View allAll Photos Tagged Relator
Relating to or denoting art that does not attempt to represent external reality, but rather seeks to achieve its effect using shapes, colors, and textures.
From left to right
Girl 1
Head: Catwa Daria
Body: TMP Legacy Classic
Skin: Lara Hurley Alina
Hair: Doux Audrey
Outfit: Violent Seduction - Styx
Tights: Miwas High Waist Fishnet Tights
Girl 2
Head: Lelutka Erin
Body: Maitreya Lara
Skin: Lara Hurley Audri
Hair: Monso Lipa
Top: Imbue Elsie Sheer Crop
Shorts & Belt: Blueberry - Can't Relate
Tights: Miwas High Waist Fishnet Tights
Shoes: Momento - Chunky Platforms
Girl 3
Head: Genus Baby Face W002
Body: TMP Legacy Classic
Skin: Nonnative Zoe
Hair: Yomi - Xiao
Top: Rouly - Give it 2 me
Shorts: Rouly - Panic Distressed Jeans
Shoes & Stockings: Cult - Kawaii Heart
Girl 4
Head: Lelutka Lake
Body: TMP Legacy Perky
Skin: Amara Beauty - Jana
Hair: Barberyumyum S15
Top: Evani Dafna
Shorts: Gaia Emily
Shoes & Stockings: Blueberry
Girl 5
Head: Genus Strange Face W001
Body: TMP Legacy Classic
Skin: Nonnative Zoe
Hair: Monso Triss
Outfit: Cosmic Dust Taeyeon
Pose & Microphone: Space Cadet - Kpop
Elysian (E•ly•sian): relating to, or characteristics of heaven or paradise. | Model: @ktmkvi
So I'm finally posting personal work. Took this awhile ago with my friend. I really really wanted to get out and go explore. We decided to go check out these waterfalls by my house & do a shoot. It was super cold. So cold that nobody was even at this park. We climbed down to the base and walked right over the ice. Large portions of the water was frozen so it made it easy getting over by the waterfall. After a while we both started getting cold and packed up.
Eidetic: relating to or denoting mental images having unusual vividness and detail, as if actually visible. Gainesville Florida 9/8/24
Two photos today relate to an exhibition at the National Gallery of Australia, Canberra, in 2011. This first one is of a replica poster in our own collection. It is one of the costume designs by Russian artist Léon Bakst (1866-1924) for Sergei Diaghilev's Les Ballet Russes production of Shéhérazade (1910). The music was written by Nikolai Rimsky-Korsakov.
nga.gov.au/exhibition/balletsrusses/default.cfm?MnuID=4&a...
The costume was to be worn by the character Shah Zeman, the brother of the ruler of Persia, in one of the stories from "The Arabian Nights". nga.gov.au/exhibition/balletsrusses/Default.cfm?IRN=74158...
Sergei Diaghilev (1872-1929) was the impresario who founded Les Ballet Russes.
Il s'agit d'un château dont la fondation par la famille de Malval remonte au XIIe siècle. Il est construit dans un vallon au bord d'un gué de la Petite-Creuse dont il percevait les droits de passage. Les ruines actuelles très pittoresques datent essentiellement des XIV et XVe siècle.
L'historique du château relate que lors de la guerre de Cent-Ans, Louis de Malval resté fidèle au roi de France aurait accueilli les troupes de Bertrand du Guesclin. Le château fut assiégé par les anglais et restauré par la suite. Deux autres sièges dus à des querelles familiales l'endommagèrent. Enfin au XIXe siècle, le château fut utilisé comme carrière de pierres par les habitants du village.
It is a castle whose foundation by the Malval family dates back to the 12th century. It is built in a valley at the edge of a ford of the Petite-Creuse from which he perceived the rights of way. The present very picturesque ruins date mainly from the 14th and 15th centuries.
The history of the castle tells that during the Hundred Years War, Louis de Malval remained faithful to the king of France would have welcomed the troops of Bertrand du Guesclin. The castle was besieged by the English and later restored. Two other seats due to family quarrels damaged him. Finally in the 19th century, the castle was used as a stone quarry by the inhabitants of the village.
Yashica Electro 35 GS,
Film Rollei RPX 100
Développement Rodinal R09 1+50
La vie de Martha Desrumeaux est relatée par exemple dans cette video :
www.youtube.com/watch?v=qdFB2fYszg8
Pour les amateurs de street art en Ile-de-France, il faut faire un tour place du colonel Fabien à Paris. Devant le bâtiment symbole et siège du parti communiste français sont affichés 11 grands portraits de figures résistantes du parti, portraits réalisés par le street artiste C215, pour fêter à sa façon le centenaire du PCF (le parti communiste français fut créé à l'issue du congrès de Tours qui se déroula du 25 au 30 décembre 1920...).
C'est plutôt l'aspect "résistants de la seconde guerre mondiale" qui est mis en avant, plutôt que l'aspect communiste. Le PCF est malgré tout très visible puisque les portraits sont réalisés sur des fac-similés de pages de l'Huma de 1945, un temps alors fort stalinien.
Taken at Fogbound Blues
Thank you Reao ;)
Body - Maitreya
Head - Lelutka Ubon
Top - FashioNatic Ines
Shorts - Blueberry Can't Relate
Practically, most humans ears merely relate far less than 20% of truth through listening and our highly regard window of souls, the dependent eyes only sees 60% of absolute truth. Fundamentally, our weakest, disturbant mind render and analyse close to 20% of unrational facts in many circumstances incorrectly.
Sadly, we human being prefer to act 100% according to our unbalance, misery brain chemical signal, our separated left and right brain cell sent out very contradicting wave signal and therefore our final independent heart is determine to react accordingly in final stage. even 90% of great scientist miss out emphasize our critical functionality of heart incorrectly with mistake
In reality with all such complex human senses aid, we can only be less than 90% certain correct at most times as the other negative balance remain 10% was distributed and affect by our much prejudice, emotional core ownership - human solitude heart that stay much farther away from eyes ears and the brain. As a matter of fact, heart, eyes, mind and ears solely function individually and selfishly according to days and night different basically cause by the atmospheric transition of changing light phantom . Is still a mystical to scientist but much connected with your previous Karmathic field records why we are here. To argue, fight and destroy for own justice with the five distratrous senses we own from pass mistake.
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I don't know how that title relates to the picture but it's what came to mind.
And, as always, view large!!!
Also, what is your opinion of getty images? I got a message about it a long time ago inviting me to join but I feel like I don't know enough about it to participate. If anyone could give me more insight about it or, if they are/did use it, what they thought about it. If I do add some of my photos to the sight, I'm afraid of where they will end up..
I met this giraffe doing a feeding type of this and boy was he only there for the food and that’s it which is obviously pretty relatable I think
Facciamo un sondaggio:
-Quanti di voi sanno di essere vivi?
Cazzate! Siete soldatini di plastica in una fangosa guerra in miniatura!
Avanti...quanti di voi pensano di essere vivi,quanti di voi sanno di essere veramente vivi?
Dolomiti - I laghi dei Piani.
... da subito questa foto dei laghi dei Piani (realizzata con l'unione di 6 scatti effettuati alle spalle del rifugio Locatelli) ha richiamato alla mia mente un pezzo dei Genesis che ho amato tantissimo ... e, con questo brano, il mito della Ninfa Salmacis e di Ermafrodito, rielaborato da Ovidio ...
Ovid's account relates that Hermaphroditus was nursed by naiads in the caves of Mount Ida a sacred mountain in Phrygia (present day Turkey). At the age of fifteen, he grew bored with his surroundings and traveled to the cities of Lycia andCaria. It was in the woods of Caria, near Halicarnassus (modern Bodrum, Turkey) that he encountered the nymph, Salmacis, in her pool. She was overcome by lust for the boy, who was very handsome but still young, and tried to seduce him, but was rejected. When he thought her to be gone, Hermaphroditus undressed and entered the waters of the empty pool. Salmacis sprang out from behind a tree and jumped into the pool. She wrapped herself around the boy, forcibly kissing him and touching his breast. While he struggled, she called out to the gods that they should never part. Her wish was granted, and their bodies blended into one form, "a creature of both sexes". Hermaphroditus prayed to Hermes and Aphrodite that anyone else who bathed in the pool would be similarly transformed, and his wish was granted.
Ermafrodito (in greco antico: Ἑρμαφρόδιτος), era il figlio nato dalla relazione segreta tra Ermes e Afrodite.
Il giovane, da neonato, era stato allattato dalle Naiadi nelle grotte del Monte Ida, una montagna sacra situata nella regione della Frigia, in Asia Minore.
All'età di quindici anni cominciò la sua esplorazione del mondo e fu proprio nel corso di essa che arrivò in Caria, sulle rive di un grande lago.
Qui, in un boschetto, nei pressi di Alicarnasso, lo vide la giovane ninfa Salmacis la quale si innamorò perdutamente di lui.
In preda alla passione Salmacis cercò di sedurre il giovanetto, ma da questi fu respinta.
Salmacis allora si nascose e quando Ermafrodito si spogliò ed entrò nelle acque del lago per dissetarsi si gettò su di lui, abbracciandolo.
Mentre il giovane si dibatteva, lei chiese agli dei di potersi unire per sempre al suo amato e di non esserne mai separata.
Il suo desiderio venne accolto e i due divennero un essere solo, i loro corpi si fusero in una singolare creatura di entrambi i sessi, metà maschio e metà femmina.
Ermafrodito, prima di sparire sul fondo del lago, maledisse Salmacis, chiedendo, per coloro che si fossero bagnati nelle acque del lago, il suo stesso destino.
Questo il testo del pezzo dei Genesis:
From a dense forest of tall dark pinewood,Mount Ida rises like an island.Within a hidden cave,
nymphs had kept a child;Hermaphroditus, son of gods, so afraid of their love.As the dawn creeps
up the skyThe hunter caught sight of a doe.In desire for conquest,He found himself within a
glade he'd not beheld before.
Hermaphroditus:"Where are you, my father?Give wisdom to your son"
Narrator:"Then he could go no fartherNow lost, the boy was guidedby the sun"
And as his strength began to failHe saw a shimmering lake.A shadow in the dark green
depthsDisturbed the strange tranquillity.
Salmacis:"The waters are disturbedSome creature has been stirred"
Narrator:"The waters are disturbedNaiad queen Salmacis has been stirred"
As he rushed to quench his thirst,A fountain spring appeared before himAnd as his heated
breath brushed through the cool mist,A liquid voice called, "Son of gods, drink from my
spring".The water tasted strangely sweet.Behind him the voice called again.He turned and saw
her, in a cloak of mist aloneAnd as he gazed, her eyes were filled with the darkness of the lake.
Salmacis:"We shall be oneWe shall be joined as one"
Narrator:"She wanted them as oneYet he had no desire to be one"
Hermaphroditus:
"Away from me cold-blooded woman
Your thirst is not mine"
Salmacis:
"Nothing will cause us to part
Hear me, O Gods"
Unearthly calm descended from the sky
And then their flesh and bones were strangely merged
Forever to be joined as one.
The creature crawled into the lake.
A fading voice was heard:
"And I beg, yes I beg that all who touch this spring
May share my fate"
Salmacis:
"We are the one
We are the one"
Narrator:
"The two are now made one,
Demi-god and nymph are now made one"
Both had given everything they had.
A lover's dream had been fulfilled at last,Forever still beneath the lake.
In una densa foresta di grandi pini scuri
Il monte Ida sorge come un’isola
In una caverna nascosta le ninfe avevano cresciuto un bambino:
Ermafrodito, figlio di dei,
che dovevano nascondere il loro amore
Mentre l’alba saliva nel cielo
Il cacciatore vide tracce di cerva
Desideroso di conquistarla
Si ritrovò in una radura che non aveva mai visto prima
Ermafrodito: “Dove sei, padre mio?
Dai saggezza a tuo figlio”
Narratore: “A quel punto non riuscì più ad andare avanti
Perso, il ragazzo era guidato dal sole”
E quando iniziarono a mancargli le forze
Vide un lago scintillante
Un’ombra dall’abisso verde scuro
Disturbò quella strana tranquillità
Salmacis: “Le acque sono agitate
Una creatura si è mossa”
Narratore: “Le acque sono agitate
La regina naiade Salmacis è stata disturbata”
Quando lui corse a placare la sua sete
Una sorgente apparve davanti a lui
E quando il suo fiato bollente si fece largo tra la fresca foschia
Una voce limpida disse “Figlio di dei, bevi alla mia fonte”
L’acqua era stranamente dolce
Dietro di lui la voce risuonò ancora
Si girò e la vide vestita solo di un manto di nebbia
E quando lui la guardò fisso, gli occhi di lei si erano riempiti dell’oscurità del lago
Salmacis: “Saremo una sola cosa”
“Saremo uniti come un’unica cosa”
Narratore: “Lei voleva che fossero una cosa sola
Ma lui non voleva”
Ermafrodito: “Lontana da me donna dal sangue freddo
La tua sete non è la mia”
Salmacis: “Niente ci costringerà a separarci
Ascoltatemi, o Dei !”
Una calma sovrannaturale discese dal cielo
E poi le loro carni e ossa furono stranamente mescolate
per sempre per diventare una cosa sola
La creatura strisciò nel lago
Si udì una voce fioca:
“E chiedo che tutti coloro che tocchino questa sorgente
Possano condividere il mio destino”
Salmacis: “Siamo una cosa sola
Siamo una cosa sola”
Narratore: “I due erano ora diventati uno
Il semidio e la ninfa erano diventati un’unica cosa”
Entrambi avevano dato tutto ciò che avevano
Un sogno di amante era stato soddisfatto alla fine
Per sempre racchiuso nel lago
Entrambi avevano dato tutto ciò che avevano
Un sogno di amante era stato soddisfatto alla fine
Per sempre racchiuso nel lago.
p.s. io al lago non mi sono avvicinato ...
The 1890 Empress Flour Mill on Queen Street is category C industrial heritage building, which means that its removal is a permitted activity. There are two plaques on the front of the building, one relating to the 118 year old structure and the other to the 1921 grain silos. With a height of 35 metres the category B listed heritage silos are the town's most prominent landmark. They're still in use and will not be demolished.
A scene at Lady Victoria Colliery, Newtongrange, about 1970. The loco on the right is a Grant, Ritchie locomotive, no.536 of 1914.
On the left, nearest to us, is Andrew Barclay, Works No. 1458, No3 Lady Victoria.
After withdrawal she was donated to the Scottish Mining Museum and after being cosmetically restored, she is on display there. The scene is now the Museum.
Grant, Ritchie was a spin-off company from Andrew Barclay formed after a disasterous fire gutted the Andrew Barclay works. An apocryphal tale relates how two of the ex-Barclay employees now forming Grant, Ritchie were seen coming out of Barclays with armfuls of plans! Certainly their locos bear many of the AB features, although the 0-4-2 wheel arrangement seen here was unusual for Barclays.
Relating to a blog I posted today about how I'm fine taking my clothes off in abandoned buildings yet totally afraid to pose clothed in public view, I went outside to take a photo. Granted, it was just on the corner of my street, but someone even walked by while I was setting up the camera and nothing bad happened! Baby steps. That's what it's all about.
July 4th is one of the only few days in the year where as Americans, we set off bursts of flame-like lights into the sky. When I was capturing this, you can see several fireworks show spanning across the San Francisco bay. It is amazing to see a day where we all unite and join together in celebrating our independence and freedom as a nation. It is a day where we all relate as Americans and remember those that fought for our nation. It is also a day where we can watch a spectacular light show.
The other major change relating to the Central Connect withdrawals is that the 93 is more-or-less replaced by the LC9. It’s similar but not identical and funded by Leicestershire County Council between Nottingham and Bottesford (despite the vast majority of the route falling within Nottinghamshire).
Since the drivers and vehicles for this route are based out of Grantham, some journeys extend to there, to allow travel on what would otherwise be dead mileage for changeovers. However the Grantham to Bottesford section has even more going on which I’ll delve into at a later time.
Journeys on the LC9 are covered by two individual duties which interwork onto different routes, so it starts off with vehicle ‘A’, then swaps to vehicle ‘B’, and then later on back to ‘A’ again. The route regulars are these YY64 E200s, plus a pair of 75 plate E200 MMCs that originated at Chaserider. The 64 plates are 6cyl and have some poke to them.
Here YY64 GWF turns down Friar Lane, Nottingham, on 2.2.26
My goal for the year was to have at least one image for every week and write some sort of background story relating it to what was going on in my life. A journal of sorts.
I did manage to pick up a camera every week but one - the worst week of the fires in September, when the air was extremely hazardous and seeping into the house, work was crazy etc etc. I suppose I could have shot a self portrait in front of my taped up front door, holding Conor ready to attack since he couldn’t go outside...but, I didn’t :)
I was more motivated with the project in the beginning. At the start of the pandemic it was somewhat inspiring to think of ways to express what was going on while stuck at home. I had a lot of ideas and played around with them a little, but my attention span was short and eventually, they didn’t seem so exciting to me.
My focus went more internal, and my camera became more of a side project. I started studying the enneagram, which I had heard about but always assumed was some stupid online personality test. People would ask me what my number was and I immediately rejected the whole thing. I’m not a “Number”. Haha. Having gone to astrology school for many years, it made me think of how people try to characterize someone by their sun sign, when really it’s so much more than that. People are complicated and this number thing seemed way too simple. But it turned out, there’s more to that too... And it led me to think a lot about my childhood and certain behavior patterns that had always been present. And That led me to think about things that were very important to me when I was younger and that had slipped away. And That led me to remember how passionate I once was about animal rights and the environment.
I’ve been a vegetarian since I was 15, and vegan for a number of years now. But in terms of lifestyle, I was not living a vegan life. So I decided to change this. I started looking at the ingredients of every single product I use. I started looking at the companies who made every single thing I own or buy. I started to switch things out and make a conscious choice as to who I was supporting and what I was using. It’s been incredibly life changing and the main focus of my year.
I also let my natural hair (now gray) grow out for the first time since I was a teenager. It really feels like the pandemic allowed my true self to emerge, in ways that definitely would not have happened if life had continued to be ‘normal’.
2020 was not an easy year, for anyone, but it wasn’t all bad. I am most definitely changed for the better. :)
A particular situation that relates to Poverty;
Gregory White - is a homeless man in Louisiana who was arrested for stealing food from a grocery store. The retail
value of the food was $39. He was assessed $339 in fines and fees and was jailed. His charges were later changed
to community service because he could not pay the fines. But when he could not pay the bus fare to complete his community service, he went back to jail. He spent a total of 198 days behind bars, and his incarceration cost the City of New Orleans $3,500.
(American Civil Liberties Union, “IN FOR A PENNY: The Rise of America’s New Debtor’s Prisons.”)
"Mad Month" is a Collection of Images that relate to its Title...."MAD"
"M" stands for Minimal
"A " stands for Abstract
"D " stands for I don't know what yet?...…."Drunk", "Digital", "Daft", Dumb, Debonair, Donuts, Dingly Dell, Dynamic, Dopamine, Doctor Dolittle, Disaster, DaDa, Devil, Disguise, Distance, Donegal, Dope, Dinner, Dachau, Diabetic, Dali, Deli, Dildo, Drop Dead, Dead Drop, Funky Chicken, Dogmatic, Dog, Dachshund, Dork, Dill, Daffodil
I will think of a few Reasons as the Month progresses.
Can anybodyout there relate to this adult burrowing owl (dad)? I feel that I can ... seems to me that it's just looking for a little bit of shade from the heat and a bit of solitude from its routine busy day duties.
See, this dad had numerous burrowing owlets to provide for and a mate that also requires a bit of attention. The owlets can be quite demanding at times ... not to mention noisy. Where better can there be than to fly off to a nearby tree that the young can't quite navigate yet. LOL
It's an absolutely gorgeous day here on the western slope of Colorado, though I honestly wish it would be a bit cooler. Hopefully it won't be that long, though the cold weather from a few weeks ago got me anxious for more.
Happy Weekend everyone. Hope that you're out there enjoying it.
© 2017 Debbie Tubridy / TNWA Photography
The metal support appears to be covered in Greek literary references on all sides.
Paphos is a city on the southwest coast of the Mediterranean island of Cyprus. Inhabited since Neolithic times, it has several sites relating to the cult of goddess Aphrodite, whose mythical birthplace was at Old Paphos (Kouklia). New Paphos is the modern city that incorporates the harbour, and the ancient ruins of tombs, fortresses, theatres and villas at Paphos Archaeological Park.
I can relate, LOL! This made me laugh, as did the yellow squash in the previous post. I mean, usually you see them in a more passive pose at the grocery store. This was at the roadside market on Hwy 60 in east Brandon, FL. Hugs and thanks for viewing! I hope this makes you smile as it did me! =o)
***All rights to my images are STRICTLY reserved. Please contact me if you are interested in purchasing my images or if you are an educator or non-profit interested in use. copyright KathleenJacksonPhotography 2009***
I came across the quote used in the title somewhere - I rather relate to it - although I'm not sure I quite fit the 'antique' model (others will disagree I'm sure!)
This is me and my youngest grandaughter Melody playing together. she had spied my Lego men and wanted to play with those - so, knowing who would have the job of putting those fiddly arms and legs back on after she'd pulled them apart, I steered her in the direction of some of my boyhood toys - no stereotyping in this house!
Quite nice really because when I grew out of them my little bro used them, then my son played them to near death, and now my grandaughter loves them
The photo was taken by my 30 year old son (Uncle Ben to Melody) and edited by moi.Oh, and your'e looking at the room where I do all my editing - my study/music room.
Have a fab day - it's nearly weekend!
This entry relates to the north-eastern most part of Arnhem Land, Northern Territory, that receives the first light as the sun rises in the east. This is the landscape during April and the start of the harvst season following the wet, when the earth receives sudden showers during what is meant to be the dry. This artwork was painted on a huge piece of bark and tells the story about a group of spirit women who appear as stars in the night sky.
In a split second after I took this photo she walked away, and I couldn't help but wonder what her thoughts were as she had lingered at the artwork for quite a while before I took this photo. The white clothing she wore, plain and simple, made me think she could relate to the minimalistic and simple artwork she seemed to be admiring.
I do relate so well to this quote....art is my solace no matter the end result....the only time my brain isn't running at high speed... the only time I'm quiet...it's my meditation.
Thank you to borealnz for the texture.
I can relate to this surfer's race to beat the setting sun. The big kid in me is always on the lookout for one last adventure before the end of the day. With this kind of daydream/sunset who can resist not getting one last ride before the days end?
Pacific Ocean Sunset
Southern California, USA
Mike D
Behind the Camera:
I'm off today and have loads of chores to do around the house. It's cold and rainy outside. All I care to do is sit around and surf the web or go out on a photo walk. Yes its the winter of my discontent.
Paris / Champs Élysées - Hôtel des Invalides gesehen vom Arc de Triomphe
The Hôtel des Invalides (French: [o.tɛl dez ɛ̃valid]; French for 'House of Invalids'), commonly called les Invalides ([lez ɛ̃valid]; lit. 'the Invalids'), is a complex of buildings in the 7th arrondissement of Paris, France, containing museums and monuments, all relating to the military history of France, as well as a hospital and an old soldiers' retirement home, the building's original purpose. The buildings house the Musée de l'Armée, the museum of the Army of France, the Musée des Plans-Reliefs, and the Musée d'Histoire Contemporaine. The complex also includes the Cathedral of Saint-Louis-des-Invalides, the national cathedral of the French military. It is adjacent to the Royal Chapel known as the Dôme des Invalides, the tallest church building in Paris at a height of 107 metres (351 ft). The latter has been converted into a shrine to some of France's leading military figures, most notably the tomb of Napoleon.
History
Louis XIV initiated the project by an order dated 24 November 1670 to create a home and hospital for aged and disabled (invalide) soldiers, the veterans of his many military campaigns. The initial architect of Les Invalides was Libéral Bruant. The selected site was in the then suburban plain of Grenelle (plaine de Grenelle). By the time the enlarged project was completed in 1676, the façade fronting the Seine measured 196 metres (643 ft) in width, and the complex had fifteen courtyards, the largest being the cour d'honneur designed for military parades. The church-and-chapel complex of the Invalides was designed by Jules Hardouin-Mansart in 1676, taking inspiration from his great-uncle François Mansart's design for a Chapelle des Bourbons to be built behind the chancel of the Basilica of Saint-Denis, the French monarch's necropolis since ancient times. Several projects were submitted in the mid-1660s by both Mansart and Gian Lorenzo Bernini, who was residing in Paris at the time. Mansart's second project is very close to Hardouin-Mansart's concept of the Royal Chapel or Dome Church at Les Invalides, both in terms of its architecture and of its relationship with the adjacent church. Architectural historian Allan Braham has hypothesized that the domed chapel was initially intended to be a new burial place for the Bourbon Dynasty, but that project was not implemented. Instead, the massive building was designated as the private chapel of the monarch, which was attached to the Cathedral attended by the veterans. The Dôme des Invalides remains as one of the prime exemplars of French Baroque architecture, at 107 metres (351 ft) high, and also as an iconic symbol of France's absolute monarchy.
The interior of the dome was painted by Le Brun's disciple Charles de La Fosse with a Baroque illusionistic ceiling painting. The painting was completed in 1705.
Meanwhile, Hardouin-Mansart assisted the aged Bruant with the Cathedral of Saint-Louis-des-Invalides, Paris, which was finished to Bruant's design after the latter died in 1697. Daily attendance of the veterans in the church services was required. Shortly after the veterans' chapel was started, Louis XIV commissioned Mansart to construct a separate private royal chapel, now named its most striking feature. The Dome chapel was finished in 1706.
Because of its location and significance, the Invalides served as the scene for several key events in French history. On 14 July 1789, it was stormed by Parisian rioters who seized the cannons and muskets stored in its cellars to use against the Bastille later the same day. Napoleon was entombed under the Dome of the Invalides with a grand ceremony in 1840. The separation between the two churches was reinforced in the 19th century with the erection of Napoleon's tomb, the creation of the two separate altars, and the construction of a glass wall between the two chapels.
The building retained its primary function as a retirement home and hospital for military veterans (invalides) until the early twentieth century. In 1872, the musée d'artillerie (Artillery Museum) was located within the building to be joined by the musée historique des armées (Historical Museum of the Armies) in 1896. The two institutions were merged to form the present musée de l'armée in 1905. At the same time, the veterans in residence were dispersed to smaller centres outside Paris. The reason was that adopting a mainly conscript army after 1872 meant a substantial reduction in the number of veterans having the twenty or more years of military service formerly required to enter the Hôpital des Invalides. The building accordingly became too large for its original purpose. The modern complex does, however, still include the facilities detailed below for about a hundred elderly or incapacitated former soldiers.
When the Army Museum at Les Invalides was founded in 1905, the veterans' chapel was placed under its administrative control. It is now the cathedral of the Diocese of the French Armed Forces, officially known as Cathédrale Saint-Louis-des-Invalides.
2024 Olympic venue
The Esplanade des Invalides, the expansive green space in front of the historic Hôtel des Invalides, was a venue for several sports during the Paris 2024 Summer Olympics. It hosted archery, para-archery, road cycling, and marathon events, with the Invalides buildings providing a backdrop.
Architecture
North Front and entrance
Hardouin-Mansart's Dome chapel is large enough to dominate the long façade yet harmonizes with Bruant's door under an arched pediment on the north front of Les Invalides. To the north, the courtyard (cour d'honneur) is extended by a wide public esplanade (Esplanade des Invalides) where the embassies of Austria and Finland are neighbors of the French Ministry of Foreign Affairs, all forming one of the grand open spaces in the heart of Paris. At its far end, the Pont Alexandre III links this grand urbanistic axis with the Petit Palais and the Grand Palais. The Pont des Invalides is next, downstream the Seine river.
The Dome des Invalides
The Dome is the tallest and most famous of the buildings of Les Invalides. Designed by Jules Hardouin-Mansart, it takes the form of a Greek cross, on a square plan. Each of the facades is composed of two orders superimposed. The porch is topped by triangular fronton. It is crowned by a dome 90 metres, high, surmounted by lantern bringing the height to 107 metres (351 feet), making it taller than Notre Dame de Paris and the tallest of all Paris church domes.
The dome is actually composed of two domes superimposed. The lower dome is largely open at the base, allowed the visitors below to see the art painted on the dome above by Charles de La Fosse. The windows are masked by the lower dome, which permits natural lighting and gives the impression that viewers are actually seeing the sky, a popular Baroque affect.
The interior of the dome is divided into two separate churches; beneath the dome is the chapel that was used, on rare occasions, by the royal family. Attached to the dome is a separate church, the Cathedral of Saint-Louis-des-Invalides, Paris, which was used by the veterans who lived at Les Invalides. They were required to attend daily services in the church.
The painting inside the dome by Charles de la Fosse depicts Saint Louis presenting his sword to Christ and the angels. In the centre of the composition, God and the Virgin are surrounded by angel musicians. Saint Louis carries the symbols of royalty; a crown, a garden with flour-des-lys emblems, and a royal mantle. To the right of Christ are placed the symbols of the passion and the suffering of Christ; the cross, nails, a lance, and the crown of thorns.
Charles de la Fosse (1636-1716), a student of Le Brun, was one of the leading painters of the Academy, whose work is also found in the Palace of Versailles. Jules Hardouin Mansard, in charge of all the decoration of the dome, asked La Fosse to decorate the cupola and the pendentives with paintings of the four Evangelists. In the same period, he decorated the salons of Diane and Apollo at the Palace of Versailles.
Tomb of Napoleon
The Tomb of Napoleon is found within the Church of the Dome. It was created after his remains were returned to France from Saint Helena in 1840. It was prepared by King Louis Philippe I and his Prime Minister, Adolphe Thiers, but it was not completed and inaugurated until 1861. The chief architect was Louis Visconti, who died before the tomb was completed. The sarcophagus made of purple quartzite, on a base of green granite, is placed in an open crypt. The crypt is surrounded by a circular gallery supported by twelve pillars, with relief panel and sculpture celebrating Napoleon's accomplishments, represented by figures of Atlantes.
Cathedral of Saint-Louis-des-Invalides
In 1957, the position of vicar was created to oversee the spiritual education of the army. In 1986 a position of the Bishop of the armies was established and placed at the church, which gave the church the title of cathedral.
The church is located directly behind the Dome des Invalides. It was originally the church that was used by the army veterans who lived at Les Invalides. They were required to attend daily services in the cathedral. In the original church, the dome, where the royal family worshipped, served as the choir, while the present cathedral was the nave for the veterans.
One unusual feature of the church is the display of captured enemy flags taken over the years by the French Army.
The cathedral has a particularly fine organ, made between 1679 and 1687, with a vert elaborate case with sculpture designed by architect Jules Hardouin-Mansart.
The Courtyard of Honour
The organ of the cathedral is particularly notable. It was made by the organ-builder of the King, Alexandre Thierry, between 1679 and 1687, and has undergone several restorations. The elaborate buffet with sculpture was made in 1683. It was specially designed for the church by the architect, Jules Hardouin-Mansart.
The French Army Museum
The Army Museum (Musée de l'Armée) was created in 1905 with the merger of the Musée d'Artillerie and the Musée Historique de l'Armée. The museum's seven main spaces and departments contain collections that display military equipment span the from the Middle antiquity through the 20th century.
The Museum of Relief Maps
The Musee des Plans-Reliefs displays a collection of military models. It was begun in 1668 the Minister of War of Louis XIV ordered that three-dimensional models be made of fortified cities and strategic places in France. The models were originally held in the Louvre. The collection was enlarged through the 18th centuries, and some models of German fortifications were added. The total collection made between 1668 and 1870 has about 150 models. The museum currently displays some twenty-eight models, depicting fortified cities of the French coast.
Burials
The Dome chapel became a military necropolis when Napoleon in September 1800 designated it for the relocation of the tomb of Louis XIV's celebrated general Turenne, followed in 1807–1808 by Vauban. In 1835, the underground gallery below the church received the remains of 14 victims of the Giuseppe Marco Fieschi's failed assassination attempt on Louis-Philippe I. The significant development came with the building's designation to become Napoleon's tomb by a law of 10 June 1840, as part of the political project of the retour des cendres orchestrated by king Louis-Philippe I and his minister Adolphe Thiers (the reference to Napoleon's cendres or "ashes" is actually to his mortal remains, as he had not been cremated). The creation of the crypt and of Napoleon's massive sarcophagus took twenty years to complete and was finished in 1861. By then, it was emperor Napoleon III who was in power and oversaw the ceremony of the transfer of the remains of his uncle from a chapel of the church to the crypt beneath the dome.
Inside the Église du Dôme des Invalides
The most notable tomb at Les Invalides is that of Napoleon Bonaparte (1769–1821), designed by Louis Visconti with sculptures by James Pradier, Pierre-Charles Simart and Francisque Joseph Duret. Napoleon was initially interred on Saint Helena, but King Louis Philippe arranged for his remains to be brought to France in 1840, an event known as le retour des cendres. Napoleon's remains were kept in the Saint Jerome (southwestern) chapel of the Dome church for more than two decades until his final resting place, a tomb made of red quartzite and resting on a green granite base, was finished in 1861.
Other military figures and members of Napoleon's family were also buried at the Dome church by year of burial there:
1800: Henri de La Tour d'Auvergne, Viscount of Turenne (1611–1675); 1670s monument by Gaspard Marsy and Jean-Baptiste Tuby, originally at the Basilica of Saint-Denis and relocated by Napoleon
1807–1808: heart of Sébastien Le Prestre de Vauban (1633–1707); relocated by Napoleon from Bazoches, replaced in 1847 with a cenotaph by Antoine Étex
1847: Henri Gatien Bertrand (1773–1844), an army general who accompanied Napoleon to Elba and then St Helena, and in 1840 brought Napoleon's body back to France; monument designed by Louis Visconti
1847: Géraud Duroc (1772–1813); also by Louis Visconti
1862: Jérôme Bonaparte (1784–1860), Napoleon's youngest brother, Governor of the Invalides 1848–1852; monument by Alfred-Nicolas Normand with sculpture by Eugène Guillaume, in the Saint Jerome chapel
1864: Joseph Bonaparte (1768–1844), Napoleon's elder brother; monument by Alphonse-Nicolas Crépinet [fr] in the Saint Augustine (southeastern) chapel
Charles Leclerc (1772–1802); urn relocated from the Château de Montgobert
1904: heart of Théophile Corret de la Tour d'Auvergne (1743–1800), named by Napoleon the "first grenadier of the Republic"
1940: Napoleon II (1811–1832) son of Napoleon (his heart and intestines remained in Vienna); first placed in the church's Saint Jerome Chapel, then buried in the crypt in 1969
1858: heart of Catharina of Württemberg (1783–1835), wife of Jérôme Bonaparte, and their son Jérôme Napoléon Charles Bonaparte, in the underground gallery; the monument of Catharina's heart was relocated in 1862 in the Saint Jerome Chapel
1937: Ferdinand Foch (1851–1929), monument by Paul Landowski in the Saint Ambrose (northeastern) chapel
1963: Hubert Lyautey (1854–1934), relocated from Morocco, monument by Albert Laprade in the Saint Gregory (northwestern) chapel
Beneath the Cathédrale Saint-Louis-des-Invalides
82 additional military figures, including 28 Governors of Les Invalides, are buried in the Caveau des Gouverneurs, an underground gallery beneath the Cathédrale Saint-Louis-des-Invalides:
Albert d'Amade (1856–1941)
Jean-Toussaint Arrighi de Casanova (1778–1853), Governor 1852–1853
Louis Baraguey d'Hilliers (1764–1813) (heart)
Achille Baraguey d'Hilliers (1795–1878), Marshal of France
Jean-François Berruyer (1737?–1804), Governor 1803–1804
Jean-Baptiste Bessières (1768–1813), Marshal of the Empire
Baptiste Pierre Bisson (1767–1811) (heart)
Antoine Baucheron de Boissoudy (1864–1926)
Thomas Bugeaud (1784–1849), Marshal of France, involved in the conquest of Algeria
François Canrobert (1809–1895), Marshal of France
François-Henri de Franquetot de Coigny (1737–1821), Marshal of France, Governor 1816–1821
Victor Cordonnier (1858–1936)
Charles-Marie Denys de Damrémont (1783–1837)
Vincent Martel Deconchy (1768–1823) (heart)
Denis Auguste Duchêne (1862–1950)
Guy-Victor Duperré (1775–1846)
Franciade Fleurus Duvivier [fr] (1794–1848)
Jean Baptiste Eblé (1758–1812) (heart)
Louis Franchet d'Espèrey (1856–1942), Marshal of France
Rémy Joseph Isidore Exelmans (1775–1852), Marshal of France
Émile Fayolle (1852–1928), Marshal of France
Ernest François Fournier (1842–1934)
Dominique-Marie Gauchet (1853–1931)
Augustin Gérard (1857–1926)
Henri Giraud (1879–1949)
Émile Guépratte (1856–1939)
Adolphe Guillaumat (1863–1940)
Ferdinand-Alphonse Hamelin (1796–1864)
Jean-Joseph Ange d'Hautpoul (1754–1807) (heart)
Paul Prosper Henrys (1862–1943)
Jean Houdemon [fr] (1885–1960), Governor 1951–1960
Georges Louis Humbert (1862–1921)
Jean-Baptiste Jourdan (1762–1833), Marshal of the Empire, Governor 1830–1833
Alphonse Juin (1888–1967), Marshal of France
Jean-Baptiste Kléber (1753–1800) (heart)
Fernand de Langle de Cary (1849–1927)
Charles Lanrezac (1852–1925)
Augustin Boué de Lapeyrère (1852–1924)
Jean Ambroise Baston de Lariboisière (1759–1812)
Dominique Jean Larrey (1766–1842), celebrated military surgeon
Antoine Charles Louis de Lasalle (1777–1809), the "Hussar General"
Philippe Leclerc de Hauteclocque (1902–1947), Marshal of France
Patrice de MacMahon (1808–1893), Marshal of France and President of France
Paul Maistre (1858–1922)
Gabriel Malleterre (1858–1923), Governor 1919–1923
Charles Mangin (1866–1925)
Augustin Eugène Mariaux [fr] (1864–1944), Governor 1923–1944
Edmond-Charles de Martimprey (1808–1883), Governor 1870–1871
Louis de Maud'huy (1857–1921)
Michel-Joseph Maunoury (1847–1923), posthumous Marshal of France
Antoine de Mitry (1857–1924)
Gabriel Jean Joseph Molitor (1770–1849), Marshal of France, Governor 1847–1848
Bon-Adrien Jeannot de Moncey (1754–1842), Marshal of the Empire, Governor 1833–1842
Raoul Magrin-Vernerey a.k.a. Ralph Monclar (1892–1964), Governor 1862–1864
Georges Mouton (1770–1838), Marshal of France
François-Marie-Casimir Négrier (1788–1848) (heart)
Robert Nivelle (1856–1924)
Nicolas d'Orange des Roches [fr] (1618–1705), Governor 1696–1705
Philippe Antoine d'Ornano (1784–1863), Marshal of France, Governor 1853–1863
Nicolas Oudinot (1767–1847), Marshal of the Empire, Governor 1842–1847
Paul Pau (1848–1932)
Aimable Pélissier (1794–1864), Marshal of France
Henri Putz (1859–1925)
Antoine Rodes [fr] (1870–1951), Governor 1944–1951
Pierre Alexis Ronarc'h (1865–1940)
Pierre Roques (1856–1920), creator of the French Air Force
Claude Joseph Rouget de Lisle (1760–1836), army captain, author of France's national anthem La Marseillaise
Pierre Ruffey (1851–1928)
Auguste Regnaud de Saint-Jean d'Angély (1794–1870), Marshal of France
Jacques Leroy de Saint-Arnaud (1798–1854), Marshal of France
Maurice Sarrail (1856–1929) (heart)
Horace François Bastien Sébastiani de La Porta (1771–1851), Marshal of France
Jean-Mathieu-Philibert Sérurier (1742–1819), Marshal of France, Governor 1804–1815
Victor d'Urbal (1858–1943)
Sylvain Charles Valée (1773–1846), Marshal of France
Two of these, Gabriel Malleterre and Philippe Leclerc de Hauteclocque, are also honored with a plaque inside the Saint-Louis-des-Invalides cathedral. Another plaque honors Jean de Lattre de Tassigny (1889–1952), posthumous Marshal of France, commander of the French First Army during World War II and later commander in the First Indochina War, who is buried in Mouilleron-en-Pareds.
(Wikipedia)
Das Hôtel des Invalides (deutsch Invalidenheim, französisch auch kurz Les Invalides) in Paris (7. Arrondissement) ist ein ursprünglich unter der Bezeichnung Hôtel royal des Invalides im Auftrag von König Ludwig XIV. in den Jahren von 1670 bis 1676 nach den Plänen der Architekten Libéral Bruant und Jules Hardouin-Mansart errichtetes Heim für kriegsversehrte, berufsunfähige Soldaten. Heute wird es geführt von der Institution nationale des Invalides und beherbergt mehrere Museen, darunter das bedeutende Musée de l’Armée, sowie zwei Kirchen, nämlich die Église du Dôme des Invalides mit der Grabstätte Kaiser Napoleons I. sowie die Cathédrale Saint-Louis-des-Invalides mit den Ruhestätten weiterer hoher Militärs.
Geschichte
Das Gebäude entstand zur Lösung des Problems, was mit den heimatlosen, arbeitslosen oder verwundeten Soldaten nach einem Krieg geschehen sollte. Nicht nur aus Gründen der Humanität fühlten sich Herrscher verpflichtet, für die Soldaten zu sorgen, die ihr Leben riskiert und oft ihre Gesundheit beschädigt hatten. Auch aus Gründen der staatlichen Sicherheit empfahl sich eine solche Maßnahme, denn unbeschäftigte, aber waffenkundige Soldaten konnten gefährlich werden, wenn sie als marodierende Banden unkontrolliert durch das Land zogen. Schon im 12. Jahrhundert dachte Philipp Augustus deshalb an eine Art Hospital. Lange kamen alte Soldaten in Klöstern unter, wo sie häufig Unruheherde bildeten, weil sie sich nicht den strengen Mönchsregeln unterwerfen wollten.
König Ludwig XIV. sorgte mit dem Hôtel des Invalides für eine umfassende Lösung, bei der er für die Architektur die äußere Gestalt des spanischen Escorial zum Vorbild nahm und für die soziale Organisation die Tradition des Klosters. Die Anlage ist eine gewaltige militärische Gedächtnisstätte mit einem riesigen zentralen Innenhof, einem Kreuzgang vergleichbar, der von vier Nebenhöfen mit Wohntrakten umgeben war. Die alten und gebrechlichen Soldaten sollten hier ein geregeltes Leben führen. Ihre Tage waren mit Gottesdiensten und handwerklichen Betätigungen ausgefüllt.
Wohngebäude und Werkstätten
Die Militäranlage bildet ein großes, 390 Meter langes und 450 Meter breites Rechteck. Allein die viergeschossige Fassade ist 195 Meter breit. Sie beherbergt unter anderem ein Hospital und eine Manufaktur.
Den zu der sogenannten Esplanade gelegenen Vorplatz säumen aufgebockte Kanonenrohre des 17. und 18. Jahrhunderts. Durch den Haupteingangsprospekt gelangt man auf den Ehrenhof. Der Haupteingang wird von Kriegerstatuen in antikem Dekor gesäumt.
Durch den Haupteingang geht der Blick auf das Tempelmotiv auf der gegenüberliegenden Seite. Dieser gesamte Bereich ist streng symmetrisch gebaut. Die Mitte ist an den vier Trakten jeweils nur leicht dadurch betont, dass in der langen zweigeschossigen Arkadenreihe eine Dreiergruppe schwach herausgezogen und mit einem Dreiecksgiebel bekrönt wird, ohne dadurch den Eindruck der endlosen Reihung und damit militärischer Strenge und Disziplin zu schmälern.
Der Ehrenhof (französisch Cour d’Honneur) ist heute noch Schauplatz von Militärparaden. Auf der Südseite, gegenüber dem Haupteingang, befindet sich im Zentralbogen der oberen Galerie eine Bronzestatue Napoleons (von Charles Émile Seurre, 1833), die im Volksmund Le Petit Corporal genannt wird. Die oberen Gänge der Wohntrakte, die zum Ehrenhof hin liegen, sind ebenfalls mit historischem Kriegsgerät ausstaffiert.
Kirchen
Nach der Inbetriebnahme wurden dem Gebäudekomplex zwei Kirchen hinzugefügt:
Cathédrale Saint-Louis-des-Invalides
Der Rohbau der sogenannten Soldatenkirche (offiziell Cathédrale Saint-Louis-des-Invalides), wurde 1676 begonnen und bereits 1677 mit der Überdachung abgeschlossen, während die benachbarte Église du Dôme des Invalides von 1679 bis 1708 errichtet wurde.
Bei der Planung des Hôtel des Invalides musste der Umstand bedacht werden, dass die religiöse Feier des militärischen Ruhms zwei Kirchen brauchte – eine für die Bewohner des Invalidenheims und eine für die Besucher. Das Hôtel des Invalides sollte nicht nur Veteranenunterkunft werden, sondern Ludwig XIV. wollte eine Heldengedenkstätte errichten; die Ausmaße der dazugehörigen Kirche mussten entsprechend groß sein, um u. a. auch größere Besuchergruppen aufnehmen zu können. Die Lösung, die schließlich gefunden wurde, bestand darin, die als Zentralbau gestaltete Église du Dôme des Invalides als Kirche für die Besucher und die als Longitudinalbau gestaltete Cathédrale Saint-Louis-des-Invalides als Kirche für die Bewohner des Invalidenheims direkt aneinander zu stellen. Auf diese Weise stellen sie zwar getrennte Einheiten dar, gehören aber baulich doch zusammen. In der Trennwand hinter dem Hochaltar der Cathédrale Saint-Louis-des-Invalides befindet sich ein großes Fenster zur Église du Dôme des Invalides, das beide Kirchenräume gleichsam geistig verbindet.
Ursprünglich war die Kirche für die Bewohner des Hôtel des Invalides als choeur des pensionnaires („Chor der Invaliden“) eine Bauidee, die auf die Mönchschöre frühneuzeitlicher Klosterkirchen zurückgeht. Von ihrer Église des soldats („Soldatenkirche“) aus verfolgten die Heiminsassen den Gottesdienst, das Betreten des Kuppelraums der Église du Dôme des Invalides war ihnen untersagt. Die Kirche für die Bewohner des Hôtel des Invalides ist seit 1986 Kathedrale und Sitz des französischen römisch-katholischen Militärordinariats (Diocèse des Armées françaises).
Grabgewölbe Caveau des Gouverneurs
Hinter dem Hochaltar der Cathédrale Saint-Louis-des-Invalides, und teilweise in diesen integriert, liegt der Zugang zum Grabgewölbe Caveau des Gouverneurs, das ursprünglich für die Gouverneure des Invalidenheims (siehe Liste unten) bestimmt war. Letztlich fanden hier 28 Gouverneure ihre letzte Ruhestätte; die übrigen der 82 hier beigesetzten Personen sind besonders verdienstvolle Angehörige der französischen Streitkräfte.
In den Gruftnischen des Caveau des Gouverneurs ruhen u. a. die Admirale oder Generale d’Amade, Arrighi de Casanova, Baraguey d’Hilliers, Bessières, Bugeaud de la Piconnerie, Certain de Canrobert, Coigny, Duchêne, Duperré, Franchet d’Espèrey, Exelmans, Fayolle, Gauchet, Giraud, Guillaumat, Hamelin, Henrys, Humbert, Jourdan, Juin, Langle de Cary, Lanrezac, Baston de Lariboisière, Larrey, Lasalle, Leclerc de Hauteclocque, Mac-Mahon (auch Staatspräsident), Maistre, Mangin, Maud’huy, Mitry, Molitor, de Moncey, Mouton de Lobau, Nivelle, d’Ornano, Oudinot, Pau, Pélissier de Malakoff, Putz, Roques, Rouget de Lisle (Verfasser der Marseillaise), Saint-Jean d’Angely, Saint-Arnaud, Sébastiani, Sérurier, d’Urbal und Valée.
Jean-Marie de Lattre de Tassigny, posthum Marschall von Frankreich, ruht nicht im Hôtel des Invalides, sondern in seinem Geburtsort Mouilleron-en-Pareds (Département Vendée). Anlässlich des 50. Todestages des Marschalls enthüllte der französische Staatspräsident Jacques Chirac im Januar 2002 eine Ehrentafel für ihn in der Cathédrale Saint-Louis-des-Invalides. Philippe Leclerc de Hauteclocque wurde ebenfalls mit einer solchen Ehrentafel in der Cathédrale Saint-Louis-des-Invalides gewürdigt.
Orgel
Die Orgel wurde 1687 von dem Orgelbauer Alexandre Thierry mit 37 Registern auf vier Manualen und Pedal erbaut. Das Instrument wurde mehrfach repariert und erweitert. Rekonstruiert wurde das Instrument insbesondere durch den Orgelbauer Gadault im Jahre 1852, und in den Jahren 1957, 1962 und 1979 durch den Orgelbauer Beuchet-Debierre. Dementsprechend heterogen ist das heutige Pfeifenwerk in der Orgel. Sie hat heute 64 Register auf drei Manualen und Pedal. Die Trakturen sind elektrisch.
Église du Dôme des Invalides (Grabstätte Napoleons)
Die zweite Kirche im Komplex des Hôtel des Invalides ist ebenfalls dem heiligen Ludwig geweiht und trug ursprünglich den Namen Chapelle royale des Invalides. Heute wird sie Église du Dôme des Invalides genannt, wovon sich ihr deutscher Name „Invalidendom“ ableitet. Die Bezeichnung Dom weist in diesem Fall nicht auf eine Kathedrale hin (Sitz des Militärbischofs ist die benachbarte Cathédrale Saint-Louis-des-Invalides, siehe oben), sondern kommt von dem französischen Wort „dôme“, was „Kuppel“ bedeutet.
Der in den Jahren 1679 bis 1691 errichtete Rohbau des Invalidendoms konnte aufgrund von Kapitalmangel erst im Jahr 1706 endgültig vollendet und ausgeschmückt werden. Ein Gesetz bestimmte das Gebäude am 10. Juni 1840 zum Grabmal Napoleons. Die Aushebung und Ausstattung der Krypta, die den Innenraum der Kuppelkirche erheblich veränderten, nahmen rund zwanzig Jahre in Anspruch und wurden 1861 abgeschlossen.
(Wikipedia)
Being a misfit
I can relate
Never quite fitting into
your skin
curled up
waiting
for the transformation
to become something
beautiful
and excepting...
I was up really late last night trying to think of the perfect words to write for this photograph, I have a lot of words in my head. I thought a lot of when I was a teenager and how I never fit into any "group" or really understood the "game" very well. I never felt completely comfortable around humans, I had an issue with trusting them. They always seemed to lie to themselves and to others just to appease their peers. The game never stops you know, it's embedded into society so tightly people don't even realize they are playing it. I felt like I was always transparent and awkward...I never even had a real boyfriend until 11th grade and I was sooooo freaked out half the time around him like I was going to screw it up at any moment! So I bonded with nature and got what I needed through long walks in the woods. I look at India and see how social she is and I want to warn her about these things I see but I know she needs to find her own way and figure it out for herself with maybe a few pointers from me...
Waterview Wharf Workshops is a heritage-listed former shipping company workshops at 37 Nicholson Street, Balmain, Inner West Council, Sydney, New South Wales, Australia. It was built from 1880 to 1941. It is also known as Adelaide Steamship Company wharf and Burns timber yard. It was added to the New South Wales State Heritage Register on 2 April 1999.
The Waterview Wharf Workships are purpose-built maritime industrial buildings on the foreshore of Waterview Bay, Balmain. They form part of the few surviving maritime structures which once stretched along the southern shore of the harbour from Balmain to Garden Island and includes the wharves of Pyrmont, Walsh Bay, Circular Quay and Woolloomooloo.
The key periods of significance of the property relate to the late 19th century and early 20th century use of the site. There are three distinct historical phases of development on the site. The first relates to the Burns timber yard from 1880 to 1898. The second (1900-1939) to the outbreak of World War II was the Adelaide Steamship Company. The third is the Adelaide Steamship Company during the World War II war years and its subsequent decline until the 1960s.
This workshops site, through erection of the stone sea wall and excavation of the former cliff to provide fill on which the Burns Mill was built, illustrates the importance of the waterfront industrial land in Balmain in the late 19th century.
The workshops are the last significant remnant of the early 20th century maritime industry which was concentrated in Waterview Bay and included Mort's Dock, West's Sail Loft, the UTA Ferry Workshops and Sydney Slipways. They represent the importance of maritime trade to the development of Sydney in the early 20th century. They are one of the most tangible remnants of the Adelaide Steamship Company which for decades was the largest shipping company in Australia. The siting of the company's workshops in Waterview (Mort) Bay was a major event in the maritime history of Sydney. The workshops are directly associated with Thomas Elder and Robert Barr Smith who were two of Australia's most prominent 19th century entrepreneurs.
The Waterview Wharf Workshops were one of the principal employers of labour in Balmain in the early 20th century. Like Mort's Dock, the Adelaide Steamship Company used casual labour rather than permanent labour and was responsible, in part, for the entrenching of union values in the suburb (of Balmain). The Waterview Wharf Workshops had the reputation for being the finest-equipped repair facilities of medium size in Sydney.
Building 2 is from the 1st phase of the Adelaide Steamship Company development on the site between 1900 and 1939. It was built in the final phase of the company('s occupation). It originally had a corrugated iron roof that was replaced with a corrugated asbestos roof c. 1940.
Building 1 was originally constructed c. 1940, likely of asbestos roofing and walls. This building is indicative of the historical decline in the shipbuilding industry and of Adelaide Steamship Company after the (Second World) war as it provides evidence of the last development phase on the site. It had ancillary functions and did not play an important role in the industrial use of the site.
The substantial site works and construction of new buildings on the site in the 1940s coincided with the increasingly widespread use of asbestos as a building material at this time.
The Waterview Wharf Workshops are an attractive, well-proportioned group of purpose-built maritime industrial buildings on the foreshore of Waterview Bay, Balmain. They form part of the few surviving maritime structures which once stretched along the southern shore of the harbour from Balmain to Garden Island and includes the wharves of Pyrmont, Walsh Bay, Circular Quay and Woolloomooloo.
The Waterview Wharf Workshops site, through erection of the stone sea wall and excavation of the former cliff to provide fill on which the Burns Mill was built, illustrates the importance of the waterfront industrial land in Balmain in the late 19th century.
The Waterview Wharf Workshops are the last significant remnant of the early 20th century maritime industry which was concentrated in Waterview Bay and included Mort's Dock, West's Sail Loft, the UTA Ferry Workshops and Sydney Slipways.
The workshops possess sufficient fabric for the site to be adequately interpreted in industrial archaeological terms.
The workshops are one of the few remaining industrial sites which exhibit, through the wharf access road and the air raid shelter, the effect of the Second World War on the fabric of domestic industrial sites.
Building 2 (c. 1900)
Located at the top of the site adjacent to the Zig Zag Reserve. This westernmost building was built at the same time as the lower, c.1900 buildings and is very similar in design and construction, albeit of a much-smaller scale. It has a timber frame with walls clad in corrugated iron, a corrugated asbestos cement roof with skylights and timber floors. It is two storeys, with the same type of windows as found elsewhere on site.
Provides physical evidence of an important historical phase on the site, that of the shipbuilding years of the Adelaide Steamship Company. It relates to the other Edwardian era buildings on the lower part of the site.
Its existing corrugated asbestos roof sheeting replaced an original corrugated iron roof c.1940. There is no ceiling lining and the underside of the roof cladding forms the ceiling.[
Building 1 (c. 1940)
Constructed approximately when the roadway was built to provide office space, amenities and storage. Built variously of brick fibro and corrugated iron, it is (one of a number of) general-purpose personnel-centred buildings built, indicative of the historical decline in the shipbuilding industry and of Adelaide Steamship Company after the (Second World) war as it provides evidence of the last development phase on the site. It is likely the existing asbestos roof and walls are original fabric. It had ancillary functions and did not play an important role in the industrial use of the site.
I was starting to forget how to actually take pictures that don't directly relate to my dreary life so thought I'd be a swot today to make up for my reckless weekend.
The arch was built in the 16th century as an extension of the city walls to protect ships from looters, with a garrison and cannons on the roof. Oddly, its name only relates to former Spanish merchant ships which docked here, and the name was applied only in the 1800's.
In his "Metamorphoses," Ovid relates the story of the goddess Venus vainly trying to restrain her lover, the mortal Adonis, from departing for the hunt. The mood of playful sensuality conceals the tragic irony that Adonis is destined to be killed during the hunt by a wild boar. Titian painted two versions of the composition; one in 1554 for Philip II of Spain (now in the Prado, Madrid), and the other shortly before 1570 for the Farnese family (lost). The present picture is a version of the second composition, and since cleaning (1976) can be seen to have been painted in large part by Titian, the greatest painter of the Venetian Renaissance. (Gallery label)
In the Metropolitan Museum of Art, New York.
Aardvark introduces Smells like... All Panic
We made a relatable gift version of our Smells Like....Candles.
Aardvark has a candle to shine a light on the funny things in life, maybe the odd smell and a shining support that sometimes, life is just meh.
This original mesh candle is left and right holdable and also comes in decor form
️ Copy / Mod
️ 100% Original Mesh
️ Decor : 1 land impact
️ Right/Left Holdable
️ Touch to light/extinguish flame
Available at the Mainstore
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On my last outing I found this Yellow-crowned Night Heron just wanting to sleep in the early morning. I can relate to him/her today and will be a bit slow getting to everyone’s posts. Just as his eyes were drifting shut here, my eyes will need to do the same in order for me to recover from an extremely busy day yesterday. Photo taken on Armand Bayou.
DSC02099uls
A portrait of a little fellow that seemed very tired, my wife and I couldn't stop watching him.
This is a frozen moment of time where he was in deep thought.
Soon after he took off and was playing, all was well again!
I can relate tho in many ways.... in These Days!
God bless you and yours...
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[...] The sensory world of manifolds is the area of analysis by the intellect; we can also say that the mind has invented the world of sense. If we think we understand the world, it just means to understand that we, as far as it relates to our intellectual thinking. But the intellect is not up to that life as we live it internally, we always feel something in us that which the mind is unable to pay the full peace and the other looks for its fulfillment.
This is why our lives so rich in contradictions and conflicts. But most of us take no notice of them and only when this fact is somehow aware, they start with this situation examination seriously.
If we start in this way, to search for the truth, we finally get to the spiritual world, or rather, the spiritual world breaks into the world of sense and reason.
Once that happens, it changes the whole order of things, the logical is not logical, rationality loses its meaning, because now is the real not-real and the truth, the non-truth. More specifically, the water no longer flows in the river, the flowers are no longer red and the pastures are not green.
It is the most surprising event that can take place in human consciousness. This invasion of the spiritual world into the world of the senses and the mind leads to the overthrow of every form of experience that has prevailed there.[...]
Die Sinnenwelt der Mannigfaltigkeiten ist der Bereich der Analysen durch den Verstand; wir können auch sagen, der Verstand hat die Sinnenwelt erdacht. Wenn wir glauben, die Welt zu verstehen, heißt es nur, dass wir verstehen, soweit es unser verstandesmäßiges Denken betrifft. Aber der Verstand reicht nicht bis zu jenem Leben, wie wir es innerlich leben, wir fühlen immer etwas in uns, dem der Verstand nicht den vollen Frieden zu schenken vermag und das anderweitig seine Erfüllung sucht.
Deshalb ist unser Leben so reich an Widersprüchen und Konflikten. Doch die meisten von uns nehmen das nicht zur Kenntnis und nur wenn ihnen diese Tatsache irgendwie bewusst wird, beginnen sie sich mit dieser Situation ernsthaft auseinanderzusetzten.
Wenn wir auf diese Weise anfangen, nach der Wahrheit zu suchen, gelangen wir schließlich zur geistigen Welt oder richtiger: die geistige Welt bricht in die Welt der Sinne und des Verstandes ein.
Sobald dies geschieht, ändert sich die ganze Ordnung der Dinge; das Logische ist nicht mehr logisch, die Rationalität verliert ihre Bedeutung, denn nun ist das Reale das Nicht-Reale und das Wahre das Nicht-Wahre. Genauer gesagt, das Wasser fließt nicht mehr im Fluss, die Blumen sind nicht mehr rot und die Weiden sind nicht mehr grün.
Es ist das überraschendste Ereignis, das im menschlichen Bewusstsein stattfinden kann. Dieser Einbruch der geistigen Welt in die Welt der Sinne und des Verstandes führt zum Umsturz jeder Erfahrungsform, die dort vorgeherrscht hat.
|| Source: D.T.Suzuki "Wesen und Sinn des Buddhismus" Hua-Yen-Philosophie || Wikipedia: D. T. Suzuki || Tranlated by Mr. Google ||