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Appropriate to post an image relating to the railway on rail 200 day
This image depicts Network Rail class 153 '153376' Slowing down through Newcraighall on its way into Millerhill Yard. I was expecting to see at least one other fellow railway enthusiast here as its usually popular with the spotters but this time round it was just me. Not even the passengers waiting on their train into Edinburgh took any notice of it!
This was a really well exposed image and the OHLE provided the perfect frame. and thankfully it was traveling slowly as I don't remember setting the AF to Continuous!
Also known as Choobi bridge or Pol-e Joui in Farsi, this bridge was built in 1665. It is 147 meters long and 4 meters wide, with 21 arches. It was built during the reign of Shah Abbas II to irrigate and inter-relate the king's gardens on both sides of the river. The bridge and the two parlours within were for the exclusive use of the shah and his courtiers. Nowadays the parlours are being used as tea houses.
I looked around for some objects I thought would relate well with these shadows and in the end looked in my art cupboard - one that rarely gets opened these days. I found a few coloured pencils and similar which I picked up rrandomly to place in the picture..
Thank you everyone so much for sharing your quality photos which is a great way to see and keep in touch with the world from home. Also for your kind comments and favours which are much valued. I am not able to take on any more members to follow or to post to groups. I prefer not to receive invites to groups
Uses: Anything relating to finance and money.
Free Creative Commons Finance Images... I created these images in my studio and have made them all available for personal or commercial use. Hope you like them and find them useful.
To see more of our CC by 2.0 finance images click here... see profile for attribution.
2023 A New Year's Eve Soliloquy
I was asked recently by a friend if I would ever be likely to teach someone what
he/she felt were my skills at pickpocketing.
Extremely flattering as the question was, I had never thought of what we do as a skill. Rather than just role play, or taking advantage of a friend’s condition ( like Pissed drunk, or compellingly overwhelmed emotionally) that makes them vulnerable.
We had a discussion over this with my brother and our group of friends, concluding that since non of us would ever try to do a lift on a stranger for keeps, the topic of this being an actual skill is pretty much mute.
That all being said, if there are professional pickpockets that are adept enough to actively lift jewelry from a victim, then either they are incredibly skilled, or just know how to spot an advantage brewing that would cook up into a victim’s concocting condition as described above.
For a clearer example of a concocting condition, let me relate my own experience this past New Year’s Eve.
As is our habit, my friends and I celebrated New Year's Eve at our local “The Poet & Peasant Pub”.
I was on the decorations committee, so I was there to observe most of the guests coming in.
I was at the top of the stairs leading to the upper rooms, placing a party hat on Erik, the skull of the medieval poet who is the pub’s namesake. The macabrely grinning thing sits high on a ledge of the stairs overlooking the pub and its guests (peasants).
So I had a great vantage point to take an early drink and watch.
A friend(and he knows of whom I speak) had sorta challenged me to make a lift this evening. So it was with a thief’s eye that I tried to look innocent as I watched the partiers coming in.
The pub proper is not large, but it has two larger first-floor rooms, one for dance, the other for dart competitions. Since we usually can expect a crowd of two hundred, all three areas come into play.
The upstairs rooms are old bedrooms used for various pub-related antics.
Now, It’s not supposed to be a dressy affair at this party, but the guests, regulars, and visitors make it one.
The gents in suits, and tuxes, the lady’s getting a second chance to show off by wearing an old gown or dress they’ve only worn once.
Rhinestones and pearls are the majority of jewels worn with splashy brilliance.
This year was no exception.
Once it was in full swing one would have thought it was an after-party at a actors' awards show.
Use that thought to picture in your mind a quick visual without me going into boring paragraphs of detail.
But for a brief idea, I’ll describe what my clique was wearing…
Which, since it was one(or more)of us girls that became a victim that evening, it appears appropriate to do so.
So, In my role-play thief's mind I observed:
First off, myself.
I had on a smart ocean blue coloured satin dress with a below-knee length skirt and a slick solid top with a mock turtleneck collar. The sleeves flared out just below my elbows. I was wearing my gold necklace set with diamond Sapphire rhinestones with matching long earrings. Also being worn was my rhinestone cuff bracelet. The same one my brother once nicked from me at the very pub we were now partying at.
I also added two of my real cocktail rings to complete the glittery effect.
As far as the type of mark I’d be for a thief? Well if being a twit came in degrees, and I was in my monthly period, I would be certified as a solid brown belt. If I was wearing real jewels, thieves would be able to have a field day lifting the bloody things, as did actually happen to me in a very similar situation as this evening. But it was not done by a real thief, just by an opportunist who took advantage of a victim who had been having herself a pisser.
But then, this is not that story.
My friend Byrne was wearing an old-fashioned black tux, black vest, black shirt, and blue bow tie, topped off by a black bowler. He had to work late at the Dyfed station that day and said he was wearing the suit he had on. So it was a pleasant surprise to see him dressed up, and I let him know it in no uncertain terms.
My brother was dapper in his tawny-colored herringbone vest suit, brown silk shirt, and gold satin necktie. A gold satin handkerchief stuck jauntily out from a vest pocket.
Ginny had again poured her lithe figure into the sleek satin Japanese-style Qipao sheath dress she had bought to wear in a play she acted in last spring. It was midnight black with a brite lime green inner lining and tight lime green Lycra pants. The only decoration on the elegant dress was a glittery silver rhinestone Dragon, with green slanted eyes and a red fiery tongue. It was embroidered crawling up one side of the dress, reaching around up towards her bosom.
Ginny was wearing a bib-style necklace of rhinestone emeralds with matching earrings.
The necklace she usually wore was still in a police evidence locker at Dyfed ( see my tea party story).
Her hair was held up on one side by a glittery clip. She wore no gloves, so her diamond rhinestone cuff bracelet lay on bare skin, as were the 3 cocktail rings she was wearing.
Ginny would be a tougher nut for thieves to crack. For she is logical to a fault and witty. She is also a black belt in Jiu-Jitsu.
But one really after her jewels, would just have to follow her around to see she is on the wee bit clumsy side. I immediately thought how useful a satin handkerchief could be if employed along the high, partially exposed neckline of her gown to acquire her necklace. And I happened to now know where to obtain one ….
Two other two close friends (members of our role-playing troupe) also eventually showed up.
Merrick was dashing in a James Bond-styled black tux. The vest he wore had a gold and black calico silk pattern.
His Heather enticingly was wearing a very shiny black satin, slightly off shoulders gown with long white lace frills hanging down from the neckline and the gown’s puffy elbow-length sleeves.
Her jewellery was a ruby rhinestone necklace with matching earrings. Like Ginny, one side of her hair was pulled back and held by one of her real diamond chip hair clips. She wore black satin gloves, and around one wrist was the wide tennis bracelet Merrick had given her last Valentine’s Day. It was a beauty, two rows of diamonds and a centre row of round rock rubies. She also wore twin ruby cocktail rings.
Heather is a timid meek little thing who blushed easily and turn her head away whenever complimented(think of Actress Alison Pill ). Also, those black satin gloves of hers would hinder feelings of lifting from her skin.
Mum and Auntie were also in attendance.
Mum was wearing a shimmering dress of silvery metallic material. She was wearing a necklace of round diamond rhinestones, with matching earrings and bracelets. They were ones I first “borrowed “, sneaking them out of mum’s day jewel case and started wearing as my twin and I began first exploring our games of thievery.
Her personality and looks matched the actress Haley Mills. Her eyes getting delightfully large as she was surprised by something. It would be worth trying for her necklace just to witness that reaction.
Father was working the Dyfed station this evening, so my bodyguard-built uncle was the escort of both ladies.
Uncle(or the man from U.N.C.L.E . As I thought of him) was a rugby player in his youth and still had the physic for it. The tight tux he wore looked like it was bursting from the seams over his muscular build. But for all his looks he was a pussycat. Though a fierce darts competitor.
Auntie was very elegant in a long white silk dress with a red and green flowery print. She was wearing her gleaming set of pearls.
Our Aunt reminded me of the actress Janine Duvitski, in looks, and the way she was insecure, like Janine’s character in the Telly series” Waiting for God.” She was a foil to far too many things in her life and would offer no challenge to a proper thief, which may be her saving grace.
Then there was our cousin Michelle(Micke)
She has come there with a group of her coworkers but divided her time with us.
Micke was enticingly wearing a very sleek, slick brown satin fully off-shoulder number that nicely outlined her petite figure as it poured along it down to her silver high heels.
Her Jewels were a sparkling collection that consisted of a wide V-shaped necklace that looked like a falling river of rhinestones, amazingly sparkling chandelier earnings, her favorite diamond-appearing bracelet, and several enticing rings.
But the real showpiece was the eye-grabbing broach she had pinned to the gown just at her waistband. It had a sparrow egg-sized diamond at its centre.
Now blonde Micke just wears her heart upon her sleeve. Just as gullible as her mum, she has fallen victim to many of our pranks. Micke was easy prey to a compliment or falling into a tight, searching hug.
And by now most of the rest of the crowd had entered.
I tapped Erick’s boney jaw open so the poor sod of a poet was grinning, then came down from my perch to begin mugging, er, mingling.
^^^^^^^^
And so the party rambled on, properly behaving like most pub-held New Year’s Eve affairs.
I highly recommend going to one if you have never been.
Plenty to drink, and eat, games to play dancing to music( ours was live this year) camaraderie, storytelling and jokes, attempts to lite the cigar someone had stuck in Erik’s mouth, etc
Oh, And did I mention games?
Especially the one I was playing on my own, pretending to be a thief on the prowl.
I did miss one early opportunity on me mum’s necklace when I stood behind her in the snack line. She had literally backed into me and was reaching down to snag a small pork pie, exposing her throat and necklaces' clasp. But uncle was in front of her and turned to look as she asked him if he had one for himself.
Victims 1 Thief 0
But then as the night went by quickly and since I’m not a real thief, I found myself having so much fun I almost forgot I was looking for a further lifting opportunity.
Almost…
End Acte 1
^^^^^^^^^^^^*
Acte 2
Almost forgot I had been dared to do a lift, that is until I had l came out of the loo around 11:00 and realized I was on my own.
For the first time that evening.
Everyone I had been with was split up into small groups now doing their own thing
I could either join in, watch, or….
And now I thought licking my freshly touched-up lips, time to do something on my own.
So like my pretend thief, I decided to have a walk around and seek an opportunity amongst my chosen potential victims.
Byrne, Merrick, Uncle, and my brother Craig were we’re still playing darts with another group of men. I had been watching before slipping away to freshen up.
Micke and one of her co-workers ( in green taffeta) were amongst a group dancing. I thought of cutting in as a possibility to make a score, for that glittering broach of hers was an enticing calling card.
I watched for a minute or so when suddenly an opening appeared that paved my way in. A man had cut in and was dancing with Micke’s girlfriend. His back to Micke. I curled my fingers while licking my lips ready to plunge in and make a lift of a glittery broach.
I got no more than two steps in when the music stopped and the dancers headed off the floor in the opposite direction, including my Cousin.
I walked away, my heart pounding.
Victims 2 Thief 0
Our Mum and Auntie were sitting at a side table of the long mahogany bar, chatting away. Mum has an almost empty glass, so I surmised she may need to be making a trip to the ladies' room. I stored away that tidbit.
But there, in an opposite corner, underneath Erik’s perch, a makeshift stage was set up. With guests coming up to tell jokes and stories.
It was at one of the tables, chairs backed against the stairway, Ginny and Heather sat listening to an Irishman telling one of his drinking stories.
Both, in my thief’s eye, were a royal treat to be observed. Two enticingly dressed and deliciously jeweled prospects, very distracted, sitting in a rather vulnerable location.
It was all far too tempting, and I felt an overwhelming urge to acquire a piece of jewellery and strted to excitedly tingle from deep within.
Ginny’s necklace was beckoning with a flashy invitation. Heather's elegantly gloved hands with the inviting jewelry she wore, also called out to my inner thief with a fiery blazing hot lure.
^^^^^
The Irishman telling the joke was holding a long cigar as he started, his accent and mannerisms adding much embellishment to the story.
(Look up on Utube Mike Dunafon. An Irish drinking joke)
“Irishman Paddy O'Brien has moved to a small city in Wales. And as men are won’t to do, looks for a new local. He walks into the first pub he finds, and tells the bartender, "Give me three pints of Guinness."
The bartender obediently brings him three pints…..
As the story started I had circled over to the empty staircase and snuck up it till I was level with Heather and Ginny’s chairs. Then I sat down.
I earlier decided that my game would be to lift a piece and make it outside to the victim’s car and write gotcha on it, for my thief to win, if I was caught or stopped by anyone, then I lost.
The Irishman took a long puff of his cigar and carried on.
Paddy proceeds to alternately sip one, then the other, then the third until they're gone. Then he rose, threw coins on the table, winked at the bar mistress, and left.
Meanwhile, I was leaning against the rails, my hands reaching out to the back of Ginny’s throat, aiming for the clasp of her emerald-laden necklace. Figuring once the punchline was given, the laughing (if it was as funny as I hoped) would provide the perfect opportunity.
The Irishman continues…
The next Saturday evening Paddy walks in, hanging his cap, taking a seat, he walks again and orders three more pints.
The bartender brings them over, and says, "Sir, you don't have to order three pints at a time. I can keep an eye on one and when you get low, I'll bring you a fresh pint."
Paddy responds, "You don't understand. I just moved to wales and I have two brothers, one in Australia and one Canada. We made a vow to each other that every Saturday night we'd still drink together. So right now, me brothers are having three Guinness Stouts and we're drinking together.
The bartender thought that it was a wonderful tradition and said as much.
Both Ginny and Heather were now leaning back in their chairs. My fingers had been slowly working on pulling Ginny’s necklace down lower on her back so it would dangle. Just then Heather put her arms behind her chair. Her bracelet danced with rippling sparks that just cried out to the thief in me to be taken.
So, as the Irishman took a sip of his drink, I moved my hands from Ginny, and moving down a stair reached for Heather’s ruby bracelet. As the next part of the joke was told, I delicately worked at removing it.
Now, every week for several years Paddy came in and ordered three pints at a time.
Then one Saturday week he came in and ordered only two pints.
He solemnly drank them, rose. Put on his cap and went over to pay his tab.
The bartender, who had worriedly been watching, said to Paddy, "I know your tradition, and I'd just like to say that I'm sorry that one of your brothers died."
Paddy responded, “oh no, both my brothers are just fine Dontchay knows now.”
The Bartender, puzzled asked, “then why only two beers now? laddie?”
But I never heard the answer, for as Paddy was still drinking his two beers, I had fiendishly slipped off Heather’s glittering ruby bracelet from around her sleekly gloved wrist and had snuck off the staircase and was heading towards the back door.
Victims 3 Thief 1
I managed to slip past the table where my Aunt sat( mum was gone).
Behind me, I hear vigorous laughter and applause at the ending of the Irishman’s joke.
I would have to ask later what it was.
Then, by the entrance to the dart room, I waited until everyone was watching a dart being thrown before walking past the room.
The dance floor was again packed. But I couldn’t spy Micke, so I took a chance and scurried past.
I made it to the door, excitedly letting out my breath as I pulled it open and slipped through into the chilly night.
A couple was walking in the parking lot, so I ducked into a shadowy side alley and skirted around a fence. Kneeling, I peeked through the pickets.
I did not know the couple, but they obviously had been having a great time, though I wondered why they were leaving so soon. The lady was dressed in a blue taffeta gown with prickling rhinestone adornments. Her jewelry also prickled fire in the moonlit evening.
In my thief’s eyes, I saw them being approached and held up. The lady is forced to hand over her jewels to a masked female thief. Not me though, the thief I was picturing had bigger boobs.
Of course, that would be something only I would find to be that amusing, and let out a giggle.
They both heard it and looked around as I slinked back into the shadows.
They shrugged it off and got inside the car.
I took my eyes off them and soon spotted Merrill and Heather’s black sports car.
I rose.
Suddenly a male voice snarled sinisterly from behind me...
“Who let you out all dressed up looking like a mugger's dream?”
I let out a shriek as I jumped up and turned around.
Byrne stood there grinning.
I playfully pounded his shoulder, my heart thumping as I scolded him between breaths that gave off wisps of vapor into the cold night.
“Byrne you rotter. Scared the Jesus out of me you did, and almost peed my undies. And how would that have looked I ask you?!”
Byrne held onto my shoulders and laughed.
“Sorry, you looked so mischievous as I saw in the corner of my eye you sneaking out. I followed, then lost you until I heard the giggle. So tell me what you are up to now?”
I explained to him my game, that upon the thief’s success, I had come out to write “gotcha” on the car door.
“Then what were you gonna after that Ms. Cadence?”
“Follow Heather out when she left and give it back …?”
Byrne looked thoughtfully at Merrick’s car.
“I have got a better idea. She won’t know who did it.”
He led me over to his auto. Goes to the back and pulls a long slender bar from what I call his cop box, in the trunk.
We go over to Merrick’s black sports car and Byrne, looking around first, uses the tool to lift the latch on the passenger side.
“Now lay her bracelet out on the seat.
I did so letting it curl up on the black leather, where it lay sparkling. Then I locked and shut the door.
With a smirk, Byrne reminded me not to forget what else I was going to do
I nodded and in the dirty side of the door, I traced the word “Gotcha” as Byrne went over to put back his tool.
Arm in arm, with a co-conspirator's air, we walked onto the sidewalk, making our way to the front of the pub and went back inside. Innocent as a sparrow…
Another gent was getting up on the stage telling a story so we went and joined Ginny and Heather with an air of innocence as we began laughing along with them.
An old Irishman, Paddy, is about to go to his eternal reward. He looks at his grieving friend, Mike, and says, "Michael, I have one last request."
Ginny’s necklace was still lifted and the backside hanging down. She hadn’t noticed that fact. Nor had giggling Heather noticed her flashy bracelet was now missing.
"Anything, Paddy," Mike says. "What is it?"
"In me kitchen pantry lad, you'll find a bottle of whiskey from the year I was born. When they put me in the ground will you pour it over me grave as a final salute?"
"I will, Paddy," Mike says.
“Thank you Michael, you have been a true and thoughtful lad.”
I nudged Byrne and pointed to my wrist. He looked over and saw that Heather had her hand on the table, with her other gloves hand over it. I was tingling with excitement over how my game had played out.
Byrne nudged me back and I shook my head in agreement. He was loving the fact that we had pulled it off. So like a man to take the whole credit now that he had contributed a wee bit to my game.
We both turned back to listen to the stories finish.
"But Paddy?”
Mike asks earnestly ….
“Would you be minding if I be passing it through me kidneys first?"
The whole room erupted into laughter as the gent merrily raised his glass.
It was then announced that we were only ten minutes away from midnight and everyone should take their places.
I gasped inwardly. Blimey had not been keeping track of the time.
Byrne helped us out of our chairs, and we followed Ginny and Heather to where my brother was standing next to Merrick.
Lights soon dim as the countdown begins
10,9,8,
Everyone behind us is prancing around
7,6,5
We go around hugging. I lift my brother's satin handkerchief from his pocket as I hug him.
4,3,2
I hug Ginny
Wrapping the handkerchief around Ginny’s throat as we hug. Feeling the clasp of her necklace. Oh so tempting.
Victims 4 Thief 1
Then 1 was called out at the stroke of midnight.
“Happy new years everybody!!!”
Lights flicker horns are honked, crackers exploded, and drinks were toasted.
As Ginny turns to hug my brother, I grab and hug Heather, seeing Merrick and Byrne hugging.
I then pull Bryne from his man crush on Merrick and hug him.
Then we spilt up to wish others a Happy New Years.
^^^^^^^^^
We party for another hour before Merrick and Heather say they must leave.
We say our goodbyes and as Byrne and I watch Heather being helped on with her wrap we smirk at each other knowing what she will be finding on her car seat. Love to be a fly on the wall for that.
The music was still playing. A series of slow dances now that the party was winding down.
As we dance, Byrne, looking over at Ginny, commented:
“Damn if Ginny’s necklace isn’t a corker. If I’d been playing your game, I would have had a go for it, though I may have needed a bit of good luck to pull it off.”
I smirked and explained I had originally been attempting to lift it but had gone for the bracelet instead…and that in his case luck may have been needed, but it would not have been good.”
Then, as we both were watching Ginny, with that lovely necklace just sparking away around her throat, I purred into his ear…
“Say the word, and I’ll get for you, my love.”
He shook his head no…
“The scary part is if I said yes you would do it.”
I giggled:
“And wear it until she noticed.”
Byrne smiled:
“You will play nice here the rest of the party won’t you now?”
I nodded as a delighted thought crept into my head.
“So if Ginny had been skulking outside would you have snuck up on her luv, maybe had her hand it over?”
“And have my arse thrown over the fence. No, think I’ll stick to the easily distracted ones who meltdown in my arms.”
“Dream on mister.” I chide him happily.
^^^^^^^^^^^^
Early the next morning as the last of us were kicked out long after the party was officially over, Byrne bundled me into his car, knowing I was too wasted to drive my own self home. I sat there in a mute stupor, hornily replaying the evening's fun.
Suddenly Byrne spoke into the windshield.
“Let’s go to the playground.”
I perked up, for ideas like that usually came from me.
“Your drunk.” I teases
“Well, So are you Lass.”
“But it’s too cold. Let’s go to your flat and play at burglars…”
Byrne, sensing my hot flashy feelings, nudged me…
“I knew you would like to role-play since you were playing your games this evening.”
I poked him
“You were the one to mention muggers. Steal my jewelry and strip me naked, is that what’s in your head me lad?”
“Something like that.”
“Do you have your cuffs?”
That perked him up royally.
“Do you want me to use them?”
I giggled with a burgeoned horny appetite.
“Yes, laddie. On yourself. So you can do the thieving and stripping of my easily distracted person without using your hands.”
I do so enjoy it when one can score by making my Byrne speechless.
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
So I would like to think that in real life, once upon a time, there may have been an actual pickpocket attending an actors' award show after a party, with real jewellery being worn, that may have seen what I saw, made observations as I did. and lurked, and waited to take advantage of the situation once it developed.
As I did.
Food for thought
Fini
Mike Dunafon. An Irish drinking joke
Uses: Anything relating to finance and money.
Free Creative Commons Finance Images... I created these images in my studio and have made them all available for personal or commercial use. Hope you like them and find them useful.
To see more of our CC by 2.0 finance images click here... see profile for attribution.
Since Aaron shook the bees' nest in his last post, I figured I wanted to take a moment to respond, but first a bit about this image.
I give this image one thumb up and one thumb down. It came together nicely, and the shape of the framing turned out just how I wanted, with the horizontal sweep accenting the horizon and the frames breaking out the top and bottom vertically emphasizing the wake from the ferry and the blue sky above Seattle. Unfortunately my Holga lens is too wide and I waited too long to snap these, as the Seattle skyline has been reduced to a mere strip. I really wanted to get the skyline a bit more imposing and interesting in the final photo. I also wanted to emphasize the wide open embrace of water all around and the blustery nature of the day. This photo sort of does those things.
But it tries, so I give it credit for that. And it is another step in my learning this technique, and when it comes to learning, often your failures are more valuable than your successes, not that I think this is a complete failure. I just think I have done others that were more successful.
Now on to the perfect photograph. Hehe, what a transition. My philosophy has always been that using the word perfect to describe photography is a giant waste of time. It is a pointless exercise. It is like describing a photo as good or bad. Those terms are so subjective. One person's perfection is another person's failure, and vice versa. I try to avoid labeling my photos, or even thinking of them, in such terms. I work instead on identifying what they do, how they do it, how other's respond to it, etc.
I think a landscape photograph's ultimate goal is to connect with its audience, whether that is an audience of one (the photographer himself) or many. If it does that, then it is successful. On a secondary level, these photos try to transport us there, make us feel how it was to be there, spark our imaginations, kindle our inspiration, open our eyes, or some combination of all of these.
Before I go any further, I want to make the disclaimer that I do not want to offend anybody if I describe their way of photography and then critique it. The wonderful thing about art, is we each have the right to do it as we please. My goal is rather to point out tendencies and boundaries, to try and poke people, shake them out of their comfort zones, make them think a bit, push them to push themselves creatively.
Because, I think a lot of landscape photography I see on Flickr has grown stagnant. It has become distilled into a science as opposed to an art. It is clinical in its approach, which is ironic because the photographers behind it are often not clinical at all, they are excited and inspired, but the photographs they produce don't seem to capture that as well.
I guess what I am talking about is how so much landscape photography here on Flickr looks the same. Wide angle lens, beautiful sunset/sunrise, snow capped mountain looming over its reflection in a lake, or sweep of ocean along the coast. Composed the same ways vertically or horizontally. Saturated. Exposures blended to be perfect. Everything sharp. Neutral density filter to increase blur, and so on. I am sure many of you reading this will recognize these heavy trends. And again, there is nothing wrong with this per se, photographers are using this checklist to produce some visually stunning imagery, no doubt about that.
But try this quick exercise, find 5-10 of these type of photographers, pull one or two images out of each of their streams, and see how easily it is to fit them all together into one cohesive portfolio. I noticed the same looking at the back of B&W Magazine and Lenswork Magazine. The ads in the back for various "fine art" photographers could have been taken by 2-3 people, the results are so similar. Either black and white landscape (two points if it is an abstract of a sand dune), a still life of flowers (two points if they are lilies or tulips) or a nude female study.
I think there are problems on two fronts with this. First of all, I sort of get turned off by the approach for technical perfection. Why? Simply because the world is not perfect, neither are we. Neither should our art. Modern landscape photography is rapidly leaning towards hyper-realistic renditions of natural scenes, and the result is an image that is so perfect in its sharpness and exposure that it no longer looks real. I have trouble looking at these landscape photos and imagining myself in that spot, because my brain is thinking, "this is not at all how it would look." We create fantasy versions of the Nature that so inspires us. Which is fine if that is your intent. Afterall I have never met an HDR photographer who claimed that style of photography was meant to me a realistic interpretation, but rather an exaggeration. The same with this hyper-real trend to perfection in modern landscape photography. It has become so hyper-realistic in its quest for perfection that it has become an exaggeration. Again, that is fine, as long as the photographer realizes this, and then uses it appropriate.
The second problem relates to a post I made a long time ago about a three tiered system of learning photography. The first being the bottom, where you are a novice and know nothing really. The second being where you know all the rules and apply them heavily with the last tier being those photographers who have accepted that the rules only work some of the time, and the rest you venture out on your own and sort of operate off of instinct and vision. At the time, and I still do, I felt that it was easy to get out of the first tier. We hate not knowing things, so it is easy to push ourselves to learn the rules. But once we get to that second tier, many of us bog down. We know the rules, they are working for us to help us produce technically sound photographs, we lose our drive to push ourselves because the realm we are operating in has become comfortable and easy to work with. It is hard to push ourselves creatively to break those boundaries we have imposed upon ourselves, in fact we often do not even realize we have imposed them. But we have. For example, if you have a 10-20mm lens and use it for landscapes, go back and look at your last few dozen images. Were they all composed the same way? Two-thirds bottom, one third top. Strong foreground leading to the background. Nice light. Etc? This is after all how we are taught such a lens should be used. But certainly it is not the only way right? Or heck, how many of your photos are constrained to a rectangular or square frame? Just look at that little fact. What, 98% of our photographs are in little squares or rectangles. We have become so used to it, that many of us just accept that as natural. It is one of the reasons I like these Holga panos such, they break that stereotype. They allow me to match the frame with the subject. But most of the time we just take this for granted and go along with it, not thinking that we could possibly break this particular boundary.
Phew. I don't claim to be right about all of this. I am trying to put ideas I have out there in hopes that they may spark other ideas in those that read this, and I always welcome discussion. I think too much of Flickr is way too blindly supportive with too little thoughtful critique. Because sharing ideas and photos, getting feedback, responding and adapting, that is how we learn afterall.
As far as perfection, if it is perfection you think you are trying to capture in your photographs I would warn you to re-evaluate, you will be searching a long time and will never find what you are looking for. Or worse, believe you have. And in the course of that odyssey you will miss a lot of other important things.
That is my take on perfect photography anyway. Thanks for sticking along all this way, sorry I have been sort of absent from Flickr for a bit. I hope for that to change.
And one quick shout out to Rob to congratulate him on finally getting to go home from the hospital. Keep it up Rob!
If you are interested in pricing for my images, or just plain curious, more info can be found at my website: www.zebandrews.com
Various trees of life are recounted in folklore, culture and fiction, often relating to immortality or fertility. They had their origin in religious symbolism.
Ancient Iran
In pre-Islamic Persian mythology, the Gaokerena world tree is a large, sacred Haoma tree which bears all seeds. Ahriman (Ahreman, Angremainyu) created a frog to invade the tree and destroy it, aiming to prevent all trees from growing on the earth. As a reaction, God (Ahura Mazda) created two kar fish staring at the frog to guard the tree. The two fishes are always staring at the frog and stay ready to react to it. Because Ahriman is responsible for all evil including death, while Ahura Mazda is responsible for all good (including life) the concept of world tree in Persian Mythology is very closely related to the concept of Tree of Life.The sacred plant haoma and the drink made from it. The preparation of the drink from the plant by pounding and the drinking of it are central features of Zoroastrian ritual. Haoma is also personified as a divinity. It bestows essential vital qualities—health, fertility, husbands for maidens, even immortality. The source of the earthly haoma plant is a shining white tree that grows on a paradisiacal mountain. Sprigs of this white haoma were brought to earth by divine birds.Haoma is the Avestan form of the Sanskrit soma. The near identity of the two in ritual significance is considered by scholars to point to a salient feature of an Indo-Iranian religion antedating Zoroastrianism.
Another related issue in ancient mythology of Iran is the myth of Mashyа and Mashyane, two trees who were the ancestors of all living beings. This myth can be considered as a prototype for the creation myth where living beings are created by Gods (who have a human form).
Ancient Egypt
Worshipping Osiris, Isis, and Horus
To the Ancient Egyptians, the Tree of Life represented the hierarchical chain of events that brought every thing into existence. The spheres of the Tree of Life demonstrate the order, process, and method of creation.In Egyptian mythology, in the Ennead system of Heliopolis, the first couple, apart from Shu and Tefnut (moisture and dryness) are Geb and Nuit (earth and sky), are Isis and Osiris. They were said to have emerged from the acacia tree of Iusaaset, which the Egyptians considered the tree of life, referring to it as the "tree in which life and death are enclosed." Some acacia trees contain DMT, a psychedelic drug associated with spiritual experiences. The drug is not orally bio-available, however and there is no evidence the Egyptians had techniques for extracting or otherwise harnessing the drug. A much later myth relates how Set and 72 conspirators killed Osiris, putting him in a coffin, and throwing it into the Nile, the coffin becoming embedded in the base of a tamarisk tree.The Egyptians' Holy Sycamore also stood on the threshold of life and death, connecting the two worlds.
Assyria
Assyrian tree of life, from Nimrud panels.The Assyrian Tree of Life was represented by a series of nodes and criss-crossing lines. It was apparently an important religious symbol, often attended to in Assyrian palace reliefs by human or eagle-headed winged genies, or the King, and blessed or fertilized with bucket and cone. Assyriologists have not reached consensus as to the meaning of this symbol. The name "Tree of Life" has been attributed to it by modern scholarship; it is not used in the Assyrian sources. In fact, no textual evidence pertaining to the symbol is known to exist.
Baha'i Faith
The concept of the tree of life appears in the writings of the Baha'i Faith, where it can refer to the Manifestation of God, a great teacher who appears to humanity from age to age. An example of this can be found in the Hidden Words of Bahá'u'lláh:["Have ye forgotten that true and radiant morn, when in those hallowed and blessed surroundings ye were all gathered in My presence beneath the shade of the tree of life, which is planted in the all-glorious paradise? Awestruck ye listened as I gave utterance to these three most holy words: O friends! Prefer not your will to Mine, never desire that which I have not desired for you, and approach Me not with lifeless hearts, defiled with worldly desires and cravings. Would ye but sanctify your souls, ye would at this present hour recall that place and those surroundings, and the truth of My utterance should be made evident unto all of you."Also, in the Tablet of Ahmad [1], of Bahá'u'lláh:"Verily He is the Tree of Life, that bringeth forth the fruits of God, the Exalted, the Powerful, the Great".Bahá'u'lláh refers to his male descendents as branches (Aghsán) and calls women leaves.
A distinction has been made between the tree of life and the tree of the knowledge of good and evil. The latter represents the physical world with its opposites, such as good and evil and light and dark. In a different context from the one above, the tree of life represents the spiritual realm, where this duality does not exist.
Buddhism
The Bo tree, also called Bodhi tree, according to Buddhist tradition, is the pipal (Ficus religiosa) under which the Buddha sat when he attained Enlightenment (Bodhi) at Bodh Gaya (near Gaya, west-central Bihar state, India). A living pipal at Anuradhapura, Ceylon (now Sri Lanka), is said to have grown from a cutting from the Bo tree sent to that city by King Ashoka in the 3rd century BCE.According to Tibetan tradition when Buddha went to the holy Lake Manasorovar along with 500 monks, he took with him the energy of Prayaga Raj. Upon his arrival, he installed the energy of Prayaga Raj near Lake Manasorovar, at a place now known as Prayang. Then he planted the seed of this eternal banyan tree next to Mt. Kailash on a mountain known as the "Palace of Medicine Buddha".
China
In Chinese mythology, a carving of a Tree of Life depicts a phoenix and a dragon; the dragon often represents immortality. A Taoist story tells of a tree that produces a peach every three thousand years. The one who eats the fruit receives immortality.An archaeological discovery in the 1990s was of a sacrificial pit at Sanxingdui in Sichuan, China. Dating from about 1200 BCE, it contained three bronze trees, one of them 4 meters high. At the base was a dragon, and fruit hanging from the lower branches. At the top is a strange bird-like (phoenix) creature with claws. Also found in Sichuan, from the late Han dynasty (c 25 – 220 CE), is another tree of life. The ceramic base is guarded by a horned beast with wings. The leaves of the tree are coins and people. At the apex is a bird with coins and the Sun.
Christianity
In Catholic Christianity, the Tree of Life represents the immaculate state of humanity free from corruption and Original Sin before the Fall. Pope Benedict XVI has said that "the Cross is the true tree of life." Saint Bonaventure taught that the medicinal fruit of the Tree of Life is Christ himself. Saint Albert the Great taught that the Eucharist, the Body and Blood of Christ, is the Fruit of the Tree of Life.[18] Augustine of Hippo said that the tree of life is Christ: "All these things stood for something other than what they were, but all the same they were themselves bodily realities. And when the narrator mentioned them he was not employing figurative language, but giving an explicit account of things which had a forward reference that was figurative. So then the tree of life also was Christ... and indeed God did not wish the man to live in Paradise without the mysteries of spiritual things being presented to him in bodily form. So then in the other trees he was provided with nourishment, in this one with a sacrament... He is rightly called whatever came before him in order to signify him."[19]
The tree first appeared in Genesis 2:9 and 3:22-24 as the source of eternal life in the Garden of Eden, from which access is revoked when man is driven from the garden. It then reappears in the last book of the Bible, the Book of Revelation, and most predominantly in the last chapter of that book (Chapter 22) as a part of the new garden of paradise. Access is then no longer forbidden, for those who "wash their robes" (or as the textual variant in the King James Version has it, "they that do his commandments") "have right to the tree of life" (v.14). A similar statement appears in Rev 2:7, where the tree of life is promised as a reward to those who overcome. Revelation 22 begins with a reference to the "pure river of water of life" which proceeds "out of the throne of God". The river seems to feed two trees of life, one "on either side of the river" which "bear twelve manner of fruits" "and the leaves of the tree were for healing of the nations" (v.1-2).[20] Or this may indicate that the tree of life is a vine that grows on both sides of the river, as John 15:1 would hint at.
In Eastern Christianity the tree of life is the love of God.The tree of life appears in the Book of Mormon in a revelation to Lehi (see 1 Nephi 8:10). It is symbolic of the love of God (see 1 Nephi 11:21-23). Its fruit is described as "most precious and most desirable above all other fruits," which "is the greatest of all the gifts of God" (see 1 Nephi 15:36). In another scriptural book, salvation is called "the greatest of all the gifts of God" (see Doctrine and Covenants 6:13). In the same book eternal life is also called the "greatest of all the gifts of God" (see Doctrine and Covenants 14:7). Because of these references, the tree of life and its fruit is sometimes understood to be symbolic of salvation and post-mortal existence in the presence of God and his love.
Europe
11th century Tree of Life sculpture at an ancient Swedish church
In Dictionnaire Mytho-Hermetique (Paris, 1737), Antoine-Joseph Pernety, a famous alchemist, identified the Tree of Life with the Elixir of Life and the Philosopher's Stone.
In Eden in the East (1998), Stephen Oppenheimer suggests that a tree-worshipping culture arose in Indonesia and was diffused by the so-called "Younger Dryas" event of c. 8000 BCE, when the sea level rose. This culture reached China (Szechuan), then India and the Middle East. Finally the Finno-Ugaritic strand of this diffusion spread through Russia to Finland where the Norse myth of Yggdrasil took root.
Georgia
The Borjgali (Georgian: ბორჯღალი) is an ancient Georgian Tree of Life symbol.
Germanic paganism and Norse mythology[
In Germanic paganism, trees played (and, in the form of reconstructive Heathenry and Germanic Neopaganism, continue to play) a prominent role, appearing in various aspects of surviving texts and possibly in the name of gods.
The tree of life appears in Norse religion as Yggdrasil, the world tree, a massive tree (sometimes considered a yew or ash tree) with extensive lore surrounding it. Perhaps related to Yggdrasil, accounts have survived of Germanic Tribes' honouring sacred trees within their societies. Examples include Thor's Oak, sacred groves, the Sacred tree at Uppsala, and the wooden Irminsul pillar. In Norse Mythology, the apples from Iðunn's ash box provide immortality for the gods.
Hinduism
The Eternal Banyan Tree (Akshaya Vata) is located on the bank of the Yamuna inside the courtyard of Allahabad Fort near the confluence of the Yamuna and Ganga Rivers in Allahabad. The eternal and divine nature of this tree has been documented at length in the scriptures.[citation needed]
During the cyclic destruction of creation when the whole earth was enveloped by waters, akshaya vata remained unaffected. It is on the leaves of this tree that Lord Krishna rested in the form of a baby when land was no longer visible. And it is here that the immortal sage, Markandeya, received the cosmic vision of the Lord. It is under this tree that Buddha meditates eternally. Legend also has it that the Bodi tree at Gaya is a manifestation of this tree.
Islam
Carpet Tree of Life
Main article: Quranic tree of life
See also: Sidrat al-Muntaha
The "Tree of Immortality" (Arabic: شجرة الخلود) is the tree of life motif as it appears in the Quran. It is also alluded to in hadiths and tafsir. Unlike the biblical account, the Quran mentions only one tree in Eden, also called the tree of immortality, which Allah specifically forbade to Adam and Eve. Satan, disguised as a serpent, repeatedly told Adam to eat from the tree, and eventually both Adam and Eve did so, thus disobeying Allah.] The hadiths also speak about other trees in heaven.
According to the Ahmadiyya movement, Quranic reference to the tree is symbolic; eating of the forbidden tree signifies that Adam disobeyed God.[
Jewish sources
Main articles: Etz Chaim and Biblical tree of life
Etz Chaim, Hebrew for "tree of life," is a common term used in Judaism. The expression, found in the Book of Proverbs, is figuratively applied to the Torah itself. Etz Chaim is also a common name for yeshivas and synagogues as well as for works of Rabbinic literature. It is also used to describe each of the wooden poles to which the parchment of a Sefer Torah is attached.The tree of life is mentioned in the Book of Genesis; it is distinct from the tree of the knowledge of good and evil. After Adam and Eve disobeyed God by eating fruit from the tree of the knowledge of good and evil, they were driven out of the Garden of Eden. Remaining in the garden, however, was the tree of life. To prevent their access to this tree in the future, Cherubim with a flaming sword were placed at the east of the garden. (Genesis 3:22-24)
In the Book of Proverbs, the tree of life is associated with wisdom: "[Wisdom] is a tree of life to them that lay hold upon her, and happy [is every one] that retaineth her." (Proverbs 3:13-18) In 15:4 the tree of life is associated with calmness: "A soothing tongue is a tree of life; but perverseness therein is a wound to the spirit."
The Book of Enoch, generally considered non-canonical, states that in the time of the great judgment God will give all those whose names are in the Book of Life fruit to eat from the Tree of Life.
Kathara grid
The esoteric bio-spiritual healing system of kathara which is presented on Earth by the official Speaker of the Guardian Alliance – E’Asha Ashayana,explains in detail the function of the code of the kathara grid] as the natural tree of life. Kathara reveals the anatomy of Creation, core structure, the blueprints & interconnectedness of all matter forms and in the center is the replication of the kathara grid everywhere.The kathara grid consists of 12 kathara centers and the relationships between them represent the true meaning of the phrase "As above, so below" and the correspondence between microcosmos and macrocosmos.
Kabbalah. Judaic Kabbalah Tree of Life 10 Sephirot, through which the Ein Sof unknowable Divine manifests Creation. The configuration relates to manJewish mysticism depicts the Tree of Life in the form of ten interconnected nodes, as the central symbol of the Kabbalah. It comprises the ten Sephirot powers in the Divine realm. The panentheistic and anthropomorphic emphasis of this emanationist theology interpreted the Torah, Jewish observance, and the purpose of Creation as the symbolic esoteric drama of unification in the Sephirot, restoring harmony to Creation. From the time of the Renaissance onwards, Jewish Kabbalah became incorporated as an important tradition in non-Jewish Western culture, first through its adoption by Christian Cabala, and continuing in Western esotericism occult Hermetic Qabalah. These adapted the Judaic Kabbalah Tree of Life syncretically by associating it with other religious traditions, esoteric theologies, and magical practices.
Mesoamerican
The concept of world trees is a prevalent motif in pre-Columbian Mesoamerican cosmologies and iconography. World trees embodied the four cardinal directions, which represented also the fourfold nature of a central world tree, a symbolic axis mundi connecting the planes of the Underworld and the sky with that of the terrestrial world.Depictions of world trees, both in their directional and central aspects, are found in the art and mythological traditions of cultures such as the Maya, Aztec, Izapan, Mixtec, Olmec, and others, dating to at least the Mid/Late Formative periods of Mesoamerican chronology. Among the Maya, the central world tree was conceived as or represented by a ceiba tree, and is known variously as a wacah chan or yax imix che, depending on the Mayan language.[32] The trunk of the tree could also be represented by an upright caiman, whose skin evokes the tree's spiny trunk.Directional world trees are also associated with the four Yearbearers in Mesoamerican calendars, and the directional colors and deities. Mesoamerican codices which have this association outlined include the Dresden, Borgia and Fejérváry-Mayer codices.[31] It is supposed that Mesoamerican sites and ceremonial centers frequently had actual trees planted at each of the four cardinal directions, representing the quadripartite concept.World trees are frequently depicted with birds in their branches, and their roots extending into earth or water (sometimes atop a "water-monster," symbolic of the underworld). The central world tree has also been interpreted as a representation of the band of the Milky Way.
Middle East
The Epic of Gilgamesh is a similar quest for immortality. In Mesopotamian mythology, Etana searches for a 'plant of birth' to provide him with a son. This has a solid provenance of antiquity, being found in cylinder seals from Akkad (2390–2249 BCE).The Book of One Thousand and One Nights has a story, 'The Tale of Buluqiya', in which the hero searches for immortality and finds a paradise with jewel-encrusted trees. Nearby is a Fountain of Youth guarded by Al-Khidr. Unable to defeat the guard, Buluqiya has to return empty-handed.
North American
In a myth passed down among the Iroquois, The World on the Turtle's Back, explains the origin of the land in which a tree of life is described. According to the myth, it is found in the heavens, where the first humans lived, until a pregnant woman fell and landed in an endless sea. Saved by a giant turtle from drowning, she formed the world on its back by planting bark taken from the tree.The tree of life motif is present in the traditional Ojibway cosmology and traditions. It is sometimes described as Grandmother Cedar, or Nookomis Giizhig in Anishinaabemowin.In the book Black Elk Speaks, Black Elk, an Oglala Lakota (Sioux) wičháša wakȟáŋ (medicine man and holy man), describes his vision in which after dancing around a dying tree that has never bloomed he is transported to the other world (spirit world) where he meets wise elders, 12 men and 12 women. The elders tell Black Elk that they will bring him to meet "Our Father, the two-legged chief" and bring him to the center of a hoop where he sees the tree in full leaf and bloom and the "chief" standing against the tree. Coming out of his trance he hopes to see that the earthly tree has bloomed, but it is dead
Serer religion
In Serer religion, the tree of life as a religious concept forms the basis of Serer cosmogony. Trees were the first things created on Earth by the supreme being Roog (or Koox among the Cangin). In the competing versions of the Serer creation myth, the Somb (Prosopis africana) and the Saas tree (acacia albida) are both viewed as trees of life. However, the prevailing view is that, the Somb was the first tree on Earth and the progenitor of plant life. The Somb was also used in the Serer tumuli and burial chambers, many of which had survived for more than a thousand years.Thus, Somb is not only the Tree of Life in Serer society, but the symbol of immortality
Urartian Tree of Life
In ancient Urartu, the Tree of Life was a religious symbol and was drawn on walls of fortresses and carved on the armor of warriors. The branches of the tree were equally divided on the right and left sides of the stem, with each branch having one leaf, and one leaf on the apex of the tree. Servants stood on each side of the tree with one of their hands up as if they are taking care of the tree.
Turkic .The Tree of Life, as seen as in flag of Chuvashia, a Turkic state in the Russian FederationThe Tree of Life design on 0,05 Turkish lira (5 kuruş).
The World Tree or Tree of Life is a central symbol in Turkic mythology.[citation needed] It is a common motif in carpets.
It is also used as the main design of a common Turkish lira sub-unit 5 kuruş since 2009.
Hunts Mesa looking into Monument Valley, you've got to love pastels.
I decided to try the lowest ISO my camera would do (D810, ISO 31) to see if it would relate to greater detail as it did in the old film days and grain. I find it does equate to detail. I had tried this before but my old monitor was not up the the job as what this 4K monitor does. Lesson learned is you need to match the quality of the camera to the resolution of the monitor. If not you really don't see the capability of what the newer cameras are doing. Go ahead and view at largest size.
“Urban art is a style of art that relates to cities and city life. In that way urban art combines street art and graffiti and is often used to summarize all visual art forms arising in urban areas, being inspired by urban architecture or thematizing urban live style.
The notion of 'Urban Art' developed from street art that is primarily concerned with graffiti culture. Urban art represents a broader cross section of artists that as well as covering traditional street artists also covers artists using more traditional media but with a subject matter that deals with contemporary urban culture and political issues.”http://en.wikipedia.org/wiki/Urban_art
“Wild Flowers are not weeds"
Street Art is the modern, urban wildflowers
What's the difference between Graffiti Tagging and Street Art?
1. Street Art is constructive, Graffiti Tagging is destructive.
2. Street Art adorns the urban landscape, Graffiti Tagging scars it and accelerates urban decay.
3. Street Art stretches your mind, Graffiti Tagging is a slap in your face.
4. Street Art is about the audience, Graffiti Tagging is about the tagger.
5. Street Art says "Have you thought about this?", Graffiti Tagging says "I tag, therefore I exist".
6. Street Art was done with a smile, Graffiti Tagging was done with a scowl.
7. Street Art takes skill, Graffiti Tagging takes balls.
8. We mourn losing Street Art and celebrate losing Graffiti Tagging.
Good Street Art is great, good Graffiti Tagging is gone!
”http://www.graffitiactionhero.org/graffiti-tag-vs-street-art.html
Additional interesting sites
www.osnatfineart.com/urban-art.jsp
en.wikipedia.org/wiki/Street_art
DSC_0247 final.jpg
Adjective
1. Characterised by lightness and insubstantiality; intangible.
2. Highly refined; delicate.
3. Heavenly or spiritual [Greek aithēr ether]
... a Of the celestial spheres; heavenly.
... b Not of this world; spiritual.
4. Chemistry. Of or relating to ether.
Dedicated to Kounelli for being the first person to comment on this shot, and to the volcanic sharrockmary for being a close second.
I can relate to Frankenstein's monster..there are times when I feel like I've been piecemealed together, my body is a mess. My feet are a size and half different from one another, My left arm is contorted from injury, my spine does not properly align... it goes on and on. But the villagers haven't gathered yet so I'm doing pretty good! LOL
Oh hi…. Nice talking to you again.
I actually have a couple of photos I want to post, but I feel bad about not actively looking at your streams and commenting so I’ve been holding them back.
This was a pond near our hotel on the visit to Long Beach a while ago. I hope you’re not too angry to talk back to me :-) See you all third period in computers class :D
And p.s. I’m going to change my screen name to something a little less personal, more generally relatable, and maybe even a little clever ;-) So unless it goes against everything you believe in, LIVE WITH IT!
39th most interesting on Tuesday, May 4, 2010
Between 1940 and 1941 a network of tunnels was excavated sixty feet below Hargate Forest on the south side of Broadwater Down in Tunbridge Wells, Kent. No documentary evidence relating to these tunnels survives although there is a strong local rumours that the tunnels would have been used as an underground operations room for Lt. General Montgomery (later Field Marshall) in the event of an invasion.
This I think is bunker entrance A. There are three entrances altogether. As a young boy in the 70's I explored this bunker which becomes pitch black as as the stairs are descended. I didn't know whether to feel petrified or elated at being so far underground with only the dimly lit torches that were around at the time.
"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,
I will think of a few Reasons as the Month progresses.
Les Invalides contains museums and monuments, all relating to the military history of France, as well as a hospital and a retirement home for war veterans, the building's original purpose. The buildings house the Musée de l'Armée (the military museum of the Army of France), the Musée des Plans-Reliefs and the Musée d'Histoire Contemporaine, as well as the Dôme des Invalides, a large church, the tallest in Paris at a height of 350 feet. It houses tombs of some of France's war heroes, most notably Napoleon. The architect of Les Invalides was Libéral Bruant. By the time the enlarged project was completed in 1676, the river front measured 643 feet, and the complex had 15 courtyards, the largest being the cour d'honneur ("court of honor") for military parades. Jules Hardouin-Mansart assisted the aged Bruant, and the chapel for veterans was finished in 1679. This chapel was known as Église Saint-Louis des Invalides, and daily attendance of the veterans in the church services was required. Shortly after the veterans' chapel was completed, Louis XIV commissioned Mansart to construct a separate private royal chapel referred to as the Église du Dôme. The domed chapel was finished in 1708. The building retained its primary function of a retirement home and hospital for military veterans until the early 20th 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 centers outside Paris, as the building became too large for its original purpose. The modern complex includes facilities about a hundred elderly or incapacitated former soldiers, including one gentleman sitting outside in full World War II army dress.
~Holden Rinehart
Sometimes I try to relate the quotes I use to my uploads and sometimes I just find one that I like! This just happened to be one that I found that sounded interesting!
This is a shot overlooking the Beer Garden at the Hofbrauhaus along the Monongahela River. For this one I used 6 exposures from my S90.
Thank you for all the support my friends!
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Whilst looking at things relating to Plaxton of Scarborough, its probably worth sharing this picture too. I think it was taken on the occasion of a coach operators association visit.
To the fore we have a very nice Supreme bodied Leyland Leopard for Martindales of Ferryhill, PPT 400P . . . which helps date the pictures to '75/6.
The next two Supremes in line are, I suspect, two Bedford YMTs for Harry Shaw of Coventry, NVC 3 & 10P. Further down is the only sevice bus in view which would probably be a Ford 'Derwent' for East Kent.
When I cry, I secretly hope that you will run all the way to mah doorstep in the rain, wipe mah tear, kiss me on the forehead and stay w/ me through the night...
P.s: It's Romantic rite ;)) keke
"Craft"
You may laugh now, but making a veggie patty can be hard work! Not to mention that yellow smile and red hair. (Yes, that's supposed to be hair.) Oh well, I'll get better.
And I'm sorry in advance if a substantial amount of my submissions relate to food somehow.
Overview
Great Minds is a dynamic monument that praises the birth of ideas and relates to all creative people. Light work appears in the form of two monumental brains in dialogue, performing active, luminous brainstorming – the unavoidable phase of each creative process – and figuratively using light to emphasize births of unique ideas and sparkling activities of all great minds. Great Minds was first presented in 2021 at Nobel Week Lights in Stockholm, Sweden with the support of GVA, Control Dept and Rebel Light. About Aleksandra Stratimirovic
Aleksandra Stratimirovic graduated in Applied Arts and Design at the University of Arts in Belgrade. She completed her studies in specialized lighting design at the University of Arts, Crafts and Design, Konstfack and the Royal Institute of Technology in Stockholm. Stratimirovic has broad knowledge and understanding of light and lighting technologies, and she is also the author of temporary and permanent light-art installations for numerous public places in Sweden and abroad. Her works include “Transmission” for the World Heritage Grimeton Radio Station, Sweden, “You Are The Dream” in Gothenburg, “Northern Lights” Jardin du Palais Royal, Paris and participation in the Amsterdam Light Festival. She has received numerous awards and recognitions. Her light works are exhibited worldwide, most recently at the NOOR Riyadh Festival, the National Museum in Stockholm and the Skopje Light Art District.
Partnership Festival: Nobel Week Lights
Nobel Week Lights is initiated and produced by Annika Levin, Alexandra Manson and Lara Szabo Greisman from Troika. The initiative collaborates with the Nobel Prize Museum with support from the City of Stockholm, the Stockholm Chamber of Commerce and the Swedish Space Agency, and many other partners and lighting companies. Inspired by Nobel Prize-awarded discoveries and laureates, stunning artworks light up the darkness of the streets of Stockholm each year during the Nobel Week.
About Fjord Studio
Fjord Studio is a creative studio dedicated to bringing the magic of light art into people’s lives. Fjord Studio curates and produces light art projects for cultural events, urban spaces, architecture and stage. Based in Oslo, the studio works globally and produces the best in light art. The studio collaborates with renowned Norwegian and international light artists and new talents, experienced technical teams and international partners. With projections on buildings, intimate installations, site-specific light sculptures and immersive video art, the studio’s work is a broad exploration of light art. Together with their artists and customers, the studio works towards a shared vision to create meaningful, inspiring and memorable experiences of light and art. Fjord Studio has been developed by artist and curator Anastasia Isachsen and producer Frank Isachsen, the team behind the light art festival Fjord Oslo. Since 2020, their work has expanded to conceptualize, produce and communicate various types of temporary and permanent projects at the intersection of art and technology – in Norway and internationally. Ongoing projects include the annual light art festival Fjord Oslo, the new light art initiative Fjord Geiranger in Geiranger and Nordic Lights – a collaborative project with Harbourfront Centre and light art festivals in Denmark, Sweden and Finland, in addition to several smaller projects. Source: harbourfrontcentre.com/event/great-minds/
OH MY GOD WHERE DO I BEGIN ASDFGHJKL-
*breathes*
Okay, excuse me, this is going to be a ramble as per usual as I have a ton of things I want to talk about both relating and not relating to this lovely little lady right here but i'll space it out over my next few posts so as to not melt your brain staring at one monumental textwall.
OKAY SO. PETRA. OMG. HNNNG. I CAN'T-
So for those of you who keep up with the recent roller-coaster that is my doll journey you'll know that i've talked about shelling my character Petra as a doll for literally years and finally I found the perfect opportunity to go for it and get her with the release of Fairyland Momo. It was kind of up in the air in the beginning whether or not i'd be able to grab Momo while I could but thankfully everything worked out and I was able to get her. Of course, the main reason why I wanted to do so was because I thought the bunny body would be the absolute perfect way of portraying her character in doll form that I previously didn't think would have been possible. For a long time I had resigned myself to just getting her on a regular human body because I didn't think something like this would be possible but OF COURSE, just like with Euclid's perfectly amazing seahorse tail Fairyland is able to read my mind and just know exactly what types of fantasy parts I've wanted for my characters and exactly how to execute them. I'll get into why that is in a bit where I copy/pasta a novel about some of Petra's character but for now let me just say that I LOVE IT SO MUCH and my gosh I am so glad that I was able to get it for her. I know that you can't see her bunny legs in this picture but they actually aren't what I wanted to focus on the most for now. I'll show them off and ramble on about her character/backstory in the future once she is more put together but for now I mainly just want to focus on one thing in particular; THAT SHE IS A MINIFEE ANTE.
Yeah so if you've been keeping up with me for a while you may remember that I had stated numerous times that my plan for Petra was for her to be a Minifee Mio but, well, this happened. Its funny, the moment I first saw Minifee Mio I immediately said "that is Petra" with so much certainty that for the longest time I honestly couldn't imagine her as anything else. Minifee Ante on the other hand was always a sculpt that I was deeply enamored with since I first laid eyes on it but for whatever reason I couldn't see it as anything other than a boy but I didn't have any male characters from my main stories that would suit it and over time it became this ultimate grail for me that I thought i'd never own because I just didn't have the character for it. Well as I mentioned i've been wanting to shell Petra as a doll for years now and at some point I got to looking more and more at Ante as a possible alternative to Mio for Petra. There are things that are more canonically accurate about Mio for Petra, namely the size/shape of her eyes, but the more time went by the more I started to go back and forth between which one was really "right" for her. Eventually I decided upon Mio almost entirely because I knew from her promo photos that she looks great with little angry eyebrows as silly as that sounds, but I think her faceup really was what completely sold me on Mio for her despite being very different than what I would want for Petra. But Ante just kept creeping back into my thoughts especially once I had actually committed to ordering Momo for her bunny body, I just couldn't shake the idea that Ante really has just the perfect little bunny face and captures the cute juvenile look of Petra while still having this air of seriousness. Admittedly Mio gives the same feeling to me but I don't think the sculpt screams "bunny" in the same way that Ante does.
Anyway, I was still debating what I should choose until the very end but eventually my final decision to go with Ante for her came about from being completely unable to find a tan Mio head. xD I'm a believer in fate and that things present themselves the way they do for a reason and being completely unable to get a hold of a Mio head I interpreted as the universe's way of telling me that it just wasn't meant to be. Just when I started to get kind of depressed over it just so happened to come across a pair of tan OE and SP Ante heads and again my mind was flooded with the idea that Ante was in fact the right choice for her.
In thinking about it more heavily I came to realize that while Mio's giant eyes are more canonically accurate, I have to remember that what works in my silly animu drawings don't always translate or work as well as dolls. Faustus and Euclid are incredibly important to Petra and of course i'm insanely picky when it comes to how my really specific character dolls look together so I realized that Mio's giant eyes would probably look way too different and not mesh well with Faustus and Euclid's smaller, more sultry eyes. I learned early on that when translating my characters as dolls its impossible to get them to look EXACTLY like them because of basic stylistic differences and instead to mainly focusing on choosing a sculpt that best captures the "essence" of that character. Like, for example, Euclid's canonical nose looks absolutely nothing like Minifee Luka's nose, but everything else about that sculpt so perfectly evokes Euclid for me that I hardly even notice or think about it, you know? The same is true for me with Petra and Minifee Ante. There are a few characteristics of this sculpt that aren't exactly true of Petra canonically but it still so perfectly captures the FEEL of her character and in a way that also compliments the other important characters in her story. Also the idea of her having a sleeping head really piqued my interest as I've never owned one and they've always interested me but never really had a great excuse to justify getting one, but in thinking about it more, Petra is a character who typically appears outwardly very cold, emotionless and unyielding but a very important part of her character is her journey through very deep emotional and artistic turmoil and I LOVE the idea of using her sleeping head to show a deeply agonized, mournful and ultimately vulnerable side of her that while rarely seen by others is the perfect way of articulating the vital contrasting dynamic of her character.
So yes, in thinking about her in relation to my other dolls and the way that I wanted to portray her character as a doll it became so clear to me that Ante was the right way to go so I took the plunge and went for it and...
;O; I love it.
It was a really strange surreal feeling to own an Ante after having it in my head for so long that i'd never justify being able to own one but it also thoroughly baffled me in a way that I honestly haven't had happen before. Like, my first impression of the sculpt was that this is somehow simultaneously the most bizarre and unrealistic looking sculpt but also gave me the greatest "feeling" of realness and like the sculpt had an air of "life" to it more than any other sculpt i've come across. Idk its hard to explain and probably makes no sense but yeah, it was a strange mix of "wtf am I looking at" and "omg you feel like a real person to me". I've never had that experience before so I was really taken aback by it. It was honestly so confusing that even though I was super busy and shouldn't have been doing so I immediately had to do a suuuuuper quick faceup on her to attempt and sort out my feelings about this sculpt. Seriously, this faceup is legit terrible as it was just an experiment done in a few hours and I feel kind of embarrassed even posting it but ...somehow I still really like it? Like i'll DEFINITELY be making changes when I get the chance to do it properly but I really wanted to test out a few ideas with her eyes specifically since they are extremely important to portraying her character and it actually kind of works. Still needs a lot of fiddling but like I said, this sculpt just captures the "essence" of Petra even with a rushed and imperfect faceup. This sculpt may thoroughly confuse me, but nevertheless it captures Petra bizarrely even better than I could have anticipated. I even really love the way she looks with Faustus and Euclid so far too! She is sooooo far off from being "complete" right now, but still I am loving everything about her~
xD Ack, yeah sorry I figured i'd ramble about this for ages sorry but its crazy how this ended up becoming a thing but i'm really glad that it did and am so ridiculously excited to FINALLY have Petra as a doll and work on her in the future as she going to be a fun, unique and challenging project that i'm positive you guys are going to really love~
I've had so many things on my plate and have kind of been in the midst of both a creative and life-based chaos for a while now but i'm doing my best to sort things out as I can and when things get too crazy take a bit of time for myself and focus a little on my dolls. Over the last month or so I was making a few things for Petra here here and there like the outfit she is wearing and her bunny ears (which you can't really see either but asdfghjkl they aren't finished/painted yet so-) and when she arrived I took a little time to make her wig and do this really quick faceup just to get a feel for her as this sculpt as it baffled me so much initially. Its not much and I still have to mod her ears, finish her bunny ears and tail, do a new faceup, mod her body, make her unicorn horn, make her hammer, get proper eyes asdfghjkl SO MANY THINGS but i'm just really glad to have her home and share what little progress I've made on her~
I'll share with and talk more about some of the individual things i've made for her here later on as well as more about her character but here is just a little hello to her for now. Ah, seriously SO excited to share her with everyone more once she really starts coming together ;w;
Anyway, I'm going to talk more about my Feeple60 Cygne, IbbI, here soonish and probably some more overall updates for me in the hobby soon as well.
xD Thanks so much for putting up with my nonsensical tornado of a doll journey as always *hugs*
.....
ALSO OMG MY SIO2 RAGDOLL FINALLY SHIPPED ASDFGHJKL
....
but his tracking says he's been stuck back in China for an entire week and i'm starting to get worried. Like, he was shipped EMS so he should have been here by now but he apparently hasn't even left China yet... like I get the whole holiday rush and everything but.... ;______;
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Petra (girl) is a Fairyland Minifee Ante on a Fairyline bunny body in Tan skin. Faceup, wig, ears, dress, apron and most props by me.
This relates to the previous photo I posted. The following night I dressed up in a velvet body shirt and black leather mini skirt and went out to a large Disco! I did have fun even though I was nervous with the big crowd.
Triptych of battered payphones constituting a last refuge for the doomed analog phone. Old Street underground station before the current mega reconstruction/renovation.
Safe from the ubiquitous mobile signal - or was.
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London Dada Work no. 739 from 2013, published 2015,
Addition to Flikr archive album 2013 -2015
londondada.art/2015/02/09/work-no-739-where-landline-stil...
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Also relates t Work 740 from 2015;
" A Dying Breed"
Adapting a popular song from the 1970s I often find myself singing 'sometimes I want to be a woman' I do also sing the actual line 'sometimes it's hard to be a woman' too as I can relate to both sentiments. I frequently segue into the chorus line of 'stand by your man' unconsciously then a sudden awareness of what I just sang brings me to a halt! Realisation I'm not a woman crashes in and I feel a mix of regret, sadness and fear yet at the same time I feel contentment, delight and real joy.
My relationship with my transvestism is something that fascinates me greatly and is something I really enjoy analysing and on rare occasions get to discuss, I am completely fascinated by my transgender feelings. I do often question my motives as being a transvestite brings with it a lot of emotions and satisfaction, indeed a sense of fulfilment yet it also carries for me doubt and guilt and confusion.
One of the things that causes me fear is the sheer joy I experience when I dress up as a woman, I absolutely love it and find part of me willing to assume the persona of a female with great eagerness. I really want it and to completely cross the gender line and no longer be a man. That part of me is something I feel I fight and suppress as I have fears of what it may set free. The big fear is it may well destroy my actual life with my wife, family, colleagues and work.
For me to appear, or more accurately attempt to appear as a woman is a heady powerful emotional desire that I will openly admit I am drawn to. I simply adore dressing up as a woman and trying to pass myself off as a female. Surely this is not what a man should be doing? Well, that's what society may tell us yet I live as a man and love to be a woman.
There are for me undoubted thrills that accompany the initial cross-dressing such as I may on occasion become sexually aroused by the act of transforming myself into the opposite gender. There is of course the thrill of performance and creating an illusion, in fact the act of attempting female impersonation (albeit not on stage or for theatrical entertainment) gives me a real buzz despite the fact it I only ever cross-dress in private.
I am keen to pass as a woman and to act the role convincingly. As I love female impersonation and acting I constantly challenge myself to try and become the woman I am appearing as and not let any of the man be evident. As a consequence I try to think myself into believing I am female. To try and feel and act more realistically female I create back stories for my female alter-ego and really try to become her as I find the challenge something that is incredibly adventurous.
Sometimes I almost pass out with fear when I act like I find men attractive or talk about my (imaginary) ex husband and boyfriends. The man in me is repelled by this yet the woman I am attempting to portray feels at home. I do try to get over my male fears as I do dream of one day passing convincingly in every way as a woman. I kind of believe if I want to appear realistically to be female then I need to become female in my thinking and interaction.
I have found, despite my male fears, I do feel more like a female by thinking of the camera as my boyfriend and trying to act a bit flirty. Somehow it adds an extra element of femininity to the vibe and hopefully to the photos.
I rationalise this by telling myself I am supposed to be a woman when I have gone to all of the effort to become Helene so I need to switch over into being her. My body is shaved, my genitals are tucked, I have false breasts, my face is painted in make-up, I'm wearing a wig with a female hair style and I'm wearing knickers and bra and a dress and high heels with painted nails...I am trying to look like a woman so I really should try and make the whole ensemble come together and try and fulfil those efforts in a way that makes the illusion feel convincing and real to those who see her. I want my alter-ego to pass as a woman in every way, it's an ambition I harbour as a transvestite.
My vanity, indeed I'm sure more my ego, would love to one day experience being taken out for dinner as Helene by a man. As a transvestite trying to pass as a woman that surely has to be rewarding? To be wined and dined and treated as a lady and spend the evening as a woman being admired by men is the ultimate in passing. It has nothing to do with sex, it is all to do with an inner dream of being able to pass convincingly as a female.
I feel more at ease talking abut such scenarios now as I know my own sexuality and I know I would have enjoyed working as a female impersonator and acting as a convincing looking transvestite in films when I was younger. I enjoy those films when a woman is revealed to be a man and every body is surprised as they never saw it coming. The same with female impersonation, I am in awe of men who look, sound and can behave like women yet the audience know that she is in fact a man performing as a woman. I have been ridiculed, indeed at times humiliated in the past for expressing these personal views and ambitions but as I get older I now think why not be honest about my own motivations and issues related to why I engage in transvestism.
In this photo from early June I was totally getting into being a woman and would happily have posed with a man on my arm to sell the illusion I was female. I enjoyed wearing this outfit and if I am honest felt very much at home appearing like this. The intensity of the moment was quite something to cope with, I wanted nothing more than to remain female forever. However, about four hours after this photo was taken I returned to being a man and was quite happy to do so. I think the knowledge I desire to dress up and look female and act as if I am female is something I get a buzz from. The fact I rarely get to cross-dress is probably what I find attractive about being a transvestite. If I was a woman full time I would not likely get the rewards I have emotionally and physically that I get from the occasional cross-dressing experiences. Yet, I feel there is a part of me that wishes I was female.
To be a cross-dresser is quite a mixed bag of emotions and motivations, nothing is that clear cut and I confess I rather like this often confusing exciting and worrying mix that goes on within me. I am addicted to it, I really am.
Truth Unveiled by Time is a marble sculpture by Italian artist Gian Lorenzo Bernini, one of the foremost sculptors of the Italian Baroque. Executed between 1645 and 1652, Bernini intended to show Truth allegorically as a naked young woman being unveiled by a figure of Time above her, but the figure of Time was never executed.
Upon his election to the papacy in 1623, Maffeo Vincenzo Barberini took the name Pope Urban VIII and appointed Bernini as the principal artist for the papal court in Rome. According to Bernini's biographer Baldinucci, Maffeo had 'scarcely ascended the sacred throne' when he summoned Bernini and told him:
"It is your great fortune to see Cardinal Maffeo Barberini Pope, but our fortune is far greater in that Cavalier Bernini lives during our pontificate."
Bernini enjoyed great success during his time as the principal artist for the papal court but, after Urban's death in 1644, he was removed by the incoming pope, Innocent X. The new pope had more conservative tastes and favored Bernini's rival Algardi. Despite the fall from favor this did not stop Bernini from occasionally working for the new pope - One of his most famous works, the Fountain of the Four Rivers, was one of the projects done for Innocent. He still maintained his position as the architect of St. Peter's despite his removal from the papal court and, after Innocent's death in 1655, was immediately given two major commissions at St. Peter's: decorating the Cathedra Petri and building a colonnade round the piazza.
Bernini's rationale for creating Truth Unveiled by Time was, according to his son Domenico, as a sculptural retort to attacks from opponents criticizing his failed project to build two towers onto the front of St. Peter's Basilica. While this is certainly plausible, historians are unsure of the validity of Domenico's claims relating to his father's reasoning. Cracks had appeared in the facade due to the inability of the foundations to support the towers and Bernini's architectural expansion received the blame. What many fail to mention is that most of the blame lies with Carlo Maderno, the previous architect who built weak foundations for the monumental task being requested, and Pope Urban VIII, who kept pressuring Bernini for heavier, more elaborate bell towers.
During the difficult time after Urban's death, Bernini was able to find peace and serenity in his overwhelming confidence that one day he would be vindicated. So strong was this conviction that he created Truth Unveiled by Time to express this confidence in his eventual vindication. Despite this conviction, the sculpture of Father Time was never begun and the project remained incomplete. It has been suggested by historian Franco Mormando that Bernini's return to public favor after Innocent's death might have made the sculptural piece lose the emotional urgency it had previously possessed, which would make sense considering he had been reinstated to his previous place in the upper echelons of society.
Tradition relates that a castle was first constructed on this site by Rhodri the Great, but there are no remains from this period. Dinefwr later became the chief seat of Rhodri's grandson Hywel Dda, first ruler of Deheubarth and later king of most of Wales. Rhys ap Gruffydd, ruler of Deheubarth from 1155 to 1197, is thought to have rebuilt the castle. Giraldus Cambrensis tells a story about a plan by King Henry II of England to assault the castle during a campaign against Rhys. One of Henry's most trusted followers was sent on reconnaissance, guided by a local Welsh cleric, who was asked to lead him to the castle by the easiest route, but instead took the most difficult route he could find, ending the performance by stopping to eat grass with the explanation that this was the diet of the local people in times of hardship. The planned attack was duly abandoned.
Rhys ap Gruffydd also built the spectacular castle at Carreg Cennen, about four miles away to the south. It is not visible from Dynefwr, but Dryslwyn Castle can just be seen on a hill blocking the Tywi valley to the south-west. Rhys also founded two religious houses during this period. Talley Abbey was the first Premonstratensian abbey in Wales, while Llanllyr was a Cistercian nunnery, only the second nunnery to be founded in Wales and the first to prosper.
On Rhys ap Gruffydd's death the castle passed to his son Rhys Gryg, and the earliest parts of the present castle are thought to derive from this period. Llywelyn the Great of Gwynedd was now extending his influence to this area, and Rhys, finding himself unable to resist, dismantled the castle. Llywelyn however had it restored and held it until his death in 1240. In 1255 Llywelyn the Last gave Dinefwr to Rhys Fychan, then later gave it to Maredudd ap Rhys before later returning it to Rhys Fychan. Maredydd now allied himself to King Edward I of England, and helped Edward capture Dinefwr in 1277. Maredudd had apparently been promised Dinefwr in return for his help, but Edward did not keep his promise and had Maredudd executed in 1291.
Edinburgh Castle is a historic castle in Edinburgh, Scotland. It stands on Castle Rock, which has been occupied by humans since at least the Iron Age, although the nature of the early settlement is unclear. There has been a royal castle on the rock since at least the reign of David I in the 12th century, and the site continued to be a royal residence until 1633. From the 15th century, the castle's residential role declined, and by the 17th century it was principally used as military barracks with a large garrison. Its importance as a part of Scotland's national heritage was recognised increasingly from the early 19th century onwards, and various restoration programmes have been carried out over the past century and a half.
As one of the most important strongholds in the Kingdom of Scotland, Edinburgh Castle was involved in many historical conflicts from the Wars of Scottish Independence in the 14th century to the Jacobite rising of 1745. Research undertaken in 2014 identified 26 sieges in its 1,100-year history, giving it a claim to having been "the most besieged place in Great Britain and one of the most attacked in the world". Few of the present buildings pre-date the Lang Siege of the 16th century when the medieval defences were largely destroyed by artillery bombardment. The most notable exceptions are St Margaret's Chapel from the early 12th century, which is regarded as the oldest building in Edinburgh, the Royal Palace, and the early 16th-century Great Hall, although the interiors have been much altered from the mid-Victorian period onwards. The castle also houses the Scottish regalia, known as the Honours of Scotland, and is the site of the Scottish National War Memorial and the National War Museum of Scotland. The British Army is still responsible for some parts of the castle, although its presence is now largely ceremonial and administrative. Some of the castle buildings house regimental museums which contribute to its presentation as a tourist attraction.
The castle, in the care of Historic Environment Scotland, is Scotland's most and the United Kingdom's second most-visited paid tourist attraction, with over 2.2 million visitors in 2019 and over 70 percent of leisure visitors to Edinburgh visiting the castle. As the backdrop to the Royal Edinburgh Military Tattoo during the annual Edinburgh Festival, the castle has become a recognisable symbol of Edinburgh in particular and of Scotland as a whole.
The castle stands upon the plug of an extinct volcano, which is estimated to have risen about 350 million years ago during the lower Carboniferous period. The Castle Rock is the remains of a volcanic pipe, which cut through the surrounding sedimentary rock before cooling to form very hard dolerite, a type of basalt. Subsequent glacial erosion was resisted by the dolerite, which protected the softer rock to the east, leaving a crag and tail formation.
The summit of the Castle Rock is 130 metres above sea level, with rocky cliffs to the south, west, and north, rising to a height of 80 metres above the surrounding landscape. This means that the only readily accessible route to the castle lies to the east, where the ridge slopes more gently. The defensive advantage of such a site is self-evident, but the geology of the rock also presents difficulties, since basalt is extremely impermeable. Providing water to the Upper Ward of the castle was problematic, and despite the sinking of a 28-metre deep well, the water supply often ran out during drought or siege, including during the Lang Siege in 1573.
Archaeological investigation has yet to establish when the Castle Rock was first used as a place of human habitation. There is no record of any Roman interest in the location during General Agricola's invasion of northern Britain near the end of the 1st century AD. Ptolemy's map of the 2nd century AD shows a settlement in the territory of the Votadini named "Alauna", meaning "rock place", making this possibly the earliest known name for the Castle Rock. This could, however, refer to another of the tribe's hill forts in the area. The Orygynale Cronykil of Andrew of Wyntoun (c. 1350 – c. 1423), an early source for Scottish history, names "Ebrawce" (Ebraucus), a legendary King of the Britons, as having "byggyd [built] Edynburgh". According to the earlier chronicler, Geoffrey of Monmouth (c. 1100 – c. 1155), Ebraucus had fifty children by his twenty wives, and was the founder of "Kaerebrauc" (York), "Alclud" (Dumbarton) and the "Maidens' Castle". The 16th-century English writer John Stow (c. 1525 – 1605), credited Ebraucus with building "the Castell of Maidens called Edenbrough" in 989 BC. The name "Maidens' Castle" (Latin: Castra or Castellum Puellarum) occurs frequently up until the 16th century.[16] It appears in charters of David I (r. 1124–1153) and his successors, although the reason for it is not known. William Camden's survey of Britain, Britannia (1607), records that "the Britans called [it] Castle Myned Agned [winged rock], the Scots, the Maidens Castle and the Virgins Castle, of certaine young maidens of the Picts roiall bloud who were kept there in old time". According to the 17th-century antiquarian Father Richard Hay, the "maidens" were a group of nuns, who were ejected from the castle and replaced by canons, considered "fitter to live among soldiers". However, this story was considered "apocryphal" by the 19th-century antiquarian Daniel Wilson and has been ignored by historians since. The name may have been derived from a "Cult of the Nine Maidens" type of legend. Arthurian legends suggest that the site once held a shrine to Morgain la Fee, one of nine sisters. Later, St Monenna, said to be one of nine companions, reputedly invested a church at Edinburgh, as well as at Dumbarton and other places. Similar names are shared by many other Iron Age hillforts and may have simply described a castle that had never been taken by force or derived from an earlier Brittonic name like mag dun.
An archaeological excavation in the early 1990s uncovered evidence of the site having been settled during the late Bronze Age or early Iron Age, potentially making the Castle Rock the longest continuously occupied site in Scotland. However, the extent of the finds was not particularly significant and was insufficient to draw any certain conclusions about the precise nature or scale of this earliest known phase of occupation.
The archaeological evidence is more reliable in respect of the Iron Age. Traditionally, it had been supposed that the tribes of central Scotland had made little or no use of the Castle Rock. Excavations at nearby Dunsapie Hill, Duddingston, Inveresk and Traprain Law had revealed relatively large settlements and it was supposed that these sites had been chosen in preference to the Castle Rock. However, the excavation in the 1990s pointed to the probable existence of an enclosed hill fort on the rock, although only the fringes of the site were excavated. House fragments revealed were similar to Iron Age dwellings previously found in Northumbria.
The 1990s dig revealed clear signs of habitation from the 1st and 2nd centuries AD, consistent with Ptolemy's reference to "Alauna". Signs of occupation included some Roman material, including pottery, bronzes and brooches, implying a possible trading relationship between the Votadini and the Romans beginning with Agricola's northern campaign in AD 82, and continuing through to the establishment of the Antonine Wall around AD 140. The nature of the settlement in this period is inconclusive, but Driscoll and Yeoman suggest it may have been a broch, similar to the one at Edin's Hall near Duns, Scottish Borders in the Scottish Borders.
The castle does not re-appear in contemporary historical records from the time of Ptolemy until around AD 600. Then, in the epic Welsh poem Y Gododdin there is a reference to Din Eidyn, "the stronghold of Eidyn". This has been generally assumed to refer to the Castle Rock. The poem tells of the Gododdin King Mynyddog Mwynfawr, and his band of warriors, who, after a year of feasting in their fortress, set out to do battle with the Angles at "Catreath" (possibly Catterick) in Yorkshire. Despite performing glorious deeds of valour and bravery, the poem relates that the Gododdin were massacred.
The Irish annals record that in 638, after the events related in Y Gododdin, "Etin" was besieged by the Angles under Oswald of Northumbria, and the Gododdin were defeated. The territory around Edinburgh then became part of the Kingdom of Northumbria, which was itself absorbed by England in the 10th century. Lothian became part of Scotland, during the reign of Indulf (r.954–962).
The archaeological evidence for the period in question is based entirely on the analysis of middens (domestic refuse heaps), with no evidence of structures. Few conclusions can therefore be derived about the status of the settlement during this period, although the midden deposits show no clear break since Roman times.
The first documentary reference to a castle at Edinburgh is John of Fordun's account of the death of King Malcolm III (1031–1093). Fordun describes his widow, the future Saint Margaret, as residing at the "Castle of Maidens" when she is brought news of his death in November 1093. Fordun's account goes on to relate how Margaret died of grief within days, and how Malcolm's brother Donald Bane laid siege to the castle. However, Fordun's chronicle was not written until the later 14th century, and the near-contemporary account of the life of St Margaret by Bishop Turgot makes no mention of a castle. During the reigns of Malcolm III and his sons, Edinburgh Castle became one of the most significant royal centres in Scotland. Malcolm's son King Edgar died here in 1107.
Malcolm's youngest son, King David I (r.1124–1153), developed Edinburgh as a seat of royal power principally through his administrative reforms (termed by some modern scholars the Davidian Revolution). Between 1139 and 1150, David held an assembly of nobles and churchmen, a precursor to the parliament of Scotland, at the castle. Any buildings or defences would probably have been of timber, although two stone buildings are documented as having existed in the 12th century. Of these, St. Margaret's Chapel remains at the summit of the rock. The second was a church, dedicated to St. Mary, which stood on the site of the Scottish National War Memorial. Given that the southern part of the Upper Ward (where Crown Square is now sited) was not suited to be built upon until the construction of the vaults in the 15th century, it seems probable that any earlier buildings would have been located towards the northern part of the rock; that is around the area where St. Margaret's Chapel stands. This has led to a suggestion that the chapel is the last remnant of a square, stone keep, which would have formed the bulk of the 12th-century fortification. The structure may have been similar to the keep of Carlisle Castle, which David I began after 1135.
David's successor King Malcolm IV (r.1153–1165) reportedly stayed at Edinburgh more than at any other location. But in 1174, King William "the Lion" (r.1165–1214) was captured by the English at the Battle of Alnwick. He was forced to sign the Treaty of Falaise to secure his release, in return for surrendering Edinburgh Castle, along with the castles of Berwick, Roxburgh and Stirling, to the English King, Henry II. The castle was occupied by the English for twelve years, until 1186, when it was returned to William as the dowry of his English bride, Ermengarde de Beaumont, who had been chosen for him by King Henry. By the end of the 12th century, Edinburgh Castle was established as the main repository of Scotland's official state papers.
A century later, in 1286, on the death of King Alexander III, the throne of Scotland became vacant. Edward I of England was appointed to adjudicate the competing claims for the Scottish crown, but used the opportunity to attempt to establish himself as the feudal overlord of Scotland. During the negotiations, Edward stayed briefly at Edinburgh Castle and may have received homage there from the Scottish nobles.
In March 1296, Edward I launched an invasion of Scotland, unleashing the First War of Scottish Independence. Edinburgh Castle soon came under English control, surrendering after a three days long bombardment. Following the siege, Edward had many of the Scottish legal records and royal treasures moved from the castle to England. A large garrison numbering 325 men was installed in 1300. Edward also brought to Scotland his master builders of the Welsh castles, including Thomas de Houghton and Master Walter of Hereford, both of whom travelled from Wales to Edinburgh. After the death of Edward I in 1307, however, England's control over Scotland weakened. On 14 March 1314, a surprise night attack by Thomas Randolph, 1st Earl of Moray recaptured the castle. John Barbour's narrative poem The Brus relates how a party of thirty hand-picked men was guided by one William Francis, a member of the garrison who knew of a route along the north face of the Castle Rock and a place where the wall might be scaled. Making the difficult ascent, Randolph's men scaled the wall, surprised the garrison and took control. Robert the Bruce immediately ordered the slighting of the castle to prevent its re-occupation by the English. Four months later, his army secured victory at the Battle of Bannockburn.
After Bruce's death in 1329, Edward III of England determined to renew the attempted subjugation of Scotland and supported the claim of Edward Balliol, son of the former King John Balliol, over that of Bruce's young son David II. Edward invaded in 1333, marking the start of the Second War of Scottish Independence, and the English forces reoccupied and refortified Edinburgh Castle in 1335, holding it until 1341. This time, the Scottish assault was led by William Douglas, Lord of Liddesdale. Douglas's party disguised themselves as merchants from Leith bringing supplies to the garrison. Driving a cart into the entrance, they halted it there to prevent the gates closing. A larger force hidden nearby rushed to join them and the castle was retaken. The 100 English men of the garrison were all killed.
The 1357 Treaty of Berwick brought the Wars of Independence to a close. David II resumed his rule and set about rebuilding Edinburgh Castle which became his principal seat of government. David's Tower was begun around 1367, and was incomplete when David died at the castle in 1371. It was completed by his successor, Robert II, in the 1370s. The tower stood on the site of the present Half Moon Battery and was connected by a section of curtain wall to the smaller Constable's Tower, a round tower built between 1375 and 1379 where the Portcullis Gate now stands.
In the early 15th century, another English invasion, this time under Henry IV, reached Edinburgh Castle and began a siege, but eventually withdrew due to lack of supplies. From 1437, Sir William Crichton was Keeper of Edinburgh Castle, and soon after became Chancellor of Scotland. In an attempt to gain the regency of Scotland, Crichton sought to break the power of the Douglases, the principal noble family in the kingdom. The sixteen-year-old William Douglas, 6th Earl of Douglas, and his younger brother David were summoned to Edinburgh Castle in November 1440. After the so-called "Black Dinner" had taken place in David's Tower, both boys were summarily executed on trumped-up charges in the presence of the ten-year-old King James II (r.1437–1460). Douglas' supporters subsequently besieged the castle, inflicting damage. Construction continued throughout this period, with the area now known as Crown Square being laid out over vaults in the 1430s. Royal apartments were built, forming the nucleus of the later palace block, and a Great Hall was in existence by 1458. In 1464, access to the castle was improved when the current approach road up the north-east side of the rock was created to allow easier movement of the royal artillery train in and out of the area now known as the Upper Ward.
In 1479, Alexander Stewart, Duke of Albany, was imprisoned in David's Tower for plotting against his brother, King James III (r.1460–1488). He escaped by getting his guards drunk, then lowering himself from a window on a rope. The duke fled to France, then England, where he allied himself with King Edward IV. In 1482, Albany marched into Scotland with Richard, Duke of Gloucester (later King Richard III), and an English army. James III was trapped in the castle from 22 July to 29 September 1482 until he successfully negotiated a settlement.
During the 15th century the castle was increasingly used as an arsenal and armaments factory. The first known purchase of a gun was in 1384, and the "great bombard" Mons Meg was delivered to Edinburgh in 1457. The first recorded mention of an armoury for the manufacture of guns occurs in 1474, and by 1498 the master gunner Robert Borthwick was casting bronze guns at Edinburgh. By 1511 Edinburgh was the principal foundry in Scotland, supplanting Stirling Castle, with Scottish and European smiths working under Borthwick, who by 1512 was appointed "master melter of the king's guns". Their output included guns for the Scottish flagship, the "Great Michael", and the "Seven Sisters", a set of cannons captured by the English at Flodden in 1513. Sir Thomas Howard, England's Lord Admiral, admired their graceful shape and brilliant finish, declaring them the most beautiful [cannon] for their size and length that he had ever seen. From 1510 Dutch craftsmen were also producing hand culverins, an early firearm. After Flodden, Borthwick continued his work, producing an unknown number of guns, of which none survive. He was succeeded by French smiths, who began manufacturing hagbuts (another type of firearm) in the 1550s, and by 1541 the castle had a stock of 413.
Meanwhile, the royal family began to stay more frequently at the Abbey of Holyrood, about 1 mile from the castle. Around the end of the fifteenth century, King James IV (r.1488–1513) built Holyroodhouse, by the abbey, as his principal Edinburgh residence, and the castle's role as a royal home subsequently declined. James IV did, however, construct the Great Hall, which was completed in the early 16th century. His daughter Margaret Stewart was lodged in the castle with her servant Ellen More.
James IV was killed in battle at Flodden Field, on 9 September 1513. Expecting the English to press their advantage, the Scots hastily constructed a town wall around Edinburgh and augmented the castle's defences. Robert Borthwick and a Frenchman, Antoine d'Arces, were involved in designing new artillery defences and fortifications in 1514, though it appears from lack of evidence that little of the planned work was carried out. Three years later, King James V (r.1513–1542), still only five years old, was brought to the castle for safety. Upon his death 25 years later, the crown passed to his week-old daughter, Mary, Queen of Scots. English invasions followed, as King Henry VIII attempted to force a dynastic marriage on Scotland. When the English burnt Edinburgh in May 1544 the gunner Andrew Mansioun firing from the castle destroyed an English cannon placed to bombard the forework. In 1547 disaffected members of the garrison who resented Regent Arran came to Norham Castle and offered to let the English in.
Refortification in 1548 included an earthen angle-bastion, known as the Spur, of the type known as trace italienne, one of the earliest examples in Britain. Brunstane Castle the home of the traitor Alexander Crichton was demolished to provide building materials. The Spur may have been designed by Migliorino Ubaldini, an Italian engineer from the court of Henry II of France, and was said to have the arms of France carved on it. James V's widow, Mary of Guise, acted as regent from 1554 until her death at the castle in 1560.
The following year, the Catholic Mary, Queen of Scots, returned from France to begin her reign, which was marred by crises and quarrels amongst the powerful Protestant Scottish nobility. In 1565, the Queen made an unpopular marriage with Henry Stuart, Lord Darnley, and the following year, in a small room of the Palace at Edinburgh Castle, she gave birth to their son James, who would later be King of both Scotland and England. Mary's reign was, however, brought to an abrupt end. Three months after the murder of Darnley at Kirk o' Field in 1567, she married James Hepburn, 4th Earl of Bothwell, one of the chief murder suspects. A large proportion of the nobility rebelled, resulting ultimately in the imprisonment and forced abdication of Mary at Loch Leven Castle. She escaped and fled to England, but some of the nobility remained faithful to her cause. Edinburgh Castle was initially handed by its Captain, James Balfour, to the Regent Moray, who had forced Mary's abdication and now held power in the name of the infant King James VI. Shortly after the Battle of Langside, in May 1568, Moray appointed Sir William Kirkcaldy of Grange Keeper of the Castle.
Grange was a trusted lieutenant of the Regent, but after Moray's murder in January 1570 his allegiance to the King's cause began to waver. Intermittent civil war continued between the supporters of the two monarchs, and in April 1571 Dumbarton Castle fell to "the King's men". Under the influence of William Maitland of Lethington, Mary's secretary, Grange changed sides, occupying the town and castle of Edinburgh for Queen Mary, and against the new regent, the Earl of Lennox. The stand-off which followed was not resolved until two years later, and became known as the "Lang Siege", from the Scots word for "long". Hostilities began in May, with a month-long siege of the town, and a second short siege in October. Blockades and skirmishing continued meanwhile, and Grange continued to refortify the castle. The King's party appealed to Elizabeth I of England for assistance, as they lacked the artillery and money required to reduce the castle, and feared that Grange would receive aid from France and the Duke of Alba in the Spanish Netherlands. Elizabeth sent ambassadors to negotiate, and in July 1572 a truce was agreed and the blockade lifted. The town was effectively surrendered to the King's party, with Grange confined to the castle.
The truce expired on 1 January 1573, and Grange began bombarding the town. His supplies of powder and shot, however, were running low, and despite having 40 cannon available, there were only seven gunners in the garrison. The King's forces, now with the Earl of Morton in charge as regent, were making headway with plans for a siege. Trenches were dug to surround the castle, and St Margaret's Well was poisoned. By February, all Queen Mary's other supporters had surrendered to the Regent, but Grange resolved to resist despite water shortages within the castle. The garrison continued to bombard the town, killing a number of citizens. They also made sorties to set fires, burning 100 houses in the town and then firing on anyone attempting to put out the flames.
In April, a force of around 1,000 English troops, led by Sir William Drury, arrived in Edinburgh. They were followed by 27 cannon from Berwick-upon-Tweed, including one that had been cast within Edinburgh Castle and captured by the English at Flodden. The English troops built an artillery emplacement on Castle Hill, immediately facing the east walls of the castle, and five others to the north, west and south. By 17 May these batteries were ready, and the bombardment began. Over the next 12 days, the gunners dispatched around 3,000 shots at the castle. On 22 May, the south wall of David's Tower collapsed, and the next day the Constable's Tower also fell. The debris blocked the castle entrance, as well as the Fore Well, although this had already run dry. On 26 May, the English attacked and captured the Spur, the outer fortification of the castle, which had been isolated by the collapse. The following day Grange emerged from the castle by a ladder after calling for a ceasefire to allow negotiations for a surrender to take place. When it was made clear that he would not be allowed to go free even if he ended the siege, Grange resolved to continue the resistance, but the garrison threatened to mutiny. He therefore arranged for Drury and his men to enter the castle on 28 May, preferring to surrender to the English rather than the Regent Morton. Edinburgh Castle was handed over to George Douglas of Parkhead, the Regent's brother, and the garrison were allowed to go free. In contrast, Kirkcaldy of Grange, his brother James and two jewellers, James Mossman and James Cokke, who had been minting coins in Mary's name inside the castle, were hanged at the Cross in Edinburgh on 3 August.
Nova Scotia and Civil War
Much of the castle was subsequently rebuilt by Regent Morton, including the Spur, the new Half Moon Battery and the Portcullis Gate. Some of these works were supervised by William MacDowall, the master of work who fifteen years earlier had repaired David's Tower. The Half Moon Battery, while impressive in size, is considered by historians to have been an ineffective and outdated artillery fortification. This may have been due to a shortage of resources, although the battery's position obscuring the ancient David's Tower and enhancing the prominence of the palace block, has been seen as a significant decision.
The battered palace block remained unused, particularly after James VI departed to become King of England in 1603. James had repairs carried out in 1584, and in 1615–1616 more extensive repairs were carried out in preparation for his return visit to Scotland. The mason William Wallace and master of works James Murray introduced an early Scottish example of the double-pile block. The principal external features were the three, three-storey oriel windows on the east façade, facing the town and emphasising that this was a palace rather than just a place of defence. During his visit in 1617, James held court in the refurbished palace block, but still preferred to sleep at Holyrood.
In 1621, King James granted Sir William Alexander the land in North America between New England and Newfoundland, as Nova Scotia ("New Scotland"). To promote the settlement and plantation of the new territory, the Baronetage of Nova Scotia was created in 1624. Under Scots Law, baronets had to "take sasine" by symbolically receiving the earth and stone of the land of which they were baronet. To make this possible, since Nova Scotia was so distant, the King declared that sasine could be taken either in the new province or alternatively "at the castle of Edinburgh as the most eminent and principal place of Scotland."
James' successor, King Charles I, visited Edinburgh Castle only once, hosting a feast in the Great Hall and staying the night before his Scottish coronation in 1633. This was the last occasion that a reigning monarch resided in the castle. In 1639, in response to Charles' attempts to impose Episcopacy on the Scottish Church, civil war broke out between the King's forces and the Presbyterian Covenanters. The Covenanters, led by Alexander Leslie, captured Edinburgh Castle after a short siege, although it was restored to Charles after the Peace of Berwick in June the same year. The peace was short-lived, however, and the following year the Covenanters took the castle again, this time after a three-month siege, during which the garrison ran out of supplies. The Spur was badly damaged and was demolished in the 1640s. The Royalist commander James Graham, 1st Marquis of Montrose, was imprisoned here after his capture in 1650.
In May 1650, the Covenanters signed the Treaty of Breda, allying themselves with the exiled Charles II against the English Parliamentarians, who had executed his father the previous year. In response to the Scots proclaiming Charles King, Oliver Cromwell launched an invasion of Scotland, defeating the Covenanter army at Dunbar in September. Edinburgh Castle was taken after a three-month siege, which caused further damage. The Governor of the Castle, Colonel Walter Dundas, surrendered to Cromwell despite having enough supplies to hold out, allegedly from a desire to change sides.
After his Restoration in 1660, Charles II opted to maintain a full-time standing army based on Cromwell's New Model Army. From this time until 1923, a garrison was continuously maintained at the castle. The medieval royal castle was transformed into a garrison fortress, but continued to see military and political action. The Marquis of Argyll was imprisoned here in 1661, when King Charles II settled old scores with his enemies following his return to the throne. Twenty years later, Argyll's son, the 9th Earl of Argyll, was also imprisoned in the castle for religious Nonconformism in the reign of King James VII. He escaped by disguising himself as his sister's footman, but was recaptured and returned to the castle after his failed rebellion to oust James from the throne in 1685.
James VII was deposed and exiled by the Glorious Revolution of 1688, which installed William of Orange as King of England. Not long after, in early 1689, the Estates of Scotland, after convening to accept William formally as their new king, demanded that Duke of Gordon, Governor of the Castle, surrender the fortress. Gordon, who had been appointed by James VII as a fellow Catholic, refused. In March 1689, the castle was blockaded by 7,000 troops against a garrison of 160 men, further weakened by religious disputes. On 18 March, Viscount Dundee, intent on raising a rebellion in the Highlands, climbed up the western side of the Castle Rock to urge Gordon to hold the castle against the new King. Gordon agreed, but during the ensuing siege he refused to fire upon the town, while the besiegers inflicted little damage on the castle. Despite Dundee's initial successes in the north, Gordon eventually surrendered on 14 June, due to dwindling supplies and having lost 70 men during the three-month siege.
The castle was almost taken in the first Jacobite rising in support of James Stuart, the "Old Pretender", in 1715. On 8 September, just two days after the rising began, a party of around 100 Jacobite Highlanders, led by Lord Drummond, attempted to scale the walls with the assistance of members of the garrison. However, the rope ladder lowered by the castle sentries was too short, and the alarm was raised after a change of the watch. The Jacobites fled, while the deserters within the castle were hanged or flogged. In 1728, General Wade reported that the castle's defences were decayed and inadequate, and a major strengthening of the fortifications was carried out throughout the 1720s and 1730s. This was the period when most of the artillery defences and bastions on the north and west sides of the castle were built. These were designed by military engineer Captain John Romer, and built by the architect William Adam. They include the Argyle Battery, Mills Mount Battery, the Low Defences and the Western Defences.
The last military action at the castle took place during the second Jacobite rising of 1745. The Jacobite army, under Charles Edward Stuart ("Bonnie Prince Charlie"), captured Edinburgh without a fight in September 1745, but the castle remained in the hands of its ageing Deputy Governor, General George Preston, who refused to surrender. After their victory over the government army at Prestonpans on 21 September, the Jacobites attempted to blockade the castle. Preston's response was to bombard Jacobite positions within the town. After several buildings had been demolished and four people killed, Charles called off the blockade. The Jacobites themselves had no heavy guns with which to respond, and by November they had marched into England, leaving Edinburgh to the castle garrison.
Over the next century, the castle vaults were used to hold prisoners of war during several conflicts, including the Seven Years' War (1756–1763), the American War of Independence (1775–1783) and the Napoleonic Wars (1803–1815). During this time, several new buildings were erected within the castle, including powder magazines, stores, the Governor's House (1742), and the New Barracks (1796–1799).
19th century to the present
Drawing of the castle surrounded by crowds
King George IV waves from the battlements of the Half Moon Battery in 1822, drawn by James Skene
A mass prison break in 1811, in which 49 prisoners of war escaped via a hole in the south wall, persuaded the authorities that the castle vaults were no longer suitable as a prison. This use ceased in 1814 and the castle began gradually to assume a different role as a national monument. In 1818, Sir Walter Scott was given permission to search the castle for the Crown of Scotland, believed lost after the union of Scotland and England in 1707. Breaking into a sealed room, now known as the Crown Room, and unlocking a chest within, he rediscovered the Honours of Scotland, which were then put on public display with an entry charge of one shilling. In 1822, King George IV made a visit to Edinburgh, becoming the first reigning monarch to visit the castle since Charles II in 1651. In 1829, the cannon Mons Meg was returned from the Tower of London, where it had been taken as part of the process of disarming Scotland after "the '45", and the palace began to be opened up to visitors during the 1830s. St Margaret's Chapel was "rediscovered" in 1845, having been used as a store for many years. Works in the 1880s, funded by the Edinburgh publisher William Nelson and carried out by Hippolyte Blanc, saw the Argyle Tower built over the Portcullis Gate and the Great Hall restored after years of use as a barracks. A new Gatehouse was built in 1888. During the 19th century, several schemes were put forward for rebuilding the whole castle as a Scottish baronial style château. Work began in 1858, but was soon abandoned, and only the hospital building was eventually remodelled in 1897. Following the death of Prince Albert in 1861, the architect David Bryce put forward a proposal for a 50-metre keep as a memorial, but Queen Victoria objected and the scheme was not pursued.
Edinburgh Castle, waxed-paper negative by Thomas Keith, c. 1855. Department of Image Collections, National Gallery of Art Library, Washington DC
In 1905, responsibility for the castle was transferred from the War Office to the Office of Works, although the garrison remained until 1923, when the troops moved to Redford Barracks in south-west Edinburgh. The castle was again used as a prison during the First World War, when "Red Clydesider" David Kirkwood was confined in the military prison block, and during the Second World War, when downed German Luftwaffe pilots were captured. The position of Governor of Edinburgh Castle, vacant since 1876, was revived in 1935 as an honorary title for the General Officer Commanding in Scotland, the first holder being Lieutenant-General Sir Archibald Cameron of Lochiel. The castle passed into the care of Historic Scotland when it was established in 1991, and was designated a Scheduled Ancient Monument in 1993. The buildings and structures of the castle are further protected by 24 separate listings, including 13 at category A, the highest level of protection for a historic building in Scotland, and special care was taken when installing 31 kW solar panels on the roof of the War Memorial, obscured by its parapet. The Old and New Towns of Edinburgh, a World Heritage Site inscribed by UNESCO in 1995, is described as "dominated by a medieval fortress".
St. Basil's Cathedral (Moscow, Russia).
The famous St. Basil's Cathedral was commissioned by Ivan the Terrible and built on the edge of Red Square between 1555 and 1561. Legend has it that on completion of the church the Tsar ordered the architect, Postnik Yakovlev, to be blinded to prevent him from ever creating anything to rival its beauty again. The cathedral was built to commemorate Ivan the Terrible's successful military campaign against the Tartar Mongols in 1552 in the besieged city of Kazan. Victory came on the feast day of the Intercession of the Virgin, so the Tsar chose to name his new church the Cathedral of the Intercession of the Virgin on the Moat, after the moat that ran beside the Kremlin. The church was given the nickname "St. Basil's" after the "holy fool" Basil the Blessed (1468-1552), who was hugely popular at that time with the Muscovites masses and even with Ivan the Terrible himself. St. Basil's was built on the site of the earlier Trinity Cathedral, which at one point gave its name to the neighboring square. St. Basil's is a delightful array of swirling colors and redbrick towers. Its design comprises nine individual chapels, each topped with a unique onion dome and each commemorating a victorious assault on the city of Kazan. In 1588 the ninth chapel was erected to house the tomb of the church's namesake, Basil the Blessed. The church's design is based on deep religious symbolism and was meant to be an architectural representation of the New Jerusalem - the Heavenly Kingdom described in the Book of Revelation of St. John the Divine. The eight onion dome-topped towers are positioned around a central, ninth spire, forming an eight-point star. The number eight carries great religious significance; it denotes the day of Christ's Resurrection (the eighth day by the ancient Jewish calendar) and the promised Heavenly Kingdom - the kingdom of the eighth century, which will begin after the second coming of Christ. The eight-point star itself symbolizes the Christian Church as a guiding light to mankind, showing us the way to the Heavenly Jerusalem and it represents the Virgin Mary, depicted in Orthodox iconography with a veil decorated with three eight-pointed stars. The cathedral's star-like plan carries yet more meaning - the star consisting of two superimposed squares, which represent the stability of faith, the four corners of the earth, the four Evangelists and the four equal-sided walls of the Heavenly City. The extravagant and brightly colored domes of the cathedral's exterior mask a much more modestly decorated and somewhat less spectacular interior. Small dimly lit chapels and maze-like corridors fill the inside of the church and the walls are covered with delicate floral designs in subdued pastel colors dating from the 17th century. Visitors can climb up a narrow, wooden spiral staircase, set in one of the walls and discovered only in the 1970s during restoration work, and marvel at the Chapel of the Intercession's priceless iconostasis, dating back to the 16th century. There was so little room inside the church to accommodate worshippers, that on special feast days services were held outside on Red Square where the clergy communicated their sermons to the milling masses from Lobnoye Mesto, using St. Basil's as an outdoor altar. The church has narrowly escaped destruction a number of times during the city's tumultuous history. Legend has it that Napoleon was so impressed with St. Basil's that he wanted to take it back to Paris with him, but lacking to the technology to do so, ordered instead that it be destroyed with the French retreat from the city. The French set up kegs of gunpowder and lit their fuses, but a sudden, miraculous shower helped to extinguish the fuses and prevent the explosion. Early in this century the cathedral almost fell prey to the atheist principles of the Bolshevik regime. In 1918 the communist authorities shot the church's senior priest, Ioann Vostorgov, confiscated its property, melted down its bells and closed the cathedral down. In the 1930s Lazar Kaganovich, a close colleague of Stalin and director of the Red Square reconstruction plan, suggested that St. Basil's be knocked down to create space and ease the movement of public parades and vehicle movement on the square. Thankfully Stalin rejected his proposal as he did a second plan to destroy the cathedral. This time the courage of the architect and devotee of Russian culture, P. Baranovsky, saved the church. When ordered to prepare the cathedral for destruction he refused and threatened to cut his own throat on the steps of the church, then sent a bluntly worded telegram to the leader of the party himself relating the above. For some reason Stalin cancelled the decision to knock the church down and for his efforts Baranovsky was rewarded with five years in jail. An extensive program of renovation is still being carries out on both the exterior and interior of the church, but will not spoil that essential visit to St. Basil's Cathedral, Moscow's moat famous and arguably most beautiful ecclesiastical building. In the small garden outside St. Basil's stands an impressive bronze Statue to Minin and Pozharsky, who rallied Russia's volunteer army during the Time of Troubles and drove out the invading Polish forces. They were an interesting duo - Dmitry Pozharsky was a prince, while Kuzma Minin was a butcher from Nizhny Novgorod. The statue was designed by the artist I. Martos and erected in 1818 as the city's first monumental sculpture. It originally stood in the center of Red Square in front of what is now the GUM Department Store, with Minin symbolically indicating to Pozharsky that the Poles were occupying the Kremlin and calling for its liberation. The Soviet authorities felt that the statue had become an obstacle during parades and after the construction of the Lenin Mausoleum Red Square, its position was considered rather ambiguous and was eventually moved to the garden in front of St. Basil's in 1936.
I often relate odd shots I take to memories of my younger days. One of the first trips my wife and I did overseas was to the USA where we visited Disneyland and LA before heading north to San Francisco where some of my Mum's family lived and still live.
I remember being on one of those iconic Disney rides that always seemed to be more well known than they are today, perhaps Small World or the Pirates of the Caribbean. These rides were and still are world class and for innocents like us, they were just fantastic. Anyway, we had this family in the car behind us on whatever ride we were on, staring in awe while one of the young sons in that family just kept on with his mantra "It's fake Daddy!". Grrr, I mean! I wonder what he would say today in the brave new electronic and digital world. Forty years on, he would have his own kids by now, perhaps adults themselves.
Every time I look at this, now damaged concrete sculpture in Humpybong Creek at Redcliffe in SE Queensland, I can't help recalling that kid's words. I just wonder if the two Cormorants drying their feathers were thinking that also in the warm sun?
Season of Touit - picture 10
Week 37, Saturday
As far as I can tell photographers are pretty obsessed with the sharpness, but I can surely relate to this feeling myself as well. Looking at the picture and seeing all the small details captured in a moment of split second is just fascinating. This sort of obsession with sharpness is profound with high resolution cameras, because one can zoom in and see even more details. No wonder why 'is it sharp?' or 'how sharp it is?' is number one topic in many photography forums. Like many other Sony Alpha users (especially those coming from the Nex legacy), my first experience regarding sharpness happened with the Sony E-mount kit lens (SEL1855). For those who dismiss kit lenses in general, I can say that even the kit lens can deliver pretty good contrast&colors, and stopped down it can deliver acceptable sharpness as well. But the truth is that when I was using the kit lens I always had to worry about the sharpness. After shooting with it I always felt certain anxiety and needed to check my pictures later on from computer screen to see if they were ok, particularly regarding the sharpness.
My experience with Zeiss is different. The Touit 2.8/12 is very sharp right from the wide open at f/2.8 and doesn't really increase after that even if stopped down a bit – although the focus area increases and makes the image feel sharper in total. What I like about the Touit 2.8/12 is that the sharpness extends to edges as well, particularly if the subject is close focused.
When focusing into far objects, like landscape for example, the sharpness doesn't strike as superb, but might also be because things get rather small in the image field due to small focal length. Nevertheless the results are very good like in this picture of stars where edge sharpness is very important.
Then the Touit 2.8/50M. It is, perhaps unsurprisingly, also pretty sharp even wide open. Stopping down at f/4 or F5.6 things get very sharp and is joy to use in everyday photography. However, the Touit 2.8/50M starts to shows its real capabilities only at the macro range. When focused very near the lens is very very sharp, though this perception might be emphasized by the experience of seeing microscopic details which would otherwise be unreachable for the naked eye. The diffraction doesn't really start to decrease the sharpness until at f/16, which is very impressive and convenient considering that macro photography usually works with small apertures to increase the depth of field.
Are the Zeiss lenses sharper than the x product from the competitors? To tell you the truth, I have no idea. I find them to be more than enough – which in my case means I don't have to make compromises between the aperture value and sharpness (like I had with the Sony E-mount kit lens 18-55). Everything looks very good and after certain level of 'clear single hairs and dust particles' I find it difficult to see the benefit of increased sharpness. I understand that people love to compare things, but for those who are seeking maximum sharpness, I would like to remind that while it feels rational to maximize performance it might not be psychologically the best approach. There is always something better waiting behind the corner and going for maximum performance means that one is more likely to be unsatisfied again when the newness-factor disappears. For me, the best thing regarding the sharpness of these lenses is the fact that I stopped worrying about it altogether and have enjoyed my images ever then.
Year of the Alpha – 52 Weeks of Sony Alpha Photography: www.yearofthealpha.com
I have a 90 year old neighbor who has hiked the 890 km length of the Bruce Trail three or four times. In the heyday of his 70's and even 80's, walking 30 or even 50 km was just a walk in the park for him. In the last year, his hips started giving out it's been one of the most difficult things he's had to leave behind. He still goes out for a walk around the block every day, just one step at a time, with a crutch under one arm and a cane in the other. Seeing him hobble down the street, I can completely relate to his determination as our own time feels the most grounded somewhere on a hiking trail. I'm also very blessed having someone to share that passion with and we're both looking forward to the day when the trails reopen after the current pandemic.
This shot was not intended to relate to the disaster on the East Coast, but I cannot look at this image without thinking about it. My thoughts and prayers are with everyone affected by Hurricane Sandy.
I took this from the parking deck at the University of Illinois-Chicago. I recommend that you find this parking deck and make a morning out of shooting here. I spent an hour or two here last weekend. I gave a bit of a description of how to get here in this post.
As for the processing on this shot, I ran four different exposures through Nik HDR Efex Pro 2 and used the "Sinister" preset. I combined that image with an original exposure for the sky and tweaked in CS5.
Thanks to everyone that visited, commented, and "favorited" my Halloween moon shot from this summer on Flickr. It ended up going to #1 on Explore for October 31st. That is definitely a first for me. If you haven't seen it, check out Full Moon Over the Waves on Flickr.
I’m a photographer and recovering alcoholic. This is me at the peak of my addiction. I hung my camera by microphone wires on ceiling fan. Hope you can relate.
Did You Read And Did You Relate To Catcher In The Rye, Now 75! - IMRAN®
Catcher in the Rye turns 75 this year. Growing up in Pakistan in a British/Cambridge‑style school system, J.D. Salinger’s novel was never part of my curriculum — so I didn’t read it and get to know about it’s protagonist Holden Caulfield until I came to the United States in the late ’80s.
What struck me then, and still does, is how Holden sees the world with a mix of sharp skepticism and aching vulnerability. His obsession with “phoniness” isn’t just teenage rebellion — it’s a complex lens on authenticity, loneliness, and growing up.
Have you read it or revisited it recently? What stayed with you?
© 2026 IMRAN®
#IMRAN #CatcherInTheRye #JDSalinger #HoldenCaulfield #Literature #Books #Reading
Uses: Anything relating to finance and money.
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She lived on the curve in the road
In an old tar paper shack
On the south side of the town
On the wrong side of the tracks.
Sometimes on the way into town
We'd say, "Mama can we stop and give her a ride?"
Sometimes we did but her hands flew from her side,
Wild eyed Crazy Mary.
Take a bottle drink it down. Pass it around.
Pass it around.
Next morning on the way into town
Saw some skid marks and followed them around.
Over the curve, through the fields,
Into the house of Mary.
...Pearl Jam
the myth retelling Typhon's murder and dismemberment of his brother Osiris.. For alchemists, the myth of Isis and Osiris was a myth of the alchemical process. One of this myths relates him vanquishing Typhon, the dragon of ignorance ...
Set (Seth, Setekh, Sut, Sutekh, Suty) was one of ancient Egypt’s earliest gods, a god of chaos, confusion, storms, wind, the desert and foreign lands. In the Osiris legends, he was a contender to the throne of Osiris and rival to Horus, but a companion to the sun god Ra. Originally worshiped and seen as an ambivalent being, during the Third Intermediate Period the people vilified him and turned him into a god of evil.
Depicted as a man with the head of a ‘Sut animal’ (or a ‘Typhonian animal’ because of the Greek identification with Typhon), or as a full ‘Set animal’ the god is unrecognizable as any one particular animal today. He was also identified with other animals, such as the hippopotamus, the pig and the donkey, which were often abhorred by the Egyptians. These animals were sacred to him. Set’s followers took the form of these animals, as well as crocodiles, scorpions, turtles and other ‘evil’ or dangerous creatures. Some fish were sacred to Set, too – the Nile carp, the Oxyrynchus or the Phagrus fish – because they were thought to have eaten the phallus of Osiris after Set chopped him to pieces.
The ‘Set animal’ has long, squared ears and a long, down-turned snout, a canine-like body with an erect forked tail. He may have been a composite animal that was part aardvark (the aardvark that the ancient Egyptians would have seen was the nocturnal Orycteropus aethiopicus which was between 1.2-1.8 meters long and almost 1 meter tall, and was generally a reddish color because of the thin hair, allowing the skin to show through), part canine (perhaps the salawa, a desert dwelling creature) or even a camel or an okapi. The sign for his name, from the Middle Kingdom hieratic onwards, tended to replace the sign for ‘donkey’ and ‘giraffe’, so he was possibly linked to the giraffe, as well.
He was also believed to have white skin and red hair, with the Egyptians comparing his hair to the pelt of a donkey. Due to his association with red, red animals and even people with red hair were thought to be his followers. These animals were sometimes sacrificed, while the link between Set and red-heads – usually foreigners – gave him godhood over foreign lands. With the relationship to foreign peoples, Set was also a god of overseas trade of oils, wood and metals from over the sea and through desert routes. He was given lordship over western Asia because of this.
As Set was a god of the desert and probably symbolized the destructive heat of the afternoon sun, and thus was thought to be infertile. The hieroglyph for Set was used in words such as ‘turmoil’, ‘confusion’, ‘illness’, ‘storm’ and ‘rage’. Strange events such as eclipses, thunderstorms and earthquakes were all attributed to him.
Horus has seized Set, he has put him beneath you so that he can lift you up. He will groan beneath you as an earthquake…
– Pyramid Texts, Spell 356
He was also thought to have rather odd sexual habits, another reason why the Egyptian believed that abnormalities were linked to Set. In a land where fatherhood makes the man, Set’s lack of children, related to the tale where Horus tore off his testicles (while Set tore out Horus’ eye) would have been one reason why he was looked down on. His favorite – some say only – food was the lettuce (which secreted a white, milky substance that the Egyptians linked to semen and was sacred to the fertility god Min), but even with this aphrodisiac, he was still thought to have been infertile.His bisexuality (he was married and given concubines to appease him, yet he also assaulted Horus sexually starting with the come-on line “How lovely your backside is!”) and his pursuit of Isis were reasons why Set could never have been a ruler of Egypt instead of Osiris, despite originally being a lord of Upper Egypt.When Set saw Isis there, he transformed himself into a bull to be able to pursue her, but she made herself unrecognizable by taking the form of a bitch with a knife on her tail. Then she began to run away from him and Set was unable to catch up with her. Then he ejaculated on the ground, and she said, “It’s disgusting to have ejaculated, you bull!” But his sperm grew in the desert and became the plants called bedded-kau.
– Jumilhac PapyrusIn the Old and Middle Kingdoms there are depictions of these two gods together either leading the prisoners of the pharaoh or binding the plants of Upper and Lower Egypt together (as does the twin Hapi gods) to symbolize the union of Upper and Lower Egypt. He was regarded as an equal to the hawk god. This was Horus the Elder, a god of the day sky while Set was seen as a god of the night sky. When these two gods were linked, the two were said to be Horus-Set, a man with two heads – one of the hawk of Horus, the other of the Set animal.“Homage to thee, O divine Ladder! Homage to thee O Ladder of Set! Stand thou upright, O divine Ladder! Stand thou upright, O Ladder of Set! Stand thou upright, O Ladder of Horus, whereby Osiris came forth into heaven.”
– Pyramid Texts, Pepi I
In the Pyramid Texts he was believed to be a friend to the dead, and he helped Osiris ascend to heaven on a ladder. On one of Seti I’s reliefs, it shows Set and Horus offering the symbol of life to the pharaoh, with Set saying “I establish the crown upon thy head, even like the Disk on the head of Amen-Ra, and I will give thee all life, strength and health.” Thothmose III had a scene showing Set teaching him the use of the bow, while Horus taught him yet another weapon.
As for his role as a friend of the dead, it was believed that “Horus purifies and Set strengthens, and Set purifies and Horus strengthens” the deceased while the backbone of the deceased becomes the backbone of Set and Set has “joined together my neck and my back strongly, and they are even as they were in the time that is past; may nothing happen to break them apart.”Ramesses II, as did his father Seti I, both had red hair and so aligned themselves with the god of chaos. Both were famous warrior pharaohs, using Set’s violent nature to help with their war efforts. In Ramesses II’s campaign against the Hittites, he split his army into four divisions and named them after four gods. One was for Amen, one for Ra, one for Ptah and one for Set. But it was the pharaoh himself who won the battle:Thereupon the forces of the Foe from Khatti surrounded the followers of his majesty who were by his side. When his majesty caught sight of them he rose quickly, enraged at them like his father Mont. Taking up weapons and donning his armor he was like Set in the moment of his power. He mounted ‘Victory-in-Thebes,’ his great horse, and started out quickly alone by himself. His majesty was mighty, his heart stout. one could not stand before him.All his ground was ablaze with fire; he burned all the countries with his blast. His eyes were savage as he beheld them; his power flared like fire against them. He heeded not the foreign multitude; he regarded them as chaff. His majesty charged into the force of the Foe from Khatti and the many countries with him. His majesty was like Seth, great-of-strength, like Sekhmet in the moment of her rage. His majesty slew the entire force of the Foe from Khatti, together with his great chiefs and all his brothers, as well as all the chiefs of all the countries that had come with him, their infantry and their charioteers falling on their faces one upon the other. His majesty slaughtered them in their places; they sprawled before his horses; and his majesty was alone, none other with him.It is likely that the cult of Horus overtook the cult of Set in ancient times, and started to remove his positive sides to give the god Horus more status. The two gods, Horus the Elder and Horus the son of Osiris and Isis were confused, so Set changed from being an equal to his brother, Horus the Elder, to the enemy of Isis’s son. It was only after the Hyksos took Set as their main god, after the Egyptians god rid of the foreigners, he stopped symbolizing Lower Egypt and his name was erased and his statues destroyed.
Set has been worshiped since predynastic times. The first representation of Set that has been found was on a carved ivory comb, an Amratian artifact. He was also shown on the Scorpion macehead. He was worshiped and placated through Egyptian history until the Third Intermediate Period where he was seen as an evil and undesirable force. From this time on, some of his statues were re-carved to become the statues of other gods, and it was said that he had actually been defeated by the god Horus.In the original tale of the fight between Set and Horus, the Egyptians believed that the two would continue their battle until the end of time itself, when chaos overran ma’at and the waters of Nun would swallow up the world. It was only when Set was vilified that this changed, and the Egyptians began to believe that Horus won the battle, defeating Set as a version of good triumphing over evil.
In the tale of Osiris, Set was the third of the five children of Nut, thought to have been born in the Nubt (Naqada) area. Instead of being born in the normal manner, as his siblings were born, he tore himself violently from his mother’s womb.
You whom the pregnant goddess brought forth when you clove the night in twain -You are invested with the form of Set, who broke out in violence.Jealous of his older brother Osiris – either because of the birth of his sister-wife’s son, Anubis, or because of Osiris’ rulership of Egypt – Set made a plan to murder his childless brother and take the throne. He made a great feast, supposedly in honor of Osiris, and with 72 accomplices ready, he tricked Osiris into laying down in a coffer – whoever fitted into the richly ornamented chest would win it – and considering that he’d measured it to fit his brother exactly, Osiris fit perfectly… and Set’s accomplices nailed down the lid and threw it into the Nile.When Isis found out about this, she went on a search through the world to find her husband. Bringing him back, Set happened on the coffer, and tore it open and cut up his brother’s corpse, spreading body parts through the land of Egypt. Isis and Set’s wife Nephthys (who had left him to join her sister) went on a quest to restore Osiris. They succeeded enough so that Isis conceived Osiris’ son and eventually bore the child Horus in the Delta region where he grew up.
By this time Horus had reached manhood … Horus thereupon did battle with Set, the victory falling now to one, now to the other … Horus and Set, it is said, still do battle with one another, yet victory has fallen to neither.Yet Set was thought to be a follower of Ra. It was he who defended the Solar Barque each night as it traveled through the underworld, the only Egyptian deity who could kill the serpent Apep – Ra’s most dangerous enemy – each night as it threatened to swallow the Barque.Then Set, the strong one, the son of Nut, said “As for me, I am Set, the strongest of the Divine Company. Every day I slay the enemy of Ra when I stand at the helm of the Barque of Millions of Years, which no other god dare do.”Even here, though, Set was thought to be a braggart, taunting Ra and threatening that if he wasn’t treated well, that he would bring storms and thunder against the sun god. At this point in The Book of the Dead, Ra drives Set away from the Barque for his insolence, and proceeds on course without the god of storms.Other than Nephthys, Set had other wives/concubines. He was believed to live in the northern sky by the constellation of the Great Bear. To the Egyptians, the north symbolized darkness, cold and death. It was there that his wife Taweret, the hippo goddess of childbirth, was believed to keep him chained. He seemed to have bad luck with women – as with Nephthys, Taweret followed Osiris.At one part in the tale of Set’s argument with Horus over rulership, the company of the gods asked the goddess Neith, rather than Ra – who sided with Set – who should be given the throne of Osiris. Her reply was this:“Give the office of Osiris to his son Horus! Do not go on committing these great wrongs, which are not in place, or I will get angry and the sky will topple to the ground. But also tell the Lord of All, the Bull who lives in Heliopolis, to double Set’s property. Give him Anat and Astarte, your two daughters, and put Horus in the place of his father.”– Myth and Symbol in Ancient Egypt, RT Rundle ClarkSo he was given the two foreign goddesses Anat and Astarte, both war goddesses from the Syria-Palestine area and daughters of Ra. The two were often interchangeable, yet they had their own distinct cults. Anat and Taweret, though they were fertility goddesses, never bore Set any children.Despite his wicked side, Set was still a god of Egypt, and worshiped – and feared – as such. His image changed through time, due to politics, yet he was still a powerful god, the only one who could slay Ra’s worst enemy. To the Egyptians he was the god who ‘ate’ the moon each month – the black boar who swallowed its light – and the god who created earthquakes and heavy, thunderous rain storms. He was a friend of the dead, helping them to ascend to heaven on his ladder, and the crowner of pharaohs and leader of warriors.Despite his bad reputation, he was still a divine being – an equal of Horus, no less – who could be invoked by his followers or warded off by those who were afraid of him. Yet without chaos and confusion there would be no order; without the heavy, thunderous storms there would be no good weather; without the desert and foreign lands there would be no Egypt. Set was a counterbalance to the ‘good’ side of the Egyptian universe, helping to keep everything in balance.
www.crystalwind.ca/mystical-magical/pantheons-and-myths/e...
Typhon (/ˈtaɪfɒn, -fən/; Greek: Τυφῶν, Tuphōn [typʰɔ̂ːn]), also Typhoeus (/taɪˈfiːəs/; Τυφωεύς, Tuphōeus), Typhaon (Τυφάων, Tuphaōn) or Typhos (Τυφώς, Tuphōs), was a monstrous giant and the most deadly being of Greek mythology. Typhon was the last son of Gaia, and was fathered by Tartarus. Typhon and his mate Echidna were the progenitors of many famous monsters.Typhon was the son of Gaia (Earth) and Tartarus: "when Zeus had driven the Titans from heaven, huge Earth bore her youngest child Typhoeus of the love of Tartarus, by the aid of golden Aphrodite".[1] The mythographer Apollodorus (1st or 2nd century AD) adds that Gaia bore Typhon in anger at the gods for their destruction of her offspring the Giants.Numerous other sources mention Typhon as being the offspring of Gaia, or simply "earth-born", with no mention of Tartarus.However, according to the Homeric Hymn to Apollo (6th century BC), Typhon was the child of Hera alone. Hera, angry at Zeus for having given birth to Athena by himself, prayed to Gaia to give her a son as strong as Zeus, then slapped the ground and became pregnant. Hera gave the infant Typhon to the serpent Python to raise, and Typhon grew up to become a great bane to mortals.
Depiction by Wenceslas Hollar
Several sources locate Typhon's birth and dwelling place in Cilicia, and in particular the region in the vicinity of the ancient Cilician coastal city of Corycus (modern Kızkalesi, Turkey). The poet Pindar (c. 470 BC) calls Typhon '"Cilician",and says that Typhon was born in Cilicia and nurtured in "the famous Cilician cave",[7] an apparent allusion to the Corycian cave.[8] In Aeschylus' Prometheus Bound, Typhon is called the "dweller of the Cilician caves",[9] and both Apollodorus and the poet Nonnus (4th or 5th century AD) have Typhon born in Cilicia.The b scholia to Iliad 2.783, preserving a possible Orphic tradition, has Typhon born in Cilicia, as the offspring of Cronus. Gaia, angry at the destruction of the Giants, slanders Zeus to Hera. So Hera goes to Zeus' father Cronus (whom Zeus had overthrown) and Cronus gives Hera two eggs smeared with his own semen, telling her to bury them, and that from them would be born one who would overthrow Zeus. Hera, angry at Zeus, buries the eggs in Cilicia "under Arimon", but when Typhon is born, Hera, now reconciled with Zeus, informs him.
According to Hesiod, Typhon was "terrible, outrageous and lawless", and on his shoulders were one hundred snake heads, that emitted fire and every kind of noise:
Strength was with his hands in all that he did and the feet of the strong god were untiring. From his shoulders grew a hundred heads of a snake, a fearful dragon, with dark, flickering tongues, and from under the brows of his eyes in his marvellous heads flashed fire, and fire burned from his heads as he glared. And there were voices in all his dreadful heads which uttered every kind of sound unspeakable; for at one time they made sounds such that the gods understood, but at another, the noise of a bull bellowing aloud in proud ungovernable fury; and at another, the sound of a lion, relentless of heart; and at another, sounds like whelps, wonderful to hear; and again, at another, he would hiss, so that the high mountains re-echoed.The Homeric Hymn to Apollo describes Typhon as "fell" and "cruel", and neither like gods nor men. Three of Pindar's poems have Typhon as hundred-headed (as in Hesiod),while apparently a fourth gives him only fifty heads, but a hundred heads for Typhon became standard. A Chalcidian hydria (c. 540–530 BC), depicts Typhon as a winged humanoid from the waist up, with two snake tails below. Aeschylus calls Typhon "fire-breathing". For Nicander (2nd century BC), Typhon was a monster of enormous strength, and strange appearance, with many heads, hands, and wings, and with huge snake coils coming from his thighs.
Apollodorus describes Typhon as a huge winged monster, whose head "brushed the stars", human in form above the waist, with snake coils below, and fire flashing from his eyes:
In size and strength he surpassed all the offspring of Earth. As far as the thighs he was of human shape and of such prodigious bulk that he out-topped all the mountains, and his head often brushed the stars. One of his hands reached out to the west and the other to the east, and from them projected a hundred dragons' heads. From the thighs downward he had huge coils of vipers, which when drawn out, reached to his very head and emitted a loud hissing. His body was all winged: unkempt hair streamed on the wind from his head and cheeks; and fire flashed from his eyes.
The most elaborate description of Typhon is found in Nonnus's Dionysiaca. Nonnus makes numerous references to Typhon's sepentine nature, giving him a "tangled army of snakes", snaky feet, and hair.According to Nonnus, Typhon was a "poison-spitting viper",whose "every hair belched viper-poison",and Typhon "spat out showers of poison from his throat; the mountain torrents were swollen, as the monster showered fountains from the viperish bristles of his high head",and "the water-snakes of the monster's viperish feet crawl into the caverns underground, spitting poison!".
Following Hesiod and others, Nonnus gives Typhon many heads (though untotaled), but in addition to snake heads,Nonnus also gives Typhon many other animal heads, including leopards, lions, bulls, boars, bears, cattle, wolves, and dogs, which combine to make 'the cries of all wild beasts together',and a "babel of screaming sounds".Nonnus also gives Typhon "legions of arms innumerable", and where Nicander had only said that Typhon had "many" hands, and Ovid had given Typhon a hundred hands, Nonnus gives Typhon two hundred.According to Hesiod's Theogony, Typhon "was joined in love" to Echidna, a monstrous half-woman and half-snake, who bore Typhon "fierce offspring". First, according to Hesiod, there was Orthrus, the two-headed dog who guarded the Cattle of Geryon, second Cerberus,[36] the multiheaded dog who guarded the gates of Hades, and third the Lernaean Hydra,[37] the many-headed serpent who, when one of its heads was cut off, grew two more. The Theogony next mentions an ambiguous "she", which might refer to Echidna, as the mother of the Chimera (a fire-breathing beast that was part lion, part goat, and had a snake-headed tail) with Typhon then being the father.
While mentioning Cerberus and "other monsters" as being the offspring of Echidna and Typhon, the mythographer Acusilaus (6th century BC) adds the Caucasian Eagle that ate the liver of Prometheus,[39] the mythographer Pherecydes of Leros (5th century BC), also names Prometheus' eagle,[40] and adds Ladon (though Pherecydes does not use this name), the dragon that guarded the golden apples in the Garden of the Hesperides (according to Hesiod, the offspring of Ceto and Phorcys).[41] while the lyric poet Lasus of Hermione (6th century BC), adds the Sphinx.Later authors mostly retain these offspring of Typhon by Echidna, while adding others. Apollodorus, in addition to naming as their offspring Orthrus, the Chimera (citing Hesiod as his source) the Caucasian Eagle, Ladon, and the Sphinx, also adds the Nemean lion (no mother is given), and the Crommyonian Sow, killed by the hero Theseus (unmentioned by Hesiod).Hyginus (1st century BC),[44] in his list of offspring of Typhon (all by Echidna), retains from the above: Cerberus, the Chimera, the Sphinx, the Hydra and Ladon, and adds "Gorgon" (by which Hyginus means the mother of Medusa, whereas Hesiod's three Gorgons, of which Medusa was one, were the daughters of Ceto and Phorcys), the Colchian Dragon that guarded the Golden Fleece and Scylla.The Harpies, in Hesiod the daughters of Thaumas and the Oceanid Electra, in one source, are said to be the daughters of Typhon.The sea serpents which attacked the Trojan priest Laocoön, during the Trojan War, were perhaps supposed to be the progeny of Typhon and Echidna.According to Hesiod, the defeated Typhon is the source of destructive storm winds.Battle with Zeus
Typhon challenged Zeus for rule of the cosmos.The earliest mention of Typhon, and his only occurrence in Homer, is a passing reference in the Iliad to Zeus striking the ground around where Typhon lies defeated.Hesiod's Theogony gives us the first account of their battle. According to Hesiod, without the quick action of Zeus, Typhon would have "come to reign over mortals and immortals".In the Theogony Zeus and Typhon meet in cataclysmic conflict:[Zeus] thundered hard and mightily: and the earth around resounded terribly and the wide heaven above, and the sea and Ocean's streams and the nether parts of the earth. Great Olympus reeled beneath the divine feet of the king as he arose and earth groaned thereat. And through the two of them heat took hold on the dark-blue sea, through the thunder and lightning, and through the fire from the monster, and the scorching winds and blazing thunderbolt. The whole earth seethed, and sky and sea: and the long waves raged along the beaches round and about at the rush of the deathless gods: and there arose an endless shaking. Hades trembled where he rules over the dead below, and the Titans under Tartarus who live with Cronos, because of the unending clamor and the fearful strife.Zeus with his thunderbolt easily overcomes Typhon,who is thrown down to earth in a fiery crash:So when Zeus had raised up his might and seized his arms, thunder and lightning and lurid thunderbolt, he leaped from Olympus and struck him, and burned all the marvellous heads of the monster about him. But when Zeus had conquered him and lashed him with strokes, Typhoeus was hurled down, a maimed wreck, so that the huge earth groaned. And flame shot forth from the thunderstricken lord in the dim rugged glens of the mount, when he was smitten. A great part of huge earth was scorched by the terrible vapor and melted as tin melts when heated by men's art in channelled crucibles; or as iron, which is hardest of all things, is shortened by glowing fire in mountain glens and melts in the divine earth through the strength of Hephaestus. Even so, then, the earth melted in the glow of the blazing fire.Defeated, Typhon is cast into Tartarus by an angry Zeus.Epimenides (7th or 6th century BC) seeminly knew a different version of the story, in which Typhon enters Zeus' palace while Zeus is asleep, but Zeus awakes and kills Typhon with a thunderbolt.[58] Pindar calls Typhon the "enemy of the gods",[59] apparently knew of a tradition which had the gods transform into animals and flee to Egypt, says that Typhon was defeated by Zeus' thunderbolt,has Typhon being held prisoner by Zeus under Etna,and in Tartarus stretched out under ground between Mount Etna and Cumae. However, the historian Herodotus (5th century BC), equating Typhon with the Egyptian god Set, reports that Typhon was supposed to be buried instead under Lake Serbonis in Egypt, near the Egyptian Mount Kasios, (modern Ra Kouroun).According to Pherecydes of Leros, during his battle with Zeus, Typhon first flees to the Caucasus, which begins to burn, then to the volcanic island of Pithecussae (modern Ischia), off the coast of Cumae, where he is buried under the island.Apollonius of Rhodes (3rd century BC), like Pherecydes, presents a multi-stage battle, with Typhon being struck by Zeus' thunderbolt on mount Caucasus, before fleeing to the mountains and plain of Nysa, and ending up, as in Herodotus, buried under Lake Serbonis.Like Pindar, Nicander has all the gods but Zeus and Athena, transform into animal forms and flee to Egypt: Apollo became a hawk, Hermes an ibis, Ares a fish, Artemis a cat, Dionysus a goat, Heracles a fawn, Hephaestus an ox, and Leto a mouse.[The geographer Strabo (c. 20 AD) gives several locations which were associated with the battle. According to Strabo, Typhon was said to have cut the serpentine channel of the Orontes River, which flowed beneath the Syrian Mount Kasios (modern Jebel Aqra), while fleeing from Zeus,[68] and some placed the battle at Catacecaumene ("Burnt Land"),[69] a volcanic plain, on the upper Gediz River, between the ancient kingdoms of Lydia, Mysia and Phrygia, near Mount Tmolus (modern Bozdağ) and Sardis the ancient capital of Lydia.No early source gives any reason for the conflict, but Apollodorus' account[71] seemingly implies that Typhon had been produced by Gaia to avenge the destruction, by Zeus and the other gods, of the Giants, a previous generation of offspring of Gaia. According to Apollodorus "Zeus pelted Typhon at a distance with thunderbolts, and at close quarters struck him down with an adamantine sickle" Wounded, Typhon fled to the Syrian Mount Kasios, where Zeus "grappled" with him. But Typhon, twining his snaky coils around Zeus, was able to wrest away the sickle and cut the sinews from Zeus' hands and feet. Typhon carried the disabled Zeus across the sea to the Corycian cave in Cilicia where he set the she-serpent Delphyne to guard over Zeus and his severed sinews, which Typhon had hidden in a bear skin. But Hermes and Aegipan (possibly another name for Pan)[73] stole the sinews and gave them back to Zeus. His strength restored, Zeus chased Typhon to mount Nysa, where the Moirai tricked Typhon into eating "ephemeral fruits" which weakened him. Typhon then fled to Thrace, where he threw mountains at Zeus, which were turned back on him by Zeus' thunderbolts, and the mountain where Typhon stood, being drenched with Typhon's blood, became known as Mount Haemus (Bloody Mountain). Typhon then fled to Sicily, where Zeus threw Mount Etna on top of Typhon burying him, and so finally defeated him.Oppian (2nd century AD) says that Pan helped Zeus in the battle by tricking Typhon to come out from his lair, and into the open, by the "promise of a banquet of fish", thus enabling Zeus to defeat Typhon with his thunderbolts.The longest and most involved account of the battle appears in Nonnus's Dionysiaca.Zeus hides his thunderbolts in a cave, so that he might seduce the maiden Plouto, and so produce Tantalus. But smoke rising from the thunderbolts, enables Typhon, under the guidance of Gaia, to locate Zeus's weapons, steal them, and hide them in another cave.[76] Immediately Typhon extends "his clambering hands into the upper air" and begins a long and concerted attack upon the heavens.Then "leaving the air" he turns his attack upon the seas. Finally Typhon attempts to wield Zeus' thunderbolts, but they "felt the hands of a novice, and all their manly blaze was unmanned."Now Zeus' sinews had somehow – Nonnus does not say how or when — fallen to the ground during their battle, and Typhon had taken them also. But Zeus devises a plan with Cadmus and Pan to beguile Typhon.Cadmus, desguised as a shepherd, enchants Typhon by playing the panpipes, and Typhon entrusting the thuderbolts to Gaia, sets out to find the source of the music he hears.[82] Finding Cadmus, he challenges him to a contest, offering Cadmus any goddess as wife, excepting Hera whom Typhon has reserved for himself.Cadmus then tells Typhon that, if he liked the "little tune" of his pipes, then he would love the music of his lyre – if only it could be strung with Zeus' sinews. So Typhon retrieves the sinews and gives them to Cadmus, who hides them in another cave, and again begins to play his bewiching pipes, so that "Typhoeus yielded his whole soul to Cadmos for the melody to charm".With Typhon distracted, Zeus takes back his thunderbolts. Cadmus stops playing, and Typhon, released from his spell, rushes back to his cave to discover the thunderbolts gone. Incensed Typhon unleashes devastation upon the world: animals are devoured, (Typhon's many animal heads each eat animals of its own kind), rivers turned to dust, seas made dry land, and the land "laid waist".The day ends with Typhon yet unchallenged, and while the other gods "moved about the cloudless Nile", Zeus waits through the night for the coming dawn.[87] Victory "reproaches" Zeus, urging him to "stand up as champion of your own children!"Dawn comes and Typhon roars out a challenge to Zeus.And a catyclismic battle for "the sceptre and throne of Zeus" is joined. Typhon piles up mountains as battlements and with his "legions of arms innumerable", showers volley after volley of trees and rocks at Zeus, but all are destroyed, or blown aside, or dodged, or thrown back at Typhon. Typhon throws torrents of water at Zeus' thunderbolts to quench them, but Zeus is able to cut off some of Typhon's hands with "frozen volleys of air as by a knife", and hurling thunderbolts is able to burn more of typhon's "endless hands", and cut off some of his "countless heads". Typhon is attacked by the four winds, and "frozen volleys of jagged hailstones." Gaia tries to aid her burnt and frozen son.Finally Typhon falls, and Zeus shouts out a long stream of mocking taunts, telling Typhon that he is to be buried under Sicily's hills, with a cenotaph over him which will read "This is the barrow of Typhoeus, son of Earth, who once lashed the sky with stones, and the fire of heaven burnt him up".
Burial under Etna and Ischia]
Most accounts have the defeated Typhon buried under either Mount Etna in Sicily, or the volcanic island of Ischia, the largest of the Phlegraean Islands off the coast of Naples, with Typhon being the cause of volcanic eruptions and earthquakes.Though Hesiod has Typhon simply cast into Tartarus by Zeus, some have read a reference to Mount Etna in Hesiod's description of Typhon's fall:And flame shot forth from the thunderstricken lord in the dim rugged glens of the mount when he was smitten. A great part of huge earth was scorched by the terrible vapor and melted as tin melts when heated by men's art in channelled crucibles; or as iron, which is hardest of all things, is shortened by glowing fire in mountain glens and melts in the divine earth through the strength of Hephaestus. Even so, then, the earth melted in the glow of the blazing fire.The first certain references to Typhon buried under Etna, as well as being the cause of its eruptions, occur in Pindar:Son of Cronus, you who hold Aetna, the wind-swept weight on terrible hundred-headed Typhon,and: among them is he who lies in dread Tartarus, that enemy of the gods, Typhon with his hundred heads. Once the famous Cilician cave nurtured him, but now the sea-girt cliffs above Cumae, and Sicily too, lie heavy on his shaggy chest. And the pillar of the sky holds him down, snow-covered Aetna, year-round nurse of bitter frost, from whose inmost caves belch forth the purest streams of unapproachable fire. In the daytime her rivers roll out a fiery flood of smoke, while in the darkness of night the crimson flame hurls rocks down to the deep plain of the sea with a crashing roar. That monster shoots up the most terrible jets of fire; it is a marvellous wonder to see, and a marvel even to hear about when men are present. Such a creature is bound beneath the dark and leafy heights of Aetna and beneath the plain, and his bed scratches and goads the whole length of his back stretched out against it.Thus Pindar has Typhon in Tartarus, and buried under not just Etna, but under a vast volcanic region stretching from Sicily to Cumae (in the vicinity of modern Naples), a region which presumably also included Mount Vesuvius, as well as Ischia.Many subsequent accounts mention either Etnaor Ischia. In Prometheus Bound, Typhon is imprisoned underneath Etna, while above him Hephaestus "hammers the molten ore", and in his rage, the "charred" Typhon causes "rivers of fire" to pour forth. Ovid has Typhon buried under all of Sicily, with his left and right hands under Pelorus and Pachynus, his feet under Lilybaeus, and his head under Etna; where he "vomits flames from his ferocious mouth". And Valerius Flaccus has Typhon's head under Etna, and all of Sicily shaken when Typhon "struggles". Lycophron has both Typhon and Giants buried under the island of Ischia. Virgil, Silius Italicus and Claudian, all calling the island "Inarime", have Typhon buried there. Strabo, calling Ischia "Pithecussae", reports the "myth" that Typhon lay buried there, and that when he "turns his body the flames and the waters, and sometimes even small islands containing boiling water, spout forth."Others said to be buried under Etna were the Giant Enceladus, the volcano's eruptions being the breath of Enceladus, and its tremors caused by the Giant rolling over from side to side beneath the mountain,and the Hundred-hander Briareus."Couch of Typhoeus" Homer describes a place he calls the "couch [or bed] of Typhoeus", which he locates in the land of the Arimoi (εἰν Ἀρίμοις), where Zeus lashes the land about Typhoeus with his thunderbolts. Presumably this is the same land where, according to Hesiod, Typhon's mate Echida keeps guard "in Arima" (εἰν Ἀρίμοισιν).But neither Homer nor Hesiod say anything more about where these Arimoi or this Arima might be. The question of whether an historical place was meant, and its possible location, has been, since ancient times, the subject of speculation and debate.Strabo discusses the question in some detail.[everal locales, Cilicia, Syria, Lydia, and the island of Ischia, all places associated with Typhon, are given by Strabo as possible locations for Homer's "Arimoi".
Pindar has his Cilician Typhon slain by Zeus "among the Arimoi",[106] and the historian Callisthenes (4th century BC), located the Arimoi and the Arima mountains in Cilicia, near the Calycadnus river, the Corycian cave and the Sarpedon promomtory.[107] The b scholia to Iliad 2.783, mentioned above, says Typhon was born in Cilicia "under Arimon",[108] and Nonnus mentions Typhon's "bloodstained cave of Arima" in Cilicia.Just across the Gulf of Issus from Corycus, in ancient Syria, was Mount Kasios (modern Jebel Aqra) and the Orontes River, sites associated with Typhon's battle with Zeus,[110] and according to Strabo, the historian Posidonius (c. 2nd century BC) identified the Arimoi with the Aramaeans of Syria.[Alternatively, according to Strabo, some placed the Arimoi at Catacecaumene,[112] while Xanthus of Lydia (5th century BC) added that "a certain Arimus" ruled there.Strabo also tells us that for "some" Homer's "couch of Typhon" was located "in a wooded place, in the fertile land of Hyde", with Hyde being another name for Sardis (or its acropolis), and that Demetrius of Scepsis (2nd century BC) thought that the Arimoi were most plausibly located "in the Catacecaumene country in Mysia".[114] The 3rd-century BC poet Lycophron placed the lair of Typhons' mate Echidna in this region.[115]
Another place, mentioned by Strabo, as being associated with Arima, is the island of Ischia, where according to Pherecydes of Leros, Typhon had fled, and in the area where Pindar and others had said Typhon was buried. The connection to Arima, comes from the island's Greek name Pithecussae, which derives from the Greek word for monkey, and according to Strabo, residents of the island said that "arimoi" was also the Etruscan word for monkeys.[116]
Etymology and origins Typhon's name has a number of variants.[117] The earliest forms of Typhoeus and Typhaon, occur prior to the 5th century BC. Homer uses Typhoeus, Hesiod and the Homeric Hymn to Apollo use both Typhoeus and Typhaon. The later forms Typhos and Typhon occur from the 5th century BC onwards, with Typhon becoming the standard form by the end of that century. Though several possible derivations of the name Typhon have been suggested, the derivation remains uncertain.[118] Consistent with Hesiod's making storm winds Typhon's offspring, some have supposed that Typhon was originally a wind-god, and ancient sources associated him with the Greek words tuphon, tuphos meaning "whirlwind".Other theories include derivation from a Greek root meaning "smoke" (consistent with Typhon's identification with volcanoes),from an Indo European root meaning "abyss" (making Typhon a "Serpent of the Deep"),and from Sapõn the Phoenician name for the Ugaritic god Baal's holy mountain Jebel Aqra (the classical Mount Kasios) associated with the epithet Baʿal Zaphon.
As noted by Herodotus, Typhon was traditionally identified with the Egyptian Set, who was also known to the Greeks as Typhon. As early as pre-dynastic Egypt, Set's mascot or emblem was the Set animal; the Greeks and later classicists referred to this unidentified aardvark-like creature as the Typhonic beast. In the Orphic tradition, just as Set is responsible for the murder of Osiris, Typhon leads the Titans when they attack and kill Dionysus, who also became identified with the earlier Osiris.Mythologist Joseph Campbell also makes parallels to the slaying of Leviathan by YHWH, about which YHWH boasts to Job.[123] Ogden calls the Typhon myth "the only Graeco-Roman drakōn-slaying myth that can seriously be argued to exhibit the influence of Near Eastern antecedents", connecting it in particular with Baʿal Zaphon's slaying of Yammu and Lotan, as well as with the Hittite myth of Illuyankas.From its first reappearance, this latter myth has been seen as a prototype of the battle of Zeus and Typhon.Walter Burkert and Calvert Watkins each note the close agreements.Comparisons can also be drawn with the Mesopotamian monster Tiamat and her slaying by Babylonian chief god Marduk. The similarities between the Greek myth and its earlier Mesopotamian counterpart do not seem to be merely accidental. A number of west Semitic (Ras Shamra) and Hittite sources appear to corroborate the theory of a genetic relationship between the two myths.In works of culture. Dante Alighieri's Inferno mentions him amongst the Biblical and mythological giants frozen onto the rings outside of Hell's Circle of Treachery. Dante and Virgil threatened to go to Tityos and Typhon unless Antaeus lowers them into the Circle of Treachery. Typhon (as Typhoeus) appears in Gustav Klimt's 1902 Beethoven Frieze as one of "the Hostile Forces".
Typhon is a recurring character in Hercules: The Legendary Journeys, where he is a friend and ally to Hercules, and a calming influence on Echidna and their children. Typhon appears in the 2007 video game, God of War II where the main character Kratos tries to enlist his aid. The Titan refuses and Kratos blinds Typhon and takes his magical bow, Typhon's Bane.Swedish symphonic metal band Therion dedicated a song to Typhon in their year 2004 album Lemuria.
See previous 3 pictures for more information on Wombeyan Caves.
Wombeyan Karst Conservation Reserve is located within the traditional land of the Gundungurra People, with the word Wombeyan coming from local language meaning 'grassy valley between mountains'. It's believed that the Wombeyan Caves were part of an Aboriginal travel route that coincided with seasonal availability of food and the caves may have provided reliable shelter. The Dreamtime myth of Gurrangatch relates to the forming of Wombeyan and Jenolan Caves. The caves are said to have been formed during a contest between Gurangatch, a mythical being that was part fish and part reptile, and Mirragan, a legendary tiger cat.
The limestone caves of Wombeyan Karst Conservation Reserve are between 400 and 430 million years old. The reserve's karst is surrounded by intrusive igneous rock, which was once covered by volcanic rock. The heat and pressure from these volcanic rocks metamorphosed the million’s year old limestone into coarse crystalline marble. The landscape and landforms, including caves, at the reserve have been shaped by geological events and weathering processes, which have taken place over the past 350 million years. These have produced one of the most cavernous karst areas in NSW with over 500 known caves in an area of less than 600 hectares.
The reserve has a wide range of surface karst features, including funnel or saucer-shaped sinkholes in the limestone (dolines), blind valleys, deposits of calcite around springs (tufa), surface solutional formations (karren) and a beautiful limestone canyon. A number of the reserve's caves contain fossilised bone deposits that are thousands of years old and unusual sediments and volcanic rock fills that are millions of years old. These provide valuable insight into past climate and fauna communities, the evolution and development of the landscape and earth's history generally. The geological processes that have created today’s magnificent cave system continue to work their magic; impressive cave decorations are created by the infiltration of water into the caves.
Source: Wikipedia, nationalparks.nsw.gov.au
I've never been able to relate to many people. I've always been the outcast child. I don't follow the rules. That's kind of how I do everything. Through my music, I've found a place in the world where I'm accepted, so I'm happy. "Neon Hitch"
Shirt - [AK] - Andrew Shirt Black
shorts - PBM Mens [Saggin' Shorts] Camo
bracelet - Izzie's - 2 Say It With A Bracelet (Loved)
watch - = REBELLION = "MAGNUS" CUFF WATCH
Shirt - [AK] - Andrew Shirt Black) I got this shirt just as a quick outfit change the other day, I half expected it to be bad, not a slight on [AK] but I've not had great success with shirts lately, I have to dig and dig to find ones I like. This one however surprised me, or I wouldn't be doing a post on it. The texture is subtle, and well done, the shadows are fantastic, not over done, just perfect. The only thing I have an issue with is fitting the shirt over jeans, most of my jeans poke through at the waist area.. However I needed a good shirt with the shorts I have on here, and this fits the bill. So if you want a Deep DEEP V, go pick this up!
Shorts - PBM Mens [Saggin' Shorts] Camo) - Okay so I'm kind of a snob when it comes to pants/jeans/shorts, I admit that freely. I will trash a pair of jeans if the texture is not perfect. So when I looked at PBM, I grabbed the demo and like [AK] shirt I expected these to also be shit. I couldn't have been more wrong, PBM Keep up the good work guys! Love these, they fit perfectly and look great!
The Bracelet and watch I'll do together, you can't really see them well in the photo, but both are very well textured, and both resizable! if you are in need of some accessories give Rebellion and Izzie's a shot! (special thanks to Hope for the bracelet! <3)
Blog Link - normalattireblog.wordpress.com/
Uses: Anything relating to finance and money.
Free Creative Commons Finance Images... I created these images in my studio and have made them all available for personal or commercial use. Hope you like them and find them useful.
To see more of our CC by 2.0 finance images click here... see profile for attribution.
Today is the ninth day of a 30 day challenge. The objective is to shoot one shot per day on subject matter provided by the local camera club.
Today's subject matter is, "something relating to a car".
Déposition, 2017, Tim Lowly, acrylic on panel, 8.5" x 17"
From the Re. Rainbow Girl Project
The title of this work suggests two possible connections:
First, art historically the title refers to a motif of religious painting depicting the dead Jesus being “deposed” or lowered from the cross. Rogier van der Weyden's painting of this subject is a particularly extraordinary example. At which point historically (the late Middle Ages?) when the altar was moved out so it was accessible to the congregants it became common that a work of art like this was placed behind the altar. Initially the work of art was a sculpture, and a painting like this references that: it appears to be a low relief sculpture. Or a theatrical re-inactment. Essentially the story in this image was intended to connect with the Eucharistic idea of the “broken body of Christ” so that when congregants took communion they would have a visceral, visual reminder of it’s significance. In a sense the painting functioned as a kind of testimony (see the legal meaning of Deposition below). Ironically the cropping of my painting and the blurring of the figure due to close proximity* suggests that while the image might be a detail of a large multi-person painting like the Van der Weyden, it is unclear who the person is or what their role in the "big picture" is.
Second, the word "deposition" can refer to a legal document that is a witness's sworn out-of-court testimony. In some cases a painting analogously functions as a kind of "out-of-court" testimony. Again, the cropping here puts into question how this kind of "testimony" relates to the "big picture".
* Incidentally, the blur is accentuated by the clarity of the detail of the frame reproduced in the background: which happens to be the frame of Van der Weyden’s Deposition.