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The Rendille. Pushed away by their neighbours, they henceforth inhabit a vast territory : from the Kaisut Desert to the east to the shores of Lake Turkana to the west.They are semi-nomadic, that is to say both nomad and pastoralist. Clans live in temporary settlement called gobs. The Rendille never stay long at the same place to look for water sources and pasturing areas. They move 3 to 5 times a year. Women are in charge of taking the houses apart and putting them back in the new location. The Rendille favour camels rather than cattle, because they are better suited to the environment. The Rendille depend heavily on them for food, milk, clothing, trade and transport. The Rendille are skilled craftsmen and make many different decoration or ornaments. Like the Maasai with cows, camels are bled in order to drink their blood. Marriage is not allowed within one's own clan. Society is strongly bound by family ties. The Rendille still believe in their God, called Wak or Ngai. They also have fortune-tellers who predict the future, and perform sacrifices to make it rain. Special ceremonies take place at a child's birth. A ewe or goat is sacrificed if it is a girl, a ram if a boy. The girl is blessed 3 times while 4 for the boy. In the same way, mother drinks blood for 3 days for a babygirl, 4 days for a babyboy. The weeding ceremony takes time. The prospective groom must give the bridewealth to the bride's family: 4 female and 4 male camels.
Les Rendille. Repoussés par leurs voisins, ils habitent désormais un vaste territoire, qui va du Désert de Kaisut à l’est aux rives du Lac Turkana à l’ouest.Ils sont semi-nomades, c’est-à-dire à la fois nomades et pasteurs. Les clans vivent dans des installations temporaires appelées gobs. Les Rendille ne restent jamais longtemps au même endroit pour chercher des sources d’eau et des pâturages. Ils se déplacent 3 à 5 fois par an. Les femmes sont chargées de démonter les maisons et les replacer dans leur nouveau lieu d’habitat. Les Rendile privilégient les dromadaires au bétail, étant plus adaptés à leur environnement. Ils dépendent largement d’eux pour leur nourriture, lait, habits, commerce et transport. Les Rendille sont des artisans qualifiés et créent des décorations et ornements divers. Comme les Maasai avec les vaches, les dromadaires sont saignés pour boire le sang. Le mariage n’est pas autorisé à l’intérieur d’un même clan. La société est solidement lié par les attaches familiales.Les Rendille croient dans un Dieu qu’ils appellent Wak ou Ngai. Ils ont aussi des voyants qui prédisent l’avenir, et réalisent des sacrifices pour faire pleuvoir. Des cérémonies spéciales ont lieu à la naissance d’un enfant. Une brebis ou chèvre est sacrifiée si c’est une fille, un bélier si c’est un garçon. La fille est bénie 3 fois, 4 pour le garçon. De la même manière, la mère boit du sang pendant 3 jours pour une petite fille, 4 pour un petit garçon. La cérémonie du mariage prend du temps. Le futur époux doit payer le prix de la mariée à la famille de celle-ci : 4 dromadaires femelles et 4 mâles.
The Samburu are closely related to the Maasai.Like the Maasai, they live in the central Rift Valley area of Kenya, where the climate is semi-arid.They are seminomadic and belong to the Maa (Nilotic) speaking group of people. They do very little farming. Their livelihood depends upon the cattle, sheeps and goats they raise. They use their milk more than meat. They often drink milk mixed with cow's blood. Like their neighbours, they have to search for water and grazing land which leads them out from their homes during dry seasons. The Samburu live in huts made of branches, mud and cow dung. Around it, there is a fence made of thorn bushes, in which the cattle is kept at night. Most Samburu still wear traditional dress. Like the Maasai, women wear colorful beaded necklaces similar to the ones the Rendile women also wear. The number of necklaces is a sign of wealth, often given as dowry. They wear bright clothes, usually red and pink. To protect their eyes from the sun, Samburu warriors (like the Rendile) often paste their hair with ochre which creates a visor.Samburu are very spiritual people, believing and praying every day the God called Ngai. Age determines men's social status: each man has to go through various stages before becoming a powerful elder. Circumcision marks the boy’s transition to a young warrior, while girls excision is carried out on the day of marriage (usually at 16 years old).
Les Samburu sont intimement liés aux Maasai. Lieu de vie : Comme les Maasai, ils vivent dans la zone de la vallée centrale du Rift au Kenya, où le climat est semi-aride.Ils sont semi-nomades et appartiennent au peuple de langue Maa (nilotique). Ils font peu d’agriculture. Leur moyen de subsistance dépend de leur bétail, moutons et chèvres qu’ils élèvent. Ils se servent davantage de leur lait que de leur viande. Ils boivent souvent du lait mélangé au sang de vache. De la même façon que leurs voisins, ils doivent chercher de l’eau et de nouveaux pâturages, ce qui les conduit en dehors de leurs territoires durant les saisons sèches. Les Samburu vivent dans des huttes faites de branches, boue et bouse de vache. Autour, il y a une barrière faite de buissons épineux, dans lesquels le bétail est gardé la nuit. La plupart des Samburu portent encore leur costume traditionnel. Comme les Maasai, les femmes portent des colliers en perles colorés, similaires à ceux que les femmes Rendile portent aussi. Le nombre de colliers est un signe de richesse, souvent offerts en guise de don pour le mariage. Ils portent des vêtements clairs, souvent rouges et roses. Pour protéger leurs yeux du soleil, les guerriers Samburu (comme les Rendile) souvent couvrent leurs cheveux d’ocre ce qui constitue une visière.Les Samburu sont très spirituels, croyant et priant chaque jour le Dieu appelé Ngai. L’âge détermine le statut social des hommes : chaque homme doit passer par les diverses étapes avant de devenir un aîné puissant. La circoncision marque la transition du garçon vers l’âge de jeune guerrier, tandis que l’excision des filles est réalisée le jour du mariage (souvent à 16 ans).
© Eric Lafforgue
** Updated photos - earlier ones remain in my account **
Closeup of the medallion with the repoussé figures of Aphrodite with a tiny Eros on her shoulder.
This elaborate gold hairnet is one of the few surviving from antiquity (the contemporary “Schimmel” hairnet in the Metropolitan Museum, New York, inv. no. 1987.220, is another) and is an example of the extraordinary level of achievement that was possible for goldsmiths in the 3rd century BC. It is considered to have been made in the same goldsmith’s workshop, probably in Alexandria, Egypt, as the Diadem. The hairnet consists of four elements: the central medallion, the tassels and chains, the net, and the circular clasp. Made to enclose a gathered bun of hair at the back of the head, the fabrication of the hairnet is remarkable for the quality of its execution. The medallion consists of a central repoussé bust of Aphrodite with Eros clinging to the drapery on her left shoulder. The Ptolemaic queens often presented themselves as descendants of Aphrodite; here, the goddess’s features and hairstyle are similar to those of Queen Arsinoe II (ca. 316 – ca. 270 BC). Two concentric bands of filigree separated by rows of beads surround the center. The innermost band consists of a running pattern of framed acanthus leaves (identical to the inner frieze on the Schimmel hairnet noted above); the outer band is filigreed with a step pattern perhaps once inlaid with enamel, now lost. Running filigree as used here, constructed from lengths of wire rather than short pieces connected together, can also be seen on the Diadem and indicates the work of a master gold-smith. Garnet and gold beaded tassels dangle from the medallion and clasp. The net is comprised of bands of gold spool beads linked by tiny filigreed chains, their intersecting points articulated with tiny masks of Dionysos and actors. The circular clasp is embellished with a large Herakles knot, floral tendrils, ivy leaves, and berries.
The association of Arsinoe II with Aphrodite on the hairnet finds parallels on other items in the Assemblage of Ptolemaic Gold Jewelry, such as the identification of Tyche/Fortuna with Arsinoe II on the carnelian ring. Commonalities between the materials and the workmanship of many objects in this group indicate they were made by Greek goldsmiths working in more than one workshop in Alexandria, Egypt, and were created to be worn as an ensemble. While a royal context can be ascribed to the group, the association cannot be extended to the royals themselves. It therefore seems possible that the original owner was an elite of the exclusive circle of dynastic princesses, who, ornamented in her golden finery, served the queen in one of the royal cults devoted to her worship.
Ptolemaic Greek, ca. 225–175 BCE. Created in Egypt, probably Alexandria. Gold, garnets, and glass paste
Getty Villa Museum, Pacific Palisades, California (92.AM.8.1)
*NOTE* This was one of several Ptolemaic gold jewelry pieces sold by the infamous looted antiquities trafficker Robin Symes. They were purchased from him by the Fleischman family, who sold the lot to the Getty.
Closeup showing details of the La Tène decoration on the bottom roundel of the Witham Shield, an Iron Age front of a shield with two roundels, and a central spine and boss. It originally fronted a wood or stiffened hide backing.
Around the outer part of each roundel is a decorative design made up of a repousse, wavy, raised line which ends in a pair of comma-shaped recesses, each of which encloses a 'snail-shell' boss with a tail. At the junction of each boss with the central spine is what appears to be an abstract animal head design. The design is formed by a pair of domed 'eyes' decorated with an engraved triangle dividing each circle into 3 zones. An elongated bulbous 'snout' extends away from the roundel along the spine. This and the area near the 'eyes' is decorated with engraved lines that give the appearance of 'wrinkles'. Either side of the 'head' nearest the 'eyes' are a pair of palmettes. Delicate scroll ornament is engraved some way from the end of the 'snout' along the spine and the edge of the central spine has a border of a raised zig-zag motif within a groove.
The shield was discovered in the Witham River in Lincolnshire, England. It may have been placed there in antiquity as a votive offering to local gods, a common practice for ancient Britons.
La Tène, Iron Age, 400-300 BCE, bronze and coral. Found in the Witham River, Lincolnshire.
British Museum, London (1872,1213.1)
" Les belles infos du canard "
Global Warming, merci vraiment ... Grâce à ton action ô combien salutaire les côtes méditerranéennes repoussées très au nord nous ont permis de créer une première marina dans ma contrée naguère glacée ...
Vais pouvoir me payer un Riva ... ou un Chris-Craft ?.. J'hésite encore ....
Canon/Samyang 8.0mm ...
A photo of my friend sat in a very ornate timber carved window of the Patan Museum reading her Japanese Lonely Planet guide.
More photos from the trip : www.flickr.com/photos/darrellg/albums/72157709610673461
From Wikipedia : "The Patan Museum is a museum located in Patan, Lalitpur, Nepal. The museum falls under the UNESCO’s World Heritage Sites. The Patan Museum was inaugurated in 1997 by Late King Birendra Bir Bikram Shah. The Patan Museum displays the traditional sacred arts of Nepal in an illustrious architectural setting. Its home is an old residential court of Patan Darbar, one of the royal palaces of former Malla Kings of the Kathmandu Valley. The Museum’s exhibits cover a long span of Nepal’s cultural history and some rare objects are among its treasures. Most of the objects are cast bronzes and gilt copper repoussé work, traditional crafts for which Patan is famous."
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© D.Godliman
It really rocks! 1.75" tall, basically mirror-image repousse wrens soldered together. Not stamped, no molds. It was tough.
1.75" tall. Basically, I made mirror-image repousse wrens and soldered them together. Not stamped, no molds. Much, much harder than I thought it would be!
Acanthus leaf detail on the pummel of the Liberty torch up close and personal. Hammered “repousse” from 1/16” 0.0625” thick copper attached with rivets to an internal wrought iron armature.
Impeccable craftsmanship by brilliant artisans and masters of their craft.
A once proud symbol of a once proud and noble country.
.
Canon A1
50 mm lens
Kodak Ektrachrom
From the Collection of Mycenaean Antiquities (1600-1100 BCE):
16th-century BC Gold death mask that Schliemann incorrectly identified as the mask of Agamemnon.
On display in the National Archaeological Museum of Athens in Greece.
Description in the museum:
Finds from Grave V, Grave Circle A, Mycenae. 16th century BC
Gold death-mask, known as the ‘mask of Agamemnon’. This mask depicts the imposing face of a bearded man. It is made of a gold sheet with repoussé details. Two holes near the ears indicate that the mask was held in place over the deceased’s face with twine (624)
The Telegram from Heinrich Schliemann to King George I
November 16/28, 1876
Your Majesty, it is with great pleasure that l inform you that I have discovered the tombs which, according to Pausanias’ account, belong to Agamemnon, Cassandra and their comrades who were murdered by Clytaemnestra and her paramour, Aegisthus, during a feast. The tombs are enclosed within a double stone circle, something which would only have been erected in honour of exalted personages. Inside the tombs, I have discovered fabulous treasures and ancient objects of solid gold. These treasures alone are enough to fill a large museum which will become the most famous in the world and will attract myriads of foreigners to Greece from every land. Since I work out of sheer love of science, I naturally make no claim on these treasures and enthusiastically make them over, in their entirety, to Greece. May these treasures be the foundation of immeasurable national wealth.
→ The National Archaeological Museum in Athens, Greece, has a wonderful sculpture collection with around a thousand of the museum's 16,000 sculptures on permanent display. Exceptional highlights include the korai and kouroi sculptures from the archaic period and the rare large bronze sculptures from the classical and Hellenistic periods.
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
The utterly beautiful Statue of Liberty, Liberty Island, New York - I took this in October 2004 on my first visit to see New York City...visiting Lady Liberty was a real thrill and it was a perfect sunny, clear blue sky day - she looked magnificent!
THE STATUE OF LIBERTY
Liberty Enlightening the World (French: La liberté éclairant le monde), known more commonly as the Statue of Liberty (Statue de la Liberté), is a large statue that was presented to the United States by France in 1886. It stands at Liberty Island, New York in New York Harbor as a welcome to all visitors, immigrants, and returning Americans. The copper-clad statue, dedicated on October 28, 1886, commemorates the centennial of the United States and is a gesture of friendship from France to America. Frédéric Auguste Bartholdi sculpted the statue, and Alexandre Gustave Eiffel (designer of the Eiffel Tower) engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper in the statue's construction and adoption of the repoussé technique.
The statue is of a female figure standing upright, dressed in a robe and a seven point spiked rays representing a nimbus (halo), holding a stone tablet close to her body in her left hand and a flaming torch high in her right hand. The tablet bears the words "JULY IV MDCCLXXVI" (July 4, 1776), commemorating the date of the United States Declaration of Independence.
The statue is made of a sheeting of pure copper, hung on a framework of steel (originally puddled iron) with the exception of the flame of the torch, which is coated in gold leaf. It stands atop a rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. The statue is 151' 1" (46.5 m) tall, with the pedestal and foundation adding another 154 feet (46.9 m).
Worldwide, the Statue of Liberty is one of the most recognizable icons of the United States, and, more generally, represents liberty and escape from oppression. The Statue of Liberty was, from 1886 until the jet age, often one of the first glimpses of the United States for millions of immigrants after ocean voyages from Europe. The Statue of Liberty's obviously classical appearance (Roman stola, sandals, facial expression) derives from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Broken shackles lie at her feet. The seven spikes in the crown represent the Seven Seas and seven continents. Her torch signifies enlightenment. The tablet in her hand shows the date of the nation's birth, July 4, 1776.
Since 1903, the statue, also known as "Lady Liberty," has been associated with Emma Lazarus's poem “The New Colossus” and has been a symbol of welcome to arriving immigrants. The interior of the pedestal contains a bronze plaque inscribed with the poem, which reads:
“Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
"Keep ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!"
There are 354 steps inside the statue and its pedestal. There are 25 windows in the crown which comprise the jewels beneath the seven rays of the diadem. The tablet which the Statue holds in her left hand reads, in Roman numerals, "July 4, 1776" the day of America's independence from Britain. The Statue of Liberty was engineered to withstand heavy winds. Winds of 50 miles per hour cause the Statue to sway 3 inches (7.62 cm) and the torch to sway 5 inches (12.7 cm). This allows the Statue to move rather than break in high [wind load] conditions.
Source: Wikipedia
...oh Joie !!
*Pressée de revoir les beaux jours, j'ai fait entrer ces repousses de mes tulipes, à peine aperçues hier, et les ai collées sur une deuxème photo d'un abat-jour du salon:
un collage avec PhotoFiltre.
Bon jeudi santé ! xx
... oh Joy !!
*In a hurry to see the beautiful days again, I brought in these regrowths of my tulips, barely seen yesterday, and stuck them on a second photo of lampshade in the living room:
a collage with PhotoFiltre.
Have a Healthy Thursday! xx
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
Like many artists, we gravitate back to nature periodically. There is an eternal lure of plant forms in jewelry. This is the first of a new series that we have been working on for a while now. We wanted to incorporate a broader spectrum of the materials and techniques that we use into each individual piece. Also, we are employing a lot more color. The Au Natural Necklace combines repousse, carving, color on metal, resin casting and fabrication.
Sterling silver, brass, wood, rubber, resin, pearl.
Fabricated, cast, carved, color on metal
Griffin attacking a deer. Gold flask with reposse decoration. Sassanian, 5th Century AD. Vienna, Austria. Copyright 2016, James A. Glazier.
On 24 gauge aluminum, 8.5" x 6". 41 hours - Sheesh! Happy with it anyway. These huge birds fish ferociously in our pond all summer.
Design: Vincent Canlas
MetalSmith/Artist: Dodong Azares
Photo: Larry Orque Jr.
Influenced and inspired by Potencias in Sevilla, Spain.
This is a new set of Potencias made for Cristo of the La Transfiguracion tableau. Made of gold and silver plate-finished with beautiful repousse' bronze cherubs and Swarovski stones forming the letters J-H-S on each piece.
Please feel free to visit - www.latransfiguracion.com
Don't forget to put on your special glasses.
www.jango.com/stations/68932142/tunein?song_id=8186
Golden Years/David Bowie
Ce petit lézard a perdu sa queue par autotomie (voir sa photo en juin : www.flickr.com/photos/193578743@N03/53024143541/), ce qui n'est pas sans conséquence pour sa vie. Sa queue repousse mais est moins belle.
This little lizard has lost its tail by autotomy (see its photo in June: www.flickr.com/photos/193578743@N03/53024143541/), which is not without consequences for its life. Its tail is growing back but is less beautiful.
Petite scène du quotidien ovin. Comme vous pouvez le constater il n'y a plus beaucoup d'herbe verte, même si on en voit qui repousse après plusieurs épisodes de pluie (ouf)
Scene of everyday sheep life. As you can see there is not a lot of green grass, even if some is growing again after several episodes of rain (phew)
Fibula (rear chamber, Regolini-Galassi Tomb, Cerveteri), 670–650 B.C.E., gold, 29.2 cm long Museo Gregoriano Etrusco, Musei Vaticani)
Gold death-mask, known as the ‘mask of Agamemnon’. Mycenae, 16th cent. BC.
The mask depicts the imposing face of a bearded man. It is made of a gold sheet with repousse details. Two holes near the ears indicate that the mask was held in place over the deceased’s face with twine.
One of many stunning items in The Archeological Museum, Athens.
Portlandia is a sculpture by Raymond Kaskey located above the entrance of Michael Graves' Portland Building in downtown Portland, Oregon at 1120 SW 5th Avenue. It is the second-largest copper repoussé statue in the United States, after the Statue of Liberty.
Raymond Kaskey, Greg Pettengill and Michael LaSalle built sections of the statue in one of the Maryland suburbs of Washington, D.C., and shipped the parts to Portland by rail. It was assembled at a barge building facility, Gunderson, Inc. It was installed on October 6, 1985 after being floated up the Willamette River on a barge.
The statue is based on the design of the city seal. It depicts a woman dressed in classical clothes, holding a trident in the left hand and reaching down with the right hand to greet visitors to the building.
The statue itself is 34 feet, 10 inches (10.6 meters) high. If standing, the woman would be about 50 feet (15 m) tall. An accompanying plaque contains a poem by Portland resident Ronald Talney.
The statue is above street level, and faces a narrow, tree-lined street with limited automobile access. Occasionally, there are suggestions to move the statue to a more visible location, but these have come to nothing and the sculptor states that he designed the statue for its location and would not approve of moving it.
It has also been claimed that Portlandia's relatively low profile results from sculptor Kaskey's close guarding of his intellectual property. Unlike the Statue of Liberty, Portlandia may not be reproduced for any commercial purpose without permission from the artist. The rights to the image of Portlandia remain the sole property of Mr. Graves. The Regional Arts & Culture Council maintains the statue.
Info courtesy of Wiki ‘cause they never lie.
Pissenlit, ou dent-de-lion, est un nom vernaculaire ambigu en français.
Ce sont des plantes vivaces, de plein soleil ou mi-ombre, à racine charnue pénétrant profondément dans le sol (plus de 50 centimètres), ce qui leur permet de résister au gel intense des régions froides (Russie, Canada). Dans ces régions, la partie aérienne meurt à la fin de l'automne, mais repousse dès la fonte des neiges, et la floraison survient une vingtaine de jours après la repousse ; une autre floraison de moindre importance se produit parfois en fin d'été.
--
Pissenlit, or dent-de-lion, is an ambiguous vernacular name in French.
They are perennial plants, in full sun or partial shade, with a fleshy root penetrating deep into the ground (more than 50 centimeters), which allows them to resist the intense frost of cold regions (Russia, Canada). In these regions, the aerial part dies at the end of autumn, but regrows as soon as the snow melts, and flowering occurs around twenty days after regrowth; another less important flowering sometimes occurs at the end of summer.
"Soul Service Station"
artist: Alison Saar
Desert X 2025
Desert Hot Springs, CA
Drawing inspiration from gas stations that have populated the American West, including the Coachella Valley, Saar’s station offers more than practical services; it provides fuel for the soul. She invites weary travelers to get “their blues flushed, spirits inflated, hearts charged, and souls filled.”
Inside the station, a sculptural assemblage handcrafted by Saar contains a collection of devotional objects. Saar has collaborated with Coachella Valley students to create foil repoussé medallions expressing prayers and wishes for healing and hope. These community-crafted elements, combined with furnishings made from salvaged materials, form a sanctuary that merges collective dreams with Saar’s vision of a spiritual oasis. At the center stands a life-size, hand-carved female figure, the guardian and healer of the site, exuding strength and protection.
Donaufelder Parish
View from Danube Tower to the Donaufelder church
Inside view towards to the altar of the Donaufelder Church
The Roman Catholic Donaufelder parish church (St. Leopold) is located in 21 District of Vienna Floridsdorf. The according to plans of building officer Franz Ritter von Neumann built neo-Gothic brick building (with Art Nouveau interior design) is surrounded by a small park on the Kinzerplatz in the district part of Danube field (Donaufeld).
History
The Donaufelder parish church originally was planned as a bishop's church of a new Lower Austrian diocese. This explains the enormous scale of this parish (in the parish about 7,000 Catholics live). But the higher policy had it otherwise and the new diocese was never established. Thus Danube field came to its imposing parish church.
At the laying of the foundation stone on 6 June 1905 took part a number of important personalities, at the head of those participants, Emperor Franz Joseph I. with the then Mayor of Vienna Dr. Karl Lueger. Furthermore, were Archduke Friedrich, Archduke Leopold Salvator and the provost of Klosterneuburg monastery Bernhard Johannes Peitl present. The foundation stone now is walled in the apse to the left of the high altar.
With the construction of the church building originally building officer Franz Ritter von Neumann was commissioned. When he died even before the foundation stone was laid, architects Karl Troll and Johann Stobble supervised the construction in strict accordance with the plans of Neumann.
The solemn consecration was carried out by Cardinal Archbishop Dr. Friedrich Piffl. On the part of the Imperial family participated Archduke Peter Ferdinand. The capstone was walled in opposite the foundation stone and provided with a decorative plate.
When the church was already completed, yet two emergency exits had to be built, as subsequently was detected that with a capacity of 5,000 people too few outputs were provided.
The Sacramental altar of the church stems from the Academic Gymnasium and was only in 1940 erected. However, since it was believed it was disturbing the Art Nouveau overall picture of the church, they wanted it to have removed again. After becoming aware of the cost of 30,000 shillings, the idea of removing it later on was abandoned (for good). The Sacramental altar is still in the church today.
The building
Description
The neo-Gothic hall church made of brick has a nave with transversely positioned gabled roofs above the side aisles and a slightly lower retracted choir, which is structured by buttresses and two-part to four-part lancet windows. Side of the choir there are two storey extensions and a domed staircase turret. The northwestern gable front is flanked by domed staircase turrets; put in front is the mighty tower with an open porch and an octagonal spire.
Dimensions
The church is 35 m wide and 80 m long; the clear height of the arch is 18 m. The church tower is 96 m high. Thus, the tower is the third highest of all of Vienna. Hence, the Donaufelder parish is to be found in the center field of the list of the highest constructions in the world. Furthermore, it is also the third largest church in Vienna and has the largest timber roof of Vienna. According to official reports, It offers 5,000 people space.
The interior
In designing the interior particular emphasis was placed. The imposing high altar, carved in metal repoussé work rests on a marble base and shows the group "St. Leopold and his wife Agnes kneeling before the Virgin Mary with the Child Jesus". The Pietà of the left side altar created Arthur Kaan. From him stem also the chandeliers "Heart of Jesus" and "Heart of Mary". The right side altar comes from the Viennese artist Alexander Illitsch and displays "The Holy Family on the Flight into Egypt".
From the art historical point of view, the interior of the church is a unique Art Nouveau Gesamtkunstwerk.
Organ
The organ of the Donaufelder parish church was built in 1910 by the Viennese organ builder Josef Swoboda and is the largest yet playable left in its original state Swoboda organ. It has a total of 1,940 pipes, the smallest measuring 10 cm, the largest 9 m. The organ sonically never was changed and is regarded as a sound monument.
The prospectus of the organ adorn sculptures in relief and show the figure group "The Saint Cecilia and two kneeling angels".
The Grade II Listed former St Michael's Church which closed in 1977 and was converted into offices. On Queen Street in Derby, Derbyshire.
The parish church was of medieval origins; transferred to the Abbot of Derby in 1240 by Sir Rafe de Freshville. The chancel collapsed on 17 August 1856 which prompted the building of the new church starting on 1857. The foundation stone was laid by Sir William Evans, 1st Baronet on 15 April 1857, and the new building opened for worship on 8 April 1858. It was consecrated by The Lord Bishop of Lichfield John Lonsdale.
The new church retained some features from the old. Below the royal arms of Queen Anne on the east wall of the north aisle, there was some wrought ironwork possibly by Robert Bakewell, with repoussé ironwork, including a trumpet-bearing angel. The porch had 2 coffin slabs, one Saxon, the other 13th century. The chancel had three 18th century wall tablets.
The new church had two stained glass windows at the east end of the aisles by Gibbs and Co of London. The main east end window was by N.W. Lavers of London.
Information sources:
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
A 15 000 années-lumière de la Terre dans la constellation de la Flèche ou du Sagittaire (Sagittarius), l'étoile Wolf-Rayet 124 (WR 124), massive et super brillante, fait 30 fois la masse du Soleil et a perdu 10 soleils de matière jusqu'à présent (la nébuleuse annulaire de matière expulsée est dite M1-67). Lorsque le gaz éjecté s'éloigne de l'étoile et se refroidit, de la poussière cosmique se forme et brille dans la lumière infrarouge.
Si la caméra proche infrarouge de Webb (NIRCam) équilibre la luminosité du noyau stellaire du WR 124 et les détails noueux dans le gaz environnant plus faible, l'instrument infrarouge moyen du télescope (MIRI) révèle quant à lui la structure agglomérée de la nébuleuse de gaz et de poussière du matériau éjecté entourant maintenant l'étoile.
Description de l'image
Une étoile proéminente à huit branches brille d'un blanc éclatant au centre de l'image composite. Un nuage de matière agglomérée entoure cette étoile centrale, avec plus de matière au-dessus et en dessous que sur les côtés, permettant à certains endroits aux étoiles d'arrière-plan de voir à travers. Le matériau nuageux est d'un jaune foncé près de l'étoile et vire au violet rosé sur ses bords extérieurs. Ensemble, l'étoile centrale et son nuage ressemblent aux délicats pétales d'une fleur de cerisier. Le fond noir comporte de nombreuses petites étoiles blanches dispersées partout.
L'étoile chaude et lumineuse Wolf-Rayet 124 (WR 124) est proéminente, combinant des longueurs d'onde de lumière proche infrarouge et moyen infrarouge, l'instrument infrarouge moyen (MIRI) révèlant la structure de la nébuleuse.
Plutôt que de coquilles lisses, celle-ci est formée d'éjections aléatoires et asymétriques. Des touffes lumineuses de gaz et de poussière apparaissent comme des têtards nageant vers l'étoile, avec des queues qui s'écoulent derrière eux, repoussées par le vent stellaire (cf. NASA, ESA, CSA, STScI, Webb ERO Production Team).
Pour situer l'étoile Wolf-Rayet WR 124 dans sa constellation de la Flèche ou du Sagittaire (Sagittarius) :
The small girl's hair is arranged in the so-called 'melon-coiffure'. She leans on a pillar, holding a piece of fruit over the head of a large bird, seemingly a peacock, a bird sacred to the goddess Hera. In her left hand she holds a wreath and behind the bird is probably an olive tree, from which the girl picked the fruit.
Hellenistic, ca. 300-275 ВСE
Said to be from Zaverda (Akarnania), Greece.
Height: 13.97 cm (5.5 in.)
Width: 8.89 cm (3.5 in.)
British Museum, London, Woodhouse Collection (1868,0110.372, Bronze 304)
Après avoir fait des parts de faune, j'ai eu envie de sculpter une queue de sirène pour mes petites Nenya...
A vrai dire j'ai repoussé ce projet pendant très longtemps, pensant qu'Aurélien (Depths Dolls) n’apprécierait peut-être pas de me voir travailler sur ce thème. Je lui ai donc montré ces photos en premier pour en discuter avec lui et ayant désormais son approbation et son soutien, allons-y !
Voilà où j'en suis, sachant que ce n'est qu'une ébauche (la nageoire est déjà un peu différente depuis que j'ai pris ces photos et le double joint plus large). Je me concentre tout d'abord sur la sculpture des joints, et une fois que tout sera opérationnel j'ajouterai des détails.
En espérant que les Nenya aquatiques vous plairont !
Merci pour votre attention <3
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After making fawn parts, I wanted to sculpt a mermaid tail for my sweet Nenya girls...
The thing is I put this project off for a very long time because I was afraid Aurélien (Depths Dolls) might me upset with me working on a mermaid too. So I showed him these pictures first and got his blessing ! So let's do this !
So this is what it looks like so far, but keep in mind that this is just a start (the fin is already a bit different since I took these pictures and the double joint is bigger). I'm focusing on getting the joints right first and then I'll add details to the tail.
I hope you'll like the aquatic Nenyas !
Thanks for watching
L'Arbre de vie est également mentionné plusieurs fois dans le Livre de l'Apocalypse, épilogue qui conclut la Bible (comme le Livre de la Genèse est son prologue), en plusieurs passages, tels que : « Que celui qui a des oreilles entende ce que l'Esprit dit aux Églises ! À celui qui vaincra, je lui donnerai à manger de l'Arbre de vie, qui est dans le paradis de Dieu. » (Ap 2,7) ; et : « Heureux ceux qui lavent leurs robes, afin d'avoir droit à l'Arbre de la vie. » (Ap 22,14) ; enfin : « Si quelqu'un retranche des paroles de ce livre prophétique, Dieu lui retranchera sa part de l'Arbre de la vie et de la Cité sainte. » (Ap 22,19).
À partir du ve siècle, à la suite de saint Augustin, l'Église a théologiquement développé, en fonction de ces passages du Livre de la Genèse et de certaines épîtres de saint Paul, diverses doctrines liées au dogme du péché originel.
Le christianisme a très tôt assimilé la Croix du Christ avec l'Arbre de vie, car, comme lui, elle redonne la vie, cette fois éternelle, à l'humanité déchue, blessée par le péché originel vécu par Adam et Ève. L'Arbre de vie, par ailleurs, dans la tradition juive, est parfois rattaché à la menorah du Temple de Jérusalem.
la Sainte-Chapelle du château de Vincennes abrite une installation inédite de Joana Vasconcelos. L'artiste portugaise a réalisé un laurier de 13 mètres de haut composé de 110 000 feuilles tissées à la main qui apporte une touche féerique au monument gothique.
La forêt vient-elle de reprendre ses droits au château de Vincennes ? Dès aujourd’hui, un Arbre de vie s’enracine dans la Sainte-Chapelle. Joana Vasconcelos a été invitée par le Centre des Monuments nationaux (CMN) à installer son œuvre monumentale inédite, dans le cadre de la saison croisée France-Portugal 2022, portée par l’Institut Français. Repoussée à deux reprises, l’installation spectaculaire vient d’ouvrir ses portes. Alliant textile et ingénierie, ce laurier de 13 mètres de haut aux 110 000 feuilles tissées à la main et aux lumières LED apporte de la fantaisie dans le monument au style gothique flamboyant et invite le visiteur à découvrir ses minutieux détails pour un moment de paix et d’introspection, jusqu’au 3 septembre.
This pendant is decorated with repoussé and with a beaded moulding border.
Photographed at the Walters Art Museum, Baltimore, Maryland.
SANTONG DE BASTIDOR of the INMACULADA CONCEPCION
Very fine white ivory head and hands mounted on original wooden bastidor.
Repousse and ysot silver crown and silver aureola
wooden base
Height from tip of halo to base :37 inches
Height of Ivory head ; 11 CM
MID TO LATE 19TH CENTURY
Personifications, like this one of the goddess Roma, were creations of the classical world that remained popular in Byzantium. Gold wrought and worked in repoussé.
Byzantine, made 400-500 CE in Rome.
Met Museum, gift of J. Pierpont Morgan, 1917 (17.190.2053)
Gold pendant with a head of Medusa worked in repoussé. Her hair is wild, she has wings emerging from her temples (symbolizing Pegasus, who will emerge from her headless body), and two snakes entwined around her neck.
The image of Medusa was apotropaic - protecting whomever wore it from the evil eye.
Roman, 2nd century CE.
Diameter: 5.08 cm (2 in.)
British Museum, London (1958,0722.9)