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The light casts a shadow which at times make some of William Blake’s Proverbs of Hell readable:
The soul of sweet delight…
The best wine is the oldest, the best water the newest.
The head Sublime…
Truth can never be told so as to be … believ’d.
Enough! or Too much!
Il Castello Svevo di Trani fu edificato nel 1233, sotto il regno di Federico II di Svevia; è uno dei più importanti e meglio leggibili tra i castelli federiciani, nonostante alcune trasformazioni che ne hanno parzialmente modificato la struttura originaria
The Swabian Castle of Trani was built in 1233, under the reign of Frederick II of Swabia; it is one of the most important and best readable among the Frederick castles, despite some transformations that have partially modified its original structure
© Wikipedia
Christianity’s influence permeates western civilization, reaching into every nook and cranny of our history and culture. The Bible, Christianity’s scripture, is likely the best-selling book of all time. Even as American society has become more secular and many Americans turn away from organized religion, the Bible itself is available in an ever-expanding variety of languages, translations, and editions with all manner of supplements for its readers.
This exhibit explores not the history of the Bible itself but the history of the printing of the Bible. It begins with Gutenberg and other early printers in continental Europe, then moves across the English Channel to examine the publication of Bibles in England, Wales, and Scotland. The exhibit then turns its attention to Bibles and related scriptures, some in English, some not, in the American colonies and later the United States.
All of the Bibles in this exhibit are the property of Swem Library, except the Aitken Bible of 1782, which is the property of Bruton Parish Church but is normally stored at Swem. We thank Bruton Parish for permission to display it.
THE BIBLE IN ENGLISH AND WELSH
Wyclif’s Bible
John Wycliffe (?-1384) was a theologian and minister in England who challenged the authority of the Catholic Church in secular affairs, questioned the wealth of many monastic orders, and objected to other points of Catholic doctrine. He argued that the Bible, not the pope, should be the supreme authority. Under his leadership in the 1380s, a group of scholars translated the Latin Vulgate Bible into vernacular English. He apparently translated the New Testament, while others translated the Old Testament and Apocrypha. This translation was not printed but copied by hand, and approximately 250 partial manuscripts of Wyclif’s Bible survive today. The book presented here, the Biblia Pauperum, contains 38 woodcuts of Jesus’s life, accompanied by the related text from Wyclif’s Bible.
Tyndale’s Bible
William Tyndale (ca. 1494-1536) was an English minister and scholar who moved in humanist circles. English Catholic authorities, suspicious that he could pose a challenge to the Church’s authority, denied his 1523 request for permission to translate the Bible from Greek and Hebrew texts rather than the Latin Vulgate, as Wycliffe had done. Tyndale moved to the Continent in 1524 and proceeded to translate the New Testament anyway, relying in part on the Greek and Latin texts of Erasmus. In 1526, printers in Worms and Antwerp published Tyndale’s New Testament, which was smuggled into England. English authorities burned most copies, and Cardinal Wolsey condemned him as a heretic. They believed Tyndale was too influenced by Lutheranism, as seen by his choice of words (e.g., “congregation” not “church” and “senior” or “elder” rather than “priest”) and by the prefaces to his publications. Tyndale went into hiding and began translating the Old Testament. He published several parts of the Old Testament in English, and the books were again smuggled into England. Before he could finish the entire Old Testament, local authorities in Antwerp arrested him, trying to cooperate with the English government. Tyndale was strangled and burned at the stake in 1536.
The edition of Tyndale’s New Testament on display here dates from 1550. Its relatively small size made it useful for personal study. Tyndale’s translation had a tremendous effect on the later and better-known King James Version (KJV). A 1998 study found that of the KJV text, 84% of the New Testament and 75.8% of the Old Testament (for the books that Tyndale had translated), were taken directly from Tyndale’s version.
The Great Bible
Ironically, within a few years of his death, William Tyndale’s influence in England was strong. In 1537, King Henry VIII through his secretary Sir Thomas Cromwell authorized the publication of an English Bible for use in the newly-established Church of England. Tyndale’s occasional collaborator, Myles Coverdale (ca 1488-1569), became the editor. Coverdale had produced a complete printed English Bible in 1535, using Tyndale’s translations and adding some of his own. Coverdale did not have Tyndale’s mastery of Greek and Hebrew, so he translated from the Vulgate Latin and German versions of the Bible. Coverdale and another man named John Rogers again used Tyndale’s translations in an edition of the Bible known as Matthew Bible, published in 1537. For the version Cromwell appointed him to prepare, Coverdale turned to the Matthew Bible, making many additions from the Latin Vulgate to mollify conservatives. Published in 1539 in Paris and then London, this version became known as the “Great Bible” because of its large size. It was meant to be used in churches. Queen Elizabeth I authorized the publication of additional editions of the “Great Bible” in 1562 and 1566. The edition on display here dates from 1566. The “Great Bible” was superseded by the Bishops’ Bible, first published in 1568.
Welsh Bible
Queen Elizabeth I in 1563 ordered the bishops in Wales to produce Welsh editions of the Bible and the Book of Common Prayer and distribute them to all parish churches by 1566. There was no complete translation of the Bible into Welsh extant, even in manuscript form. The bishop of St. David’s, Richard Davies (ca 1505-1581), supervised the work and translated some of the New Testament himself. Much of the translation, however, was the work of William Salesbury (ca 1520-ca 1584), the pre-eminent Welsh scholar of the day and a Protestant who had suffered greatly during the 1550s reign of Catholic Queen Mary. Printed in London in 1567, the volume on display here is the first edition of the Welsh New Testament; the whole Bible would not be available in Welsh until 1588.
The Geneva Bible: The Bible of the English People on the Eve of Colonization
From 1553 to 1558, a Catholic, Queen Mary I, reigned in England. Many Protestant scholars and ministers fled to Europe for refuge, with a number, led by John Knox, settling in Geneva, one of the great strongholds of Protestantism, especially Calvinism. Influenced by the work of Théodore de Bèze (see Case 2) and Robert Estienne (see Case 1), these refugees produced an English Bible of extraordinary influence. William Whittingham (ca 1524-1579), an English scholar who was John Calvin’s brother-in-law, supervised the project. The Geneva Bible, first printed in 1560, made the latest scholarship and scholarly tools available to the laity: variant translations, headnotes, division into chapters and verses, annotations, text figures and maps, and so on. The first and many subsequent editions were printed in quarto size rather than folio and in readable Roman type rather than blackletter. The Geneva Bible became, in the words of one modern scholar, “the family Bible” of English-speaking people. It also is known as the “Breeches” Bible, because it described Adam and Eve making breeches for themselves when they realized they were naked.
There were at least 140 editions of the Geneva Bible printed between 1560 and 1644, and it was the first Bible printed in Scotland (in 1579). Archbishop William Laud banned the printing or importation of the Geneva Bible in 1637, and it fell into complete disfavor with the Restoration of 1660, due to its ties with Puritans.
Swem’s Geneva Bibles: Pocahontas’s Own?
Swem has three copies of the Geneva Bible. The two on display on the top shelf date from 1589 and 1605/1611. The copy on the lower shelf dates from 1580. It belonged to the family of John Rolfe, Pocahontas’s husband, and has a Rolfe family coat-of-arms. Pocahontas became a Christian before her marriage to Rolfe in 1614 and may have handled this Bible.
The King James Version
At the Hampton Court Conference of 1604, James I brought together representatives of the Puritan faction of the Church of England with more traditional Anglicans, as represented by various members of the Church’s hierarchy to resolve some of their differences. The Conference called for a new English translation of the Bible to replace the Bishops’ Bible and answer some of the Puritans’ objections to it. Forty-seven scholars worked in six groups—two each at Oxford, Cambridge, and Westminster--on the translations beginning in 1604. While they translated from the Greek and Hebrew texts, they closely consulted previous English editions and much of the language was that used by William Tyndale in his version many decades earlier. By 1611, the new edition was ready to go to press.
The official printer was the King’s Printer, Robert Barker of London, although he farmed out some of the printing to others, creating a financial mess that took decades to resolve. Since the book was meant to be read in the churches rather than for private devotions, Barker printed it in folio size rather than a smaller size, and he used a blackletter font rather than the more legible roman font. Smaller editions in roman font appeared in the next few years, but the Geneva Bible remained more popular for home use for at least several decades.
On display here are a leaf from the first edition in 1611 and a bound volume that has a 1611 New Testament and a 1613 Old Testament. Most of the surviving 1611 editions, such as Swem’s, vary slightly from each other due to the different printers Barker used.
Note: This version of the Bible today is typically called either the King James Version or Authorized Version, but those names were not used in print until the 1800s. Because it had virtually no notes, unlike the scholarly Geneva Bible, it popularly was called the “Bible without notes.”
From the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary. See swem.wm.edu/scrc/ for further information and assistance.
There was an old dump site we found and explored. This is the trunk of a car where the stain of the emblem shines but is hardly readable.
Ringve Music Museum
A more readable version of the text about the bagpipes
And I do like bagpipes ;-)
clearly the official wine of our domestic goddess group... but at only $6 a bottle it might be better to look at than to drink... v&i did purchase a bottle... i'll have a review later ;-p
Saturday Night Special for this week is this pair of BA&P geeps at Butte in August 1965. Not sure where this one came from and the photographers name is not readable. 101 and 102 present a fine western image in any case. Chuck Schwesinger Collection.
-| Redo of Bit by bit. |-
Even though I was generally pleased with the original, I realized the mirror shot may not have been the best presentation. Since I already had the T-shirt background set up, I decided to give it a try. I also changed the bits' angle to make the type markings more readable.
Happy Holidays, Merry Christmas, and a Happy New Year all!
I have been meaning to get back to my routine which is proving to be quite a challenge in itself...On top of that I am beginning to really hate the photopage. My write up is cramped and has a black bg which to be honest is not readable at all for me as well. Ever since I got on here, I had used Flickr to not only have my images, but also let people know where and how I had taken it and give some useful info should they want to venture to these places.
Now with this new layout, I cant read comments, I cant read my write up, I do not know where most options are and most of all it looks so bad that I don't feel like uploading anymore...I loved Flickr and the social networking, the experiences, the lessons that I had learnt, the techniques that I had learnt from people I have never met, it was just amazing! But I just feel my interests are dwindling with every passing day as none of these changes are to my or anyone's liking.I feel we are being exterminated and there is nothing I can do about it and this new photo page change might be the final nail in the coffin for many and not sure including me as well...
Pulicat (Pazhaverkadu) is a historic seashore town in Thiruvallur District, of Tamil Nadu state, South India. It is about 60 km north of Chennai and 3 km from Elavur, on the barrier island of Sriharikota, which separates Pulicat Lake from the Bay of Bengal. Pulicat lake is a shallow salt water lagoon which stretches about 60 km along the coast. It is within the Pulicat Lake Bird Sanctuary. Every year between the months of October and March, thousands of migratory birds land here. Though many species can be seen, the Flamingos are the most visible, covering the swamps surrounding the lake, giving it a pink tinge.
We went there really early and I found this abandoned ruined house by the beach which rendered itself to being a good interest.
Have a blessed week everyone!
🇫🇷 L’intérieur de la cathédrale, typiquement gothique, possède un décor riche et varié mais est sombre comparé à la majorité des cathédrales françaises Une seule rose, en effet, l’éclaire depuis le mur intérieur de la façade du parvis. Celle-ci a été dessinée par Erwin de Steinbach en seize pétales. La lisibilité de son dessin en fait un chef-d’œuvre du genre.
D'autres clichés montreront en détail la rosace , l'orgue en "nid d'hirondelle" , la chaire et évidemment l'horloge astronomique.
🇬🇧 The interior of the cathedral, typically Gothic, has a rich and varied decor but is dark compared to the majority of French cathedrals. This one was designed by Erwin de Steinbach in sixteen petals. The readability of his drawing makes it a masterpiece of the genre.
Other pictures will show in detail the rosette, the organ in "swallow’s nest" and the pulpit and obviously the astronomical clock
🇩🇪 Das Innere der Kathedrale, typisch gotisch, hat eine reiche und abwechslungsreiche Dekoration, ist aber im Vergleich zu den meisten französischen Kathedralen dunkel. Diese wurde von Erwin de Steinbach in 16 Blütenblättern gezeichnet. Die Lesbarkeit seiner Zeichnung macht ihn zu einem Meisterwerk seiner Art.
Weitere Aufnahmen zeigen detailliert die Rosette, die Orgel im "Schwalbennest" und die Kanzel und natürlich die astronomische Uhr
🇮🇹 L'interno della cattedrale, tipicamente gotico, ha un arredamento ricco e vario ma è scuro rispetto alla maggior parte delle cattedrali francesi Una sola rosa, infatti, la illumina dalla parete interna della facciata del sagrato. Questa è stata disegnata da Erwin de Steinbach in sedici petali. La leggibilità del suo disegno lo rende un capolavoro del genere.
Altri scatti mostreranno in dettaglio il rosone , l'organo a "nido di rondine" e il pulpito e ovviamente l'orologio astronomico
🇪🇸 El interior de la catedral, típicamente gótico, tiene una decoración rica y variada pero es oscuro comparado con la mayoría de las catedrales francesas Una sola rosa, de hecho, lo ilumina desde el muro interior de la fachada del atrio. Esta fue diseñada por Erwin de Steinbach en dieciséis pétalos. La legibilidad de su dibujo la convierte en una obra maestra del género.
Otras fotografías mostrarán en detalle el rosetón , el órgano en "nido de golondrina" y el púlpito y obviamente el reloj astronómico
Excerpt from webapp.driftscape.com/map/c7e357fe-ef7b-11eb-8000-bc1c5a8...:
Peru's practice explores his imagination through different mediums, embodying both his traditional and digital art background and his decades of painting and travelling. His mural captures the geometric complexity of his text-inspired work, done mostly as freehanded freestyles with clean angles and curves that are saturated by a complimenting colour palette. He explains that his colour palette is readable and reminiscent of the ones we were given as children, when we had almost no responsibilities and life was much simpler.
Excerpt from webapp.driftscape.com/map/e3671b1e-ef7b-11eb-8000-bc1c5a8...:
Originally from Florida, XRAY’s hometown is a place that has a significant influence on his choice of colour palette, as seen in this energetic and playful mural. His work blends a unique variety of professional experience and cultural inspirations, from the skateboarding and hip-hop scene to his commercial projects for Disney and Universal Studios. The elements of his paintings reference a wide range of motivations including military insignia, nature, tattoos, tarot cards, secret society symbols, Japanese art, propaganda, video games, science, and action movies.
Back in December I finally decided to look into fabric stores around my area to try and solve my fur problem. I found one place and picked up a few samples to use, one of which I planned to use on my Mammoth juggernaut as shown, but then because of that I just felt the need to redo a few elements on him. Now, two months later, I finally got him finished.
I stripped the helmet and legs and gave them both a proper spray. The helmet wasn't too tricky, but my paints decided to give me trouble on the legs so I had to hold off until now. Along with the few minuscule details on the helmet, I also felt the need to add a few sharpied personal details just because. Unfortunately sharpie takes a while to dry, so as you can see it smudged a little bit in some areas with my careless handling. I didn't really want to redo the whole thing, so I just let it slide. I was at least able to touch up the back of the helmet so it's at least readable.
I don't really know what else to say about this fig. Turned out damn nice if I say so myself. The fur pelt really pulls everything together.
My head's kind of wonky this morning so I can't come up with a title.
Taken in the driver's seat (left in the U.S.) with the camera in my other hand. So why is "Nikon" readable?
Just being silly and having more mirror fun. Happy Nifty Fifty Friday!
I definitely loved the cityscape of Hong Kong.
Unfortunately taking this picture was not really easy, because of the highest contrast between the lights of the city and the sky/sea. Beside this I should mention the humidity (an impressive 100%) and the gusts, giving occasional vibrations to my tripod and ruining several exposures.
BTW To obtain this photo I combined 4 different exposures, 3 long ones and an instant shot (to make the electric signs readable)... and this is the final result. Thanks a lot for your comments :-)
Close Up of my hPDA DIY Planner Agenda Cards. I also have a couple Project Planning Cards here on my Levenger Card Bleachers.
OUTSIDE - Champs Elysees - NIGHT
FADE IN
The overall plan of boulevard Champs Elysees. Far away, in the out of focus, the Arc de Triomphe is visible. Float lights of passing cars. CUT TO the taxi, which travels toward Roosevelt Square. The overhead light in the cab is on, and we see driver silhouette and dimly lit woman face at the backseat.
INT. - TAXI - NIGHT
CLOSE-UP
From the passenger view, we see the color tabloid at the back seat. On its cover - picture a laughing woman. Easy readable headline, "Debut of the Year." The camera turns on MARIE-HELENE. We recognize her as cover-girl.
MARIE-HELENE with a slight smile looking at the city through lights, floating in the reflection of the half-closed window. Wind waving her bushy hair. Before us is a beautiful young woman in evening makeup. This is her first part in a big movie, with the exception of wandering in the low-budget films and tv shows. She hopes that through this film, she would finally be able to sign a contract for a film from the big studios, as laurel wreaths wins (or simply nominations) at film festivals can not pay many bills.
*********
Nikon D4, Nikkor 28 f1.8G. Lighting: SB-800 into Lumiquest LTp soft box model right, mimicing overhead car light.
Detail of an old rail car surface...with a sign no longer readable. The way of all things that sit exposed to the elements for too long,
Tangalle (Sri Lanka) - Une photo plus classique d’un port de pêche, que la précédente. Coup de chance, j’ai bénéficié d’un petit rayon de soleil qui dynamise cette scène.
La difficulté pour cette image (comme pour la précédente) résidait dans la nécessité que les hommes au travail s’organisent harmonieusement dans mon cadre. J’ai pris 5 ou 6 photos en une petite dizaine de minutes. Je pense que celle-ci est la plus lisible, même si l’homme au T-shirt en orange cache partiellement un de ses collègues. Mais c’est une photo de reportage ; pas de studio.
Landing fish
Tangalle (Sri Lanka) - A more classic photo of a fishing port than the previous one. Luckily, I had a little ray of sunshine that energizes this scene.
The difficulty with this image (as with the previous one) lay in the need for the men at work to organize themselves harmoniously within my framework. I took 5 or 6 photos in about ten minutes. I think this one is the most readable, even though the man in the orange T-shirt is partially hiding one of his colleagues. But this is a reportage photo; no studio.
Here’s another one of my “animals” from the high-declination regions of the milky way: not fish this time, but a reptile. This Gecko sits, very appropriately, in the constellation Lacerta (Latin for “lizard”). It’s a faint wisp of molecular cloud, 6 hours of integration at f/5.6 under good Bortle 3 sky were barely sufficient to produce a readable image.
isn't......wasn't handwriting wonderful?
(the postmarks on these cards range from 1902 - 1920)
will e-mails be readable in 100 years time?
Il Castello Svevo di Trani fu edificato nel 1233, sotto il regno di Federico II di Svevia; è uno dei più importanti e meglio leggibili tra i castelli federiciani, nonostante alcune trasformazioni che ne hanno parzialmente modificato la struttura originaria
The Swabian Castle of Trani was built in 1233, under the reign of Frederick II of Swabia; it is one of the most important and best readable among the Frederick castles, despite some transformations that have partially modified its original structure
© Wikipedia
This doesn't look like much and by all means not like a baptismal font. It is one though. The historians fight about it. Fun fact: in the early centuries the baptism was executed in a river. Later the candidate for baptism was submerged by the holy water. For this they needed huge baptismal fonts like the one in Amiens Cathedral. But the huge baptismal font was placed on the ground. In the 13th century the baptism by infusion was already executed everwhere. I guess it was more practical and the candidates for baptism were generally children that wouldn't need such a big baptismal font anyways.
And that's why the historians fight about this baptismal font. The stands were made from a different material than the basin. The stands are decorated with a plant or flower motif. They were definitely made in the 13th century.
The basin might be older since it resembles another basin in Somme and said other basin was made in the 11th century. All historians agree that the basin has been used standing on the ground. Some say that this basin had been used on the ground before and it might even be made in the 8th or 9th-century. They say the stands were added later when the ritual of the baptism changed. The others have no idea why the stands were added. I find this rather fascinating. The others say, that the basin, made in 1180, was used to wash corpses, which is also a possible but not so interesting theory. It doesn't sound very nice to wash corpses in it and then baptise people in it. But you'll never know. The basin is decorated with four prophets. One on every angle. The names of Joel and Zachary are still readable.
(Madagascar) - Version verticale de la même scène présentée sur la photo précédente www.flickr.com/photos/156294418@N02/53617055102/in/datepo.... En principe je ne publie jamais deux version d’une même scène, mais là je pense que les deux photos se complètent pour avoir une vue générale l’état de la piste.
A noter que cette photo n'aurait pas été possible sans mon téléobjectif dont j'ai récemment fait l'acquisition. Je l'utilise peu, mais là, il était indispensable pour rapprocher les perspectives et offrir une meilleure lisibilité de la scène.
We do not pass !
(Madagascar) - Vertical version of the same scene shown in the previous photo www.flickr.com/photos/156294418@N02/53617055102/in/datepo.... In principle I never publish two versions of the same scene, but here I think that the two photos complement each other to have a general view of the state of the track.
- Note that this photo would not have been possible without my telephoto lens which I recently purchased. I rarely use it, but here it was essential to bring the perspectives closer together and provide better readability of the scene.
The History of Kamerawerk Gebr.Wirgin and Edixa Reflex
by Klaus-Eckard Riess
riess.fotohistoricum.dk/gewir.html
Im o.a link schildert Klaus-Eckard Riess seine Erlebnisse Ende der 1950er Jahre bei Wirgin in Wiesbaden. Riess hatte gerade seine Meisterausbildung bei Zeiss Ikon Stuttgart abgeschlossen und wechselte zu einem neuen Arbeitgeber nach Skandinavien, der dort eine Werksvertretung der Fa. Gebr. Wirgin Wiesbaden unterhielt. Weil Wiesbaden nicht weit weg von Stuttgart war, bat ihn sein neuer Arbeitgeber sich dort erst einmal etwas umzuschauen.
Kompetent und humorvoll schildert Riess, was er dort gesehen und erlebt hat. Herrlich seine Beschreibung der rustikalen Produktionsmethoden, wie er den Chef Henry Wirgin erlebt hat und wie sich die Belegschaft über die Sparsamkeit des Chefs lustig gemacht hat.
Insgesamt ein sehr lesenswerter Erlebnisbericht aus einer Zeit, der man das Prädikat „gute alte Zeit“ geben möchte, wohl wissend, dass sie so gut nicht war.
riess.fotohistoricum.dk/gewir.html
(engl. language)
In the link above, Klaus-Eckard Riess describes his experiences in the late 1950s at Wirgin in Wiesbaden. Riess had just completed his training as a master craftsman at Zeiss Ikon Stuttgart and moved to a new employer in Scandinavia, which had a factory representative of Wirgin Wiesbaden. Because Wiesbaden was not far from Stuttgart, his new employer asked him to have a look around there first.
In a competent and humorous way Riess describes what he saw and experienced there. His description of the rustic production methods, how he experienced the boss Henry Wirgin and how the staff made fun of his thriftiness was wonderful.
All in all a very readable experience report from a time which one would like to give the predicate "good old times", knowing full well that it was not so good.
Photos I made with the camera will follow soon
This morning in ARTIS I was amused a while by this couple of African Penguins grooming each other for fleas or lice or mites. All was quiet, but I'd heard Our Birds bray like donkeys before - hence their name in English: Jackass Penguin.
If you search the internet you'll find at some point that in Europe these African Penguins were once called 'otilicarios', and the authors using that word go out of their way to explain it, e.g. as something to do with spectacles. Picky, sceptical me... So of course I had to get to the bottom of this.
To that end I went to the 'journal' written by Álvaro Velho and João de Sá of the famous voyage of Vasco da Gama around the world 1497-1499. That's where you find the first European mention of Penguins on the coast of the Cape of Good Hope (March 3, 1499). A nicely readable edition of the text - also online - was made by Diego Kopke and Antonio da Costa Paiva in 1838 (a new online text was uploaded by Mateus Parreiras). They call Penguins 'Sotilicairos' (somehow transformed by later writers to that curious 'otilicarios'). Looking a bit further, I found that Joseph Christian Hamel (1788-1862) - connected closely to the technical history of photography - remarks on the derivation of that word 'Sotilicairos' (1845). He points to the History of the Reign of King Emmanuel by the humanist-bishop of Silves (Algarve) Jerónimo Osório (1506-1580). That work contains a précis of Kopke and Costa Paiva's journal. In the 'Penguin Passage', expanding on the Journal's 'they are called', Osório claims that 'Sotilicairos' is a word derived from the language of the 'incolae', the natives of that coastal area, today's Khoisan.
Potter Heigham's parish church is dedicated to St. Nicholas, the patron saint of fishermen and children.
The earliest surviving feature is the round tower, which dates from the 12th. century and has a 14th.century octagonal extension.
Inside the church is the famed hammerbeam roof and the unique 15th. century brick font, the only one of it's kind in Norfolk. The church also contains a scheme of wall paintings dating from the 14th. century, the most readable of which depicts the Seven Works of Mercy.
The church gained Grade: I listed building status on 16th. April 1955. (English Heritage Legacy ID: 224434).
The theme for this round was what made our dolls' lives hectic. Alexis is a college student, so school always kept her busy. The titles on the books (not readable in the photo, though) are the same ones I studied when I was in school.
About the set-up: Except for basic editing (contrast, levels, color balance, etc), we aren't allowed to add or remove elements. So I had to find a way to hide the doll stand without needing to Photoshop it out. I used that wooden plank behind her to conceal the base of the stand (you can actually still see a bit of it just beside her knee). The rest of the stand is just hidden behind the doll. The falling books are supported by a fine nylon cord, which, if you look closely, is still a little visible.
Polderland Garden of Love and Fire - Daniel Libeskind - Almere
This quiet meditation garden is located in the ‘town without a history’ of Almere, The Netherlands. 1992-1997
The garden consists of an observation platform, three narrow water canals, and a fourth dry channel on which a rectilinear volume is resting. These lines direct themselves toward three particular locations: Salamanca, Paris, and Almere. They signify a world location in which love (Juan de la Cruz) and fire (Paul Celan) intersect in Almere’s future. The inscribed ciphers refer to the encounter between Juan de la Cruz and Paul Celan in the newly reclaimed land. They become readable at precisely those times when the materiality of forms dissolves into oblivion. The volume is comprised of flat pieces of metal placed next to and in front of each other. The feel is that of a vertical/horizontal labyrinth.
No photoshop at all; only pp was cropping and (slight) enhancement of contrasts. The rainbow colours are on the bottom of the plastic glass I used. (In this pic the "Made in Taiwan" is also readable.)
No. 118 in Explore on Friday, June 1, 2007
am including this one among the macromonday possibilities for the "intentional blur" theme because it surprised me when it came up on the laptop's screen. as i have said, doing ICM with a little p&s means that you don't have much control over some of the variables. so i did what i could and then moved the camera (a half a dozen times)-- and the word that is the most readable in this shot is motion ~grin~
THE STAR PYRAMID
The Pyramid is dedicated to all those who suffered martyrdom in the cause of civil and religious liberty in Scotland
Separated by a driveway from the Valley Cemetery, the Drummond Pleasure Ground was laid out as a setting for the Star Pyramid which is a massive sandstone ashlar pyramid which dominates this area, standing on a stone stepped base upon a shaped grassy mound. Marble Bibles rest on the base of each face of the pyramid, which is also carved with references to Biblical texts.
The pyramid is enclosed by wrought iron railings, with stone steps to S flanked by 2 stone globes (once surmounted by bronze eagles). A Bible and Confession of Faith were sealed into an inner chamber in the pyramid. The Pithy Mary pond lies to the W of the Star Pyramid with bridge of wrought / cast iron work including later repair work and a grassed slope beyond to the W with lawn and deliberately placed rocks. There are no gravestones within Drummond Pleasure Ground other than William Drummond’s sarcophagus to the NW of the pyramid; polished grey granite inscribed ‘Born 14 February 1793 Died 25th November 1888′ on its stepped base.
Outside the church is the Valley Cemetery. In past times was the site of jousting tournaments and markets. The Cemetery has a Pyramid, built by William Drummond in 1863.
William Drummond was a land surveyor and nurseryman whose immediate descendants were a well known family in Stirling. They were responsible for a wide range of activities both locally and nationally. These included the establishment of an agricultural museum in the 1830’s, an extensive seed and nursery business, exploration in Africa and the Drummond Tract Enterprise, the foremost 19th century publisher of religious pamphlets.
William was the eldest son of the well-known Stirling family which included Peter Drummond and his nephew Henry. He was one of the instigators of the Valley Cemetery and his obsession with religion can be seen in the Martyrs’ Monument and the Star Pyramid (also known as Salem Rock).
He commissioned the Star Pyramid from William Barclay in 1863 – note the white marble Bibles incorporated by Barclay round the base of the edifice and the names of religious tracts (published by his brother Peter’s “Drummond Tract Enterprise”). The Pyramid is dedicated to all those who suffered martyrdom in the cause of civil and religious liberty in Scotland.William planted a Pleasure Garden round the Pyramid, complete with trees and plants. He also paid for five of the six statues seen in various parts of the graveyard and donated trees to be planted round the National Wallace Monument.
This area was laid out as a public pleasure ground by local nurseryman and evangelist, William Drummond. The Star Pyramid, with its texts and emblems, was nearing completion in April 1863, when a bible and the Confession of faith were sealed into a chamber within the structure. It recalls the principles of the Reformation and publicised the famous Drummond Tract Enterprises.
The pyramid is on a raised plinth of 4 steps and has a set of steps leading to it. Each of the faces are very similar. On one face is a circular marble plaque, the text of which is very worn and some of the lower part is readable.
Each of the sides has (from bottom to top):
sunken relief text with a reference to verses from the Psalms:
Union Banner, XLV CIII
Rock of Ages, XCV
Covenant Rest, CXXXII CXLV
Thrown of Right, XCVI XCVII
marble bible
carved circular rosette
thistle
crown
First images with D6. High ISO is crazy clean (5000 here), all the way to 6400 (will test beyond soon). AF is sticky and tracks like a hangry polar bear. Only fly in the ointment- Apple has no Camera raw for the D6, so the workflow goes through Topaz... this is cropped and enlarged with Gigapixal. Back to JPG for now.
Update: Nikon D6 NEF feels are not readable on any apple OS at the moment (though third [arty apps may have the ability to read them, like Topaz or lightroom). Adobe DNG converter supportdownloads.adobe.com/detail.jsp?ftpID=6973
can convert the NEF files can be converted DNG, with all EXIF data preserved. DNG files are readable by all my legacy programs! Happy days!!
A found postcard.
Amish Country
"Silhouetted against a serene sky, members of the Old Order Amish are shown in a procession of Buggies."
Photo by O. Henry Hertz... Jr. Copyright 1976. (The photographer's name is not fully readable unfortunately - I'd like to credit him with such a wonderful shot!)
Postcard published by STEL-MAR, Penna.
About midway through our trip we went on a little night outing to look for moonlit landscapes. One of the many things I really liked about traveling with this group was that everyone was flexible and easy-going. That really helps make things so much smoother and more pleasant when you have six people under one roof. Speaking of flexibility, this particular outing was a spur-of-the-moment decision, and a great one at that! We had fun and came back with some pretty nice shots.
We're over the hump. If you squint and really concentrate you can see the weekend ahead. Just two more days...you can do it.
-Lorenzo
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The new Flickr photo page was killing my eyes, so I came up with a way to switch back to the old page style (black text on white background). Here's a quick how-to guide I put together: How to switch back to the old (and readable) Flickr photo page.
The complete set of photos from my recent Norway trip are here.
Feeling social? You can also find me here:
instagram | 500px | elmofoto.com
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This beautiful Malachite Butterfly was classified and given its scientific name by Carolus Linnaeus (1758) and Jacob Hübner (1761-1826; in 1823); as far as I can gather, Hübner devised 'Siproeta' for what Linnaeus called 'Papilio stelenes'. It's curious that these men get the credit for classifying our Malachite Green Wonder.
Well before their work, intrepid Maria Sibylla Merian (1647-1717), fine artist and excellent naturalist, had traveled to Surinam specifically as she herself writes 'om naauwkeuriger onderzoekinge te doen' - to do more precise research than possible in Europe - especially on exotic plants and insects. She published her magnificent results back in Holland in 1705. One of the first detailed descriptions and paintings in her wonderful Metamorphosis insectorum surinamensium is of a Pineapple and a Malachite in its various stages of development. Engagingly Merian writes about finding a caterpilar on that Pineapple in early May 1700; by May 10 it had transformed itself into a pupa and by the 18th it emerged as a Butterfly. She lovingly illustrates each of these stages. She's far more readable than the stark one-line Latin prose of either Linnaeus or Hübner. It must be said though that Linnaeus at least refers to her ('Merian. surin. 2.t.2') in the abbreviated shorthand which is his habit even if modern authors don't.
As for the Pineapple, Merian writes that 'the taste of this fruit is as if one mixes grapes, apricots, red berries, apples and pears, which can then all be relished at the same time'.
PS I have no idea how Hübner came up with 'Siproeta'. The best guess I have is that there may be by way of C[S]iproeta some connection to the Greek Κύπρος, for the isle of Cyprus perhaps for its copper ore deposits. Copper oxide is, of course, green, which would fit Malachite well! Likely far-fetched, though.
Oh, yes... as an afterthought, our Malachite's food plant here in the Butterfly House of the Amsterdam Zoo is Lantana camara, Tickberry, that pantropical pestweed! The photo doesn't show the color of its flower but it's white and yellow.
I opened my second gallery in Second Life on December 2, 2020, at 1PM SLT.
The Carbone Gallery @ Noir Wen City
Designed on the same principle as the first, The Carbone Gallery @ Noir Wen City presents my artistic work in world and my cooperation with guest artists.
At The Carbone Gallery @ Noir Wen City there will be a “permanent and evolving” exhibition, located on the first floor, which presents my favorite works. This exhibition evolves according to my publications.
You will find also a library and bookshop of e-books readable in Second Life of collections of my short stories, and probably in 2021, books of artistic works by other artists.
Also ready to visit, the Locked exhibition, moved from my original gallery, and a guest artist exhibition which will be officially opened mid of December 2020.
wow, you all beat me to my description haha!
oh god i'm so glad you guys like this! cause i think this one belongs more to the "graphic designing" category rather than the "photography" category :/ what do you think??
right now what i want to be is somewhere between an architect, a graphic designer or piano teacher. I actually don't know what i'm doing with my life :$ i wish i was more like some other people who have their career choices made already. I feel so indecisive!!
anyway, i really do feel this way about piano! i always complain about the classes and the practicing time, but really in the end i believe it's all worth it. What i never understand is why people quit when they're in grade 2 or something, i don't have a grudge on people who do that, but it really does confuse me! I don't think grade 2 is a grade where you are able to decide whether you like piano or not. you're still learning the basics. it's going to be boring, but once you get past that stage, you're able to really get into it and really have some fun with it. I know people who have quit piano when they were grade 2/3 and they really regret it now. While as i have some other friends who have stuck with it until grade 5/6 then they quit because they either couldn't handle the requirements or just started to get tired of the piano in general. That, i can understand because being in grade 5 means you've stuck with it for probably about 6-7 years and finally decided that you hated it. (sorry for my fail english here btw haha, i really suck at putting my thoughts into readable sentences haha)
hope you all have a fantastic weekend!!! :DD
thanks to everyone for the comments and your personal stories (: i definitely read each and every one of them! thank you all ♥
please ask for my permission to blog my photos.
6528 YX17NFF seen at Chatham Waterfront Bus Station working on route 101 towards Maidstone.
Arriva Kent had revealed E400 6528 having been repainted to the colours of Maidstone & District green and cream on December 9th at Rochester Cathedral. The text (not quite readable here) reads "Proud to serve Kent for over 100 years" - 100 years represents when Arriva's Gillingham Depot first opened.
The Dancing Bees -An Account of the Life and Senses of the Honey Bee by Karl Von Frisch.
I have the 1954 English language edition of this delightful book.
Von Frisch famously decoded the meaning of the "waggle dance" and "round dance" that honey bees use to communicate distance and direction to other honeybees within a colony. He published this in 1927 and was eventually awarded a Nobel prize. He also did ground breaking work on bee pheromones, visual perception and foraging behaviour.
This book is surprisingly engaging and readable. It is beautifully written to a dgree that seems unusual for a book that has been translated. It is a book that I really like so it seemed a good one for me to reach for to complete this week's MacroMondays challenge.
New Zealand Birds On Line note that "...Tui are boisterous, medium-sized, common and widespread bird of forest and suburbia... They look black from a distance, but in good light Tui have a blue, green and bronze iridescent sheen, and distinctive white throat tufts (poi). They are usually very vocal, with a complicated mix of tuneful notes interspersed with coughs, grunts and wheezes.
Tui have almost-black heads, underparts, wings and tails that have an iridescent blue and green sheen, especially on the head and wings. The upper back and flanks are dark reddish brown with a bronze sheen, the nape and sides of the neck have filamentous white feathers, and there are two unusual curled white feather tufts on the throat... The bill and feet are black, and the eye dark brown.
Tui are (also) notoriously aggressive, and will defend a flowering or fruiting tree, or a small part of a large tree, from all-comers, whether another Tui or another bird species. They vigorously chase other birds away from their feeding territory with loud whirring wings...".
(nzbirdsonline.org.nz/species/tui)
STOP PRESS - And if you still have some time, have a look at New Zealand Geographic's very readable article on Tui; I highly recommend it:
Thanks for taking the time and the trouble to leave a Comment beneath this photo Folks! It's always nice to hear from you, and your comments are always very much appreciated...!
At this year's Corbigny flea market, I came across a Lumière camera. They are fairly common in France, but I don't live there, so I took the occasion to take picture with a camera bearing one of the most famous names in photography. It appears to be a Lumirex manufactured somewhere between '34 and '36. Nothing spectacular, very much the spirit of its time. Solidely built, Three speeds plus B, aperture opens from 1/6.3 to... well, not readable anymore, but one of the markings is f/12. A small brilliant finder that's pretty much useless even after cleanup, a wireframe finder, no film pressure plate. Bottom line, 90 years after it left the production line, it still works as it should.
Lumière Lumirex and its Lumière Anastigmat Fidor 6:3, Fomapan 400 in Rodinal 1+50 for 11 min @ 20°C and digitalized using kit zoom and extension tubes.
Thank you everyone for your visits, faves and comments, they are always appreciated :)
Yesterday I had the privilege to attend the Aviation Nation 2017 celebration of Veterans Day at Nellis Air Force Base. It was an awesome display of US Air Force history, honoring the dedicated men and women who have served and sacrificed to maintain our freedom.
If you have served I thank you for your service and am truly grateful for all you have done.
The highlight of the show was the aerial acrobatics and precision flying of the USAF Thunderbirds. They put on an amazing show that was thoroughly enjoyed by the crowd, estimated at close to 100,000. This shot is an example of the incredible maneuvers they perform. Note that the number of the top F-16 is readable even though the jet is upside down. Best viewed large.
Thanks so much for your views and comments! Remember to thank a Vet!
One of the pleasures of visiting pages of old negatives is the occasional surprise. I had been looking for another negative and on the same strip was this unprinted Peak. I assumed it was unsharp but no, even the number was readable. Probably at the time it was considered just another Peak photographed in poor light.
I have no notes of course but 46015 was a Laira based locomotive at, it is making decent progress with a train of MkI coaches, it was heading towards Derby in the early afternoon.
The area around the signal box is much more tidy than in my previous pictures, the box had not been in use for train control for some time but it had been retained by the S&T department as a store. looking under the bridge over the train we can just make out the canopy over the platform buildings.
46015 was built at Derby works, it went new to Derby Depot 01/02/1962 as D152. It was withdrawn 14/12/1980 and cut at Swindon Works 19/01/1985
Copyright Geoff Dowling 23/08/1978: All rights reserved