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2018 11 30
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Romanesque stained glass windows in the Cathedral of Augsburg, dated to the late 11th or the early 12th century. From left to right they feature the prophets Jonah, Daniel, Hosea, King David and Moses.
The windows are about 2.20 m high. The Daniel, Hosea and King David windows are still in their original condition, whereas the Jonah window contains some reworks, and the Moses window is a re-creation of the original dated to the middle of the 16th century.
de.wikipedia.org/wiki/Augsburger_Dom en.wikipedia.org/wiki/Augsburg_Cathedral www.wga.hu/html_m/zgothic/stained/12c/1/00g_1100.html
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Head: Prophet by CRYPTID, available at this round of Engine Room, and afterwards at the CRYPTID Mainstore. Shown here wearing Velour - Tayla (Dracula).
Boots: raptor ii boots by cinphul , available at the cinphul mainstore. Will probably do another photo of these to show them off better.
Gloves: raptor ii gloves by cinphul , available at the cinphul mainstore.
Headpiece: merjan ii [barrette] by cinphul, available at the
Bodysuit: Devoradora Bodysuit by The DeadBoy, available at the The DeadBoy Mainstore.
Tattoos: Sjora by Lilithé, available at the Lilithé Mainstore.
(Iconic) Pose: From set 163 by SAPA Poses, available at the SAPA Poses Mainstore.
This image featured a departure from my usual MO, in the interest of producing my usual aesthetic while preserving more details. If you're interested in seeing the raw shots, plural, you can find them on my blog as usual.
Credit :. BLOG HERE ⬇️⬇️
vikinggangtm.blogspot.com/2021/01/prophet-jamie.html
Tattoo :. DAPPA - Prophet Tattoo. @TMD JANUARY
maps.secondlife.com/secondlife/TMD/127/170/22
Hair :. Modulus - Anton Hair - Monochromes @ANTHEM JANUARY
maps.secondlife.com/secondlife/Anthem/131/128/1106
Skin :. Clef de Peau.Jamie T3 [LELUTKA] @TMD JANUARY
maps.secondlife.com/secondlife/TMD/127/170/22
Pose :. Ana Poses - Ngari @TMD JANUARY
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Pant :. Ripped Jeans interative - Black < @INVICTUS
maps.secondlife.com/secondlife/Embrace%20the%20Ocean/144/...
At the end of Lower Antelope Canyon in Arizona you can see the head of a figure which could have been carved by an 11th-century romanesque sculptor for some abbey in France or Italy, depicting the prophet Jeremiah or some other Old Testament character. His long hair and beard form fiery waves... Or maybe I'm just seeing things. In short, nature at its most virtuosic.
© 2017 Marc Haegeman. All rights reserved.
Mark 8:36
King James Version
36 For what shall it profit a man, if he shall gain the whole world, and lose his own soul?
...legte ich mich rücklings auf den Kirchenboden, um dieses Bild von der wundervollen Kuppel der evangelischen Kirche St. Nikolai in Potsdam mit dem größtmöglichen Abstand und halbwegs symmetrisch zu bekommen.
Jesaja, Jeremia, Hesekiel und Daniel schauten mir ungerührt dabei zu... ;-)
Dass die vier Propheten in ihren kreisförmigen Rahmen und auch der restliche gemalte Zierrat so harmonisch und ästhetisch ausgeführt wurden, verdanken wir dem großen Baumeister, Architekten, Stadtplaner, Maler, Grafiker und Bühnenbildner Karl Friedrich Schinkel.
Wikipedia weiß über den Kuppelbau noch Folgendes zu sagen:
"Auf dem würfelförmigen Unterbau erhebt sich auf einem runden, gestuften Dachansatz die mächtige Tambourkuppel. Der zylindrische Tambour hat eine Höhe von 22,5 Meter und ist von achtundzwanzig, 10 Meter hohen korinthischen Säulen umgeben, die eine mit Palmetten geschmückte Attika tragen. Im unteren Tambourbereich lassen vierzehn hohe Sprossenfenster Tageslicht in den Predigtraum. Die im Wechsel mit ionischen Pilastern angeordneten Fensternischen oberhalb der Attika sind lediglich Blendfenster. Auf dem Tambour erhebt sich die doppelschalige Kuppel. Sie hat einen Durchmesser von 24 Meter und eine Höhe von 13 Meter. Die äußere Zierkuppel ist in Segmente gegliedert und mit Kupferplatten eingedeckt. Drei umlaufende Reihen Rundfenster, sogenannte Ochsenaugen, zwischen 28 auch nach außen sichtbaren Rippen, belichten den Raum zwischen Innen- und Außenkuppel. Den Abschluss bildet eine auf sieben schlanken Säulen ruhende, 14,5 Meter hohe Laterne mit einem bekrönenden Kugelkreuz. Die Gesamthöhe des Kirchengebäudes beträgt bis zum Kreuz 77 Meter...."
f 5,6
1/40 s
4000 ISO
16 mm
In a way, these roses speak to me. They are talking about life, beauty, transitoriness, and about our duty not to waste this life we have got. What the prophet says I am not so sure. He has been for years outside in the garden, and nobody listens, it seems. His presence is a reminder nevertheless. Of what?
The icon of the Lord Savior / Lord Almighty is to the right of the Royal Doors of the iconostasis, and the icon of the Mother of God is to the left.
On the royal doors, in accordance with the canon, the Annunciation and the four evangelists are depicted, because it is the Gospel that opens the doors of salvation for us, and the Annunciation, as it is sung in the troparion of the holiday, is called the “main” (beginning) of our salvation.
Церква преподобного Агапіта Печерського у Києво-Печерській Лаврі. Фрагмент, Царська брама - центральна частина іконостасу.
Як правило, на Царській брамі зображені чотири євангелісти (на знак того, що з радісної звістки про втілення Христа і через прилучення до Євангельської проповіді людині відчиняються двері спасіння) і Благовіщення як символ того, що через Боговтілення брама Раю, замкнена після гріхопадіння людини, знову відкрита для людей. Рідше трапляються інші сюжети; на низьких стулках може не бути ніяких зображень. У православній традиції ліворуч від Царської брами розміщується образ Богородиці, а праворуч - Христа (в інших помісних церквах цього правила можуть слідувати не суворо). Другою, праворуч від Царської брами, зазвичай міститься ікона свята або святого, на честь якого освячено храм.
Ікона Господь Спаситель / Господь Вседержитель праворуч від Царської брами іконостасу, а ікона Божої Матері – ліворуч.
На царській брамі, згідно з каноном, зображені Благовіщення і чотири євангелісти, тому що відповідно до вчення саме Євангеліє відчиняє нам двері спасіння, а Благовіщення, як співається в тропарі свята, названо «головою» (початком) нашого спасіння.
На лівій частині Царської брами зверху донизу:
- зображення святого Евангелиста Матфея;
- зображення архангела Гавриїла з благою вісткою до Діви Марії про те, що вона непорочно зачне від Святого Духа і народить Ісуса Христа;
- зображення святого Евангелиста Луки.
На правій частині Царської брами зверху донизу:
- зображення святого Евангелиста Іоанна;
- зображення Діви Марії, якій явився архангел Гавриїл з благою вісткою до про те, що вона непорочно зачне від Святого Духа і народить Ісуса Христа;
- зображення святого Евангелиста Марка.
The Transfiguration of the Lord is one of the twelve scenes of the Mother of God and Christological cycles, inscribed in a golden arcade and located on both sides of the central composition.
In the lower part of the scene are the figures of the three apostles struck by a miracle - Peter, James and John, who came to Mount Tabor (later called the Mount of Transfiguration) to pray.
Peter is shown on the right. John the Evangelist is traditionally represented in the center. The Apostle James is depicted on the left, turned away and as if fallen. With one hand he holds on to a rock.
At the top of the mountain, Jesus begins to glow with bright rays of light. According to the Old Testament, the figures of the Old Testament prophets Elijah and Moses appear next to him.
In iconographic images, Moses usually holds a book or, in later versions, the tablets of the Testament in his hands. In this image, Moses stands on the right (on the left in the photo) and holds the “tablet of revelation” in his hand. He represents the dead, while Elijah the Prophet, ascended in a fiery chariot, speaks on behalf of the living.
On the right, the sail depicts John the Evangelist, the author of the Gospel of John.
Преображення Господнє - одна із дванадцяти сцен богородичного та христологічного циклів, вписаних у золоту аркаду та розташованих по обидва боки від центральної композиції.
У нижній частині сцени фігури трьох вражених дивом апостолів - Петро, Яків та Іоанн, які прийшли на гору Фавор (пізніше звану Горою Преображення), щоб помолитися.
Петро показаний праворуч. У центрі традиційно представлений Іоанн Богослов. Апостол Яків зображений зліва, що відвернувся і ніби впав. Однією рукою він тримається за камінь.
На вершині гори Ісус починає світитися яскравими променями світла. Згідно з Старим Завітом поруч з ним з'являються постаті старозавітних пророків Іллі та Мойсея.
В іконографічних зображеннях у руках Мойсей зазвичай тримає книгу або, у пізніших випадках, скрижали Завіту. У цьому зображенні Мойсей стоїть праворуч (на фото ліворуч) і тримає в руці скрижаль одкровення. Він представляє померлих, тоді як Ілля Пророк, що піднісся на вогняній колісниці, виступає від імені живих.
Праворуч на вітрилі зображений Іоанн Євангеліст — автора Євангелія від Іоанна.
I am the man that died
As no man should die
As the dark stole my breath
For you
All for you
On the unforgiving cross
So why did you love me
And why did you hate me
What did you see
That tore you in two
That you couldn’t believe in
That you didn’t want to follow
Was too much to digest
Leaving you hollow
Still hungry
Still lost
But the promise remains
If only you would look
If only you would believe me
Because what you are now
What you have become
Is something that lingers
Something that has come undone
Not really living
Because you don’t belong
So who do you place your faith in
Someone or none
What are you inside
Just a shell that holds a heartbreak
One that is crying silently
Over and over
Until it quietly dies
*****
This work is the first in my series for Easter 2023 and for Good Friday for this year.
The rest will follow over the Easter weekend, day by day.
I wish you all a peaceful Easter wherever you may be.
This image was taken in Ocklynge Cemetery in Eastbourne, East Sussex, UK.
And I have paired this work with ‘The Sound of Silence’ by Simon and Garfunkel. See link below.
And if you would like to see more of my work have a look at my website at:
One of the two figures at the base of the spiral staircase inside Notre Dame Basilica.
Montreal ,QC
Canada
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Earrings:Moon Sword by Hanii, available at We <3 Role-Play and afterwards at the Hanii Mainstore.
Hat: Guinan Hat by Barracuda, available at We <3 Role-Play and afterwards at the Barracuda MP Store.
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Challenge 2009, day 73: sunset.
To be correct, this is a shot from previous day that I posted along with my pencils, day 72... probably I was a prophet and knew what would be the next topic before it was announced :-) But talking honestly, to get a sunset during that grey and gloomy period of year in Finland or Latvia might be impossible for days, weeks or almost a month. That was just lucky coincidence yesterday there was one of rare days with sun, so I guess it might be just honest I post this one.
If there would be announced topic snow, what would people, let' s say, from Africa do??? :-) So I tried to be creative in getting this shot when it was possible. Today was absolutely no-sky-day when there was even no clue of sun there up in sky...
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Rings: Excitator Mortuorum by Unholy, available at the , worn here on the Unholy Malevolent hands.
Cowl x Cloak: Furcifer Set by Unholy, available at this round of The Warehouse Sale and afterwards at the Unholy mainstore.
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Headpiece: Sorrow by Azoury, available at the Azoury Mainstore.
Ear Piercings: Haldor by Badwolf, available now at The Warehouse Event, and afterwards at Badwolf Mainstore.
Rings/Finger Bands: Arwen Finger Bands by Codex, available at the Codex's New Mainstore.
Tattoo: Mona by Cameo Tattoo, available at Cameo Tattoo Studio.
Other Deets:
Head: Lelutka - Eon
Body: Legacy - Male
Claws: L'Emporio - Damned Claws
As usual, if you're curious about the raw shot, you can find it on my blog. Check it out!
__________________________________
Links:
Merlin
Look into my eyes
And you will know
That I can see both into your future
And back into your past
For I am The Merlin
Wild man, bard, prophet,
And advisor to Kings
I hold Albion in my heart
And Arthur’s spirit in trust
Sleeping under the hollow hill
Waiting for the call
As each time the Holy Hawthorn blossoms
And the Grail bleeds some more
We are one step closer
For Excalibur to rule
All of you who have followed since
Are pale in comparison
Because I am The Merlin
The first and the last of his name
*****
Well my friends and followers, we are nearly there; the next instalment of this painting will be the complete reveal of the whole three by two foot watercolour painting. It was a labour of love, but in showing you the details I hope you have enjoyed seeing those parts of it, and I thank you for all your support and kind comments as I have loaded them up.
Showing you all the complete painting of Merlin, who holds “The Wished For” will herald a new chapter on Flickr for me, as I have been working on my photography film archive, and bringing it to life again has reminded me of just how much it made me the person I am today, not just creatively but also spiritually.
So gradually I will be hoping to share the beauty and wonder of those photographs, and what made me pursue my own spiritual quest to this present day. I walked with Merlin in those lands of eternal summer in the South West of England, and he guided me on the path that I needed to follow, and it has become an inherent part of me.
Whether I am taking images, writing poetry or painting, the Song of Albion runs through me, inspiring me with the legends and myths of the British Isles, and the deep and abiding spirit of the British people who have always responded to our beautiful landscapes in creative ways.
I will continue to show contemporary works on Flickr alongside my archive, which may well end up being interesting in itself, to see the progression of ideas.
My warm regards and deepest thanks to all of you as always, Shelley.
And meanwhile, if you would like to see more of my work, have a look at my website at:
UPDATE 12th March 2026.
Thank you all so much, for commenting, faving and viewing my latest offerings, including this one. I have only just come back on here later today, as Flickr was being 'temperamental' shall we say, and wouldn't load properly. Whether that's just the UK, or more localised I do not know, or just the..erm, Mad Max world we are living in. But it's not a film is it? Or a game.
I have felt a bit rattled, to put it mildly the past few days. I was going to put my latest offerings up on the day that the Middle East was yet again, plunged into conflict. When I went on the net...I just couldn't do it. The Angels had to wait.
But yesterday...the Angels more or less dragged me to my desk and told me to get on with it. This latest batch of work...can you imagine them revolving around the earth in all dimensions?
Do Angels cry? Yes they do. So I put the work up.
I wish everybody would just stop. Life here is so precious, don't waste it, or the seas will be filled with tears and the levels will rise even more.
A quieter revolution is needed, where such stubbornness results in a determination to be a caring human being, as a lot of us are, but we are not listened to. The choice is there though, it just might need an element of courage to walk that path of kindness.
Merlin tells me nothing is new, man will be man, and he is right. But there are moments in such dark times when a shining light refuses to go out, and I am a devotee. That light will always be here in my gallery for you to find.
I will be getting back to you all soon, to catch up, as you know I do. Meanwhile, I am thinking of you all, and holding you all in my heart.
Shelley x
UPDATE 26th March, 2026.
Hello everybody. Just felt like writing something. Anything. I have been so distracted lately - do you all feel the same? I can hardly string two words together, let alone settle down and compose some work. I am way behind with my catching up on here as well. I have tried to do all these things but my mind keeps wandering...I am avoiding the news except for the main points as it is messing with my head. Alright then I thought, I'll do something physical! The garden needs sorting out as Spring is making itself felt and once that races away you are forever chopping it back, especially the ivy, which basically runs amok.
But although that was better, I found it weirdly quiet where I am and that didn't feel natural. I kept thinking that it wasn't quiet elsewhere and some people would welcome the peace, so I shouldn't even mention this. Everything feels 'off' and you feel the weight of 'wrongness'.
Usually in times of uncertainty I can go inward and seek solace there, especially with my work, but I am finding that difficult. The "Weight of Wrongness" is like a cloud cover all around the world; a blanket that does not offer any comfort.
The human race is its own worst enemy...will we ever reach an accord where we an co-exist without bloodshed? It seems an impossible dream. History has been known to judge us...and future chapters will add to this story of our lives at this time in this century. Maybe it will be the same story of bloodshed, because that makes headlines. What the headlines don't show enough of is the quiet stories of care and courage. Would anybody ever have nerve enough to do a 'news paper' of small acts of kindness?
This is where I get a bit strident myself and say I won't ever give up holding my own particular brand of 'Spirit-Light'.
I can't you see, because that is who I am. Without it I am nothing. Something in me will not give up because I know that Light is needed, in this life and the next, and not just for myself.
Friends, Followers, Viewer's, Commentators..do not give up. Let your beautiful, powerful, emotive and gorgeous work change minds. Support each other, reach out with compassion, and let honesty flow, because real change comes from those who are prepared to live with the courage of their convictions.
Well, I wrote something after all. Be well my friends, and be at peace in your heart if you can. I am thinking of you all...
Shell x
So who decides who's a Prophet ... Life is your canvas... Wash your life brushes well... before your paint your life...
TIO
Topkapi Palace, situated in Istanbul, Turkey, stands as a monumental testament to the opulence and grandeur of the Ottoman Empire at its zenith. Constructed in the 15th century under the order of Sultan Mehmed II, following the Ottoman conquest of Constantinople in 1453, the palace served as the administrative center and royal residence of the Ottoman Sultans for nearly four centuries, until the mid-19th century when the court was moved to Dolmabahçe Palace.
Covering approximately 700,000 square meters at the tip of the historic peninsula overlooking both the Bosphorus Strait and the Golden Horn, the palace complex is a stunning showcase of Islamic art, with its elaborate courtyards, exquisite tile work, and intricate architecture. The layout of the palace is a series of courtyards, each serving different purposes and increasing in privacy: the First Courtyard served as a service area; the Second Courtyard was the administrative heart of the empire; the Third Courtyard housed the Sultan’s private residence and the treasury, including the Imperial Council (Divan); and the Fourth Courtyard was a series of gardens and pavilions used for private relaxation.
One of the most remarkable aspects of Topkapi Palace is its Imperial Harem, a secluded section that housed the Sultan’s wives, concubines, and children, along with a large staff of eunuchs who managed the day-to-day affairs. The Harem is particularly noted for its architectural significance and intricate interior decorations.
The palace also holds an extensive collection of artifacts that reflect the splendor of the Ottoman era, including imperial treasures, religious relics, and a significant collection of manuscripts and decorative arts. Among its most prized possessions are the Prophet Muhammad’s cloak and sword, which draw pilgrims and visitors from around the Islamic world.
Today, Topkapi Palace is a UNESCO World Heritage Site and operates as a museum, attracting millions of visitors each year eager to explore its rich history and cultural heritage. Its strategic location offers panoramic views of Istanbul and the waters that define it, making it not only a historical treasure but also a symbol of the city’s enduring legacy as a bridge between continents and cultures.
"In order to understand you must stand under", was the last thing the man told me before we shook hands and went about our separate ways. It could have gone so much worse, I realized. After all, I barged into his house, unannounced and unwelcome. An elaborate array of all sorts of detritus washed downstream by the mighty Passaic River had been arranged into various artistic pieces scattered throughout the place. A headless, bare chested mannequin, spray-painted silver stood propped up against an inner stairwell wall. Dozens of assorted paperback books lay scattered across a blanket freshly tossed over the cold concrete floor below. A small basket full with snack-pack sized chips and pretzel bags sits atop a wooden chest of drawers, accented by a table lamp adorned with a purple shade. A bouquet of Foxtail Grass penetrated into the softened white wax inside a glass candle vase, drooped from dehydration. These were just some of the things I noticed before a man unexpectedly entered the room, wearing a white puffy jacket and freshly pressed pants, while carrying a plastic bag bloated with what appeared to be empty single-use water bottles. I suppose we both sort of startled each other. "Visitors!", the strange man exclaimed while simultaneously placing down the sack of plastic bottles and reaching out for a handshake. "You can call me Prophet", the man responded while tightly gripping my hand, as my eyes ran up and down his posture, examining his dapper attire.
It became evident that Prophet is a proud man indeed. Proud of the space he carved out within the godforsaken ruins of the crumbling toxic factory we both stood within. But to say Prophet was a homeless man would be a bold-faced lie. For these ruins were as much his home as a typical house with a white-picket fence is to a suburbanite. Yet Prophet's home was far from typical or generic. Still in a bit of shock that I was greeted as a visitor rather than an intruder, I trusted the man to show my friend and I around his house, as he insisted on taking us for a tour. Prophet did not view anything as trash, but rather as art and an extension of his creative mind. Seemingly random objects washed up from the river or artifacts salvaged from inside the abandoned factory all had some sort of artistic value to Prophet and were on display inside his home as if it were some type of underground art gallery. "We humans must live UNDERNEATH the ground!" Prophet asserted numerous times during his tour and speech. It became increasingly clear that Prophet believed in an idea that humans must live underneath the Earth to allow the natural world to heal and flourish above us. A religious man, I suspect not, yet a man of God, most certainly. My run-in with Prophet is truly an experience that will always stick with me. A pseudo-religious ruins sermon based upon a realm of reality preached by a man just ever so disconnected from society, yet clever enough to escape it and build his own utopia underneath.
Desde fuera, Santa Sofía no intenta seducir. Es un bloque imponente, reforzado por contrafuertes, que parece más preocupado por resistir que por impresionar. Pero basta con cruzar sus puertas para que el tiempo se diluya y el asombro se imponga. Su grandeza no está en las proporciones externas, sino en el espacio que contiene: un interior que desafía, incluso hoy, la lógica de lo posible.
Inaugurada en el año 537, esta es la tercera versión del templo. Las dos anteriores sucumbieron a las revueltas populares, pero la versión 3.0 no solo resistió, sino que cambió la historia de la arquitectura. Para concebir semejante prodigio hicieron falta un físico y un matemático: Isidoro de Mileto y Antemio de Tralles. No se limitaron a diseñar un edificio; imaginaron lo inconcebible para su época.
Los innumerables terremotos que ha sufrido Estambul han intentado derribarla, pero ahí sigue. Y su cúpula sigue siendo el prodigio más evidente: 31,87 metros de diámetro, suspendida a 56,6 metros de altura, flotando como por arte de magia sobre un anillo de ventanas. Durante casi mil años, Santa Sofía fue el edificio religioso más grande del mundo. Lo más asombroso es que, pese a sus dimensiones, no abruma. Todo en ella —la luz, las proporciones, la acústica— está pensado para elevar, no para aplastar.
Para su construcción se emplearon algunos de los materiales más preciosos del mundo antiguo, y todavía se percibe. Columnas de mármol traídas de Éfeso, pórfido de Egipto, piedra verde de Tesalia, ónice de Frigia... Un catálogo de imperios antiguos al servicio de la nueva Roma. Todo fue elegido para deslumbrar.
Y si algo detiene el paso, son los mosaicos. Dorados, delicados, suspendidos en el tiempo, sobreviven como fragmentos de una gloria que fue bizantina, que fue cristiana, que fue imperial. Algunos permanecen cubiertos; otros asoman tímidamente entre yesos y restauraciones. Todos hablan un idioma que mezcla fe, arte y poder. Es imposible no quedarse en silencio ante el Cristo Pantocrátor o la emperatriz Zoe ofreciendo sus dones celestiales.
Hoy, tras su reconversión en mezquita, ya no se puede visitar libremente la planta baja. Y eso significa que uno de los rincones más curiosos ha quedado fuera del alcance de los visitantes: la famosa “columna que llora”, siempre húmeda, envuelta en leyendas. Se dice que si introduces el dedo en su orificio y este sale mojado, tus deseos serán cumplidos. Otros creen que sus aguas tienen poderes curativos. Según la tradición, la columna llora de pena por el sultán Vedud y fue creada, nada menos, con la saliva del profeta Mahoma.
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From the outside, Hagia Sophia doesn’t try to seduce. It’s an imposing mass, reinforced with buttresses, more concerned with endurance than with display. But step through its doors, and time dissolves. Awe takes over. Its greatness doesn’t lie in its outer proportions, but in the space it holds within—a space that, even today, defies the logic of what should be possible.
Inaugurated in 537, this is the third version of the building. The two previous ones fell victim to popular uprisings, but version 3.0 not only survived—it changed the course of architectural history. It took a physicist and a mathematician to conceive such a marvel: Isidore of Miletus and Anthemius of Tralles. They didn’t just design a building; they imagined the unimaginable.
The many earthquakes that have shaken Istanbul tried to bring it down, but Hagia Sophia still stands. And its dome remains its most extraordinary feature: 31.87 meters in diameter, suspended 56.6 meters above the ground, seemingly floating on a ring of windows. For nearly a thousand years, it was the largest religious building in the world. What’s most astonishing is that, despite its scale, it doesn’t overwhelm. Everything—its light, proportions, and acoustics—seems designed to uplift rather than oppress.
The materials used in its construction were among the most precious of the ancient world, and that richness is still felt. Marble columns from Ephesus, porphyry from Egypt, green stone from Thessaly, onyx from Phrygia... a catalogue of ancient empires placed at the service of the new Rome. Every detail was chosen to dazzle.
And if anything stops you in your tracks, it’s the mosaics. Golden, delicate, suspended in time—they survive as fragments of a glory that was Byzantine, Christian, imperial. Some remain covered, others peek out timidly from beneath plaster and restorations. They speak a language of faith, art, and power. It’s impossible not to fall silent before the image of Christ Pantocrator, or Empress Zoe offering her celestial gifts to the Redeemer.
Today, since its reconversion into a mosque, the ground floor is no longer freely accessible. That means one of the building’s most curious features is now out of reach: the famous “weeping column,” always moist, wrapped in legend. It’s said that if you insert your finger into the hole and it comes out wet, your wishes will come true. Others believe its waters have healing powers. According to tradition, the column weeps in sorrow for Sultan Vedud, and was created using the saliva of the Prophet Muhammad.
Hamburg - Friedhof Ohlsdorf
Eine Arbeit von Prof. Gerhard Marcks (1889–1981) aus dem Jahre 1961
Prophet und Genius (Lage: M 6, von 1961): Eine eher untypische Engelsdarstellung ist diese Bronzeplastik des Berliner Bildhauers Gerhard Marcks. Ein Jüngling, der als Engel gestaltet ist, geleitet einen blinden Propheten behutsam und liebevoll ins Jenseits: Marcks greift hier die Vorstellung des Engels als Seelengeleiter auf. Er tut dies in einer Zeit, in der viele klassische Friedhofsengel von ihren Sockeln entfernt wurden. Sie wurden damals als unmodern angesehen. Heute jedoch erfreuen sie sich wieder großer Beliebtheit.
Portofino (Liguria - Italia): indizi celati e percorsi consigliati.
Portofino (Liguria - Italy): hidden clues and recommended routes.
"A prophet doesn't have to have any brains. They are good to have, of course, for the ordinary exigencies of life, but they are no use in professional work. It is the restfulest vocation there is. When the spirit of prophecy comes upon you, you merely take your intellect and lay it off somewhere in a cool place for a rest, and unship your jaw and leave it alone; it will work itself. The result is prophecy."
Mark Twain (1835 - 1910)
The End (of my 366 Day Project) is Near!!!!!!!!!