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The Giza Necropolis stands on the Giza Plateau, on the outskirts of Cairo, Egypt. This complex of ancient monuments includes the three pyramids known as the Great Pyramids, along with the massive sculpture known as the Great Sphinx. It is located some 9 km (5 mi) inland into the desert from the old town of Giza on the Nile, some 25 km (15 mi) southwest of Cairo city centre.
Pyramids in Egypt.
look at many camels.
I rid them that time.
scary at the first minute and have fun after that!!
lol!
2007, I was 20.
January 29 - On our final day in Egypt, it was great to encounter this amazing wonder. (Cairo, Egypt)
The Louvre Pyramid is a large glass and metal pyramid, surrounded by three smaller ones, in the courtyard of the Louvre Museum in Paris. The large pyramid serves as the main entrance to the museum. Build from a project by I.M. Pei, completed in 1989, it has become a landmark for the city of Paris.
Nef developed with Apple Aperture 2.1.2 and PTLens 1.3
The pyramids at Giza and the Sphinx during the light show.
Great Pyramid Of Khufu is on the right.
Pyramid of Khafre in the centre and Pyramid of Menkaure on the left.
Giza 10/11/2009
Robert Schlick - Tonight It's Me
Pyramid Books G248, 1957
Cover Artist: Lou Marchetti
"Who gets her for tonight?"
On Saturday 30th March 2013, 5 members of the South East Gang met up for a traipse through the East Sussex countryside in and around Brightling to see 4 of the 6 follies built by Jack Fuller.
Between visiting the Temple and the Pyramid we had lunch at The Swan Inn at Woods Corner - a lovely old pub with lots of interesting features and good food.
The sun came out whilst we were in Brightling churchyard to see the tomb of Jack Fuller, but it wasn't out for long!
What better place to spend our final few hours in Egypt than the Giza plateau, this time exploring the site by foot and visiting mastaba tombs (there are many here but only a couple can be visited) and Menkaure's pyramid, the only one of the three large pyramids we'd not entered before (the two largest we'd been inside on our first visit in 1995, this time queues for the Great Pyramid of Khufu were discouraging, and Khafre's was closed).
The Giza Pyramids need no introduction, the largest and most famous monuments of antiquity and the sole surviving of the Seven Ancient Wonders of the World.
Situated on a desert plateau to the south west of Cairo (and indeed on the very edge of the city's modern urban sprawl) the pyramids of Giza form the heart of an extensive ancient necropolis with the monumental tombs of three of Egypt's earliest Old Kingdom pharaohs marked by the vast structures. Each of the pyramids is a colossal mass of near solid masonry, without adornment and with only a few passages within each leading to burial chambers long since emptied and robbed in antiquity.
The earliest is the Great Pyramid of Khufu (sometimes referred to by the Greek title 'Cheops', or by his full pharaonic name 'Khnum-Khufu'). It is also the largest; the structure is simply enormous and remained the World's tallest building until well into the Middle Ages.
The following pyramid was built by Khafre (also called 'Khephren') and is similarly vast (often appearing in photos of the whole group as larger due to its more central position) but is significantly smaller than Khufu's monument. The smallest of the three (at around less than half the size) was built by his successor Menkaure. Both his and Khufu's monuments have much smaller satellite pyramids at their base (some in more ruinous condition) to house the tombs of their queens.
Originally all the pyramids had a smooth outer covering of white stone but this was quarried away by later generations (much of which was used for some of Cairo's greatest Islamic monuments) leaving the rough inner blocks exposed. A small section remains at the apex of Khafre's pyramid (suggestive of a snow-capped mountain) to give a sense of the original finish and overall mass.
Today the site remains the most popular in Egypt and an astonishing testament to the skill and determination of its earliest builders.
From the opening chords, Pyramid lets you know you're in for a trip. Voyager, In The Lap Of The Gods and Pyramania.
one of the major public areas in Paris. Here they were preparing for the Bastille Day celebrations
The Luxor Obelisk is in the middle of Place de la Concorde, standing where the guillotine used to be in the French Revolution
The Luxor Obelisk is a 23 metres high Egyptian obelisk standing at the centre of the Place de la Concorde in Paris, France. It was originally located at the entrance to the Luxor Temple, in Egypt.
In 1829 the Ottoman viceroy of Egypt, Mehmet Ali, offered two obelisks to France from the entrance of the Luxor Temple. The obelisk now in Paris arrived in 1833, and three years later in 1836, King Louis-Philippe had it placed at the centre of the Place de la Concorde, where a guillotine used to stand during the revolution. The other one stayed in Egypt, too difficult and heavy to move to France with the technology of the period. The French President (Francois Mitterrand) of the early 1990s gave the second obelisk back to Egypt.
The obelisk is made of red granite. It is decorated with hieroglyphics of the reign of the Pharaoh Ramses II. Missing it's cap (possibly stolen in the 6th century BC), the French Government added a gold-leafed pyramid to the top of the obelisk in 1998.
On the left is one of Jacque Ignace Hittorff's statues - this one is the Statue de la ville de Bordeaux, one of eight that is at each corner of the Place creating an octogan.
In the background is the Hotel Crillon. A fountain is on the right.
Located in southwestern Ohio, Pyramid Hill Sculpture Park is a 265-acre park and outdoor museum combining the nature with art.
ohiomag.com/ME2/dirmod.asp?sid=586CA122EB394032BD4AA3B686...
Hamilton attorney Harry Wilks started to build his dream house in the country, and ended up creating a nationally acclaimed sculpture park.
At 80, Harry Wilks lives alone in an underground house atop a hill surrounded by woods, meadows and huge sculptures. When he drinks his morning coffee under his glass pyramid roof, he can enjoy his collection of antiquities: . . . When he climbs his two-story tower, he looks out on his 265-acres "yard" and surveys a landscape unlike any other. On a hill to the west stands "Abracadabra," a giant crimson swirl of steel set in a field of green. . . . At every turn, sculpture — in steel, bronze, stone, and wood — creates a thrilling medley of nature and art.
This is Pyramid Hill, the retired Hamilton attorney's home . . . It's also the Pyramid Hill Sculpture Park and Museum, one of only five in the nation. There are 55 works in the park so far, some by internationally known artists including Alexander Liberman, Clement Meadmore, George Sugarman and Tony Rosenthal, as well as emerging and regional artists. . . . More than 100,000 people each year visit the 10-year-old park, some to enjoy art and nature, others for conferences, concerts, weddings and festivals.
It all started, Wilks says, with a chain saw. "I wanted to move out of town when I retired, so I bought 40 acres out here. Then I bought a chain saw and a machete and started to clear the brush. Then I needed to hire a bulldozer to put in the roads and lakes and the bulldozer driver was a golfer, so he suggested a golf course. I built eight and a half holes of golf and I stopped." As adjacent land became available, Wilks bought as much as he could, until he had 265 acres of hilly woodland on the Great Miami River, a mile southwest of Hamilton in Butler County. "I think it was one day when we were cutting down trees that I saw a dogwood in bloom, and it was so beautiful and I thought, 'By God, I have to save this.' I began to love nature. After I built my house out here I put in the eight lakes and I already had the tennis court and the hiking trails. My friends would come to visit, and they started to offer me money for some of my land. They were offering $100,000 and $125,000 an acre. These were wealthy men. I had eight offers in four months and they totaled almost a million dollars. And I thought, 'What the heck's going to happen to all this when I die?' My two daughters have places of their own. They would have to sell it. And I thought of all the work I had put into this, building roads, acquiring more land. I had done it all myself, with no master plan, no engineers, no architects. So I stopped, in the middle of the ninth hole. I thought, 'How can I prevent this land from being sold?'"
Wilks decided to create a public foundation with a board of trustees to oversee the property. He had to decide what the purpose of the land would be. .
. . . Reporters from area newspapers and television stations were eager to do stories about Wilks' unusual underground house. One of them, Jackie Demaline from The Cincinnati Enquirer, told him something that set the spark. "I was driving her around in a golf cart and I was indulging in a fantasy," Wilks says. "I pointed to a spot and said 'There is my Rodin. At another place I said, 'See my Henry Moore,' pretending that I had sculpture by all these great artists in my park. She said, 'Have you ever heard of Storm King?' She said it's this sculpture park in the East, in New York. "I never knew there was such a thing. There are sculpture gardens, but whoever heard of a sculpture park? So I went to see Storm King and the other parks and I talked to some artists and some galleries in New York. I said, 'I can do this.'" He also knew that his landscape was far more dramatic than the flat, grassy fields of other sculpture parks. "We have natural galleries," he says. "This is an ideal place for sculpture."
Most of the sculpture in the park is abstract and monumental, in the style that began to appear in cities in the late 1960s, when every major building, first in New York and then across the country, required a signature work of sculpture. . . . He started with three works by Alexander Liberman, whose brilliant, red "Abracadabra," two and a half stories tall and three and a half stories wide, has the prime position in the park, atop the highest hill. . . . Although Wilks bought the first works for the park, he no longer buys modern sculpture out of his own pocket. "All I buy are the antiquities. We get a flood of mail from artists wanting me to buy their work, but that's not the way it's set up. The foundation has to raise the money, from corporations, individuals and foundations, to pay for the art. We own about 60 percent of the work here. The rest is on loan. We will pay installation costs and give the artist a small stipend for keeping the work here, and we hold first option to buy if we decide to keep it."
"I see myself as the caretaker of the land while I am here," he says, "and I want this to be here for hundreds of years."