German pre-war cars
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“Cologne, a 2,000-year-old city spanning the Rhine River in western Germany, is the region’s cultural hub. A landmark of High Gothic architecture set amid reconstructed old town, the twin-spired Cologne Cathedral is also known for its gilded medieval reliquary and sweeping river views.” My great-grandfather was from Cologne, so the beautiful city that we visited several years ago seemed very special to me....
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
At the open-air museum of Groß Raden. This is the site for a Slavic settlement from the 9th and 10th centuries AD - and show two distinct building phases. The first settlement dates to the middle of the 9th century, but after just a few decades it was totally destroyed through fire. But the settlement was rebuilt again around 900.
The building to the left, with wattle and daub walls, is how the houses in the first phase looked. When the settlement was repopulated they built the kind of much sturdier blockhouses you can see to the right.
The place is thought to have been a gathering place, both for religious things and the exchange of goods, for the West Slavic tribe the Warnower (or Warnabi, Wrani et c. - the name comes in many forms).
The settlement (the name lost to us) was destroyed again around the year 1000 - but how is still a bit of a mystery. It has been speculated, though not proven, that this had something to do with the campaign by German king Otto III against Slavic tribes he made in 995.
After the abandonment this spot was left alone, not used to much more than animal grazing, until the archaeologists started to dig there in the 1973. The museum was opened in 1987. The main archaeologist behind this excavation, Ewald Schuldt, lived to see this, but died just a couple of weeks later.
La façade de la cathédrale - dont les travaux de reconstruction ont commencé en 1120 - est une splendide composition de différents matériaux, du tuf avec du marbre blanc et rose ainsi que de la terre cuite. Il est essentiellement de style roman, donc artistiquement assez simple, et se caractérise par une tripartition verticale obtenue grâce aux deux colonnes placées à côté de l'entrée, et par les deux fenêtres latérales (fenêtres à meneaux), de style gothique. En position centrale se dresse un portique à deux étages qui protège la grande porte d'entrée. L'étage inférieur, en marbre blanc et rose, se distingue de l'étage supérieur, en tuf, surtout par la présence de figures humaines en bas-relief, représentant saint Jean l'Évangéliste et saint Jean-Baptiste. Pour un aménagement définitif de la façade, il faut remonter à 1587, à l'époque du cardinal Valier, dont les armoiries sont visibles tout en haut du centre.
A noter que le campanile ne fut jamais achevé complètement
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The facade of the cathedral - the reconstruction of which began in 1120 - is a splendid composition of different materials, tuff with white and pink marble and terracotta. It is essentially Romanesque, and therefore artistically quite simple, and is characterised by a vertical tripartition obtained by the two columns placed next to the entrance, and by the two side windows (mullioned windows), which are Gothic in style. In the centre there is a two-storey portico that protects the large entrance door. The lower floor, made of white and pink marble, differs from the upper floor, made of tuff, above all by the presence of human figures in bas-relief, representing Saint John the Evangelist and Saint John the Baptist. The definitive design of the façade dates back to 1587, the time of Cardinal Valier, whose coat of arms can be seen at the very top of the centre.
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La facciata della cattedrale - la cui ricostruzione iniziò nel 1120 - è una splendida composizione di materiali diversi, tufo con marmo bianco e rosa e terracotta. Essenzialmente romanico, e quindi artisticamente piuttosto semplice, è caratterizzato da una tripartizione verticale ottenuta dalle due colonne poste accanto all'ingresso e dalle due finestre laterali (bifore), di stile gotico. Al centro si trova un portico a due piani che protegge la grande porta d'ingresso. Il piano inferiore, in marmo bianco e rosa, si differenzia da quello superiore, in tufo, soprattutto per la presenza di figure umane in bassorilievo, che rappresentano San Giovanni Evangelista e San Giovanni Battista. Il progetto definitivo della facciata risale al 1587, all'epoca del cardinale Valier, il cui stemma è visibile proprio in cima al centro.
I had some extra time to process my photo this morning and decided to overwork it. Happy Sliders Sunday!
Created for the Art Museion Contest "Art and Museums Challenge"
Thank you for taking the time to visit, comment, fave or invite. I really appreciate them all.
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Photos and textures used are my own.
Reconstructed Trench Meerdijk-Asperen
Second World War (1940 - 1945)
© All rights reserved - Don't use my images on websites, blogs or other media without my explicit permission
ENG: You cann see the reconstructed evangelic St. Nikolai church from 1837 in Potsdam at the Old Market Square. The listed sacral building was designed by the architects Karl Friedrich Schinkel, Ludwig Persius and Friedrich August Stüler. A special feature is the tambour dome of the 77 metre high building, which rises far above the roofs of the city and was erected between 1843 and 1850.
Towards the end of the Second World War, the sacred building was struck during the air raid on Potsdam and subsequently severely damaged by Soviet artillery fire. After many years of reconstruction, the church of the Evangelical Church of St. Nicholas in Potsdam was consecrated again in 1981 and has been open to visitors daily ever since. In addition to church services, concerts are also held in the Nikolaikirche.
GER: Sie können hier die rekonstruierte evangelische St. Nikolai-Kirche von 1837 in Potsdam auf dem Alten Marktplatz sehen. Der unter Denkmalschutz stehender Sakralbau stammt aus der Architekten Feder von Karl Friedrich Schinkel, Ludwig Persius sowie Friedrich August Stüler. Eine Besonderheit ist die weit über den Dächern der Stadt emporragende Tambourkuppel des 77 Meter hohen Gebäudes, diese wurde in der Zeit von 1843 bis 1850 errichtet.
Gegen Ende des Zweiten Weltkriegs wurde der Sakralbau beim Luftangriff auf Potsdam getroffen und anschließend durch sowjetischen Artilleriebeschuss schwer beschädigt. Nach langen Jahren des Wiederaufbaus konnte das Gotteshaus der Evangelischen St.-Nikolai-Kirchengemeinde Potsdam 1981 erneut geweiht werden und ist seitdem täglich für Besucher geöffnet. Neben den Gottesdiensten finden in der Nikolaikirche auch Konzertveranstaltungen statt.
A reconstructed Grist Mill in Franklin Grove Illinois. Located in Lee County this mill was originally built in 1847. Five exposure HDR processed with Nik HDR Efex Pro 2
Berlin: Das Alte und das Neue - The Old and the New - Humboldtforum Portal II (ehem. Stadtschloß, heute Neubau mit 3 historischen Fasaden und den rekonstruierten Schlüterhof) - Humboldtforum Portal II (former city palace, now a new building with 3 historical facades and the reconstructed Schlüterhof)
The Forester's Cottage is a reconstructed cottage showing what a traditional Forester's home would have looked like in the past. Utilising local materials in the reconstruction, the cottage has its original fireplaces including a kitchen range as well as the furnishings to demonstrate typical home life for Foresters.
In the cottage grounds you will find a delightful vegetable patch and a variety of cider making equipment.
According to the chronicle of Nan, the temple was initially called Wat Phrom Min. It was some time later that the monastery was named Wat Phumin. Based on historical evidence, the temple was constructed by Chetabut Phrom Min, a ruler of Nan, in 1776 A.D. The major restoration took place during the reign of Ananta Worarittidet in 1867 A.D. The wihan has a unique floor plan. Being cruciform like most prasat, the wihan stands on a raised terrace that is reached by staircases on each of its four axis. They lead up to four doors. Only the north-south axis has two long undulating nagas
Inside, in the center flanking of the images seated on a raised their right hands witness the victory pointing over Above the heads of the Mara, four platform. to like lotus petals, each of which Buddha or the touches floor the the ground Conquering approaches They are images the 4 sit large calling
The murals painted on the walls episodes from the Life of the Buddha and of also the ceiling called, Khattha Kuman. Some scenes of the people in the north, while others reflect Buddhist beliefs. For example, the punished in hell after they die due story to their past lives. their of tell local serious the from is back wihan stories a along of people gilded culture stucco Mara of a to the Lao misdeeds the back depict the based Earth Buddha posture who formed folk and wihan. axis. with the tale life to on a in
The murals had been executed by local over a century ago and Muang Boran had them painters discovering the elegance of the building, the government reproduced. a World War II had the picture of the structure printed on a one-baht during little On banknote which was in circulation for some time
Muang Boran reconstructed the monastery by making the original wihan smaller by two-thirds.
A reconstructed timber frame pub and restaurant in what used to be a warehouse on the shores of St. Katharine's Docks.
L’Arco da Rua Augusta est un arc de triomphe qui se situe en bordure Nord de la Place du Commerce de Lisbonne qui jouxte le Tage. C’est l’un des monuments les plus emblématiques de la capitale Portugaise.
Sa construction a débuté en 1759, alors que tout le quartier de la Baixa avait été détruit par un terrible tremblement de Terre en 1755. Sa première version est l’œuvre de l’architecte et ingénieur Eugénio dos Santos, qui a œuvré aux côtés du Marquis de Pombal pour mener à bien la reconstruction de la ville dévastée.
Jusqu’en 1843, l’Arco da Rua Augusta ne possédait qu’un seul étage. C'est sous l'impulsion de l’architecte Veríssimo José da Costa que le monument connait sa forme définitive, inaugurée en 1875.
Au sommet de l’Arco da rua Augusta se trouvent quelques statues de Célestin Anatole Calmels, un sculpteur français qui a passé une grande partie de sa vie au Portugal. En dessous, les statues sont l’œuvre du sculpteur Portugais Vitor Bastos, et elles représentent quelques grands personnages de l’histoire du pays : Nuno Álvares Pereira, Viriato, Vasco da Gama et le Marquis de Pombal.
Les deux fleuves principaux du Portugal sont également représentés (le Tage et le Douro) et c’est là aussi une réalisation que l’on doit à Vitor Batos.
Vous pourrez également lire, en lettre capital et en Latin, l’inscription : VIRTVTIBVS MAIORVM VT SIT OMNIBVS DOCVMENTO.PPD. Traduit du latin cela signifie : "Les vertus des aînés, pour servir d’enseignement à tous", en hommage à la grandeur du peuple Portugais et à ses nombreuses découvertes.
Detail of the external pentice stair (reconstructed) of the historic (1590s) Riddles Court in the Old Town of central Edinburgh, Scotland, UK
About Riddle's Court
Located at the top of the Royal Mile, and only a short walk from Edinburgh Castle, the history of Riddle’s Court extends back into the Medieval Era. However, the building as we understand it today was amalgamated and rebuilt by Baillie John McMorran in the 1590s. Its purpose was to be a high-status, multiple-occupancy dwelling, providing its residents with privacy as well as the convenience of a central location.
Its grandeur when first built is evidenced by the fact that it was the town residence of the Lord Provost of Edinburgh, and later Lord Chancellor of Scotland, Alexander Seton and in 1598 played host to a grand banquet attended by King James VI and his wife Anne of Denmark. It became known as Riddle’s Court after 1726, when George Riddell purchased and reconstructed the part of the site facing the Lawnmarket.
Like many other properties in the Old Town, the status of Riddle’s Court declined during the late 18th century when its wealthy residents moved to the newly-built and more spacious New Town. In the 1830s, the southern-most parts of the building were demolished and its façade reconstructed to bring it in-line with the new Victoria Terrace, commissioned as part of the 1827 Edinburgh Improvement Act.
Further parts of the building were demolished in the 1890s by Patrick Geddes. Geddes was a true polymath – a biologist and sociologist as well as a philanthropist, educator and town planner. His work at Riddle’s Court was motivated by his principle of ‘conservative surgery’, which aimed to preserve the most historically significant parts of Old Town buildings by demolishing the more dilapidated parts, making what remained more hygienic and suitable for modern living. Patrick Geddes converted the main part of Riddle’s Court into one of Edinburgh’s first student halls of residence. His motto ‘Vivendo Discimus’, ‘By Living We Learn’, remains carved over the entrance to the inner courtyard, a sign of how his educational philosophy continues to influence the use of the building and SHBT’s wider approach to learning.
Geddes’s attempts to rejuvenate Riddle’s Court were short-lived, and during the early 20th century the building reverted to its use as small, private dwellings. In 1946, the site was purchased by City of Edinburgh Council who oversaw its renovation in the 1960s and discovered the medieval painted ceiling in the north block. From 1951, Riddle’s Court became a regular venue of the Edinburgh Fringe Festival and in 1973, the headquarters of the Workers Educational Association.
In 2005, as the building once again fell into disrepair, the WEA sought to raise awareness of its plight and historical importance. Their call was answered by SHBT, who in 2008 completed a Feasibility Study for the building and were subsequently granted a 99-year lease by City of Edinburgh Council in order to restore the building and oversee its subsequent use.
La idea de construir un temple expiatori (és a dir, a partir de donatius) dedicat a la Sagrada Família va partir del llibreter Josep Maria Bocabella, inspirat pel sacerdot Josep Manyanet —canonitzat el 2004—, fundador de la Congregació de Fills de la Sagrada Família i de la Congregació de Missioneres Filles de la Sagrada Família de Natzaret, encarregades de promoure el culte a la Sagrada Família i de fomentar l'educació cristiana de nens i joves.[6] El 1866, Bocabella va fundar l'Associació de Devots de Sant Josep, entitat dedicada entre altres qüestions a recaptar fons per a la construcció d'un temple. Per a la difusió de la seva tasca, va editar a partir del 1867 una revista, titulada inicialment El Propagador de la devoción a San José, inspirada en la revista francesa Le propagateur de la dévotion à Saint Joseph, publicada a Dijon pel pare Joseph Huguet.[7][b]
El 31 de desembre de 1881, Josep Bocabella va comprar per 172.000 pessetes uns terrenys situats a la zona del Poblet, aleshores una barriada de Sant Martí de Provençals.[8][9][c][10] Delimitats pels carrers de Mallorca, Provença, Marina i Sardenya, corresponien a una de les illes del Pla Cerdà, la qual, però, era més gran que les altres perquè, en principi, estava previst construir-hi un hipòdrom.[8]
El projecte fou encomanat a l'arquitecte Francesc de Paula Villar i Lozano, que va traçar un projecte neogòtic amb una església de tres naus amb creuer i un absis amb deambulatori, rebutjant la idea de Bocabella de fer una rèplica del santuari de Loreto, que se suposa va ser la casa de Josep i Maria a Natzaret.[11] El dia de Sant Josep de 1882, el bisbe Urquinaona posava la primera pedra,[12][13][14] coincidint amb la proclamació al Concili Vaticà I de sant Josep com a patró de l'Església Universal. Els desacords de Villar amb Bocabella van fer que aquest demanés assessorament a l'arquitecte Joan Martorell i Montells i van provocar la dimissió del primer. Aleshores, es va oferir el càrrec a Martorell, però aquest el va rebutjar i va recomanar Gaudí, que havia treballat per a ell com a ajudant, i el 1883, assumí la direcció de les obres.[15]
El desembre de 1884, Gaudí signà el projecte de la capella de Sant Josep a l'absis de la cripta, que fou inaugurat el 19 de març de 1885, en el qual intervingueren els escultors Llorenç Matamala i Piñol i Carles Mani.[16] Se sap que en aquest any hi treballaven un equip de vuit paletes, deu picapedrers, dotze escultors i un nombre indeterminat de fusters i serrallers.[17] El 1891 van començar les obres de la façana del Naixement,[cal citació] i des del 1895, la gestió del projecte va a càrrec de la Junta Constructora del Temple Expiatori de la Sagrada Família, una fundació canònica per a promoure la construcció del temple mitjançant donatius i iniciatives privades.[cal citació]
A partir de l'encàrrec de la casa Milà de l'any 1906, Gaudí pràcticament es concentraria només en l'obra de la Sagrada Família que, de fet, ocuparia tota la seva carrera, ja que feia un quart de segle que en dissenyava i dirigia la construcció i moriria fent-ho; així i tot, el temple només quedava embastat.[18] Va poder veure'n construïda una part del costat de l'Epístola amb la façana del Naixement, de la qual només la torre de sant Bernabé estava acabada totalment i una part del mur exterior de l'absis.[cal citació]
El 12 de juny de 1926, Antoni Gaudí va ser sepultat a la capella de la Mare de Déu del Carme de la cripta.[cal citació] A la seva època, hi van col·laborar molts dels seus deixebles i ajudants, com Francesc Berenguer, Josep Maria Jujol, Josep Francesc Ràfols, Cèsar Martinell, Joan Bergós, Francesc Folguera, Josep Canaleta i Joan Rubió, i a la seva mort, es va fer càrrec de les obres un altre dels seus deixebles, Domènec Sugrañes, que va finalitzar la construcció de les tres torres de la façana del Naixement que quedaven pendents.[cal citació]
El 20 de juliol de 1936, tot just iniciada la Guerra Civil espanyola, grups d'exaltats anarquistes van incendiar el temple i van destruir bona part del taller en el qual Gaudí havia treballat i on hi havia els seus esbossos, maquetes i models. Tot i que es va perdre molt material van quedar restes de les maquetes, que es van restaurar, i la documentació que s'havia publicat en El Propagador, en l'Àlbum i que havia estat recollida pels seus deixebles, com Isidre Puig i Boada.[cal citació]
L'any 1944 es van reprendre les obres per un equip dirigit per Francesc de Paula Quintana i Vidal, Isidre Puig i Boada, Lluís Bonet i Garí, els quals, a la mort del primer l'any 1966, continuaren fins a l'any 1981, en què prengué el relleu Francesc Cardoner i Blanch.[19] El 1985 va ser nomenat director Jordi Bonet i Armengol,[20][21] amb un equip on figuraven Carles Buxadé, Joan Margarit i Jordi Faulí i Oller.[20] El 2012, Jordi Bonet va ser substituït per Jordi Faulí i Oller.[22]
El 18 de març de 2007 se'n va commemorar el 125è aniversari de la col·locació de la primera pedra amb una festa, concerts i ballant una sardana (La Santa Espina) encerclant tot el temple.[23]
Segons les darreres previsions, la torre de Jesús s'acabaria a finals del 2025, i el 2026 es faria la inauguració oficial, coincidint amb el centenari de la mort de Gaudí.[24]
The Basílica i Temple Expiatori de la Sagrada Família,[a] otherwise known as Sagrada Família, is a church under construction in the Eixample district of Barcelona, Catalonia, Spain. It is the largest unfinished Catholic church in the world. Designed by the Catalan architect Antoni Gaudí (1852–1926), in 2005 his work on Sagrada Família was added to an existing (1984) UNESCO World Heritage Site, "Works of Antoni Gaudí".[5] On 7 November 2010, Pope Benedict XVI consecrated the church and proclaimed it a minor basilica.[6][7][8]
On 19 March 1882, construction of Sagrada Família began under architect Francisco de Paula del Villar. In 1883, when Villar resigned,[5] Gaudí took over as chief architect, transforming the project with his architectural and engineering style, combining Gothic and curvilinear Art Nouveau forms. Gaudí devoted the remainder of his life to the project, and he is buried in the church's crypt. At the time of his death in 1926, less than a quarter of the project was complete.[9]
Relying solely on private donations, Sagrada Família's construction progressed slowly and was interrupted by the Spanish Civil War. In July 1936, anarchists from the FAI set fire to the crypt and broke their way into the workshop, partially destroying Gaudí's original plans.[10] In 1939, Francesc de Paula Quintana took over site management, which was able to go on with the material that was saved from Gaudí's workshop and that was reconstructed from published plans and photographs.[11] Construction resumed to intermittent progress in the 1950s. Advancements in technologies such as computer-aided design and computerised numerical control (CNC) have since enabled faster progress and construction passed the midpoint in 2010. In 2014, it was anticipated that the building would be completed by 2026, the centenary of Gaudí's death,[12] but this schedule was threatened by work slowdowns caused by the 2020–2021 depths of the COVID-19 pandemic.[13] In March 2024, an updated forecast reconfirmed a likely completion of the building in 2026, though the announcement stated that work on sculptures, decorative details and a controversial proposed stairway leading to what will eventually be the main entrance is expected to continue until 2034.[14]
Describing Sagrada Família, art critic Rainer Zerbst said "it is probably impossible to find a church building anything like it in the entire history of art",[15] and Paul Goldberger describes it as "the most extraordinary personal interpretation of Gothic architecture since the Middle Ages".[16]
Though sometimes[when?] described[by whom?] as a cathedral, the basilica is not the cathedral church of the Archdiocese of Barcelona; that title belongs to the Cathedral of the Holy Cross and Saint Eulalia (Barcelona Cathedral).
History
Origins
Sagrada Família was inspired by a bookseller, José María Bocabella [es], founder of Asociación Espiritual de Devotos de San José (Spiritual Association of Devotees of St. Joseph). After a visit to the Vatican in 1872, Bocabella returned from Italy with the intention of building a church inspired by the basilica at Loreto. The apse crypt of the church, funded by donations, was begun 19 March 1882, on the festival of St. Joseph, to the design of the architect Francisco de Paula del Villar, whose plan was for a Gothic revival church of a standard form. The apse crypt was completed before Villar's resignation on 18 March 1883, when Antoni Gaudí assumed responsibility for its design, which he changed radically.[17] Gaudi began work on the church in 1883 but was not appointed Architect Director until 1884.[citation needed]On the subject of the extremely long construction period, Gaudí is said to have remarked: "My client is not in a hurry."[18] When Gaudí died in 1926, the basilica was between 15 and 25 percent complete.[9][19] After Gaudí's death, work continued under the direction of his main disciple Domènec Sugrañes i Gras until interrupted by the Spanish Civil War in 1936. Parts of the unfinished basilica and Gaudí's models and workshop were destroyed during the war. The present design is based on reconstructed versions of the plans that were burned in a fire as well as on modern adaptations.[14] Since 1940, the architects Francesc Quintana, Isidre Puig Boada, Lluís Bonet i Garí and Francesc Cardoner have carried on the work. The illumination was designed by Carles Buïgas. The director until 2012 was the son of Lluís Bonet, Jordi Bonet i Armengol. Armengol began introducing computers into the design and construction process in the 1980s.[citatiThe central nave vaulting was completed in 2000 and the main tasks since then have been the construction of the transept vaults and apse. In 2002, the Sagrada Família Schools building was relocated from the eastern corner of the site to the southern corner, and began housing an exhibition. The school was originally designed by Gaudí in 1909 for the children of the construction workers.[20]
As of 2006, work concentrated on the crossing and supporting structure for the main steeple of Jesus Christ as well as the southern enclosure of the central nave, which will become the Glory façade. Computer-aided design technology has allowed stone to be shaped off-site by a CNC milling machine, whereas in the 20th century the stone was carved by hand.[21] In 2008, some renowned Catalan architects advocated halting construction[22] to respect Gaudí's original designs, which, although they were not exhaustive and were partially destroyed, have been partially reconstructed in recent years.[23]
Since 2013, AVE high-speed trains have passed near Sagrada Família through a tunnel that runs beneath the centre of Barcelona. The tunnel's construction, which began on 26 March 2010, was controversial. The Ministry of Public Works of Spain (Ministerio de Fomento) claimed the project posed no risk to the church.[24][25] Sagrada Família engineers and architects disagreed, saying there was no guarantee that the tunnel would not affect the stability of the building. The Board of the Sagrada Família (Patronat de la Sagrada Família) and the neighborhood association AVE pel Litoral (AVE by the Coast) led a campaign against this route for the AVE, without success.[citation needed] In October 2010, the tunnel boring machine reached the church underground under the location of the building's principal façade.[24] Service through the tunnel was inaugurated on 8 January 2013.[26] Track in the tunnel makes use of a system by Edilon Sedra in which the rails are embedded in an elastic material to dampen vibrations.[27]
The main nave was covered and an organ installed in mid-2010, allowing the still-unfinished building to be used for liturgies.[28] The church was consecrated by Pope Benedict XVI on 7 November 2010 in front of a congregation of 6,500 people.[29] A further 50,000 people followed the consecration Mass from outside the basilica, where more than 100 bishops and 300 priests were on hand to distribute Holy Communion.[30]In 2012, Barcelona-born Jordi Faulí i Oller took over as architect of the project.[31][32] Mark Burry of New Zealand serves as Executive Architect and Researcher.[33] Sculptures by J. Busquets, Etsuro Sotoo and Josep Maria Subirachs decorate the fantastical façades.
Chief architect Jordi Faulí announced in October 2015 that construction was 70 percent complete and had entered its final phase of raising six immense steeples. The steeples and most of the church's structure were planned to be completed by 2026, the centennial of Gaudí's death;[14] as of a 2017 estimate, decorative elements should be complete by 2030 or 2032.[34][failed verification] Visitor entrance fees of €15 to €20 finance the annual construction budget of €25 million.[35] Completion of the structure will use post-tensioned stone.[36]
Starting on 9 July 2017, an international mass is celebrated at the basilica every Sunday and holy day of obligation, at 9 a.m., and is open to the public (until the church is full). Occasionally, Mass is celebrated at other times, where attendance requires an invitation. When masses are scheduled, instructions to obtain an invitation are posted on the basilica's website. In addition, visitors may pray in the chapel of the Blessed Sacrament and Penitence.[37]
The stone initially used in its construction came from the Montserrat mountain, but it became clear that as quarrying there went deeper, the stone was increasingly fragile and an alternative source had to be found. Since 2018 stone of the type needed to complete the construction has been sourced from the Withnell Quarry in Brinscall, near Chorley, England.[3
I haven't posted a bait sign in a while. Merry Christmas!
Reconstructed at
Poplar Grove Airport
Poplar Grove
Boone County, Illinois 42.325709, -88.839932
July 23, 2021
COPYRIGHT 2021 by JimFrazier All Rights Reserved. This may NOT be used for ANY reason without written consent from Jim Frazier.
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The coldest winter I ever spent was a summer in San Francisco.
-Mark Twain
US humorist, novelist, short story author, & wit (1835 - 1910)
Actually the day was not so cold at least to me but the fog was so thick all day long in the city.
This is Ocean Beach and in the background is the famous Cliff House. The first Cliff house built in this spot was constructed in 1863 and became known as a famous restaurant and beautiful place to enjoy views. Since then it was reconstructed and destroyed several times but the views are still amazing.
More information
Eketorp is an Iron Age fort, located in southeastern Öland, Sweden, and extensively reconstructed and enlarged in the Middle Ages. Throughout the ages the fortification has served a variety of somewhat differing uses: from defensive ringfort, to medieval safe haven and thence a cavalry garrison. In the 20th century it was further reconstructed to become a heavily visited tourist site and a location for re-enactment of medieval battles. Eketorp is the only one of the 19 known prehistoric fortifications on Öland that has been completely excavated, yielding a total of over 24,000 individual artifacts. The entirety of southern Öland has been designated as a World Heritage Site by UNESCO. The Eketorp fortification is often referred to as Eketorp Castle.(Wikipedia)
Some of the many reconstructed headstones at the old Bellevue City Cemetery in Bellevue,IA. The old city cemetery hasn't seen a burial in many years. It has been a city project for years and is a fascinating tribute to the areas rich history. The cemetery had been basically abandoned in the 1970's and officially closed in 1995. A large group of volunteers began carefully reconstructing the pieces of the abandoned cemetery in 2009...
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Thank you very much to administrators of the groups.
Stoa Attalosa to zrekonstruowany współcześnie starożytny portyk, znajdujący się na ateńskiej Agorze. Pierwotny budynek został wzniesiony za panowania króla Pergamonu Attalosa II (159–138 p.n.e.) i uważa się, że stanowił on dar władcy dla Aten w podziękowaniu za wykształcenie, jakie odebrał w mieście.
W roku 267 budowla zniszczona została przez Herulów (no czyli po prostu przez Niemców, jak zawsze ;)). Zachowaną ścianę włączono pod koniec starożytności w obręb fortyfikacji miejskich i dotrwała ona, wciąż widoczna, do naszych czasów.
W latach 50-tych XX w., staraniem m.in. Amerykańskiej Szkoły Studiów Klasycznych w Atenach, stoa została zrekonstruowana. Imponujący, dwukondygnacyjny budynek ma 115 metrów długości, jest szeroki na 20 i wysoki na 15 metrów.
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The Stoa of Attalos in the Agora of Athens is identified as a gift to the city of Athens for the education that Attalos II, king of Pergamon from 159 BC to 138 BC, received there.
The stoa was in frequent use until in 267 AD it was destroyed by the Heruli (or simply, by the Germans ;)). The ruins became part of a fortification wall, which made it easily seen in modern times.
In the 1950s, the Stoa of Attalos was fully reconstructed and the Ancient Agora Museum was created by the American School of Classical Studies at Athens. The stoa's dimensions are 115 by 20 metres (377 by 66 ft).
La Heiliggeistkirche (ou église du Saint-Esprit) se situe au Hauptstraße 189, à Heidelberg, Land de Bade-Wurtemberg, en Allemagne.
Une vue à partir de la Marktplatz qui se trouve entre l'Heiliggeistkirche (15e siècle) et la Rathaus (1703) qui abrite la mairie. Comme on le voit, le samedi matin est effectivement jour de marché.
La place est ornée de la fontaine Herkulesbrunnen (fontaine d’Hercule) qui se dresse au centre de la place du marché. Le site servait jadis de lieu d'exécution et même de mise au bûcher.
De nombreux poètes ont chanté des louanges de la ville Heidelberg et d’innombrables peintres (dont J. M. W. Turner) ont immortalisé sur leurs tableaux la célèbre vue du Chemin des Philosophes (Philosophenweg) sur le Neckar, la vieille ville et le château séduits par la beauté naturelle du site et les ruines de son château dont les remparts de grès rouge se découpent sur le vert de la forêt. Tous ces artistes ont fait de la ville un haut lieu du Romantisme allemand.
L'électeur Ruprech 1er y fonda en 1386 la première université d'Allemagne qui deviendra, au 16e siècle, aussi un haut-lieu de la Réforme protestante. La ville resta pendant des siècles la capitale politique de L'état du Palatinat mais elle ne put résister aux troupes françaises qui la dévastèrent entièrement pendant la guerre d'Orléans (1688-1697). Sa reconstruction au 18e siècle lui donna un visage baroque. Aujourd'hui, cette perle du Neckar, loin d’être une ville-musée, est aujourd’hui une cité universitaire animée, qui vibre d’une intense vie culturelle.
The Cagsawa Ruins (also spelled as Kagsawa or Cagsaua) are the remnants of an 16th-century Franciscan church, the Cagsawa church. It was built in 1587 but was burned down by the marauding Dutch in 1636. However, it was reconstructed again in 1724 by Fr. Francisco Blanco. In February 1, 1814, Mayon Volcano caused its most violent and deadly eruption that engulfed the surrounding houses and killed nearly 2,000 people who took refuge inside the church. Only the belfry of the Cagsawa church remains as a grim and silent testimony of that fateful day. For almost two hundred years, it has withstood the test of time and the elements to become one of the most recognizable landmarks of Albay Province. The ruins are located in Barangay Busay, Cagsawa, in the municipality of Daraga, Albay, Philippines.
Palmyra is a set of spectacular ruins in Syria (which none of us have visited recently), but which I was fortunate to have seen in 2001. ISIS dynamited several of the monuments here, murdered the chief historian, etc. and tried to remove any evidence of any pre-Islam religion. The Brits set up a model of this arch in London (Trafalgar Sq), which was on the news yesterday.
Preservationists/archaeologists who have visited the site (since its recent re-capture by the Syrian govt) are cautiously optimistic that some of these monuments (including this arch) can be reconstructed...
Park in Radziejowice in the sunny Autumn day :)
Radziejowice is a village in Poland, in Żyrardów County, on the Pisia Gągolina river. The main monument In Radziejowice is the palace and park complex, which now forms a classicistic palace, a neo-Gothic "small castle", larch manor house reconstructed in the 1980s, a Swiss house, a former smithy and a park with a pond. Next to the pond is located a stone mill, which is a replica of a wooden building made in the 70s. In the village are also two linden alleys protected as a natural monument.
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Park w Radziejowicach w pogodny jesienny dzień :)
Radziejowice – wieś w Polsce położona w województwie mazowieckim, nad rzeką Pisią Gągoliną. Głównym zachowanym zabytkiem jest zespół pałacowo-parkowy w Radziejowicach, który tworzą obecnie klasycystyczny pałac, neogotycki zameczek, zrekonstruowany w latach 80. XX wieku, dworek modrzewiowy, domek szwajcarski, dawna kuźnia i park ze stawem. Obok stawu, na tzw. wyspie, zlokalizowany jest murowany młyn, będący repliką budynku drewnianego, wykonaną w latach 70. XX wieku. Przez wieś przebiegają także zabytkowe aleje lipowe chronione jako pomnik przyrody. Według podań lipy sadzone były przed Potopem szwedzkim.
Fraknó
Burg Forchtenstein
In 1622, Nicholas Esterházy received the castle and overlordship of Forchtenstein from Emperor Ferdinand II as compensation for ceding the Munkacs domain in north-eastern Hungary to the Prince of Transylvania Gabor Bethlen. After only four years, it became entailed with inheritance rights, along with the title of hereditary count. Palatine Nicholas Count Esterházy then began reconstructing the dilapidated castle into a mighty fortress. A strongly fortified bastion course was built, then, starting in 1632, the castle chapel, and from 1642 on the treasure chamber, also new residential wings.
(esterhazy.at)
Newgrange (Irish: Sí an Bhrú or Brú na Bóinne) is a prehistoric monument in County Meath, Ireland, located 8 kilometres (5.0 mi) west of Drogheda on the north side of the River Boyne. It is an exceptionally grand passage tomb built during the Neolithic period, around 3200 BC, making it older than Stonehenge and the Egyptian pyramids.
The site consists of a large circular mound with an inner stone passageway and chambers. Human bones and possible grave goods or votive offerings were found in these chambers. The mound has a retaining wall at the front, made mostly of white quartz cobblestones, and it is ringed by engraved kerbstones. Many of the larger stones of Newgrange are covered in megalithic art. The mound is also ringed by a stone circle. Some of the material that makes up the monument came from as far away as the Mournes and Wicklow Mountains. There is no agreement about what the site was used for, but it is believed that it had religious significance. Its entrance is aligned with the rising sun on the winter solstice, when sunlight shines through a 'roofbox' and floods the inner chamber. Several other passage tombs in Ireland are aligned with solstices and equinoxes, and Cairn G at Carrowkeel has a similar 'roofbox'. Newgrange also shares many similarities with other Neolithic constructions in Western Europe, especially Gavrinis in Brittany, which has both a similar preserved facing and large carved stones, in that case lining the passage within. Maeshowe in Orkney, Scotland, with a large high corbelled chamber, and Bryn Celli Ddu in Wales have also been compared to Newgrange.
It is the most famous monument within the Neolithic Brú na Bóinne complex, alongside the similar passage tomb mounds of Knowth and Dowth, and as such is a part of the Brú na Bóinne UNESCO World Heritage Site. Newgrange consists of approximately 200,000 tonnes of rock and other materials. It is 85 metres (279 ft) wide at its widest point.
After its initial use, Newgrange was sealed for several millennia. It continued to feature in Irish mythology and folklore, in which it is said to be a dwelling of the deities, particularly The Dagda and his son Aengus. Antiquarians first began its study in the seventeenth century, and archaeological excavations took place at the site in the years that followed. Archaeologist Michael J. O'Kelly led the most extensive of these and also reconstructed the frontage of the site in the 1970s, a reconstruction that is controversial and disputed.
Newgrange is a popular tourist site and, according to the archaeologist Colin Renfrew, is "unhesitatingly regarded by the prehistorian as the great national monument of Ireland" and as one of the most important megalithic structures in Europe.
This reconstructed Manteño house in the Parque Arqueológico Cerro Jaboncillo near Portoviejo, Ecuador, is made of straw and palm leaves on a foundation of river rocks.
Tel Beit Shean was a major Biblical city, located in the center of crossroads between the Jordan valley and the Yizreel valley. It later was expanded into a large Hellenistic, Roman and Byzantine city of Scythopolis. The large city was leveled by a massive earthquake in the 8th C AD, and was in ruins until recent archaeological excavations which are unearthing and reconstructing this amazing city.