donor to charity. His best known song is "Talk to me yet"). The farm was founded about in the middle of the nineteenth century in the Popowo village fields by Vincent Lawicki (Slepowron coat of arms). In the picture: the tomb with the "half of the sun" uhlan emblem and the heraldic device "Pobog" above the door.
07 Jun 1933, Delaware, USA Lewis B. Simon is either a sentimentalist or an excellent business man. He has established a "necking grounds" on his Delaware township farm near Camden, New Jersey and is doing a rushing business. A large sign at the entrance to his property advises "spooners" that they are welcome and warns police to stay off. Simon said that more than 50 couples took advantage of his offer one night.
Falmouth, Jamaica: January 23rd, 2013
Story: alison-toon.blogspot.com/2013/02/falmouth-jamaica.html and alison-toon.blogspot.com/2013/01/elizabeth-somervilles-ho...
Full set of Jamaica 2013 photos: www.flickr.com/photos/alisontoon/sets/72157632674230688/
Photographer: alisontoon.com
Governor Phil Murphy and Attorney General Gurbir Grewal announce a federal lawsuit to overturn IRS rule invalidating New Jersey’s efforts to restore property tax deductibility on July 17, 2019, in South Orange. Edwin J. Torres/Governor’s Office.
Governor Phil Murphy and Attorney General Gurbir Grewal announce a federal lawsuit to overturn IRS rule invalidating New Jersey’s efforts to restore property tax deductibility on July 17, 2019, in South Orange. Edwin J. Torres/Governor’s Office.
Governor Phil Murphy and Attorney General Gurbir Grewal announce a federal lawsuit to overturn IRS rule invalidating New Jersey’s efforts to restore property tax deductibility on July 17, 2019, in South Orange. Edwin J. Torres/Governor’s Office.
Governor Phil Murphy and Attorney General Gurbir Grewal announce a federal lawsuit to overturn IRS rule invalidating New Jersey’s efforts to restore property tax deductibility on July 17, 2019, in South Orange. Edwin J. Torres/Governor’s Office.
Governor Phil Murphy and Attorney General Gurbir Grewal announce a federal lawsuit to overturn IRS rule invalidating New Jersey’s efforts to restore property tax deductibility on July 17, 2019, in South Orange. Edwin J. Torres/Governor’s Office.
Governor Phil Murphy and Attorney General Gurbir Grewal announce a federal lawsuit to overturn IRS rule invalidating New Jersey’s efforts to restore property tax deductibility on July 17, 2019, in South Orange. Edwin J. Torres/Governor’s Office.
Governor Phil Murphy and Attorney General Gurbir Grewal announce a federal lawsuit to overturn IRS rule invalidating New Jersey’s efforts to restore property tax deductibility on July 17, 2019, in South Orange. Edwin J. Torres/Governor’s Office.
Governor Phil Murphy and Attorney General Gurbir Grewal announce a federal lawsuit to overturn IRS rule invalidating New Jersey’s efforts to restore property tax deductibility on July 17, 2019, in South Orange. Edwin J. Torres/Governor’s Office.
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