View allAll Photos Tagged Refinement
Jewel of Pays d’Auge, Normandy en.normandie-tourisme.fr/normandy-tourism-109-2.html , the Castle of Saint-Germain de Livet is striking by its architecture. Surrounded by moats, it is made up of a timber-framed manor dates back to the 15th century and a Renaissance wing built during the 16th century. This part is remarkable for its painting tiles. The castle houses marvellous frescoes dated from the 16th century. The visit is extended by the discovery of the flowery and raised park. This castle is also a museum. It presents the furniture and the works of art of the family Riesener-Pillaut who bequeathed the castle to the city of Lisieux in 1957. The inside testifies the refinement and the lifestyle of the 19th century. The trail evokes the artistic and personal journey of the painter Léon Riesener (1808-1878), grandson of the cabinet maker Jean-Henri Riesener and cousin of Eugène Delacroix. Visit the furnished interior of the Château de Saint-Germain-de-Livet, where you can also admire paintings by the artist Léon Riesener. The castle has been the property of the town of Lisieux since 1958. www.calvados-tourisme.co.uk/diffusio/en/discover/sites-mo...
Main Entry: ethe·re·al
Function: adj.
1a: of or relating to the regions beyond the earth; celestial, heavenly; unworldly, spiritual
2a : lacking material substance: immaterial, intangible; marked by unusual delicacy or refinement; suggesting the heavens or heaven
Taken at Cannon Beach, during sunset, with a Zero Image pinhole. Self portrait.
Ikebana (生け花?, "arranging flowers") is the Japanese art of flower arrangement, also known as kadō (華道?, the "way of flowers"). The tradition dates back to the 7th century when floral offerings were made at altars. Later they were placed in the tokonoma alcove of a home. Ikebana reached its first zenith in the 16th century under the influence of Buddhist teamasters and has grown over the centuries, with over 1000 different schools in Japan and abroad. The best known schools are Ikenobo, Ohara-ryū, and Sōgetsu-ryū.
Kadō is counted as one of the three classical Japanese arts of refinement, along with kōdō for incense appreciation and chadō for tea and the tea ceremony.
Lime rock 2019, a 1962 Mercedes Benz 300D Adenaur W189
The Mercedes-Benz W189 model 300 was a four-door luxury tourer produced by Mercedes-Benz between 1957 and 1962. The company's largest and most prestigious automobile, it was the Maybach of its day – Elegant, powerful, exclusive, and expensive.
Marketed as the Type 300d, it was equal in features and price but superior in performance to the rival Rolls-Royce Silver Cloud.[3] Favored by statesmen and business leaders, it offered options such as a glass partition, VHF mobile telephone, and dictation machine.
All but hand-built as the company flagship, the 300d is often identified as an Adenauer after Konrad Adenauer, the first chancellor of the Federal Republic of Germany, who employed six custom cabriolet, hardtop saloon, and landaulet versions of the W189 and its precursor W186 series during his 1949-1963 tenure. Among the custom features in these "parade cars" were writing desks, sirens, curtains, dividing partitions, sunroofs, and half-roof "landaulet" configurations.
Technologically advanced, the fuel injected 3.0 L inline-6 "Type 300" was regarded as a "driver's" car, sharing numerous design innovations and mechanical components with the iconic Mercedes-Benz 300 SL "Gullwing", including engine, suspension, and chassis. It was succeeded by the 6 L W100 Mercedes-Benz 600 Grosser Mercedes in 1963.
A successor to Mercedes' flagship W186 series final model, the 300c, the enlarged 300d (W189) was introduced in August 1957. Its new chassis code reflected sweeping refinements that included modernized bodywork, pioneering fuel injection, and a unique hardtop configuration transforming it into a pillarless phaeton.
Available as both a saloon and cabriolet, it retained the W186's proven X-frame chassis and was fitted with a more powerful version of its 3.0 L (2996 cc/182 in³) overhead cam, aluminum head M186 straight-6, the M189.
This shared improvements proven in the iconic 300SL "Gull Wing", the fastest production car of its day, including Bosch mechanical direct injection and an innovative diagonal head-to-block joint that allowed for oversized intake and exhaust valves. Output was an even horsepower per cubic inch, 180 PS (132 kW; 178 hp) at 5500 rpm.
Designed to give reliable service under prolonged hard use, the engine featured deep water jackets, thermostatically controlled oil cooling, copper-lead bearings and a hardened crankshaft. A 3-speed Borg-Warner automatic transmission was standard. With no natural cruising speed, the car could sustain anything up to its maximum speed all day, road conditions permitting.
The combination of a rigid X-shaped ovoid steel tube frame and four-wheel independent suspension provided surprisingly nimble handling. Double wishbones, coil springs, and a stabilizer bar were used up front, and Mercedes' typical double coil spring swing axle in rear. An innovative dashboard-operated rear load-leveling suspension engaged a torsion bar to increase stiffness by one-third when needed, and a pedal-operated central lubrication system kept friction points silent.[3] Brakes were vacuum-assisted hydraulic drum all around, steering recirculating ball. Power steering and Artic-Kar air-conditioning were new options.
An additional 4 inches of wheelbase provided greater rear legroom, equaling that of the long wheelbase model Rolls-Royce Silver Cloud also introduced that year. Removable rear quarter lights allowed an unobstructed view in and out from the front vent window on back, much valued in the model's popular role as a "parade car".
A total of 3,077 300d models (priced at DM 27,000) was produced through March 1962, along with 65 special-order 300d-based Cabriolet Ds (DM 35,500). After some overlap with the smaller, more contemporary styled W112 chassied 300SE that shared its engine, the 300d limousine was ultimately replaced as company flagship in 1963 by the 600 pullman "Grand Mercedes".
At some point in every car lover's life, he or she will come across the term "deuce coupe." The slang is shorthand for a 1932 Ford passenger car in coupe form. On a more rudimentary level, a coupe is a car body type with two doors and a fixed roof, but the word "coupe" has even older roots from the days of the horse-drawn buggy and means a carriage designed for two passengers and a driver. In more modern times, a coupe body style is further differentiated from a two-door sedan as having no integral door frame surrounding its window, but at the time of the 1932 Ford, doors without integrated window frames (a body style called a hardtop) had not been invented.
The "deuce" part of deuce coupe refers to the model year 1932, a significant one because 1932 featured many mechanical and stylistic improvements. Use of the term "deuce coupe" to describe any modified 1932 Ford coupe initially came in favor with the American hot-rodding subculture during the late 1940s and 1950s as the popularity of modifying the V-8-powered 1932 Ford Model 18 for speed contests, bootlegging, and car shows increased. In the decade after World War II, the 1932 Ford Model 18 gained momentum as the most popular type of car to modify, and how this came to be is fascinating.
Ford built 275,000 passenger cars in 1932, and about 185,000 of them were V-8-equipped. Today these manufacturing quantities—though still large by today's standards—aren't especially eye-popping, but remember we're talking about 1932, just a scant three years after the start of the Great Depression. Henry Ford was responsible for putting the automobile within reach of the average American with his Model T, but it would be the Model 18 of 1932—the V-8-powered variant—that pulled Americans out of the muck and gave them performance aspirations.
Although the Model A of 1928 was an important breakthrough in styling (it was the first major improvement to the appearance of the Ford passenger car since the Model T), it was the equally important confluence of two important improvements in 1932 that catapulted the deuce coupe to its vaunted position today: the availability of the first affordable mass-produced V-8 engine—the Flathead—and the aesthetic and structural refinements of the 1932 body style and "pinched" frame over the previous 1928-1931 Model A. The match that lit the bomb was the fact that a V-8-powered 1932 Ford only cost $50 over the cost of a Ford four-cylinder Model B—the designation for Ford's four-cylinder model.
Taken for the BR Puls tv broadcasting: watch here.
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The Royal Palace of Turin, seat of the Dukes and later Kings of the House of Savoy, stands at the heart of the city as a symbol of political power and artistic patronage. Originally a medieval fortress, it was transformed in the 17th century by architects like Carlo di Castellamonte and Guarino Guarini into a magnificent Baroque residence. With its lavish staterooms, grand staircase, and adjacent Royal Armory and Chapel of the Holy Shroud, the palace served as the center of court life and state affairs. Today, it is a UNESCO World Heritage site and a key part of the Residences of the Royal House of Savoy, reflecting centuries of dynastic ambition and cultural refinement.
The National Trust's, Packwood House, reflecting in all its refinements.
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Selected for Flickr group 'in explore', by group admin David Kracht, on 17 June 2018. Thank you David.
A huge thank you to one and all!
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Like a Victorian confection reflected in the waters of Central Park's Lake, the Bow Bridge gracefully gathers lovers of New York in real life. In reel life the Bridge has been a magnificent setting in films such as Manhattan, The Way We Were and Keeping the Faith.
Crafted of cast iron, it was designed with Classical Greek refinement during the mid 19th century by Calvert Vaux and Jacob Wrey Mould. Found mid-park at 74th Street, west of Bethesda Terrace, the bridge spans 60 feet with a walkway constructed of ipe, a South American hardwood that turns a rich deep red when wet. In 2008, eight three and a half foot tall planting urns were returned to the Bridge through historic reconstruction almost 80 years after the original ones went missing.(central park.com)
No. 2 - 4: Exploring - the Abbey Church of Saint Mary the Virgin, Tewkesbury, Gloucestershire .
Stained Glass of the 21st Century.
The theme for the two windows is the Benedictine motto "Laborare et Orare". This is interpreted through a number of scriptural passages that themselves explore, in different ways, ideas about the two interlocking states or work and prayer.
The south window is based upon verses from the Old Testament, in the right hand light are scenes that could embody work of all kinds. Two figures are planting a tree - "the righteous, and the wise, and their works, arte in the hand of God" (Ecclesiastes 9). A group walk through the landscape = "cause me to know the way wherein I should walk, for I lift up my soul to thee" (Psalm 143)
In the centre light a figure kneels in wonder and prayer at the revelation of God's works - "Oh Lord how manifold are thy works!" (Psalm 140). His leafy crown ("For thou hast made him a little lower than the angels, and hast crowned him with glory and honour" (Psalm 8) connects him to the landscape that extends up into the distance.
The left hand light is about work as expressed by the making of sacred places - "he shall build my city" (Isaiah 56). Masons are working on a block of stone at the foot of great columns.
In the south-easterly window the theme is gathered into a sequence of questions and answers from John Chapter 6.
To the right are those who "also took shipping, and came to Capernaum, seeking for Jesus". They have climbed up from the shore of Galilee, and they ask, "What shall we do, that we might work the works of God?" Jesus, in the left-hand light, answers "this is the work of God, that ye believe on him whom he hath sent".
The central light is a rustling, whispering cornfield, the space that we may occupy in our labours - "Pray ye therefore the Lord of the harvest, that he will send forth labourers into his harvest." (Matthew 9).
Board
Created by Thomas Denny.
These windows have been funded by
Friends of Tewkesbury Abbey
to celebrate the 900th anniversary of the arrival of the Benedictine Monks from
Cranborne, Dorset in 1102 to the new monastery at Tewkesbury
The windows were dedicated by the Bishop of Gloucester at the 900th
Anniversary Festival Service on Saturday 19th October 2002.
Thomas Denny
- who was commissioned to create these two windows:-
Thomas Denny was born in London and educated at King Alfred’s School, Hampstead, which he calls ‘mildly progressive’. Fortunately, that mild progressiveness meant that art was taken seriously and that his evident artistic gifts were nurtured. He chose to go to art college in Edinburgh partly because there was an emphasis there on the drawing and painting traditions, which was unusual in the 1970s. ‘In fact,’ he says with regret, ‘it’s extraordinary what a stranglehold conceptual art still has on art education.’
There was a stained glass department at Edinburgh, but he did not do much work with it. After leaving college, he was establishing a reputation as a coming painter when the grandmother of a friend of a friend commissioned him to create a stained glass window for a church near Stirling in Scotland. Other jobs followed, including a church in Cheltenham for which he did ten windows over ten years, and today he is not only fascinated by stained glass but has a reputation which puts him among the country’s leading exponents of the medium. His work can be seen all over the country, in sites ranging from Gloucester Cathedral to tiny village churches. In Dorset it is in the churches of Hinton St Mary, Tarrant Hinton and Powerstock, as well as Bridport Hospital.
Although Thomas has less time for painting now, he still sees himself primarily as a painter. ‘The thinking that goes into making a painting is better training for doing stained glass than the technicalities of cutting and leading,’ he told me. ‘The decisions you take about ideas, treatment and so on are the same decisions as go into a painting – it’s just that the ways of bringing them about are different. It is also different because stained glass has the huge extra element of the constraints of the place where it is to be installed. You have to like those constraints, work with them and use them as an impetus, not an intrusion.’ He goes on, without bitterness, ‘Yet stained glass is not always recognised as part of the art world, although stained glass windows are some of our most ambitious public works of art. Not many artists (John Piper is an exception) have bridged the gap between painting and stained glass in the public’s mind.’
Stained glass art also differs from painting in the degree to which the glass can be prepared before the paint is applied. Acid etching, for example, can be used. ‘Flashed’ glass (clear glass with a thin layer, or ‘flash’, of colour on the surface) is modified by the partial or complete removal of the colour by acid; by applying wax to areas of the surface, Thomas can prevent the acid from eating into those areas of colour. Two pieces of acid-etched flashed glass can be leaded up together, one on top of the other – this is known as plating. It is a technique which makes possible an almost infinite palette of colour, as well as giving vibrancy and depth. Flashed glass was first used in the 14th century. Another technique is to apply silver nitrate to the glass as a paste which is then fired in the kiln. When it is scraped off, it has stained the glass in a rich variety of yellows and golds, depending on the thickness of the paste and how long it is left on the glass.
When the preparation has been done, Thomas sticks the window up against the light, holding it in position with beeswax. Now he starts to apply paint, using a special material which contains ground glass. Next, the glass is fired in a special kiln to bond the paint to it. Although the result is predictable, there is still time for refinements and adjustments as each piece of glass is likely to be fired two or three times.
A new Denny window usually starts with a brief from whoever is commissioning the work, typically a Parochial Church Council. This can be quite short: the brief for three windows for Sunderland Minster, on which Thomas is working at the moment, ran to only half a dozen sentences. He then produces a painting for approval, putting his own interpretation on the brief he has been given. In the case of the Sunderland window, for example, it had to include Benedict Biscop, patron of the city, and the Venerable Bede, but it was Thomas who added references to the city’s industries and a representation of the mouth of the River Wear.
The next stage is a cut-line drawing on which the technical requirements of each piece of glass are noted, but there is still plenty of scope for the ideas to be developed further once Thomas actually starts painting onto the glass. When the work is complete – and the Sunderland windows will take about eight months – it is carefully transported to the site and installed under Thomas’s supervision.
Asked about his inspirations, Thomas replies, ‘I get my inspiration from looking at art but not necessarily art which might be seen as close to what I do,’ Pressed, he quotes Pierre Bonnard and Samuel Palmer, but says that the greatest influence on him is the close-to landscape and the imagery it suggests. ‘In this part of Dorset the landscape is very beautiful scenically,’ he says, ‘but also every square yard is full of richness. In my windows I get very engrossed in the minutiae of surfaces and the inter-connection of forms in the landscape. I feel angry that this close-quarter richness has become blander due to changes in farming and land management.’
This aspect of Thomas Denny’s work can be seen in a small window that he recently completed for a grotto in the garden created in memory of the late Queen Mother in the Botanical Gardens, Edinburgh. It shows a landscape of a loch and a hill but they are viewed between two rocks in the foreground which are covered in lichen, moss and ferns – the sort of landscape in miniature which so inspires Thomas and for whose future he fears.
While Thomas was at art college, his brother did a course in stone conservation at Weymouth College. He and some others rented the gatehouse at Wolfeton House, near Charminster, and one of his house-mates, Benita, was to become Thomas’s wife. Thomas himself lived in the Wolfeton gatehouse for a while, then took over the lease on half of the house in Gloucestershire to which his parents had moved. Benita having been born in Lytchett Minster, they decided to move to Dorset when the lease expired and bought a tumbledown cottage in Hinton St Mary. Having restored it, they lived there for ten years before moving to their present home at Belchalwell. Again, it badly needed restoration and the Dennys also built on extension using traditional cob to match the rest of the house. They moved, says Thomas, ‘because they wanted somewhere where they could contemplate the landscape from the windows.’
While talking about influences on him, I asked Thomas if it would be possible to do what he does if he were a convinced atheist. ‘That’s a complicated and un-straightforward question,’ he replied. ‘I certainly feel that what I’m doing is worthwhile. One must approach it with sympathy and reverence, but those qualities can also be found in non-religious art; better a still life by Braque, say, than a piece by someone who is perhaps a wonderful Christian but a poor artist.’ It may be this hint of objectivity which makes Thomas Denny’s work s powerful; non-Christians admire and relate to it, while Christians find it (to quote the brief for the Sunderland Minster window) ‘an aid to prayer and contemplation’.
The Dorset Magazine - Dorset Life.
Larger size:-
farm4.static.flickr.com/3418/3989670864_2d6b0d9521_b.jpg
Taken on:-
August 29, 2007 at 11:54 BST
From the meetup weekend. Thank you so much for bearing the cold Gina!
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With a little more building over the weekend and last night, my model is already beginning to look somewhat like a bulldozer. The blade still needs a few refinements and I obviously still have a long way to go, but overall I'm reasonably happy with the progress.
I love tulips better than any other spring flower;
they are the embodiment of alert cheerfulness and tidy grace, and next to a hyacinth look like a wholesome,
freshly tubbed young girl beside a stout lady whose every movement weighs down the air with patchouli.
Their faint, delicate scent is refinement itself;
and is there anything in the world more charming than the sprightly way they hold up their little faces to the sun.
I have heard them called bold and flaunting, but to me they seem modest grace itself,
only always on the alert to enjoy life as much as they can and not be afraid of looking the sun or anything else above them in the face.
Elizabeth von Arnim
Texture with thanks to Cris Buscaglia Lenz
© ALL RIGHTS RESERVED. Use without permission is illegal.
PLEASE NOTE : I prefer not to be faved, but if you do give me a fave and it is without a comment/award
- you will get yourself blocked.
...from the grocery....
Throw off the societal shakles
disregard the medial duties
trample the demeaning chores
underfoot
underground
homeward bound
we see, we feel, we disbelieve
in seeing what we should be feeling;
the numbness of believing
disindividualised
dispersed
sensually reimbursed
a craving of the Soul
the heart on secret parole
bypassing resplendence
for the sake of desire
passion's fire
give a flame space to aspire
beyond reality's 'curtain'
behind refinements formality
the matter of fact sanity
giving credence to lust
entwining our trust
for love's ultimate thrust
you know you want to
it's the making of us all
the breaking of the fall
an illusion of lovemaking
in seclusion it's breathtaking
within seconds, so fate-tempting
come on! one last chance
redemption of the passion play
steaming to the senses
there's no letting go
one more throw
to strike a body blow
in your element within seduction's grasp
partaking souls for this sensual clasp
intoxicated by humanly need's own dwelling
a place for any and every delight
and just the silent play of light
sensuality needs no invite!
by anglia24
11h30: 01/05/2008
©2008anglia24
This wonderful girl is Clara. I met her last weekend at the flickr meetup and I'm already in love with her.
I admire her work for some years now and we wrote messages from time to time but it wasn't until I met her that I noticed how amazing she really is. We only spend some hours together but she inspired me on so many levels.
And again big thanks to Curtis for sharing these amazing locations with us and for driving us there so early in the morning.
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The Royal Palace of Turin, seat of the Dukes and later Kings of the House of Savoy, stands at the heart of the city as a symbol of political power and artistic patronage. Originally a medieval fortress, it was transformed in the 17th century by architects like Carlo di Castellamonte and Guarino Guarini into a magnificent Baroque residence. With its lavish staterooms, grand staircase, and adjacent Royal Armory and Chapel of the Holy Shroud, the palace served as the center of court life and state affairs. Today, it is a UNESCO World Heritage site and a key part of the Residences of the Royal House of Savoy, reflecting centuries of dynastic ambition and cultural refinement.
Also from the Austria flickr meet-up. This is Erica and she is not only beautiful but also so much fun. I guess she was the one person who made everybody smile and her aura somehow makes every room even more positive :)
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Recent events have made me interested in using the drone to draw with light again. I had faffed with vertical drone lp before but it looked like the fumblings of an illiterate donkey with a biro stuck to their hoof, so had dismissed it to concentrate on using the drone differently, So I was pleased when I finally got off my arse and had a go. Some refinements needed here but happy with the result.
Telescopic fork front suspension was still a novelty in the 1940s. The German BMW company made the first road motorcycles with oil-damped forks in the Thirties and the first British bike to be so equipped was the Matchless G3L.
Supplied by Associated Motor Cycles for military use in World War Two, the G3WO was introduced in 1941 as a refinement of the previous girder-forked G3 model.
AMC's 'Teledraulic' front suspension offered 6 inches of movement, more than twice as much as a typical girder type. The superior comfort made the 350cc Matchless the machine that many despatch riders hoped to be issued with. They were also attracted by the overhead valve engine, which offered more lively performance than the side-valve unit in the more common BSA and Norton military singles.
This particular 1940 Matchless G3WO, serial number C79146, is badged to the HQ of the King’s Own Malta Regiment. In Malta all military vehicles were painted in the distinctive "crazy paving" camouflage which represents the stone walls typically found in the Maltese landscape.
This G3WO, civil licence plate OXS 517, was seen at the National Motorcycle Museum, near Birmingham Airport, on 10th January 2025.
Ravager Starfighter - built for the "Bio-Mechanical Fusion" category of the Space Jam sci-fi contest.
Yep, you read that right. This year I'm not a judge... This year I am throwing down!
For this build, I was inspired to revisit my old Parasite starfighter from 14 years ago, and see how I might rebuild it using the parts and skills that I have accumulated since then. The end result turned out much different, especially the engines (using the new Ninjago spinners), cockpit, and cannons.
(... and shout-out to Djokson and DR.Church for their refinement suggestions)
immense iron sculpture with all its figures, plates and jets of water rises in one of the internal walks of the most important park in the city.
It is said that the water monuments of Mendoza are offerings to such a precious natural element after decades of struggle against drought. Fontaine de L'Observatoire, or Fountain of the Americas, a beautiful work, with French reminiscences, made of marble and cast iron, which was at one time attributed to the artist Lola Mora. It is a set of sculptures that impacts by its height, by the sound of the water falls from dish to dish that end in a circular pool at ground level, and that ends in a white marble border. The main elements are gray cast iron and the figures have been highlighted with some faint golden tones and dark green the others. Its architecture has the European grace and refinement of the nineteenth century and looks fully in a very wooded and green environment.
inmensa escultura de hierro con todas sus figuras, platos y chorros de agua se yergue en uno de los paseos internos del más importante parque de la ciudad. Fontaine de L’Observatoire, o Fuente de las Américas, una hermosa obra, con reminiscencias francesas, realizada en mármol y en hierro fundido, que fue en algún un momento atribuida a la artista Lola Mora. Es un conjunto de esculturas que impacta por su altura, por el sonido de las caídas de agua de plato en plato que terminan en una pileta circular a ras del piso, y que remata en un borde de mármol blanco. Los elementos principales son de hierro fundido gris y las figuras se han resaltado con pintura de tonos dorados tenues algunas y verde oscuro las otras. Su arquitectura tiene la gracia y refinamiento europeos del siglo XIX y luce con plenitud en un entorno muy arbolado y verde.
Lovely Paulina from the Mountain Street meetup.
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Though I don't really have any spare time till March I decided to take part in a group-52 weeks project.
You can see what everybody else creates here.
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English Christian Song " God's Love Has Melted My Heart" | praise and worship music
I
I’ve often been cold to You, hurt and saddened You, hard-hearted, rebelled, left You alone. Why is Your love for man repaid with pain?
I hate my hard heart and my deep corruption. Filthy, unworthy to see You, of Your love. I am such a rebellious person, how could I know Your heart, see Your love? Your love is so real, I owe You so much. You keep me company when I’m chastised. Your heart aches with love when I’m refined. When I’m sad, You’re there. What I lack, You give. Facing Your love, my heart wants to break. Your love has melted my frozen heart, and now I have had a change of heart.
II
For whom have You become flesh and been so shamed? You suffer man’s rejection, but You have never complained about the desolation of life among man. You came from heaven with no place to rest Your head. You’ve never enjoyed worldly pleasures.
You quietly express the truth, just so to save people and to gain their hearts. You keep me company when I’m chastised. Your heart aches with love when I’m refined. When I’m sad, You’re there. What I lack, You give. Facing Your love, my heart wants to break. Your love has melted my frozen heart, and now I have had a change of heart.
III
How can I keep waiting, keep on delaying? I’ll care for Your will, repay Your love. I’ll accept refinement and endure pain and stand Testimonies to satisfy You. You awoke my heart to love and live for You. I’ll pursue truth, live by Your word. I wish to love You and follow You, and bear witness for You forever and ever. You keep me company when I’m chastised. Your heart aches with love when I’m refined.
When I’m sad, You’re there. What I lack, You give. Facing Your love, my heart wants to break. Your love has melted my frozen heart, and now I have had a change of heart, and now I have had a change of heart.
from Follow the Lamb and Sing New Songs
Image Source: The Church of Almighty God
Terms of Use: en.godfootsteps.org/disclaimer.html
www.flickr.com/photos/ferranp/2340471811/sizes/l/
The tenthredinifera Ophrys is terrestrial Orquídea that has underground, globular tubercle, and small which it leaves the simple turgid floral stem and without ramifications of about 30 cm. The flowers have labelo of great size. Labelo is trilobulado brown dark, with aterciopelado, trapezial, extended and made convex central lobe. Labelo of reddish brown color of about 13 to 18 mm in length has three triangular lateral lobes with both tiny that are returned slightly forwards with off-white fine hairs. The intermediate lobe is glabro and greater than the lateral ones it upwards has in means of the end a identación with a small yellow protuberance. Espéculo is of brown color in the center, the yellowish off-white inferior end, the superior end a great white spot. This variety has two equal lateral sépalos in size third becomes a little forwards. The three sépalos of about 7 mm in length and a color uniform pink. The most internal petals are enough smaller than the sépalos, wide and triangular, but of the same pink color that the sépalos, and make a great resistance with the dark tones of labelo. Of two to ten flowers they are developed in the floral stem with basal leaves. The flowers are only, nonsingle by their unusual beauty, exceptional gradation of color and forms, but also by the naivete with which they attract the insects. His labelo imitates in this case to the abdomen of a wasp. This species is very variable in its drawings and gradation of color. They bloom of half-full of March to April. This visual suggestion serves like reclamation intimo. This mímica polinización is increased when producing in addition the fragrance to the female of the insect in fervor. These feromonas cause that the insect approaches to investigate. This only happens in the determined period in which the males are in fervor and the females have still not copulado. The insect so is excited that it begins to copular with the flower. This denominates "pseudocopulación", the firmness, the smoothness, and the hairs aterciopelados of labelo, are the greater incentives, so that the insect introduces itself in the flower. Polinia adheres at the top or to the abdomen of the insect. When it returns to visit another flower polinia strikes estigma. The filaments of polinia during the transport change of position in such a way that the grain cereos of polen can strike to estigma, so is the degree of refinement of the reproduction. If the filaments do not take the new position polinia they could not have fertilized the new orquídea. Each orquídea has its own polinizador insect and depends completely on this polinizadora species for its survival. What is plus the embaucados males is probable that they do not even return or who ignore plants of the same species. By all this near 10 % of the population of Ophrys it only gets to be polinizada. This is sufficient to preserve the population of Ophrys, if they consider that each fertilized flower produces 12.000 tiny seeds.
read each of the statements and select the one which discribes how you feel / discribe
psychosocial therapies are part of the standard management of schizophrenic illnesses, but have not been subjected to systematic evaluation and are therefore not included in this guideline. This does not imply that they are not essential components of good practice.
The remainder of this section describes the evidence for the effectiveness of Education Programmes, Family Interventions, and Cognitive Behaviour Therapy in the management of schizophrenia. Section 3 provides recommendations for the application of these interventions in clinical practice, according to the phase of the illness.
Education programmes
Education Programmes are directed at either patients or carers/family members and have several aims. Improvement in knowledge of schizophrenia and its course and in compliance with treatment has been shown. There is also evidence of greater satisfaction with services provided. Some programmes go beyond the provision of information and take an educational approach to skills training or problem solving.
Education Programmes for patients may be undertaken in individual or in group settings. Simple information-giving is less effective than interactive sessions. The focus includes giving information about the course and management of the illness, including the importance of compliance with medication and the management of stress.
Providing carers and family members with information on the likely course of the illness, the treatments available, the importance of compliance and the services available is an essential element of good practice It may be undertaken as part of a Family Intervention programme
Specific techniques, e.g. use of homework or video, have not been shown to improve the assimilation of information, but a group setting has advantages
Family interventions
The aims of 'Family Intervention' include reduction of frequency of relapse into illness and reduction of hospital admissions, reduction in the burden of care on families and carers, and improvement in compliance with medication.
Some Family Intervention Programmes have targeted families where there are high levels of criticism, hostility and over-involvement. 'High expressed emotion' is a measure of these features and programmes which reduce this or reduce the amount of 'face to face' contact between the patient and family members have been shown to reduce the frequency of relapse. However, the measurement of expressed emotion is a research technique which is not practical for everyday use. Family Intervention Programmes which are not derived from this theoretical background have been shown to be effective.
Most intervention strategies contain more than one technique. Separating and defining the effects of the components of an intervention strategy is not possible at present as few studies examine the effect of a single technique and only a general description of interventions used in research studies is usually given. However, a number of practice guides have been published which give detailed descriptions of the techniques employed in some studies. Family Intervention has been shown to be effective with some variation in the components of the programme, but family sessions to address the problems identified in the analysis may not be effective if the patient is not included. Social skills training and vocational rehabilitation were included in some studies. These are not covered as separate interventions in the guideline.
Cognitive behaviour therapy
Cognitive Behaviour Therapy for psychosis is a modification of standard cognitive behavioural therapy. The aim is to modify symptoms (e.g. delusions, hallucinations) or the consequences of the symptoms which may be cognitive, emotional, physiological or behavioural. The treatment programme is intensive (involving about 20 hours of individual treatment) and based on an individually tailored formulation which provides an explanation of the development, maintenance and exacerbation of symptoms and of pre-morbid mood, interpersonal and behavioural difficulties.
There is now good evidence that treatment resistant symptoms (delusions, hallucinations) can be substantially reduced in a significant proportion of those who complete therapy. It is not yet clear who is most likely to benefit from treatment and many patients may be unwilling to participate. The treatment is well tolerated. However, reduction of symptoms has not been shown to lead to significant social or lifestyle improvements.
A combination of the following techniques has been shown to be most effective in lessening symptoms of psychosis resistant to other forms of treatment:
◦enhancement of cognitive behavioural coping strategies5
◦developing a rationale to explain symptoms28◦realistic goal setting
◦modification of delusional beliefs29◦modification of dysfunctional assumptions.
A number of these techniques are a refinement of normal good practice using a systematic approach.
'Early Intervention Studies' have aimed to identify prodromal symptoms or the 'signature' preceding relapse. The approach is not a form of cognitive therapy, but early intervention with medication or Cognitive Behaviour Therapy may be facilitated
Noun: A simple elegance or refinement of movement
This girl is one of the sweetest, most beautiful girls I have ever met. I am amazed by her. Not only as a photographer and a model, but as a person--she is wonderful.
This meetup has been so great, and I am learning so much every day that I'm here. Canada, also, is absolutely beautiful, and I am in love with the scenery here. Everyone is so talented too--I'd be lying if I said I wasn't a little bit intimidated ;)
To see more photos from the meetup, go here. :)
John Taylor, the Rootstien firm's sculptor, adds some details to clay model of Jenny Runacre. Jenny posed two hours a day for two weeks before the clay figure was finished and ha to return several times while refinements were etched into a plaster casting. It takes a year to get a mannequin from studio to store window.
Compared to the red and cream crap in the background (I've never driven an ex Glasgow panoramic that didn't leak to the extent you wondered if it had mains plumbing without a tap on the end; and those ex Blackburn East Lancs bodies where you could change the beam from dip to full by kicking the back of the headlight at your feet...) , this Ailsa was the equivalent of an Aston Martin in terms of refinement. One of three bought from Clydeside 2000, it was the first to come off the road. A regular on the Ballingry to St Columbas run, I've never been on a bus yet that could romp up Station Brae in Lochgelly with a standing load quite like this beast. Yee-ha!!
I met this lovely girl Anna in Munich last week and after searching for an art gallery which turned out to only be an online gallery we found shelter in the Modern Pinakothek where we somehow attracted the visitors more than the actually artworks. But looking at this girl I can understand them :)
This picture is obviously so much inspired by the lovely Sophie.
Of course you have to watch this big!
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A wide-angle view of a Caterpillar excavator captured using a 590nm infrared filter at a somewhat off-kilter camera angle. Color manipulation based on channel-swap in Photoshop and refinements in Lightroom.
Lavender is an herb native to northern Africa and the mountainous regions of the Mediterranean. Medicinal uses may include helping with mood, anxiety, and depression. Lavender is also grown for the production of its essential oil, which comes from the distillation of the flower spikes of certain lavender species.
Lavender flowers represent purity, silence, devotion, serenity, grace, and calmness. Purple is the color of royalty and speaks of elegance, refinement, and luxury, too. The color is also associated with the crown chakra, which is the energy center associated with higher purpose and spiritual connectivity.
Discover the epitome of rustic refinement with our Modern Farmhouse, where tradition and innovation converge to create a home that captures the essence of country living while offering all the comforts of modern life. With its inviting design and attention to detail, this exceptional home is sure to enchant you.♥
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Porch Stairs addon
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82 Land impact
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Commentary.
The sun catches the rocky headlands guarding the entrance to the awesome sea-loch, Loch Nevis.
I was trundling my way across the Sound of Sleat on my journey from the mainland at Mallaig, to Armadale
on the Sleat Peninsula, part of the wondrous Isle of Skye.
Nevis twists north, then south and finally east, where it narrows to under a quarter of a mile wide, from a maximum of four miles, at its mouth.
It is not absurd to suggest that this terrain represents one of the wildest, most remote and isolated in Caledonia and the United Kingdom.
To the left (north) is Knoydart, the “Rough Bounds.”
To the right (south) is North Morar.
Both are only accessible by foot or boat.
There are no metalled roads within an area exceeding a hundred square miles.
They are truly rugged, remote, untamed and aloof to the influence of humanity.
Starkly untouched, rocky, bare but spartanly pristine, unspoiled, natural wildernesses.
Their raw, unsophisticated beauty rakes at your psyche, your soul, your spirit.
But in this “other world” you find your real self because refinement and urbanity has been stripped away in the face of precipitous rock and Sgurr na Ciche, 1,040 metres.
This pyramidal peak, just right of centre is a sentinel,
an icon, a landmark for 20-50 miles in all directions, in this land of raw, unbridled beauty.
Even in this shot it lies beyond the far eastern end of Loch Nevis, twenty miles away in this image.
Should you wish to be “far from the madding crowd,” come here, to the mountains, to the eternal thrones of the Gods.
This is God’s Garden. It is a rocky one. Walk with him.
See your real self in the mountain pool, not the work-place window.
An angler at Land's End after Hurricane Florence. Better seen in Large. Click on the Photo. Thanks for the look and have a great weekend.
one more boring close up. but i love how the eye shines through the feather. MORE
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Jewel of Pays d’Auge, Normandy en.normandie-tourisme.fr/normandy-tourism-109-2.html, the Castle of Saint-Germain de Livet is striking by its architecture. Surrounded by moats, it is made up of a timber-framed manor dates back to the 15th century and a Renaissance wing built during the 16th century. This part is remarkable for its painting tiles. The castle houses marvellous frescoes dated from the 16th century. The visit is extended by the discovery of the flowery and raised park. This castle is also a museum. It presents the furniture and the works of art of the family Riesener-Pillaut who bequeathed the castle to the city of Lisieux in 1957. The inside testifies the refinement and the lifestyle of the 19th century. The trail evokes the artistic and personal journey of the painter Léon Riesener (1808-1878), grandson of the cabinet maker Jean-Henri Riesener and cousin of Eugène Delacroix. Visit the furnished interior of the Château de Saint-Germain-de-Livet, where you can also admire paintings by the artist Léon Riesener. The castle has been the property of the town of Lisieux since 1958. www.calvados-tourisme.co.uk/diffusio/en/discover/sites-mo...
The Egg, more formally known as the National Centre for the Performing Arts is located in Beijing, China. Technically, it’s an ellipsoid dome of titanium and glass surrounded by an artificial lake. The building seats 5,452 people in three halls and is almost 12,000 square meters (129,000 sq ft.) in size. It was designed by French architect Paul Andreu.
The initial planned cost of the theatre was $393.7 million USD. When the construction had completed, the total cost rose to more than $468.7 million USD. At least 80% of the annual operational costs must be subsidized by the government for at least the first three years after the opening, and for the rest of its operational life, at least 60% of the annual operational cost must be subsidized by the government.
The Opera House
The magnificent Opera House is mainly used to stage operas, dance dramas, ballets, and large-scale shows. The arc-shaped metal net wall of the auditorium changes the lights and shadows according to different circumstance to bring the audience into the immersed artistic space with the development of plots. The surface of the ballet stage is made of Oregon timber and its triple-layer construction ensures the greatest possible resilience, helping to protect the feet of dancers. The Opera House can seat 2,416 people.
The Concert Hall
Exuding an air of serenity and refinement, the silver white Concert Hall is the venue for mainly large symphonic and national music performances. The audience can enjoy all performances from any angle. The Concert Hall is home to a giant pipe organ, the “Hall Guardian”, which is believed to be the largest of its kind in China with 94 stops and an impressive array of 6,500 pipes. The over-100-ton white ceiling of the Concert Hall is specially designed to embody an ideal integration between architectural and acoustic aesthetics. The Concert Hall seats 2,017 people.
The Theatre
The Theatre is a tribute to the traditional theatre atmosphere of warmth and hospitality, and stages primarily traditional Chinese operas, stage plays and national song and dance. The vertical stripes in purple, dark red, orange and yellow regularly alternate with each other on the walls to express a sense of vividness in quiet, and imagination in realization. The Theater Hall is used for plays and the Beijing opera. It has 1,040 seats.
The Fifth Space
Among the venues at the National Centre for the Performing Arts are a host of public spaces that are designed to amaze and stimulate. Jointly known as “The Fifth Space”, they include the Underwater Corridor, the Olive Hall, an exhibition gallery, a resource centre, a press room, a terrace lounge, souvenir shops and cafes.
SOURCES
– The National Centre for Performing Arts: Official Page
– Wikipedia: National Centre for the Performing Arts (China)
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