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I'll be your private art
You can look, but you can't touch
I'm runnin' through your thoughts
And you can't help but get a rush
And when I'm out of sight
I'm never ever out of mind
I'm your prophet and I predict that I'm your new obsession
ZIYARAT OF MESJID AL-NABI
Idhun al-Dukhul means permission to enter the Prophet?s mosque for the Ziyarat (paying homage) of the Pr ophet:
O Allah, I am standing at the door of one of the houses of Your Prophet and the family. You have prohibited the people from entering his house except by the permission of Your Prophet and You said: ?O You who believe do not enter the house of the Prophet unless permitted to do so?. O Allah, I believe in this in his absence just as I believe it in his presence and I know that Your Prophet and Your vicegerents upon whom be peace, are alive in your presence, they are being nourished, they see my position and hear my speech and they return my greetings and (I believe) that You have covered my ears from hearing their speech and have opened the door of perception of their secret conversations (with You); I seek Your permission, O my Lord firstly; then I seek the permission of Your Prophet, peace be upon him and his family secondly and I seek the permission of Your vicegerent, the Imam whose obedience is incumbent upon me and (the permission of) Your angels entrusted over this blessed site thirdly. May I enter, O Prophet of Allah, may I enter O the proof of Allah, may I enter, O angels of Allah who are stationed close to this shrine, so pe rmit me O my master to enter the best of way that You have permitted any of Your friends, if I am not deserving of that then You surely are deserving of that.
Who needs a transport ship for starfighters when you have a portable stargate to teleport them.
More details here :
books about prophet Muhammad
About prophet Muhammed
www.youtube.com/watch?v=-jv-4bOd2SQ&feature=related
www.youtube.com/watch?v=k2FMTArcRCo&feature=related
ask me
Darksteel armor costume made by us and worn by me.
Costume made for Infernum Propductions Dragon's Prophet Europe www.dragonspropheteurope.com/en/
Photo by Jesús Clares facebook.com/jesusclares
The Wife of Jeroboam and the Blind Prophet, en 1888, peinture à l'huile à la façon d'Henry Grenville_023_H
"O Lord, God great and to be feared, you keep the covenant and have kindness for those who love you and keep your commandments: we have sinned, we have done wrong, we have acted wickedly, we have betrayed your commandments and your ordinances and turned away from them. We have not listened to your servants the prophets, who spoke in your name to our kings, our princes, our ancestors, and to all the people of the land. Integrity, Lord, is yours; ours the look of shame we wear today, we, the people of Judah, the citizens of Jerusalem, the whole of Israel, near and far away, in every country to which you have dispersed us because of the treason we have committed against you. To us, Lord, the look of shame belongs, to our kings, our princes, our ancestors, because we have sinned against you. To the Lord our God mercy and pardon belong, because we have betrayed him, and have not listened to the voice of the Lord our God nor followed the laws he has given us through his servants the prophets".
– part of the Prayer of Daniel, which is found in Daniel 9:4b-10, which is today's First Reading at Mass.
My sermon for today can be read here.
This stained glass depiction of Daniel is from the Episcopal Cathedral (St Mary's) in Edinburgh.
Figure of a turbaned man, previously used to fill one of the traceries of the west window but repositioned to a more likely setting in the south aisle west window in the recent restoration.
The lower register of the south aisle west window depicts the Judgement of King David against the Amalekite. The upper half is largely composed of reconstructed elements and reset fragments.
The west windows of the aisles were heavily damaged by the great storm of 1797 and until the recent restoration had many missing sections and areas composed of patched fragments. The restorers of the Barley Studios bravely reinstated the missing sections using as much original material and evidence as possible (a thorough examination of the fragments when disassembled yielded much information). The result has transformed the effect of these windows, visually completing the cycle of windows again for the first time since the storm damage of 1797.
St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.
The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.
One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.
Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.
The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.
The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.
It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.
Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.
"Then the prophet Elijah arose like a fire,
and his word burned like a torch."
- Sirach 48:1, which is part of today's First Reading.
This statue of the prophet is in the Carmelite church in Salamanca.
Santa Maria del Rosario (St. Mary of the Rosary), commonly known as I Gesuati, is an 18th-century Dominican church in the Sestiere of Dorsoduro, on the Giudecca canal in Venice, northern Italy. The classical style building has a well-lit interior and is exceptional in preserving its original layout and Rococo decoration intact. The church and almost all its sculpture and paintings were created within a thirty-year period: construction began in 1725, the church was consecrated in 1743, and the last sculptural decoration was in place by 1755.
Background
The religious order of the Jesuates, formally the Clerici apostolici Sancti Hieronymi was founded in Siena in the 14th century and had a presence in Venice by 1390. Its members were known as I poveri Gesuati (the poor Jesuates) because they frequently called on the name of Jesus; they had no connection with the Jesuits (I Gesuiti), whose church is in the north of Venice. They acquired some wealth from donations and legacies and from privileges granted by the state, including a monopoly on the distillation of wine. In 1493, they commenced the building of a small church on land fronting the Zattere (the fondamenta which borders the Giudecca Canal facing the Giudecca island), where the other buildings of the order stood. This church was originally dedicated to St. Jerome (San Girolamo) and later to Santa Maria della Visitazione (St. Mary of the Visitation) and became known as the church of the Visitation. Later, the order found it hard to recruit new members and a falling off in numbers combined with slackness in the performance of their duties led to its suppression by Pope Clement IX in 1668. In 1669 their property was put up for auction and acquired by the Dominicans, who installed themselves there in 1670. It became known as the Dominicans' place at the Gesuati and the Venetians have to this day continued to use the name.
History
The small church of the Visitation was not large enough for the Dominicans and by 1720 they had decided to build a new church, larger and of more architectural importance. They first engaged Andrea Musato, but he died in 1721 and they turned to Giorgio Massari, whose model for the new church was accepted in 1724. Rudolf Wittkower describes Massari as "the greatest Venetian architect of the first half of the 18th century".
Work started in 1725, while the Dominicans energetically sought to raise sufficient funds, both from charitable contributions and from religious institutions and benefaxctions. The funding was organised by a Father from Milan, Carlo Maria Lazzaroni, who was successful in raising a very large sum.This enabled them not only to build a magnificent church, but to embellish it with the work of the most famous painters and sculptors of the day.
Massari left untouched the existing church of the Visitation and built the new church further along the Zattere. He was responsible not only for the building itself but also for its interior fittings and decoration and for commissioning the paintings and sculpture. He did not attempt too original a building, thinking that he could best please his patrons by a design based on those of his famous predecessors, in particular Palladio, whose two churches of San Giorgio Maggiore and Il Redentore were within sight of the new church. The facade of the church was derived from the central portion of the facade of San Giorgio Maggiore, while the basic idea for the interior came from the Redentore.
The Dominicans wished the building to celebrate the glories of their order and to encourage devotion to the rosary. The feast of Our Lady of the Rosary) had been made part of the General Roman Calendar in 1716 after a victory over the Turks.
The first stone was laid on 17 May 1726, in the presence of the Patriarch, Marco Gradenigo. The church was consecrated on 29 September 1743, by the then Patriarch, Alvise Foscari. The work was finished (with the completion of the last statue) in 1755 and appears today much as it did then.
Description
Facade
270 piles had to be driven into the soil to support the weight of the facade. Giant Corinthian pilasters support a heavy triangular pediment. The main entrance door, surmounted by a curved pediment with an inscription above, is flanked by four niches with large statues representing the four cardinal virtues: Prudence, Justice, Fortitude and Temperance. These statues were the work of four sculptors, Gaetano Susali, Francesco Bonazza, Giuseppe Bernardi Toretto, and Alvise Tagliapietra respectively, in 1736/37.
The interior of the Church
The ceiling by Giovanni Battista Tiepolo.
G B Tiepolo: Madonna with three Dominican female saints
Giambattista Piazzetta: Three Dominican saints
Sebastiano Ricci: Pope Pius V, Thomas Aquinas, St Peter Martyr
Interior
The decoration of the interior commenced in 1736, ten years after building started.
Although the outside walls make a plain rectangle, the interior of the nave (surrounded by Corinthian columns supporting an entablature with rounded corners) has the apparent shape of an ellipse. There are three altars set behind the line of the pillars on each side.
The nave is well lit on both sides by large high windows, which show off the contrasting tones of the white walls and grey stone.
Ceiling decoration
The ceiling decoration was entrusted to Giovanni Battista Tiepolo who signed a contract with the Dominicans in May 1737. It was completed by 1739. There are three frescos in the ceiling. Nearest the entrance is the Glory of St. Dominic (his assumption into heaven) and nearest the altar is the Appearance of the Virgin to St. Dominic, while in the centre is a large fresco, a great masterpiece, representing the Institution of the Rosary. The Virgin, in a blue sky with clouds, angels and cherubs, is supporting the Christ child who holds out the rosary to St. Dominic. The saint stands at the top of a long flight of marble steps from which he is making the rosary available to the people, both rich and poor, including a doge and a pope. At the bottom, the darkest part of the painting, damned souls (heretics) tumble out of the picture frame. This was one of Tiepolo's first large commissions of this type.
There are also monochrome paintings on the ceilings and other high parts of the interior of the church. These were designed by Tiepolo but painted with help from assistants, though evidently tightly controlled by the master as it is impossible to attribute any of them to another hand.
One of the monochrome paintings on the ceiling, near the High Altar, shows St. Dominic, kneeling, blessing a Dominican friar. Lorenzetti suggests that this may be Fra Paolo, the Dominican who was largely responsible for the building of the church.
The ceiling paintings are best seen in the afternoon.
Paintings
The paintings and sculptures in the nave will be described in sequence from the main entrance door.
First altar on right
A painting in oils on canvas by G.B.Tiepolo is above the first altar on the right. Although the canvas had been prepared by December 1739, the finished painting was not installed in the church until 1748.
It shows three female Dominican saints:
St Catherine of Siena standing on the left, holding a cross with the crucified Christ.
St Rose of Lima, standing on the right, holding the Christ child, who is holding a rose.
St Agnes of Montepulciano (who had only been canonised in 1726), seated and holding a small cross.
Seated behind and above the three saints is the Madonna, seeming detached from and unnoticed by them.
Second altar on right
The second altar on the right bears a sculpture of angels carved in marble by Giovanni Maria Morlaiter (the first work he executed for the church - 1739) surrounding a small half-length painting of St Dominic by Giambattista Piazzetta (1743).
Third altar on right
Above the third altar is a painting in oils by Giambattista Piazzetta of three male Dominican saints, chosen by the Dominicans to illustrate the missionary activities of their Order. This painting is noteworthy for its sober colouring. Michael Levey writes: "The real triumph of the painting is in its memorably austere tonality."
In black in the foreground is St. Louis Bertrand, a Spanish saint who went as a missionary to the Caribbean, where a native priest was said to have tried to poison him (symbolised by the serpent in the chalice which he is holding).
Beyond him, in white, is St. Vincent Ferrer, who was said to have appeared to the former in a vision.
The third saint is Saint Hyacinth, who went as a missionary to the East. He is holding his attributes, a monstrance and an image of the virgin and child, which he was said to have carried with him into the raging torrent of the Dneister from which he was miraculously saved.
First altar on left
On the left side of the nave, the altarpiece above the first altar is an oil painting by Sebastiano Ricci (1659â1734), celebrating three of the most famous Dominicans, Pope Pius V, Thomas Aquinas, and St Peter Martyr. Above them are three angels, one carrying a palm.
It was the first work commissioned especially for the new building and was one of the last works of the artist, who died in 1734. It was painted in 1732â33.
Pope Pius V (who had been canonised in 1712) was a dedicated opponent of Protestantism. It was he who, in 1570, purported to absolve the English subjects of Queen Elizabeth I from their allegiance. Ricci gives him an air of benevolence, though he was in fact an uncompromising enemy of those opposed to his church.
He greatly revered Thomas Aquinas (1226â74), who is the figure on the left, and had made him a Doctor of the Church. He is identified by the Sun on his breast and by the book, his Summa Theologica, which he carries in his right hand.
St Peter Martyr, on the right, was another uncompromising Dominican whose zeal had led to his assassination in 1252. He is more usually shown with the cleaver, with which he was killed, protruding from his head. Ricci, more elegantly, shows it lying on the ground in front of him.
Second altar on left
The second altar has a statue by Antonio Rosa of the Madonna of the Rosary (1836). This replaced an earlier work which was thought inadequate.
Third altar on left
The third altar has a painting of the Crucifixion by Tintoretto (1518â1584). This was probably painted about 1560 and is the oldest painting in the church (except for those in the sacristy). It was brought to the new church from the Church of the Visitation. It was in poor condition and the Dominicans arranged for it to be restored by Piazzetta in 1743.
There is a reproduction in the Web Gallery of Art under Tintoretto/Paintings of Religious Subject-matter (1560s)
Sculpture
Almost all the sculpture in the church is the work of Giovan Maria Morlaiter, a sculptor from over the Alps, whom Hugh Honour describes as "one of the ablest sculptors in eighteenth century Venice" and Semenzato as "the most brilliant interpreter of the rococo in Venetian sculpture" adding that "His work shows great dynamism" and "an inexhaustible felicity of invention". There is more of his work in the church than anywhere else in Venice.
Sculptures by Gian Maria Morlaiter
Aaron by Giovanni Maria Morlaiter.jpgS. Pietro GB Morlaiter in Santa Maria del Rosario - Gesuati.jpgSan Paolo di GB Morlaiter in Santa Maria del Rosario.jpgStatue 1 GM Morlaiter Chiesa dei Gesuati Venice.jpg
Prophet Aaron
Saint Peter
Saint Paul
King Melchizedek
His first work for the church was the Glory of Angels on the second altar on the right (1738) and after this Massari engaged him for all the other principal works of sculpture, ending with the statue of Melchisedek in 1755.
These comprise
First altar on left - two cherubs
Marble decoration of the High Altar
Statues (with description -in brackets- of the bas reliefs above each of them):
First niche right: Abraham (Centurion begs Jesus to save his son)
Second niche right: Aaron (Healing of the blind man)
Third niche right: St Paul (Christ with the Magdalen)
First niche left: Melchisedek (St Peter walks on the water)
Second niche left: Moses (Healing of the paralytic)
Third niche left: St Peter (Christ and the Samaritan)
Organ, presbytery and high altar
On the left of the High Altar is the organ. The present organ (by the Bazzari brothers) was substituted in 1856 for the original organ of 1740.
On the right of the High Altar is the presbytery with a small early painting of the Madonna and Child on a gold ground. This is by Stefano di Sant'Agnese and is thought to date from 1375â80. It probably came from the former church of St. Agnes (of which the artist was a parishioner), which was nearby, and is an example of the International Gothic style The church of St. Agnes was suppressed in 1810.
The high altar.
The High Altar stands at the top of five steps under an architectural canopy supported by columns, underneath the cupola. The altar beneath is in a rococo style with coloured marbles and carved shells, heads of angels and reliefs of roses, ears of corn and grapes.
Choir
The choir, behind the main altar, has carved wooden stalls dating from between 1740 and 1744 and a ceiling painting by Tiepolo, of David playing the harp
an idiot photo of me taken by my friend reveals my true mission on this planet
as an inspired teacher proclaimer of the will of creator :)
see the bicycle bell on the left side <3
I stopped by JAM (a music equipment store in Stockholm) this week and wandered around in their analog synth section. I asked one in the staff if I could try this piece. No problem, except that the sound output was rather weak and panned to the left in the earphones.
The Prophet 5 was one of the first polyphonic, programmable synthesizers on the market (1978). As many analog synths, several revisions were built, all based on different circuits and, of course, audiophiles notice the differences between the revisions. Earlier ones sound fatter. Don't know if this is a rev2 or rev3 (as this was the first time I played on a Prophet 5) but it sounded fat as most equipment from this time. I might be able to tell rev2 and rev3 models apart when played isolated like this, but as usual these sonic differences between the revisions don't stand out in a full musical mix and then it doesn't really matter that much anymore.
Anyway, it can be heard on various songs from late 70's throughout the 80's such as Nena's "99 luftballoons" (the silkly smooth intro strings and the raw synth bass), Phil Collin's "In the air tonight" and the soundtrack for Halloween 1 and Halloween 2 from 1978 and 1981 respectively. I believe the musical record "War of the worlds" from 1978 narrated by Jeff Wayne included some Prophet 5 sounds too.
UPDATE:
"I did play it [the Thunderchild] on a few tracks on TWOTW, but none actually survived as Yamaha's CS80, the first poly synth, came out about half-way through TWOTW production, and we replaced many of the original sounds with Yamaha's ground-breaking keyboard, including the famous ribbon controller and finished most of the remaining sounds with it, although the Arp Odyssey, the mini Moog (great for bass sounds) and my Fairlight contributed a bit."
[From Retro Synths Ads]
Listen to the Prophet 5 here.
This icon depicts the Holy Prophet Jonah being released from the belly of the sea monster.
By the hand of Deacon Matthew Garrett
5" x 7"
holy-icons.com
"Before Mandulis, son of Horus, through Smet-achom, son of Smet, the second prophet of Isis, forever and ever to speak words of Mandulis, the Lord of Abaton, the great God."
Darksteel armor costume made by us and worn by me.
Costume made for Infernum Propductions Dragon's Prophet Europe www.dragonspropheteurope.com/en/
Photo by Jesús Clares facebook.com/jesusclares
Daily Prophet
The Graphics Department designed and printed over 40 editions of the Daily Prophet, each with advertisements, horoscopes, Runoku puzzles and clever headlines that followed fictional stories.
The Quibbler
More than 25,000 pages of The Quibbler were printed. Each edition containing unique headlines, stories and photographs.
The Marauder's Map
Designed by the Graphics Department, using lines made of handwritten text that includes names and hidden messages. After first appearing in Harry Potter and the Prisoner of Azkaban the Marauder's Map was redesigned for each subsequent film with new layers, hallways and calligraphy.
People the world-over have been enchanted by the Harry Potter films for nearly a decade. The wonderful special effects and amazing creatures have made this iconic series beloved to both young and old - and now, for the first time, the doors are going to be opened for everyone at the studio where it first began. You'll have the chance to go behind-the-scenes and see many things the camera never showed. From breathtakingly detailed sets to stunning costumes, props and animatronics, Warner Bros. Studio Tour London provides a unique showcase of the extraordinary British artistry, technology and talent that went into making the most successful film series of all time. Secrets will be revealed.
Warner Bros. Studio Tour London provides an amazing new opportunity to explore the magic of the Harry Potter films - the most successful film series of all time. This unique walking tour takes you behind-the-scenes and showcases a huge array of beautiful sets, costumes and props. It also reveals some closely guarded secrets, including facts about the special effects and animatronics that made these films so hugely popular all over the world.
Here are just some of the things you can expect to see and do:
- Step inside and discover the actual Great Hall.
- Explore Dumbledore’s office and discover never-before-seen treasures.
- Step onto the famous cobbles of Diagon Alley, featuring the shop fronts of Ollivanders wand shop, Flourish and Blotts, the Weasleys' Wizard Wheezes, Gringotts Wizarding Bank and Eeylops Owl Emporium.
- See iconic props from the films, including Harry’s Nimbus 2000 and Hagrid’s motorcycle.
- Learn how creatures were brought to life with green screen effects, animatronics and life-sized models.
- Rediscover other memorable sets from the film series, including the Gryffindor common room, the boys’ dormitory, Hagrid’s hut, Potion’s classroom and Professor Umbridge’s office at the Ministry of Magic.
Located just 20 miles from the heart of London at Warner Bros. Studios Leavesden, the very place where it all began and where all eight of the Harry Potter films were brought to life. The Studio Tour is accessible to everyone and promises to be a truly memorable experience - whether you’re an avid Harry Potter fan, an all-round movie buff or you just want to try something that’s a little bit different.
The tour is estimated to take approximately three hours (I was in there for 5 hours!), however, as the tour is mostly self guided, you are free to explore the attraction at your own pace. During this time you will be able to see many of the best-loved sets and exhibits from the films. Unique and precious items from the films will also be on display, alongside some exciting hands-on interactive exhibits that will make you feel like you’re actually there.
The magic also continues in the Gift Shop, which is full of exciting souvenirs and official merchandise, designed to create an everlasting memory of your day at Warner Bros. Studio Tour London.
Hogwarts Castle Model - Get a 360 degree view of the incredible, hand sculpted 1:24 scale construction that features within the Studio Tour. The Hogwarts castle model is the jewel of the Art Department having been built for the first film, Harry Potter and the Philosopher’s Stone. It took 86 artists and crew members to construct the first version which was then rebuilt and altered many times over for the next seven films. The work was so extensive that if one was to add all the man hours that have gone into building and reworking the model, it would come to over 74 years. The model was used for aerial photography, and was digitally scanned for CGI scenes.
The model, which sits at nearly 50 feet in diameter, has over 2,500 fibre optic lights that simulate lanterns and torches and even gave the illusion of students passing through hallways in the films. To show off the lighting to full effect a day-to-night cycle will take place every four minutes so you can experience its full beauty.
An amazing amount of detail went into the making of the model: all the doors are hinged, real plants are used for landscaping and miniature birds are housed in the Owlery. To make the model appear even more realistic, artists rebuilt miniature versions of the courtyards from Alnwick Castle and Durham Cathedral, where scenes from Harry Potter and the Philosopher’s Stone were shot.
Surroundings are washed out in PS intentially. Larger size has details.
Prophet Mohammad (PBUH) Mosque in Madina, Saudi Arabia After Zohar Prayers.
Imprint of seal stamped on letters attributed toProphet Muhammad(صلي الله عليه وسلم.) Reads الله (GOD), رسول (Apostle) and finally, Ù…Øمد (Muhammad.)
According to the Muslim tradition, the seal was used by Prophet Muhammad(صلي الله عليه وسلم)on outgoing letters, for recipient to be able to verify the source
The prophet Elijah arose like a fire
and his word burned like a torch.
He brought a famine upon them,
and by his zeal he made them few in number.
By the word of the Lord he shut up the heavens,
and also three times brought down fire.
How glorious you were, O Elijah, in your wondrous deeds!
And who has the right to boast that which you have?
You who raised a corpse from death
and from Hades, by the word of the Most High;
who brought kings down to destruction
and famous men from their beds;
who heard rebuke at Sinai
and judgements of vengeance at Horeb;
who anointed kings to inflict retribution
and prophets to succeed you.
You who were taken up by a whirlwind of fire
in a chariot with horses of fire;
you who are ready at the appointed time, it is written,
to calm the wrath of God before it breaks out in fury,
to turn the heart of the father to the son,
and to restore the tribes of Jacob.
Blessed are those who saw you
and those who have been fallen asleep in love;
for we also shall surely live.
It was Elijah who was covered by the whirlwind,
and Elisha was filled with his spirit.
In all his days he did not tremble before any ruler,
and no one brought him into subjection.
Nothing was too hard for him,
and when he was dead his body prophesied.
As in his life he did wonders,
so in death his deeds were marvellous.
— Sirach 48:1-14, which is today's 1st reading at Mass for the 11th Thursday of Ordinary Time.
Statue in the Carmelite church of the Immaculate Conception in Krakow.