View allAll Photos Tagged Rediscovered
j } rediscovered some vellum envelopes. they were too see-thru to surprise anyone with what's inside. i haven't adhered the tissue liner to the envelope yet. the pattern is more predominant once i do
It is time to go home. But before I leave I will show you this next photo in the Floral texture series. Also shot in the Botanical gardens in Leiden during a weekend with Belgian flickrian Blubox. See you all tomorrow.
The rediscovered Buffalo Bayou Cistern, first underground drinking water reservoir in Houston, Texas USA. Fun shoot trying to get the lighting, lines, water and reflections....fun exercise.
Rediscovering my ukulele after a long dry spell.
If you like, have a listen to two of my favorite ladies-of-the-uke.
HBM!
They rediscovered these Waterfalls when the had to clear the area of fallen trees after a particularly bad storm 2 years ago.
Sebastiano Mazzoni (Florence, 1611 - Venice, April 22, 1678) - Raising of the Cross - Oil on panel - Ca 'Rezzonico - Museum of the Venetian eighteenth century".
è stato un pittore italiano, è stato uno dei più prolifici artisti della pittura veneziana del Seicento.
Arrivò a Venezia nel 1648 dopo un'educazione fiorentina sulla scia dei pittori riformati, anche se la cultura accademica dei suoi concittadini mal si adattava al suo temperamento estroso ed insofferente.E isolata resta anche la sua pittura nell'ambiente che lo accolse. Dipinge stendendo il colore in velature sottili, ottenendo straordinari effetti di trasparenza che sembrano anticipare finezze tipiche del Settecento, e tutte le sue composizioni sono dominate da un movimento e da una tensione incalzanti.
La sua personalità, sprofondata nell'assoluta dimenticanza per oltre due secoli, è stata solo recentemente riscoperta e rivalutata, occupando un posto preminente nel panorama piuttosto desolante della pittura veneziana in quel periodo
was an Italian painter, was one of the most prolific artists of Venetian painting of the seventeenth century.
He arrived in Venice in 1648 after a Florentine education in the wake of the reformed painters, although the academic culture of his fellow citizens was not well suited to his temperament whimsical and impatient. And isolated remains also his painting in the environment that welcomed him. He paints spreading the color in thin veils, obtaining extraordinary effects of transparency that seem to anticipate the typical finesse of the eighteenth century, and all his compositions are dominated by a movement and a pressing tension.
His personality, sunk in absolute oblivion for more than two centuries, has only recently been rediscovered and re-evaluated, occupying a prominent place in the rather bleak panorama of Venetian painting in that period.
With my rediscovered interest in succulents and, in particular, photographing them, it was an obvious choice for me to pay the well-known Sukkulenten Sammlung (succulent collection) in Zurich a visit. It was actually high time for just that - I'd been hearing about it off and on for a few years already, but never managed to make it there. So on one fine Summer's day I packed up my 500C, extension rings and a handful of Fomapan 200 and set out to see what I could find.
Committed to Fomapan 200 using a Hasselblad 500C and 100 mm lens with a 56 mm extension ring. Developed using Ars-Imago R9 (rodinal) 1:25 as per the Massive Dev chart (though I think the listed times are too short and will be adding at least a minute to them in the future) and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning, sharpening and final contrast in Photoshop.
I'm rediscovering the joy of playing with vintage dolls lately. They are so fun and have so much play value and lots of stories to tell!
This is my little Penny Brite. I have her since many years but it's the first time I photograph her. She is wearing a 8" Betsy McCall outfit I made from vintage McCalls sewing patterns years ago.
They rediscovered these Waterfalls when the had to clear the area of fallen trees after a particularly bad storm 2 years ago.
Un dia radiant en l'última passejada en bici de l'any 2018
Redescobrint aquest enclavament, que a mi em fascina per les seves vistes i l'encant de les seves quatre cases.
Sant Andreu Salou és un municipi de la comarca del Gironès, CAT. Limita amb Campllong, Cassà de la Selva i amb els municipis selvatans de Caldes de Malavella i Riudellots de la Selva. Té una extensió de 5,97 km², 132 metres d’altitud i 159 habitants.
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Sant Andreu Salou.
A day glowing on the last bike ride of the year 2018
Rediscovering this enclave, which fascinates me for its views and the charm of its four houses.
Sant Andreu Salou is a municipality in the Gironès region, CAT. It borders Campllong, Cassà de la Selva and the sylvan municipalities of Caldes de Malavella and Riudellots de la Selva. It has an extension of 5.97 km², 132 meters of altitude and 159 inhabitants.
Ah, the joy of spending a wet and windy morning clearing memory cards and discovering a tiny beauty of a flower. I'm looking forward to seeing these again soon :)
Antioch (Hatay Province, Turkey)
Roman, 2nd Century A.D.
Stone tesserae
The mosaics in the collection come from a dig orginized by Princeton in the late 30's. They were purchased by the museum in the 1960's.
One of the mosaics was installed in the members courtyard as part of a fountain, the others were buried in the front garden (yrs I typed that correctly). No explanation is given about why they were buried for forty plus years.
All of the mosaics in the collection have recently been conserved and attached to lighter modern backings.
© all rights reserved
Please take your time... and enjoy it large on black
In the south of Laos, in Champasak Province near the Cambodian border, some 200 km from Angkor Wat and about a one hour drive from Pakse on a good road, is the UNESCO World Heritage Site of Vat Phou. It is an exceptional archeological site originating in the 6th century and thriving until the 15th Century. Its influences come from Khmer, Hindu, and Buddhist traditions that blend elegantly in its architectural, ritualistic, and artistic designs. Construction on what we see today as Vat Phou started around 1000AD, and bears clear visions of Hinduism. Taking advantage of a natural axis from Phou Kao Mountain - from which flows a natural spring that is still considered sacred nowadays - to the Mekong River, the ancient khmers designed a geometric pattern of temples, shrines, and man-made waterways. The deliberately chosen location of Vat Phou along an east – west axis, is coupled with the fact that the peak of Phou Kao Mountain is shaped like a lingam. Such a phallic shape is usually associated with the Hindu God Shiva, as is the worship of the rising sun, hence the east – west alignment of the temple. After centuries of lying in ruin, hidden within the jungle, a French explorer, Henri Pamentier, rediscovered Vat Phou in 1914. After photographing the site, it once again disappeared form the world’s consciousness. Interest resurrected itself again in the mid 1980’s when UNESCO initiated an archaeological survey of the site. This survey led to heritage legislation being implemented, with the conferring of protected status being given to the site in 2001.
Photo of the facade of Vat Phou sanctuary in Champasak - Laos. The sanctuary is in two parts. The front section, of sandstone, is now occupied by four Buddha images, while the brick rear part, which formerly contained the central linga, is now occupied by a large Buddha image and altar. The light and colors of the Buddha altar are perfect since the entire roof is missing, although a makeshift covering has been added to the front. Here you don't feel like a tourist but more like an explorer. Water from the spring which emerges from the cliff about 60 m southwest of the sanctuary was channeled along stone aqueducts into the rear chamber, continuously bathing the linga. The sanctuary is later than the north and south palaces, belonging to the Baphuon period of the later 11th century.
Het Wat Phou tempelcomplex ligt op een uurtje fietsen vanaf Champasak. Een fiets kun je voor 0,50 per dag huren via je guesthouse. Je kunt Wat Phou ook met een gecharterde tuk-tuk bereiken. Wat Phou betekent in het Laotiaans bergklooster. De Wat Phou, de meest interessante Khmer-ruine buiten, ligt op 8 kilometer ten zuidwesten van Champasak. Het is in feite een verzameling tempels en heiligdommen aan de voet van de Lingaparvata berg. Het Khmertempelcomplex werd in de 9de eeuw door koning Jayavarman IV als Shiva-heiligdom gebouwd. In vroegere tijden verbond een 200 km lange weg deze tempel met Angkor Wat in Cambodja. Hoewel de plek nu verbonden is met het Theravada Boeddhisme, wijzen zandstenen reliefs erop dat de ruines ooit aan de Hindoe-goden gewijd waren. Met de ondergang van het Angkor rijk werd Wat Phou overwoekerd door de jungle. In 2001 is Wat Phou door UNESCO uitgeroepen tot een World Heritage Site. Met steun van de UNESCO zijn restauratiewerkzaamheden in volle gang. UNESCO heeft inmiddels wel geleerd van eerdere restauratiewerkzaamheden aan Angkor Wat. De inmiddels gestarte herstelwerkzaamheden stuitten daar op opmerkelijk verzet van deze bezoekers. Ze waren ontstemd over de pogingen het overwoekerende oerwoud terug te dringen. Voor hen werden een paar gebouwen ongemoeid gelaten, zodat het beeld gelijk bleef aan de op foto's vastgelegde dromen die ze, eerder thuis hadden gezien. Gelukkig krijg je hier als je door de gedeeltelijk overgroeide ruïnes dwaalt een goede indruk hoe groot het complex geweest moet zijn. Boven op de heuvel staat een verborgen tempel in het oerwoud. Je voelt je even geen toerist maar ontdekkings-reiziger! Vanaf de boven op een heuvel gelegen centrale tempel kijk je uit over een groot deel van het complex en de in de verte gelegen Mekong.
A very apt quote. I rediscovered a whole swathe of these alium from, lessee, May (May!) in LightRoom and started to play with them again using some of the newer presets. I would now have significant difficulty if anyone ever told me I'd have to choose a single flower to photomograph for the rest of my days. Alium? Daisy? Bluebell? Echinacea? Crocosmia? Woe, woe, woe would be harold. Which makes this a good candidate for sad bokeh friday, where the Maxeran roams free, grazing in organic migraine-less pastures.
I promised a preset yesterday, time permitting. It did not. So it's a good job I used the same preset on this one which allows me to offer it now. Or it will in a few mins when I add it. Come back soon. No flipping!
Download the "When the hurly-burly's done" preset for free for Lightroom or ACR / Photoshop from the blog or from the group (which ends up pointing to the blog anyway).
A brand new computer means a renewed passion. It's like I'm seeing sl for the first time.
This is the first shot on my new machine. Minimal post processing was required and it felt so good.
Hoping this means I can get pictures posted in a more timely manner.
Taken at: maps.secondlife.com/secondlife/Romfriend%20Island/127/154/23
I rediscovered a few songs on my way to my boyfriend's today. It was nice.
Texture from h-d-stock.deviantart.com/
Explored
Apollo and Daphnis is a c.1483 mythological painting by Perugino. It was sold to the Louvre in Paris in 1883, where it still hangs and in whose catalogue it was known as Apollo and Marsyas. By the 1880s it had become misattributed to Raphael.
It one of the most notable works commissioned from the artist by Lorenzo de' Medici. In the background is a rural scene with a city or castle, a three-arch bridge, trees typical of Perugino, hills and a river. The two nude figures in the foreground allude to that in ancient Greek and Roman art - this and the other classical references demonstrate how the work is intended to be decoded by the humanist classical elite of Florence. The standing contrapposto figure is the god Apollo, carrying a baton in his left hand and with a bow and quiver behind him. His pose draws on that of Hermes in a sculpture of Hermes and Dionysius by Praxiteles, now best known from the copy Hermes and the Infant Dionysus rediscovered in the 19th century.
The identity of the seated flute-playing figure on the left is debated - it may be Marsyas, but that character is usually depicted as a satyr and so it may instead by Daphnis, a young shepherd who died of love for Apollo. Daphnis is the Greek form of the name Laurus, possibly linking the work to Lorenzo de' Medici. His pose draws on a sculpture of Hermes by Lysippus, best known from the Seated Hermes discovered in 1758.
Ok another one from the hard drive! This is from the same area as the last one. It’s really great to spend time exploring an area that I have childhood memories and rediscovering it from a different perspective. I suppose as a kid I didn’t pay attention to the same things as I do now, but spending time exploring and rediscovering the woods is in some way relieving my own childhood! Obviously the location hasn’t really changed much as it’s a natural area owned by the local authority, but I still found caves that we use to explore, trees that we use to climb and rocks we use to climb!
As you can see it’s from just before the colours started to turn and there was the first mist of the autumn. I knew that this woodland would be a cool place to go and in really enjoyed the couple of hours I had there!
Thatching methods have traditionally been passed down from generation to generation, and numerous descriptions of the materials and methods used in Europe over the past three centuries survive in archives and early publications.
In some equatorial countries, thatch is the prevalent local material for roofs, and often walls. There are diverse building techniques from the ancient Hawaiian hale shelter made from the local ti leaves (Cordyline fruticosa), lauhala (Pandanus tectorius) or pili grass (Heteropogon contortus).
The multi-tiered Meru towers of Besakih temple, Bali, uses black ijuk fibres.
Palm leaves are also often used. For example, in Na Bure, Fiji, thatchers combine fan palm leaf roofs with layered reed walls. Feathered palm leaf roofs are used in Dominica. Alang-alang (Imperata cylindrica) thatched roofs are used in Hawaii and Bali. In Southeast Asia, mangrove nipa palm leaves are used as thatched roof material known as attap dwelling. In Bali, Indonesia, the black fibres of Arenga pinnata called ijuk is also used as thatched roof materials, usually used in Balinese temple roof and meru towers. Sugar cane leaf roofs are used in Kikuyu tribal homes in Kenya.
Wild vegetation such as water reed (Phragmites australis), bulrush/cat tail (Typha spp.), broom (Cytisus scoparius), heather (Calluna vulgaris), and rushes (Juncus spp. and Schoenoplectus lacustris) was probably used to cover shelters and primitive dwellings in Europe in the late Palaeolithic period, but so far no direct archaeological evidence for this has been recovered. People probably began to use straw in the Neolithic period when they first grew cereals—but once again, no direct archaeological evidence of straw for thatching in Europe prior to the early medieval period survives.
Many indigenous people of the Americas, such as the former Maya civilization, Mesoamerica, the Inca empire, and the Triple Alliance (Aztec), lived in thatched buildings. It is common to spot thatched buildings in rural areas of the Yucatán Peninsula as well as many settlements in other parts of Latin America, which closely resemble the method of construction from distant ancestors. The first Americans encountered by Europeans lived in structures roofed with bark or skin set in panels that could be added or removed for ventilation, heating, and cooling. Evidence of the many complex buildings with fiber-based roofing material was not rediscovered until the early 2000s. French and British settlers built temporary thatched dwellings with local vegetation as soon as they arrived in New France and New England, but covered more permanent houses with wooden shingles.
In most of England, thatch remained the only roofing material available to the bulk of the population in the countryside, in many towns and villages, until the late 1800s. Commercial distribution of Welsh slate began in 1820, and the mobility provided by canals and then railways made other materials readily available. Still, the number of thatched properties actually increased in the UK during the mid-1800s as agriculture expanded, but then declined again at the end of the 19th century because of agricultural recession and rural depopulation. A 2013 report estimated that there were 60,000 properties in the UK with a thatched roof; they are usually made of long straw, combed wheat reed or water reed.
Gradually, thatch became a mark of poverty, and the number of thatched properties gradually declined, as did the number of professional thatchers. Thatch has become much more popular in the UK over the past 30 years, and is now a symbol of wealth rather than poverty. There are approximately 1,000 full-time thatchers at work in the UK, and thatching is becoming popular again because of the renewed interest in preserving historic buildings and using more sustainable building materials.
Someday soon hopefully we will be able to rediscover the joys of travelling and seeing the world again...
Tulum, meaning wall in Mayan, was named such when it was discovered and first explored in the early 1800s by Juan de Grijalva's expedition to the area. This fortified Mayan city had been utilized during the Post classic period around 1200-1450 CE. And the site remained occupied until the late 16th century when it was finally abandoned after the arrival of the Spanish.
rediscovered thanks to Hdr and to my curiosity.
«If you see Turin but not Venaria, you see the mother but not the daughter»
« Chi vëd Turin e nen la Venaria, a vëd la màre e nen la fija »
« Chi vede Torino e non Venaria, vede la madre e non la figlia »
ATLANTIC CITY USA, 1929. This is a photo from a rediscovered photo album that once belonged to Edy Hartenberger, acrobat from Maria Trost/ Vienna in Austria, living in Berlin (See introduction and other photo's in the Orellys set) Most people portrayed in the album are other artists or their family. He was on a US tour with his family and photographed this girl, it says on the back her name is Olly Adler in Atlantic city in 1929.There was the boxing promotor Olson Adler, there were the Adlers who had the corsage business in A.C., and of course there was Felix Adler. There were also the Adler's in Yiddish theatre (Stella Adler et al). But she could have been a relation of the 'media Adlers' of the Lee Corporation in Iowa who had plenty of interests in the 'Keith Circuit' of performers that the Hartenbergers worked in, their involvement with stage and variety made that the Orpheum Theatre in Davenport, Iowa, was renamed the Adler Theatre. Didn't know if there is any connection with any of these Adlers. Because it was likely she was holidaying or working in this resort in A.C. She could have been from....well, anywhere at all!!! She might well have been from Vienna and they met in A.C as fellow countrymen- there were lots of Adlers in Vienna (One of which the eminent psychotherapist Alfred Adler, was on tour in the US himself in 1929 and had brought his family along. unfortunately, none of his daughters was named Olly or anything like it, or they might have fitted the bill wonderfully) If she had been from Vienna, unless she stayed in the US, she might not have survived the war. I found a claims commission denial to the effects of an Czech Olga Adlerova (which is the customary Slavik female version of Adler) which could not be matched conclusively to the account of one Olga Adler (Vienna, Austria).
I have been assuming that Olly Adler was jewish, but I discovered there are quite a few Gentile Christian families in the midwest and south such as Kentucky (amongst hem several Olly's and Ollie's) named Adler. So all remains a mystery.
This photo has grown on me and I would love to settle my curiousity and know who she was, but of course there were thousands of Adlers on both sides of the ocean.I wondered if it was someone they knew before or someone they knew in America or she was a guest at one of the resorts (if so, which one?) where they performed.
Searching the Internet for possibilities, Ollie Olly and Olga Adler proves to be a fascinating name with lots of possibilties; An Olga Adler was held in contempt of court for inapropriate remarks in the fifties, another one related to UFO searchers that she had been cured of backpain by an alien in 1973, etcetera. But is one of them this young girl in the roaring twenties? If anyone has any idea or can tell me more -anything- circumstantially (such as about the location seen in the background) please let me know
Update: Location resolved. thanks to tdh4507
(Collection owned by C.Rivers, all rights reserved)
UPDATE sept 24 2010: After almost 8 years and many many Olly Adlers, the mystery is SOLVED.
In a passenger list for William Hartenberger, who arrived later then the rest of the Hartenbergers, the residency address given was with their Theatrical Agent, one Alfred Adler of 'World Entertainment Agency'. Adler!
Through Alfred Adler, I found that his wife's name was, according to US immigration, Erna Olly Adler, born december 16th 1898 (so she was older than she looked in the photo, she was already 31 here, who would have thought!) in Liegnitz, Germany. She emigrated to the US in 1921 and was married to Alfred Adler august 1, 1927 in Manhattan. So Olly is probably her maiden name.
According to the Social Security Death Index she died in New York in 1966.
Link to the document:
www.flickr.com/photos/sanspareille/5019144232/sizes/o/in/...
I would love to get in touch with any family members and know more about their life.
Antioch (Hatay Province, Turkey)
Mosaic Pavement from the House of the Meander
Roman, 2nd Century A.D.
stone tesserae
Rediscovering my love for the Fujinon XF35mm. All shot wide open (because I could!) on the Fujifilm X-T1.
More of me at photomadd.com
The dome of St. Peter's rises to a total height of 136.57 metres from the floor of the basilica to the top of the external cross. It is the tallest dome in the world. Its internal diameter is 41.47 metres, slightly smaller than two of the three other huge domes that preceded it, those of the Pantheon of Ancient Rome, 43.3 metres, and Florence Cathedral of the Early Renaissance, 44 metres. It has a greater diameter by approximately 30 feet than Constantinople's Hagia Sophia church, completed in 537. It was to the domes of the Pantheon and Florence duomo that the architects of St. Peter's looked for solutions as to how to go about building what was conceived, from the outset, as the greatest dome of Christendom.
An engraved picture showing an immensely complex design for the façade, with two ornate towers and a multitude of windows, pilasters and pediments, above which the dome rises looking like a three-tiered wedding cake.
Sangallo's design
The dome of the Pantheon stands on a circular wall with no entrances or windows except a single door. The whole building is as high as it is wide. Its dome is constructed in a single shell of concrete, made light by the inclusion of a large amount of the volcanic stones tuff and pumice. The inner surface of the dome is deeply coffered which has the effect of creating both vertical and horizontal ribs while lightening the overall load. At the summit is an ocular opening 8 metres across which provides light to the interior.
Bramante's plan for the dome of St. Peter's (1506) follows that of the Pantheon very closely, and like that of the Pantheon, was designed to be constructed in Tufa Concrete for which he had rediscovered a formula. With the exception of the lantern that surmounts it, the profile is very similar, except that in this case, the supporting wall becomes a drum raised high above ground level on four massive piers. The solid wall, as used at the Pantheon, is lightened at St. Peter's by Bramante piercing it with windows and encircling it with a peristyle.
In the case of Florence Cathedral, the desired visual appearance of the pointed dome existed for many years before Brunelleschi made its construction feasible. Its double-shell construction of bricks locked together in a herringbone pattern (re-introduced from Byzantine architecture), and the gentle upward slope of its eight stone ribs made it possible for the construction to take place without the massive wooden formwork necessary to construct hemispherical arches. While its appearance, with the exception of the details of the lantern, is entirely Gothic, its engineering was highly innovative, and the product of a mind that had studied the huge vaults and remaining dome of Ancient Rome.
Sangallo's plan (1513), of which a large wooden model still exists, looks to both these predecessors. He realized the value of both the coffering at the Pantheon and the outer stone ribs at Florence Cathedral. He strengthened and extended the peristyle of Bramante into a series of arched and ordered openings around the base, with a second such arcade set back in a tier above the first. In his hands, the rather delicate form of the lantern, based closely on that in Florence, became a massive structure, surrounded by a projecting base, a peristyle and surmounted by a spire of conic form. According to James Lees-Milne the design was "too eclectic, too pernickety and too tasteless to have been a success". The façade is wide and has a row of huge columns rising from the basement to support the cornice. The ribbed, ovoid dome is surmounted by a lantern topped with ball and cross. Its drum is framed by two very much smaller domes.
St. Peter's Basilica from Castel Sant'Angelo showing the dome rising behind Maderno's façade.
Michelangelo redesigned the dome in 1547, taking into account all that had gone before. His dome, like that of Florence, is constructed of two shells of brick, the outer one having 16 stone ribs, twice the number at Florence but far fewer than in Sangallo's design. As with the designs of Bramante and Sangallo, the dome is raised from the piers on a drum. The encircling peristyle of Bramante and the arcade of Sangallo are reduced to 16 pairs of Corinthian columns, each of 15 metres high which stand proud of the building, connected by an arch. Visually they appear to buttress each of the ribs, but structurally they are probably quite redundant. The reason for this is that the dome is ovoid in shape, rising steeply as does the dome of Florence Cathedral, and therefore exerting less outward thrust than does a hemispherical dome, such as that of the Pantheon, which, although it is not buttressed, is countered by the downward thrust of heavy masonry which extends above the circling wall.
The ovoid profile of the dome has been the subject of much speculation and scholarship over the past century. Michelangelo died in 1564, leaving the drum of the dome complete, and Bramante's piers much bulkier than originally designed, each 18 metres across. Following his death, the work continued under his assistant Jacopo Barozzi da Vignola with Giorgio Vasari appointed by Pope Pius V as a watchdog to make sure that Michelangelo's plans were carried out exactly. Despite Vignola's knowledge of Michelangelo's intentions, little happened in this period. In 1585 the energetic Pope Sixtus V appointed Giacomo della Porta who was to be assisted by Domenico Fontana. The five-year reign of Sixtus was to see the building advance at a great rate.
Michelangelo left a few drawings, including an early drawing of the dome, and some details. There were also detailed engravings published in 1569 by Stefan du Pérac who claimed that they were the master's final solution. Michelangelo, like Sangallo before him, also left a large wooden model. Giacomo della Porta subsequently altered this model in several ways. The major change restored an earlier design, in which the outer dome appears to rise above, rather than rest directly on the base. Most of the other changes were of a cosmetic nature, such as the adding of lion's masks over the swags on the drum in honour of Pope Sixtus and adding a circlet of finials around the spire at the top of the lantern, as proposed by Sangallo.
A drawing by Michelangelo indicates that his early intentions were towards an ovoid dome, rather than a hemispherical one. In an engraving in Galasso Alghisi' treatise (1563), the dome may be represented as ovoid, but the perspective is ambiguous. Stefan du Pérac's engraving (1569) shows a hemispherical dome, but this was perhaps an inaccuracy of the engraver. The profile of the wooden model is more ovoid than that of the engravings, but less so than the finished product. It has been suggested that Michelangelo on his death bed reverted to the more pointed shape. However, Lees-Milne cites Giacomo della Porta as taking full responsibility for the change and as indicating to Pope Sixtus that Michelangelo was lacking in the scientific understanding of which he himself was capable.
This engraving shows the chancel end of the building much as it was built, except that the dome in this picture is completely semi-circular, not ovoid
Helen Gardner suggests that Michelangelo made the change to the hemispherical dome of lower profile in order to establish a balance between the dynamic vertical elements of the encircling giant order of pilasters and a more static and reposeful dome. Gardner also comments, "The sculpturing of architecture [by Michelangelo] ... here extends itself up from the ground through the attic stories and moves on into the drum and dome, the whole building being pulled together into a unity from base to summit."
It is this sense of the building being sculptured, unified and "pulled together" by the encircling band of the deep cornice that led Eneide Mignacca to conclude that the ovoid profile, seen now in the end product, was an essential part of Michelangelo's first (and last) concept. The sculptor/architect has, figuratively speaking, taken all the previous designs in hand and compressed their contours as if the building were a lump of clay. The dome must appear to thrust upwards because of the apparent pressure created by flattening the building's angles and restraining its projections. If this explanation is the correct one, then the profile of the dome is not merely a structural solution, as perceived by Giacomo della Porta; it is part of the integrated design solution that is about visual tension and compression. In one sense, Michelangelo's dome may appear to look backward to the Gothic profile of Florence Cathedral and ignore the Classicism of the Renaissance, but on the other hand, perhaps more than any other building of the 16th century, it prefigures the architecture of the Baroque.
Photo looking up at the dome's interior from below. The dome is decorated at the top with a band of script. Around its base are windows through which the light streams. The decoration is divided by many vertical ribs which are ornamented with golden stars.
Giacomo della Porta and Domenico Fontana brought the dome to completion in 1590, the last year of the reign of Sixtus V. His successor, Gregory XIV, saw Fontana complete the lantern and had an inscription to the honour of Sixtus V placed around its inner opening. The next pope, Clement VIII, had the cross raised into place, an event which took all day, and was accompanied by the ringing of the bells of all the city's churches. In the arms of the cross are set two lead caskets, one containing a fragment of the True Cross and a relic of St. Andrew and the other containing medallions of the Holy Lamb.
In the mid-18th century, cracks appeared in the dome, so four iron chains were installed between the two shells to bind it, like the rings that keep a barrel from bursting. As many as ten chains have been installed at various times, the earliest possibly planned by Michelangelo himself as a precaution, as Brunelleschi did at Florence Cathedral.
On 7 December 2007, a fragment of a red chalk drawing of a section of the dome of the basilica, almost certainly by the hand of Michelangelo, was discovered in the Vatican archives. The drawing shows a small precisely drafted section of the plan of the entablature above two of the radial columns of the cupola drum. Michelangelo is known to have destroyed thousands of his drawings before his death. The rare survival of this example is probably due to its fragmentary state and the fact that detailed mathematical calculations had been made over the top of the drawing.
Rediscovering my love for photography. The road hasn't been that easy, but primordial passions don't go away.
The pride of lions at Yorkshire Wildlife Park were rehomed from Oradea Zoo in Romania where due to lack of funds and expertise they were kept in very poor conditions. At the time, Lion Rescue was the largest big cat rescue in Europe. They now live happily, roaming their seven acre reserve at Yorkshire Wildlife Park.
At the time, YWP was a new park and did not have the funds to rehome and care for the lions but with the help of the News of the World launched a massive campaign `Lion Rescue’. The public rallied for the cause and raised £150,000 which helped bring the lions back to Yorkshire. A team of big cat experts from zoos around the UK travelled to Romania to help load the 13 lions. The snow did not help! The lions arrived in February 2010 – Jet2.com donated the use of a plane and with special permission, they were allowed to land at Doncaster Airport. The pilot began his descent from Amsterdam in order to mitigate the effect of the pressure on the lions’ ears! The world’s media was watching and the lions became world famous overnight.
The 13 lions included two cubs, Dani and Simba who were then aged just eight months old, and Jonny Senior who was 27 years old. All the lions rediscovered their health and have been a favourite with visitors here at YWP in the purpose built Lion Country Six years on, there are 8 lions in Lion Country: Simba, Maria, Carla, Crystal, Julie, Allis, Adel and Ares.
The pride of lions at Yorkshire Wildlife Park were rehomed from Oradea Zoo in Romania where due to lack of funds and expertise they were kept in very poor conditions. At the time, Lion Rescue was the largest big cat rescue in Europe. They now live happily, roaming their seven acre reserve at Yorkshire Wildlife Park.
At the time, YWP was a new park and did not have the funds to rehome and care for the lions but with the help of the News of the World launched a massive campaign `Lion Rescue’. The public rallied for the cause and raised £150,000 which helped bring the lions back to Yorkshire. A team of big cat experts from zoos around the UK travelled to Romania to help load the 13 lions. The snow did not help! The lions arrived in February 2010 – Jet2.com donated the use of a plane and with special permission, they were allowed to land at Doncaster Airport. The pilot began his descent from Amsterdam in order to mitigate the effect of the pressure on the lions’ ears! The world’s media was watching and the lions became world famous overnight.
The 13 lions included two cubs, Dani and Simba who were then aged just eight months old, and Jonny Senior who was 27 years old. All the lions rediscovered their health and have been a favourite with visitors here at YWP in the purpose built Lion Country Six years on, there are 8 lions in Lion Country: Simba, Maria, Carla, Crystal, Julie, Allis, Adel and Ares.
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I have been so bored without the internet. Its pathetic.
1. I deleted over 1000 songs on my itunes.
2. I wrote seven letters I have been meaning to for months and sent them out today
3. I got my first roll of film developed.
4. I rode a bike for the first time in years.
5. I finally figured out the perfect combination for my starbucks coffee
6. I ate over 21 rolls of Mentos in two days. Im not kidding. Im about to run out and get more.
7. I rediscovered my love for Harris Teeter.
They got rid of all of them in GA and here in NC they are all over the place.
8. I read two very long magazines devoted to Michael Jackson's life. My mother is in love with him and I had nothing else to do. Members of my family will appreciate that. Just take my word for it, that meant I was literally dying of nothing to do.
9. I got to know the cashier at ACE hardware while going there to purchase a dryer aghast pipe.
Apparently her husband lost his son for over 27 years because his first wife ran off with him as a baby. The husband found him though, he was in FL, and they are now reunited and the husband of the cashier was able to attend his long lost sons wedding last month.
loggers cutting this tract of land found this old house deep in the woods. If you look close there's a vulture on the chimney
I am now able to explore more in-depth places that I have photographed in years past when visiting my son in Illinois. Within an hours drive, there are a number of forest preserves and state parks that blend the human and natural history of the state.
One of my favorites is Lake of the Woods Forest Preserve where trails wind through dense vegetation along the Sangamon River, linking a museum with botanical gardens and the lake with fishing and paddle boats. An old covered bridge spans the river to provide access to the park's amenities.
Yesterday, I played around with the multiple exposure app on my phone, which is becoming my go-to camera these days. I'm pleased with the results so far.
Rediscovering my big girls.........the Iple resin really does photograph beautifully. Add the gorgeous face up by Lyn and you have a totally photogenic subject.
Lost & Found: Rediscovering Fragments of Old Toronto, permanent garden exhibition, Campbell House Museum, city centre
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www.campbellhousemuseum.ca/?page_id=2335
P5180068 Anx2 Q90 1200h Ap Q11 0.5k-1.5k