Museum Fünf Kontinente, Munich, Germany.

Moche portrait vessels are ceramic vessels featuring highly individualized and naturalistic representations of human faces that are unique to the Moche culture of Peru.

These portrait vessels are some of the few realistic portrayals of humans found in the Precolumbian Americas.[1]

The Moche culture thrived from 100—800 CE on the north coast of Peru. Their lands sat between the Pacific Ocean and the Andean cordillera. They were a stratified, agrarian society that also heavily relied on fishing.[1]

While most Moche portrait vessels feature heads, some portray full human figures. They are meant to hold liquids. Almost all of the portraits of are adult men.

In some rare instances, young boys are represented, but no portrait vessels of adult women have yet been found.

The portraits are not idealized, some feature abnormalities, such as harelips and missing eyes.[1]

The vessels range from 6–45 cm in height, with most being between 15–30 cm.[1]

Typically, Moche pottery features red slip painted on a pale cream background; however, white-on-red and black paint is also found.[2] While most portraits are three-dimensional portrayals of human, some have additional fineline paintings on their surface.[1]

Over 900 separate portrait vessels have been photographed by the University of California, Los Angeles.

An estimated 95% of these portrait vessels were collected by looters instead of archaeologists, so the initial provenance of the vessels are unknown. Mostly they have been retrieved from graves but were used during people's lives, as evidenced by wear marks[1] and repairs.[2]

One particularly famous Moche portrait vessel is known as the Huaco Retrato Mochica. The portrait was made during the Late Moche period (ca. 600 CE), according to the chronology made by Rafael Larco Hoyle in 1948.

The ceramic portrait is also an example of a stirrup spout vessel of a Moche ruler. The ruler is depicted wearing a material turban on which there is a headdress decorated by a two-headed bird with feathers on side. The effigy also wears tubular earrings that can be found in the "Gold and Silver Gallery" of the Larco Museum.

The exact archaeological context in which it was found in is unknown. Nonetheless, information gained from various archaeological discoveries in the North Coast over the past 20 years suggests that it belonged to the tomb of a member of the Moche elite.

Archaeologists found this type of headdress, made of reed, in the tomb of the warrior priest god in the Huaca de la Cruz, an archaeological site situated in the Virú Valley, 40 km (25 mi) south of Trujillo, explored by Strong and Evans in 1940. It may also have been excavated from within the Moche Valley in the southern Moche region.

Rafael Larco Hoyle received this piece from his father, Rafael Larco Herrera. It is said[by whom?] that this was the only ceramic piece Herrera kept when he bequeathed his private collection to the Museo del Prado in Madrid, Spain and that Herrera gave it to his son who later opened his private collection to the public at the Larco Museum.

en.wikipedia.org/wiki/Moche_portrait_vessel

When the painter Marc Chagall (1887-1985) agreed for the first time to create the stained glass windows of a cathedral, that of Metz in 1959, he was at the same time revealing a secret part of his art. Chagall also knew how to play admirably with the opposition of colors to bring out and oppose different worlds and stories. Each time, he knew how to use these strong oppositions by using different pigments to make us discover another reality. Thus, on the one hand, we discover the quasi-monochromy of yellow in the stained glass window of the Creation, this one corresponding more to solar representations.On the other hand, the midnight blue with the fiery red of the two bays of the interior ambulatory seem to be more associated with nocturnal, crepuscular, telluric but also lunar images. On the one hand, that of the stained glass window of the Creation which narrates the paradisiacal scenes where Eve and Adam evolve with the dominant yellow. And on the other hand, the other world, that of the aftermath of the fall, of the exit from Eden, according to the two bays of the interior ambulatory. These relate the history of the chosen people, with dark and violent colors such as night blue and fire red. All this to signify that we are no longer in the Edenic times but in those where humanity will know sin and death. At the same time, one will also notice that each stained glass window is crossed by an astonishing dynamism. This dynamism increases and always evolves in the same direction, from left to right. Thus we can follow the story of each representation always in the same direction.

The first stained glass window, that of the Creation, begins in the first lancet with the scene of the creation of the man Adam and finally ends in the last lancet with the expulsion of the couple Adam and Eve from paradise. At the same time, in the other two bays of the interior ambulatory, we see a long historical continuum that goes from the Sacrifice of Isaac to the deportation of the Jews to Babylon. It is worth noting that each time, the story told by the stained glass windows ends with a dramatic exit!

Finally, the deep source of this dynamism must be sought in Hasidism, a Jewish religious movement that strongly influenced Chagall. Most of the Israelites in Vitebsk were all Hasidim. For the Hasid, spontaneous emotion counts as much as the law or the rite. Hence the painter's insistence on often showing us festive scenes where everyone gives free rein to the expression of their spontaneous joy. Thus, often the Chagallian characters seem to be invaded by this enthusiasm inherited from Hasidism. This Russian painter succeeds in associating us with the vitality of the spectacle of human history to a more intense force that animates us. This mysterious divine energy, is it not ultimately what this artist wants to reveal to us with this other reality? To lead us in fact to fly always higher in the image of his Luftmensch?

This is not surprising, since the artist has always been a special case in modern painting. While abstraction appeared to many as the ultimate achievement of pictorial creation, he, on the contrary, always clung as fiercely to figuration. Not because of a concern for conformism or academicism, but rather because he considered it to be the most appropriate way to show another reality. Revealing notably by the magic of the representation and the color, the inaccessible, the unsuspected because this artist had always had the concern to reveal the most intimate and the most mysterious thing of the being. Father Couturier (1897-1954), who first encouraged him to work as a stained glass artist in the church of Assy in 1956-1957, had well grasped the soul of this painter by affirming that: "Chagall is not an explorer of the depths of the soul: he is a tree with deep roots whose fruits have the color of the Sun. But it is also thanks to his work on the Bible that the brush of this painter will allow other discoveries. The effect of the saving storm of the God of the Old Testament will indeed act powerfully on him. Hence the same impression that the visible reality of this painter becomes something else thanks to his palette. However, if his representations surprise by their sometimes irrational side, he is not for all that a surrealist painter, even if he makes us reach another world. Later, when he discovered at the age of 70 the possibilities offered by the technique of stained glass, it is also undeniable that this art of luminescence will stimulate his inspiration even more. The first cathedral of his career, the Cathedral of Saint-Etienne in Metz, will give him the opportunity to highlight certain facets of this other reality. First of all, to bring it out, he knew how to take advantage of a perfect use of the place. Indeed, his first stained glass windows often located in a relatively dark and secluded space will lead him to develop more than elsewhere his proximity to the painter Rembrandt, painter of the soul and chiaroscuro. Then, another complicity that we discover in this painter is that with Jacob, the patriarch of the Bible, with whom he will be able to emphasize his Luftmensch. Finally, he will play more than elsewhere with the partitions and polarities that underlie all his work. On this occasion also, he will be able to highlight with great mastery all the force that animates his stained glass work, which is totally subordinated to movement and dynamism. When he was offered to work for the cathedral of Metz, he was initially quite disappointed with the spaces he was given. Indeed, he was initially offered to practice his art in relatively secluded and dark areas of the cathedral, since they were located in the north apse, more precisely in the inner ambulatory. With the windows located at the beginning of the choir's perimeter and where the sun practically never appeared, his work might not benefit from maximum visibility and this had not escaped the painter. So he began with the window furthest back, the one with three lancets, and then the one further forward with four lancets. He called this three lancet window the "wounded stained glass window". Chagall called it that because the left side of the window was cut off when the turret was created, giving it a lame look. The median axis of the rose window is indeed off-center to the left of the current median axis of the lancets. As we will see later, Chagall knew perfectly how to illustrate his world by playing on partitions and polarities. Here, in these dark spaces, it will be the world of the night and the penumbra representing the lunar star opposed to the world of the day and the Sun. The solar world will be the one he will inaugurate some time later in the North transept with the stained glass window of the Creation. This is why, as a painter and to illuminate and "counterbalance" this world of night, he will use two dominant colors which are the dark blue associated with the aggressive red. He thus uses his proven technique of the preponderant color. This technique goes back to his very first years in painting, during his years spent in Saint Petersburg in 1906-1907. His master at the time, Leon Bakst, always advised him to limit the world of colors to better dominate them. During this same period, he also produced a number of paintings with scenes that took place mostly at night (The Birth, The Peasant Woman Eating, The Kermesse, The Procession, The Holy Family). His taste for tenebrism brings him closer to Caravaggio, but especially to Rembrandt. One can also explain his attraction for the half-light because, for lack of means, he worked at the time most often in a cramped room in St. Petersburg which was particularly dark. Thus, the affinities with the great Flemish painter will become more and more obvious. Firstly, in the use of chiaroscuro, which Chagall had to use in view of the places where he had to execute his work, in particular in the interior ambulatory of the cathedral in Metz. Then in the treatment itself of certain scenes. Indeed, we discover obvious similarities with a Rembrandt painting of 1635 when he tackles the first lancet of the four lancet stained glass window, in the scene of the Sacrifice of Isaac. We see the same strong chromatic opposition of contrasts between the dark blue in Chagall's work or the dark brown in Rembrandt's that invades the figure of Abraham and the whitish clarity of Isaac's body. We also detect an identical treatment in the softness and transparency of the half-tones. In these two painters, the same effects of light modulation are used to reveal the deep truth of the beings. Chagall, in this stained glass window, plays on the variation of blues, going from the most intense and darkest to the most luminous. In the same way, in these two artists, Isaac is violently illuminated while we never really see his eyes. We cannot see the victim's gaze because it is the gaze of God that we risk encountering. The work is here an unveiling. The artist then reveals another reality: the victim will be recognized by God and saved by him alone!.

www.blelorraine.fr/2021/05/des-vitraux-de-chagall-a-la-ca...

Bronze.

Le cheval, l'une des représentations daliniennes les plus connues, est sellé avec une montre molle : le temps contrôle tous les mouvements. L'Homme pense qu'il détient le contrôle sur sa vie mais c'est toujours le temps, au final, qui sera son guide. Le cheval représente la vie de l'homme accablée par la dureté du temps qui passe.

The horse, one of the most famous Dalinian representations, is saddled with a soft watch: time controls all movements. Man thinks that he has control over his life but it is always the time, ultimately, that will be his guide. The horse represents the life of the man overwhelmed by the hardness of time passing.

This image shows the Forster - Tuncurry ferry approaching the ramp in Tuncurry, NSW - mid 1950s. The launch guiding the punt is the Monterey built by Alf Jahnsen.

A recent publication written by Chris Borough covering the Forster Ferry Service has been published by the Great Lakes Historical Society, Tuncurry

www.flickr.com/photos/glmrsnsw/27134338901/in/album-72157...

Prior to the construction of a bridge in July 1959, crossing Cape Hawke Harbour at the mouth of Wallis Lake required vehicles to use the punt service that operated between Tuncurry and Forster. Most vehicular punts in NSW operated independently using cables. The Forster-Tuncurry punts, however, were close-coupled to a motor launch as shifting sandbanks had to be negotiated to make the crossing between the two towns.

The first of three punts that were used to provide the service commenced operation in late 1924 and remained in continuous service for nine years. This small punt was replaced in 1933 with a larger punt that was widened by two feet in 1935. The original was retained as a backup until a third and still larger punt was introduced in late 1938. That third punt began operation on Christmas Eve 1938 with the punt that was widened in 1935 kept in reserve. Both remained in service until the opening of the Forster – Tuncurry bridge.

Prior to 1924, regular ferry services operated, but only for passengers. The first commenced operation by July 1890 with an open rowing boat conveying passengers (and a sulky if needed). The demand for a proper ferry service was strong. In 1905 a petition from Forster residents asked the Government to establish an oil-launch ferry service between Tuncurry and Forster, instead of the boat ferry, which was totally inadequate…(SMH Friday 10 November 1905).

By 1907, travellers from Bungwahl could pick up the ferry service provided by an oil launch at the southern edge of Wallis Lake (Charlotte Bay), that would drop them either at Forster or Tuncurry (SMH 26th October 1907). A regular passenger ferry service was also being operated that year by an oil launch running between Forster and Tuncurry, conveying passengers for a 1d return fare (SMH 26th Oct 1907).

Horses, however, still had to be swum across (Maitland Daily Mercury 4th May 1909) . We left our horses and vehicles at Tuncurry and crossed over to Forster in the ferry. During the day the rest of the party employed themselves in swimming the horses across the river and floating the buggies over in boats, and had quite an exciting and arduous time. One of Mr. Bramble's horses was too scared to swim, and was nearly drowned. One of the boats, with a sulky on board, got aground, and took some time to get off.

It was not until February 1924 that Manning Shire Council granted permission for Charlie Blows to provide and operate a combined private passenger and car punt service between Tuncurry and Forster (SMH 22nd Feb 1924). Blows undertook to build and maintain the approaches, as well as provide a vehicular ferry, capable of carrying three and a half to four tons (SMH 22 Feb 1924). Blows’ punt service began operations in November 1924 - Mr. Chas. Blows has installed a new vehicular ferry between Tuncurry and Forster. As a consequence, motor cars are now a common sight at Forster (Dungog Chronicle 18 November 1924.)

Howard (1995) records that Blows had Tuncurry boat-builder, Dave Williams build both a small punt and a launch (commonly, but somewhat misleadingly, termed a “tow” launch) to propel same. No details of the punt and its construction have been located but a newspaper report appears to confirm that it was constructed specifically for the operation. This is a direct road to Newcastle by car, and is considerably shorter than any other road from Forster to Sydney. It will be largely used for through traffic when the vehicle ferry, which has been sanctioned and is now being constructed, is running between Tuncurry and Forster across Wallamba River (SMH 15th April 1924).

With a load capacity of around 4 tons, it is estimated that Blows’ punt was 22 feet in length. It was able to transport one large car or two very small cars, end to end. The launch, originally named the Glen, was fitted with a 7 h.p. Kelvin engine; she was quickly re-named the Kelvin Glen by locals and this became her registered name.

Although the passenger service was subsidised by the Local Government Department, it was an expensive exercise to have a vehicle conveyed on the privately owned punt. Foot passengers were able to travel for free, however, for a one-way trip cars were charged 2/6, lorries 4/-, and horse-drawn vehicles 1/6. To put these fares in context, the average weekly wage in 1930 was £7 per week making a return journey by car of 5/- one fifth of a day’s wages. Any additional trips incurred fares for foot passengers, with one visitor complaining that he was forced to pay 1/- to get the “free” ferry from Tuncurry to take him the extra 150 yards from the terminus at Forster to the local hotel.

Prior to 1930, shipping was generally able to navigate key areas within Cape Hawke Harbour and the punt was usually able to cross readily between the two towns. In 1930, however, the NSW Government decided to remove the sand-pumping dredge “Forster” from the district after some thirty years of continuous service. Despite numerous representations, there was no sand-pumping between 1930 and 1938.

By 1930 there had already been general recognition that the private vehicular ferry service was unduly limited in terms of capacity and cost. In 1931 The Maitland Daily Mercury (23 February) reported: One of the biggest demonstrations of public protest in the history of Cape Hawke was witnessed last Saturday night at the Forster Hall when a most representative gathering assembled to express its disapproval of the manner in which the Stroud and Manning Shire Councils are dilly dallying with the question of the Forster Tuncurry Ferry Service. The meeting had been convened by the Progress Associations of Forster and Tuncurry to voice their dissatisfaction of both Councils, in not carrying into vogue the dictum put forth by the Minister for Local Government in July last, that the vehicular ferry that serves the two towns should be absolutely free and that the existing charges be abolished.

A visitor to Tuncurry recalled his experience (Dungog Chronicle: 9 February 1932) “In the morning we crossed the quarter mile or so of water round the sandbanks to Forster. The punt is a two-car one, and is towed over by C. Blows, who runs the free ferry for foot passengers. It cost 2/6 each way for the car, and thereby hangs a confession. I forgot to pay when going back, and Charlie Blows did not remind me.”

After years of wrangling between the Stroud and Manning Shire Councils and the Transport Commission (formerly the Main Roads Board and by the end of 1932 the Main Roads Department), it was decided to terminate the private ferry service and have a replacement punt provided by Manning Shire Council. A suggestion in 1932 to lengthen Blows’ punt was not followed up and before the year was out it was found that a thirty to forty year old punt that had been operating on the Manning River was available to be relocated. The cost of having the punt transported to Forster and its operation were to be shared by the three statutory bodies. Tenders to provide a launch and operate the new punt service were called and on June 30th 1933 the successful tenderer, Frederick Parsons was announced. Fred’s bid of £375/annum was the lowest. Because the new punt was some ten feet longer than the Blows’ punt (32 ft vs approx. 22 ft), and it could carry three small cars or two large cars and had a load capacity of 6 tons, a more powerful launch was required.

Blows’ contract with the original punt was extended until 17th October 1933 when Parsons finally began operations with his new launch and the council supplied punt (Howard 2009). The modern and powerful launch - the Pacific was built by Frank Avery. As reported (Dungog Chronicle 7 November 1933). The new ferry service which is now in the control of Mr. Fred Parsons has had its baptism; and the little difficulties that might be expected at the outset with the most experienced have been surmounted. Mr. Parsons' new launch has a length of 28 feet, a beam of 8 feet and a depth of 3 feet moulded. All timbers and stringers are of spotted gum, with beech planking. The launch is copper fastened and is fitted with water tight bulk heads according to the regulations of the Navigation Department. It is fitted with an 18h.p. Lister-Diesel engine and is a great credit to the builder, Mr Frank Avery, of Tuncurry. The most pleasing aspect of the new service, of course, is the substantial reduction in the charges for cars and other vehicles, as compared with the former contract. Previously, to convey a car across from Forster to Tuncurry cost 2/6; the new charge is 1/-. The new rate has already been responsible for increased traffic, as many people hesitated to come across and back when it involved a toll of 5/-.

In 1935 the Department of Main Roads and the two Councils involved in providing the service agreed to have the punt widened by 2ft to enable cars to be parked side by side and thus allow four vehicles to be carried at one time. Well respected boat-builder, Henry Miles, was contracted to do the job. As reported in the Dungog Chronicle Tuesday 26 November 1935; There will be general jubilation at the news that the ferry which plies, between Forster and Tuncurry is to be enlarged, says the Taree Times. Under a triple authority (Main Roads Board, Manning and Stroud Shires) it takes time to finalise things like this, but it has been done. The ferry is to be widened to take four cars, two abreast. The work has been entrusted to that well-known and expert shipbuilder, Mr. Harry [Henry] Miles, of Forster, and when he finishes with it there will be no complaints, for Mr. Miles does his work one way — thoroughly. It is intended to split the ferry from end to end and put in another 2ft., which will ensure that the ferry will then accommodate two of the biggest cars abreast, which was not possible in the past. It is expected that the ferry will go on the slip on Thursday next, and be off in two or three weeks. In the meantime traffic will be maintained as usual, Mr. Charlie Blows' punt having been engaged for the purpose.

A year later and a minor crisis: Blow’s old punt that was put into service as a temporary measure while the new punt was being overhauled, sank. The Dungog Chronicle (Tuesday 17 November 1936) reported: - Vehicular traffic between Tuncurry and Forster was held up from about 1 p.m. on Wednesday afternoon until 4 on Thursday afternoon. The new contract for this service is to commence at the beginning of December, and the ferry in general use was put on Mr. Henry Miles' slip on Tuesday to undergo the usual overhaul before commencing on the new contract. The old punt with which Mr. Charlie Blows inaugurated the service [in 1924] was requisitioned and started in the service about 2 on Tuesday afternoon. All went well until about 1 p.m. on Wednesday, while the ferry was tied up on the Tuncurry side, a Chev. lorry, loaded with skimmed milk from the Tuncurry butter factory, boarded the ferry. At the same time the driver of a car wanted to cross and the ferry man asked the man in charge of the lorry to move it over to the side a little more than it was. When this was done one corner of the punt developed a list, which in turn gave the lorry, and its contents, a list, with the result that the corner of the punt went under water and quickly submerged. The lorry was also under water. The services of another lorry were engaged to pull it out. Later in the day the ferry was raised and removed to Mr. Miles' slip, for examination and repairs if necessary . A grainy photograph of the accident scene that appeared in the Sydney Morning Herald (4 November 1936) suggests that the small punt may have needed more than just minor repairs.

By early 1937, Manning Shire Council was well aware of public concerns with the safety of the service (Dungog Chronicle Friday 21 May 1937). Council was advised that in October 1936 the punt had grounded on a sand bank and been carried quite some distance after it was re-floated; the anchor being unable to hold. At the time, the Press had reported that the method of transport was entirely out of date and that it had caused a wave of fear amongst the public.

The Council was well aware that it’s widened 32ft long punt simply couldn't cope with the sheer volume of traffic that was presenting during the annual holiday season and had thus reached its use-by date. As a result, a formal proposal was made to the Department of Main Roads for the purchase of an additional 4-car punt to facilitate the provision of a permanent two punt service; the Department formally declined the proposal on 2 September 1937. (SMH 14 January 1938). Council subsequently decided to try and rent or buy a replacement punt and in October 1937 an advertisement that sought the lease of a punt for three months over the summer season appeared in the press (Newcastle Morning Herald Saturday 23 October 1937). Unable to rent or buy a replacement punt, however, the decision was made to have a replacement built. Initial plans for a new punt were submitted to the DMR on 23rd November 1937 (SMH 14 January 1938).

With the wheels of the bureaucracy slowly turning, matters regarding the punt service went from bad to worse. The punt that had commenced operation in 1933 and was widened by Henry Miles in 1935, sunk spectacularly on 5th January 1938. The report from the Dungog Chronicle of Tuesday 11 January 1938 described the fact that a drowning fatality was avoided, as a miracle! On the punt was Joe Fazio’s bus with twelve passengers aboard, a sedan car with five passengers and a truck. As soon as the punt took off from the wharf at around 8 am the nose of the punt dipped and it seemed likely that the punt would capsize. The passengers in the car climbed onto the roof of the bus and finally all passengers escaped via the ferry to shore. This event created an outcry for the replacement of the existing ferry with a larger and more dependable ferry service.

The public relations debacle appears to have jolted the bureaucrats into action and tenders for the construction of a 40 foot punt were called in 1938 (SMH Friday 4 March 1938). It took, however, until September that year for the Councils to secure the services of Frank Avery to supervise the construction of a new punt using day labour (Dungog Chronicle: Friday 16 September 1938). The new service was launched on 24th December 1938, just in time for the holiday season (Dungog Chronicle Tuesday 24 January 1939).

Although the load limit for the new punt was raised to ten tons in 1939, officially it was still only able to handle four cars – a point made clearly by the NRMA (The Maitland Daily Mercury Friday 10 February 1939): “An N.R.M.A. country inspector who recently travelled over the coastal route from Bulahdelah to Taree by way of Forster and Tuncurry. Commenting on the new punt between Forster and Tuncurry, the Association says that there is little improvement on the old vehicle. The new vessel accommodates four cars and is towed by a motor launch. Thus the journey from one side of the lake to the other takes just as long now as when the old punt was operating.”.

The four car service was propelled by the Pacific until 1st July 1940 when Wylie Gregory won the tender to provide the service. He arranged for Forster boatbuilder, Dave Williams to build a heavy-duty low-line boat - the Britannia - or alternatively spelled Brittania (Howard 1995). The war years, however, soon started to impact on Wylie’s operations. In August 1941 he advised Manning Shire Council that he would terminate his contract in view of decreased traffic owing to petrol rationing. Negotiations followed that resulted in Wylie continuing the operation under changed conditions.

On 1st June 1947 the tender for the vehicle ferry service was won by H.M. Cooke of Forster and it appears that he purchased the Brittania from Gregory, On 15th June 1949 the contract was won by C.A. Blows and Sons. The Brittania was purchased from Cooke, but almost immediately the firm contracted Alf Jahnsen and Leo Royan to build a new launch, the Monterey - named after the local cafe ran by Charlie Blows. In the 1950s the availability of two launches and two punts allowed considerable flexibility for the management of the service. Although the punt that was widened in 1935 was initially only retained as a back-up, with the availability of a second launch, sanity eventually prevailed and the old punt was brought out of mothballs each summer so that a two punt service could be provided during the peak holiday season.

Despite the last punt (built in 1938) being described as only having a capacity to carry four cars, it is commonly believed to have had a capacity to convey six cars. Indeed there are photos in Philip Howard's book showing six cars squeezed onto the punt with vehicles partly standing on the rear ramp with the rear gates open. Graham Nicholson (personal communication) recalls many occasions when six vehicles were squeezed onto the ferry and the front and rear gates "closed" accordingly – possibly not by the book, but effective!

Punt operations ceased with the opening of the Forster-Tuncurry bridge on July 18th 1959. So ended the service once memorably described: "It must be the most antedated, most unreliable and unsafe method of crossing a river anywhere in Australia." (SMH Friday 5 November 1954)

Image Source - Image Source - Steve Bolin Collection

References - Howard, P. (1995). The ferrymen: the history of the Forster-Tuncurry passenger and vehicular ferry service from 1890 to 1959 - by Philip Howard.

More Forster Ferry images are contained in the ALBUM Forster - Tuncurry Ferry

Acknowledgements. Chris Borough and Ron Madden undertook the detailed research that was the basis for this contribution.

All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.

GREAT LAKES MANNING RIVER SHIPPING, NSW - Flickr Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List

Representations

A few years ago, I got to see a 1:1500 scale model of London at the Building Centre there. It is a large scale model of the heart of the city in three dimensions, with representations of most buildings, landmarks, parks, the Thames, and the (at the time yet to be built) Olympic Park.

It's extremely impressive.

And it is as nothing compared to The Panorama at the Queens Museum of Art.

Here's two panorama photos to give a sense of the scale:

• view from the “west”

• view from the ”south”

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Quoting from the Museum’s page on the The Panorama of the City of New York:

The Panorama is the jewel in the crown of the collection of the Queens Museum of Art. Built by Robert Moses for the 1964 World’s Fair, in part as a celebration of the City’s municipal infrastructure, this 9,335 square foot architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures.

The Panorama was built by a team of 100 people working for the great architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. In planning the model, Lester Associates referred to aerial photographs, insurance maps, and a range of other City material; the Panorama had to be accurate, indeed the initial contract demanded less than one percent margin of error between reality and the model. The Panorama was one of the most successful attractions at the ‘64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City.

After the Fair the Panorama remained open to the public, its originally planned use as an urban planning tool seemingly forgotten. Until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates changed over 60,000 structures to bring it up-to-date.

In the Spring of 2009 the Museum launched its Adopt-A-Building program with the installation of the Panorama’s newest addition, Citi Field, to continue for the ongoing care and maintenance of this beloved treasure.

The Queens Museum of Art has a program giving you the opportunity to “purchase” NYC real estate on The Panorama of the City of New York for as low as $50. To learn how you can become involved click here.

We hope that you will take time to enjoy the Panorama of the City of New York.

The Panorama of the City of New York is sponsored by the New York City Department of Cultural Affairs and New York State Assembly members Mike Gianaris, Mark Weprin, Audrey Pheffer, Nettie Mayersohn and Ivan Lafayette, The New York Mets Foundation and the supporters of the Adopt-A-Building Program.

View the winning pictures from our Gala 2011 Panorama Picture Contest!

View pictures from our Gala 2011 Photo booth, May 12, 2011!

View pictures of the Panorama on its Flickr page

Add your own pictures to our Panorama Flickr Group!

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Quoting now from The Panorama section in Wikipedia’s Queens Museum of Art article:

The best known permanent exhibition at the Queens Museum is the Panorama of the City of New York which was commissioned by Robert Moses for the 1964 World’s Fair. A celebration of the City’s municipal infrastructure, this 9,335-square-foot (867.2 m2) architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures. The Panorama was built by a team of 100 people working for the architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. The Panorama was one of the most successful attractions at the ’64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City. After the Fair the Panorama remained open to the public and until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates was hired to update the model to coincide with the re-opening of the museum. The model makers changed over 60,000 structures to bring it up-to-date.

In March 2009 the museum announced the intention to update the panorama on an ongoing basis. To raise funds and draw public attention the museum will allow individuals and developers to have accurate models made of buildings newer than the 1992 update created and added in exchange for a donation. Accurate models of smaller apartment buildings and private homes, now represented by generic models, can also be added. The twin towers of the World Trade Center will be replaced when the new buildings are created, the museum has chosen to allow them to remain until construction is complete rather than representing an empty hole. The first new buildings to be added was the new Citi Field stadium of the New York Mets. The model of the old Shea Stadium will continue to be displayed elsewhere in the museum.

⁂

Quoting now from the explanatory sign at the exhibit:

THE PANORAMA OF THE CITY OF NEW YORK

The Panorama of the City of New York, the world's largest scale model of its time, was the creation of Robert Moses and Raymond Lester. Presented in the New York City Pavilion as the city’s premiere exhibit at the 1964/65 New York World’s Fair, it was intended afterwards to serve as an urban planning tool. Visitors experienced the Panorama from a simulated “helicopter” ride that travelled around perimeter or from a glass-enclosed balcony on the second floor, while news commentator Lowell Thomas provided audio commentary on “The City of Opportunity.” One of the “helicopter” cars is now on view in the Museum’s permanent exhibition, A Panoramic View: A History of the New York City Building and Flushing Meadows Corona Park.

Constructed at the Lester Associates workshop in Westchester, New York, the Panorama contains 273 separate sections, many of which are four-by-ten-foot rectangular panels. They are composed of Formica flakeboard topped with urethane foam slabs from which the typography was carved. Lester Associates’ staff consulted geological survey maps, aerial photographs, and books of City insurance maps, to accurately render the City’s streets, highways, parks, and buildings. Once the Panorama’s modules were completed at Lester Associates’ workshop, they were assembled on site in the New York City Building. It took more than 100 workers, three years to complete the model.

Built on a sale of 1:1,200 (1 inch equals 100 feet), the Panorama occupies 9.335 square feet and accurately replicates New York City including all 320 square miles of its five boroughs and 771 miles of shoreline, as well as the built environment. It includes miniature cars, boats, and an airplane landing and taking off at LaGuardia Airport.

The majority of the City’s buildings are presented by standardized model units made from wood and acrylic. Of more than 895,000 individual structures, 25,000 are custom-made to approximate landmarks such as skyscrapers, large factories, colleges, museums, and major churches. The amount of detail possible on most buildings is limited; at a scale of 1 inch to 100 feet, the model of the Empire State Building measures only 15 inches. The most accurate structures on the Panorama are its 35 major bridges, which are finely made of brass and shaped by a chemical milling process.

The model is color coded to indicate various types of land use. The dark green areas are parks. Parkways are also edged in dark green. Mint green sections are related to transportation including train and bus terminals. The pink rectangles that dot the City show the locations of recreational areas including playgrounds and tennis and basketball courts. Clusters of red buildings are indicative of publicly subsidized housing.

Red, blue, green, yellow, and white colored lights were installed on the surface of the Panorama in 1964 to identify structures housing City agencies relating to protection, education, health, recreation, commerce, welfare, and transportation. Overhead lights have been designed to run in a dawn to dusk cycle, and the nighttime effect is enhanced by ultraviolet paint, illuminated by blacklight.

In 1992, the City began a renovation of the Queens Museum of Art and the Panorama. Using their original techniques, Lester Associates updated the Panorama with 60,000 changes. In the current instalation, designed by Rafael Viñoly Architects, visitors follow the course of the original “helicopter” ride on an ascending ramp that enables them to experience the Panorama of the City of New York from Multiple Perspectives.

Model: Lilah Flowers

Set Designer: Daisy Lang

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My D23 Elsa 11'' Doll is posed standing next to my newly acquired Singing Elsa 16'' Doll. They have very similar faces, hair and outfits, being representations of Elsa as the Snow Queen in the upcoming Disney animated movie Frozen. Since the D23 Elsa doll is identical to the currently available Classic Elsa doll (which is listed at 12'' H), I will refer to my doll as the Classic doll in the following comparative review. Following that are separate reviews and product information on the two dolls.

Comparative Review of the Classic Elsa vs. Singing Elsa Dolls

The Classic Elsa doll has a sweeter, more youthful looking face than Singing Elsa. Her eyes are glancing to her left, whereas the singing doll is glancing to her right. Her eyes are a lighter shade of blue, and the irises smaller, with much more of the whites of her eyes showing. But her eyes are opened wider. She has very densely packed black eyelashes above her eyes; the singing doll has separate thin eyelashes above and below her eyes. Her eyebrows are paler and thinner. They both have very thin lips in a closed mouth smile. But Classic Elsa's smile is symmetrical, whereas Singing Elsa has a smirk, with her mouth upturned on her right side. They both have deep red lips, but Singing Elsa has darker, blood red lips. Classic Elsa has no freckles, but Singing Elsa has a line of freckles going across her cheeks and nose. Classic Elsa's cheeks and nose are lightly rouged; Singing Elsa's rouge is heavier. Singing Elsa has a stronger chin than Classic Elsa. Overall, I like Classic Elsa's face better. It is more open, younger looking, and prettier. Classic Elsa looks like a curious elf; Singing Elsa like a confident diva.

Classic Elsa's skin is the same very, very pale pink as the singing doll. But there is a slight touch of purple in the face of Classic Elsa that is not apparent in the Singing Elsa. Classic Elsa's body is the same construction as the 2012 Classic Princess dolls, with fully articulated arms and legs. Singing Elsa has the same body construction as all previous 16-17'' singing dolls, with no wrist or ankle joints.

Classic Elsa has long light blonde braided hair. The hair over her forehead has been patterned into dramatic long flat curls streaming over her head, like a windswept crown of hair. Singing Elsa has the same color hair, and a very similar hairstyle. But her crown of hair is much closer to her head, looking more like a cap than a crown, so is much less dramatic.

Both of their outfits consist of a blue green dress with a glittering bodice, organza sleeves, and a glittering organza cape. But Classic Elsa's cape is much more movie accurate, with a blue snowflake and icicle glitter pattern that is applied in such a way that it doesn't shed. Singing Elsa's cape is covered uniformly with blue glitter that does shed, but not as profusely as in some other Disney Princess glittery gowns. Also Classic Elsa's cape is stiffer, and holds its shape better; it can also be held in her hands to hold open the cape. They are both wearing the same blue flats.

Overall, I like the look of the Classic Elsa doll better than the Singing Elsa. Her face is sweeter, her hair is more unique and dramatic, and her outfit is more detailed and movie accurate. On the other hand, Singing Elsa has the unique glowing arms, sings a beautiful song, and has a more movie accurate face. So I'm glad to have both dolls, and I'm actually happy that they have so many differences. It would be boring if the singing doll was an exact copy of the Classic doll in a larger size.

D23 Elsa 11'' Doll Review

Elsa, the Snow Queen, has been completely deboxed from the Frozen doll set, and is posing standing up, supported by a Kaiser doll stand (not included).

She has the legs that were introduced with the 2012 Disney Store Classic Princess 12'' dolls. They are hard plastic legs with ball jointed hips, external hinged knee joints, and ball jointed ankles. She is about 11 1/4'' high, about 1/4'' shorter than her sister Anna, since Elsa wears flats and Anna wears boots with heels. But to the top of their hairdos, they are both about 11 3/4'' tall.

Elsa has two layered gown. The lower layer consists of a blue green satin skirt with a slit in the front, and a dark blue green bodice that is covered in gold glitter. It has long pale sheer blue organza sleeves. Sewn to the bodice is a floor length robe that drapes around the front in an overlapping fashion. It is made of clear organza that is overlain with a blue green pattern of glitter depicting large snow flakes and icicles. All the glitter makes the robe rather stiff. She has blue green flat shoes that match her skirt.

Elsa has a small angular face, and a very pale complexion. Her skin is almost white in color, with a touch of pinkish purple in her face. Her hair is a very light blonde, and gelled into a dramatic series of large curls in swept back from her forehead, except for a single curl over her left forehead. Most of her hair is braided into a long ponytail that reaches her hips. She has large blue eyes glancing to her left. She has very densely packed black eyelashes, pinkish purple eyeshadow, and thin straight gray eyebrows. She has a small pointy nose, and a small mouth with very thin blood red lips in a closed mouth smile. Her cheeks are lightly rouged. Her face has an elfin appearance, although her ears are round, rather than narrow and pointed.

The D23 Elsa 11'' doll is an elegant, exotic, very beautiful and faithful rendering of the animated character from Frozen. She is identical to the currently available Classic Elsa doll, listed at 12'' H.

D23 Elsa 11'' Doll Purchase Information

Elsa and Anna 11'' Doll Set - Frozen

US Disney Store

$39.95 US

D23 Expo Exclusive

Released and purchased on Sunday, August 11, 2013

First Look

Elsa Classic Doll - Frozen - 12''

US Disney Store

Released September 16, 2013

$16.95

Item No. 6070040900918P

Elsa Singing 16'' Doll Review

The Elsa Singing Doll is a 16'' doll, with the same body as the other 16 - 17 inch singing and talking dolls by the Disney Store, except for her glowing forearms, and different sound mechanism. Her body has a ball jointed neck, shoulders and hips, and hinge jointed elbows and knees. Even though she wears flats, she has feet at a fixed angle, as if she was wearing high heeled shoes. Her head and body has a very, very pale pink skin tone, that is almost white.

Elsa's sound is motion activated instead of by touching a button on her hand. Also, when she sings, her forearms glow, which flickers slightly . The exact nature of the motion activation is a bit confusing to me. She starts sing when I pass my hand close to her chest, or when I move her up or down, but neither method is activates the sound consistently. Also, I can't make her sing in the dark. I've found that the most effective means of making her sing is to start with your fingers at her chest, and then quickly move them away. It works almost every time in a well lit area. The motion detector is hidden inside of her body. The sound box's opening is a heart shaped figure with holes in her upper back, as with the other 16-17'' singing dolls. There is a battery compartment containing 3 AG13 batteries. There is an On/Off switch on her left side (on the right when she is facing you).

Update: I've discovered what the exact method is for activating Elsa's sound. It's detecting a dimming of light right above her chest. But the change has to be above a certain threshold, so it doesn't work in a dark or dimly lit area. In a brightly lit area, passing any object over her chest will make her sing. Also passing a flashlight (or other bright light) over on her chest will work, as well as turning it off. So a flashlight can be used as a remote control device. Really cool! I haven't disrobed Elsa yet, but when I do, I'll see if I can see any hint of the mechanism on her chest.

She sings the song ''Let It Go'' in the powerful and emotional voice of the American Broadway and TV star Idina Menzel. The song is in one segment 30 seconds long. The lyrics are:

It's time to see what I can do

To test the limits and break through

No right no wrong, no rules for me

I'm free

You'll never see me cry

She has long braided light blonde hair, with stiff flat curls draped over her head, a solitary curl over her left forehead, and a mild widow's peak. She has an angular face, with pronounced cheekbones, small flat nose, thin blood red lips in a slight smirk, dark brown freckles across her cheeks and nose, and her cheeks are lightly rouged. She has wide narrow deep blue eyes glancing to her right, many small thin eyelashes above and below her eyes, purple eye shadow, and thin brown eyebrows. Her face and hair are very accurate depictions of the movie character.

Her outfit consists of a blue green satin dress with a glittering bodice, and a slit in the skirt, light blue sheer organza sleeves, and a glittering light blue sheer organza cape that is sewn to the top of the bodice. The dress almost reaches the floor, and the cape is longer than floor length, and can wrap around to completely cover the skirt.

There is apparently some sort of lubricant in her knee joints that can escape to stain her skirt. I was warned about it by my Flickr friend fallconary615, but it has stained my dolls skirt already, over her left knee.

She is a beautiful and wonderful doll, with a new and effective sound mechanism, a great sounding song. Her face and hair are very movie accurate, but her outfit is less so. She is $10 more than the usual price for a 16-17'' singing doll, but I think the new sound activation mechanism and her glowing arms are worth it. She is a good substitute for the upcoming LE Elsa doll, for those who can't afford, or can't get that doll.

Elsa Singing 16'' Doll Purchase Information

I just got the Elsa Singing Doll at my local Disney Store! She is 16'' tall, and her price is $39.95 US. She sings and her forearms glow, and is motion activated. As soon as I pulled a plastic strip in the back of the box, she started singing, in the powerful and emotional voice of Idina Menzel, and her arms glowed with an icy blue color. The song is in one segment 30 seconds long, and is motion activated. I will show her boxed, during the deboxing, and fully deboxed.

The Elsa Singing Doll has already been released in some US Disney Stores, but is not yet available online in the US Disney Store website. In the UK, she was released in some stores two weeks ago, and online last week (Oct 18). Below is the UK product information.

Elsa From Frozen Singing Doll

UK Disney Store

Release - 2013-10-18

£25.00

Item No. 411047408603P

Bring home the magic, and music, from Frozen with this Elsa singing doll. It's beautifully detailed with an ornate dress and plaited hair, and she also lights up and sings 'Let It Go' from the film.

Magic in the details...

•Singing character doll

•Elsa from Frozen

•Satin dress with sparkly mesh sleeves and overlayer

•Realistic blonde hair in a plait

•She sings and lights up

•Motion activated

•Sings 'Let It Go' from Frozen

•H41 x W15cm approx

•Requires 3x AG13 batteries, included

•Suitable for children aged 3 years+

•Created for Disney Store

The GLAAD Media Awards at the Waldorf Astoria Hotel in New York City

The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.

GLAAD, the world's lesbian, gay, bisexual, and transgender (LGBT) media advocacy organization, honored Robert De Niro, Mariah Carey, and the best in film, television, and journalism at the 27th Annual GLAAD Media Awards at the Waldorf Astoria New York on Saturday May 14th 2016. Jennifer Lawrence, Aziz Ansari, Connie Britton, Diane Sawyer, Caitlyn Jenner, Tamron Hall, Noah Galvin, Andrew Rannells, Andreja Pejić, and Jason Biggs were among the special guests. Recording artists Alex Newell and Bebe Rexha, as well as the Tony Award-winning Broadway musical Fun Home performed at the event hosted by Emmy Award-winning actress Laverne Cox. The 27th Annual GLAAD Media Awards were presented by Delta Air Lines, Hilton, Ketel One Vodka, and Wells Fargo.

GLAAD Media Award recipients announced Saturday in New York. Additional awards were presented in Los Angeles at the Beverly Hilton on April 2.

Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)

Ally Award: Mariah Carey (presented by Lee Daniels)

· Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview" 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]

· Outstanding TV Journalism Segment: "Interview with Jim Obergefell" Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]

· Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]

· Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)

· Outstanding Individual Episode: "The Prince of Nucleotides" Royal Pains (USA Network)

· Outstanding Digital Journalism – Multimedia: "Stopping HIV? The Truvada Revolution" Vice Reports (Vice.com)

· Outstanding Newspaper Article: "Cold Case: The Murders of Cosby and Jackson" by Dianna Wray (Houston Press)

· Outstanding Magazine Article: "Behind Brazil's Gay Pride Parades, a Struggle with Homophobic Violence" by Oscar Lopez (Newsweek)

· Outstanding Digital Journalism Article: "This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life" by J. Lester Feder (Buzzfeed.com)

SPANISH-LANGUAGE NOMINEES

· Outstanding Daytime Program Episode: "¿El marido de mi padre o yo?" Caso Cerrado (Telemundo)

· Outstanding TV Journalism – Newsmagazine: TIE: "Amor que rompe barreras" Un Nuevo Día (Telemundo) and "En cuerpo ajeno" Aquí y Ahora (Univision)

· Outstanding TV Journalism Segment: "Víctimas de abusos" Noticiero Univision (Univision)

· Outstanding Digital Journalism – Multimedia: "Campeones de la igualdad" (Univision.com)

GLAAD (formerly the Gay & Lesbian Alliance Against Defamation) is a U.S. non-governmental media monitoring organization founded by LGBT people in the media.

Motto - to promote understanding, increase acceptance, and advance equality.

Founded - 1985

Founder

Vito Russo

Jewelle Gomez

Lauren Hinds

GLAAD 2016 President and CEO Sarah Kate Ellis

GLAAD

104 W 29th St #4,

New York, NY 10001

USA

(212) 629-3322

Waldorf Astoria Hotel

301 Park Ave,

New York, NY 10022

USA

(212) 355-3000

Hashtag metadata tag

#GMA @glaad ‪#‎glaadawards #GLAAD #GLAADMediaAwards #GLAADMedia #GLAADAwards #LGBT #GLBT #LGBTQ #GLBTQ #Lesbian #gay #gays #gaymen #gaywomen #bi #Bisexual #Trans #Transman #TransWoman #Transidentity #Transgender #Gender #GenderFluid #GenderIdentity #Queer #Media #TV #Television #Press #WaldorfAstoria #WaldorfAstoriaHotel #NY #NYC #NYS #NewYork #NewYorkCity #NewYorkState #USA #Equality #Pride #celebrity #fashion #famous #style #RedCarpet #RedCarpetEvent

Photo

New York City, Manhattan Island, New York State, USA The United States of America country, North America continent

May 14th 2016‬

Belshotmuir Depot/Yard.

Two modern representations of Intercity coach services in Scotland. Both of these 1/76 scale (OO Gauge) model coaches are Code 3 repaints. Whilst I cannot take credit for this particular Megabus model, the Citylink Gold Irizar is my own work.

Shown here in offside view are a Caetano Levante in Megabus livery including the mascot “Sid”. The Megabus brand is owned by Stagecoach Group, frequently utilising other operators whose coaches bear the Megabus livery whilst on contracted services.

Behind is a Scania Irizar PB, repainted in maroon and gold and representing the Scottish Citylink “Citylink Gold” luxury express service. Citylink first began operating in March of 1985, having undergone many changes throughout the years, they are now operated under a joint venture between Stagecoach and ComfortDelGro.

The Phrygian cap is a soft conical cap with the top pulled forward, associated in antiquity with several peoples in Eastern Europe and Anatolia, including Phrygia, Dacia and the Balkans. In early modern Europe it came to signify freedom and the pursuit of liberty through a confusion with the pileus, the felt cap of manumitted (emancipated) slaves of ancient Rome. Accordingly, the Phrygian cap is sometimes called a liberty cap; in artistic representations it signifies freedom and the pursuit of liberty.By the 4th century BC (early Hellenistic period) the Phrygian cap was associated with Phrygian Attis, the consort of Cybele, the cult of which had by then become graecified. At around the same time, the cap appears in depictions of the legendary king Midas and other Phrygians in Greek vase-paintings and sculpture.Such images predate the earliest surviving literary references to the cap.By extension, the Phrygian cap came to be applied to several other non-Greek-speaking peoples ("barbarians" in the classical sense) as well. Most notable of these extended senses of "Phrygian" were the Trojans and other western Anatolian peoples, who in Greek perception were synonymous with the Phrygians, and whose heroes Paris, Aeneas, and Ganymede were all regularly depicted with a Phrygian cap. Other Greek earthenware of antiquity also depict Amazons and so-called "Scythian" archers with Phrygian caps. Although these are military depictions, the headgear is distinguished from "Phrygian helmets" by long ear flaps, and the figures are also identified as "barbarians" by their trousers. The headgear also appears in 2nd-century BC Boeotian Tanagra figurines of an effeminate Eros, and in various 1st-century BC statuary of the Commagene, in eastern Anatolia. Greek representations of Thracians also regularly appear with Phrygian caps, most notably Bendis, the Thracian goddess of the moon and the hunt, and Orpheus, a legendary Thracian poet and musician.

While the Phrygian cap was of wool or soft leather, in pre-Hellenistic times the Greeks had already developed a military helmet that had a similarly characteristic flipped-over tip. These so-called "Phrygian helmets" (named in modern times after the cap) were usually of bronze and in prominent use in Thrace, Dacia, Magna Graecia and the rest of the Hellenistic world from the 5th century BC up to Roman times. Due to their superficial similarity, the cap and helmet are often difficult to distinguish in Greek art (especially in black-figure or red-figure earthenware) unless the headgear is identified as a soft flexible cap by long earflaps or a long neck flap. Also confusingly similar are the depictions of the helmets used by cavalry and light infantry (cf. Peltasts of Thrace and Paeonia), whose headgear – aside from the traditional alopekis caps of fox skin – also included stiff leather helmets in imitation of the bronze ones.The Greek concept passed to the Romans in its extended sense, and thus encompassed not only to Phrygians or Trojans (which the Romans also generally associated with the term "Phrygian"), but also the other near-neighbours of the Greeks. On Trajan's Column, which commemorated Trajan's epic wars with the Dacians (101–102 and 105–106 AD), the Phrygian cap adorns the heads of Trajan's Dacian prisoners. Parthians appear with Phrygian caps in the 2nd-century Arch of Septimius Severus, which commemorates Roman victories over the Parthian empire. Likewise with Phrygians caps, but for Gauls, appear in 2nd-century friezes built into the 4th-century Arch of Constantine.The Phrygian cap reappears in figures related to the 1st-4th century Roman Mithraic Mysteries. This astrology-centric mystery cult (cultus) projected itself with pseudo-oriental trappings (known as perserie in scholarship) in order to distinguish itself from both traditional Roman religion and from the other mystery cults. In the artwork of the cult (e.g. in the so-called "tauroctony" cult images), the figures of the god Mithras as well as those of his helpers Cautes and Cautopates are routinely depicted with a Phrygian cap. The function of the Phrygian cap in the cult are unknown, but it is conventionally identified as an accessory of its perserie.

Early Christian art (and continuing well into the Middle Ages) build on the same Greco-Roman perceptions of (Pseudo-)Zoroaster and his "Magi" as experts in the arts of astrology and magic, and routinely depict the "three wise men" (that follow a star) with Phrygian caps.In late Republican Rome, a soft felt cap called the pileus served as a symbol of freemen (i.e. non-slaves), and was symbolically given to slaves upon manumission, thereby granting them not only their personal liberty, but also libertas— freedom as citizens, with the right to vote (if male). Following the assassination of Julius Caesar in 44 BC, Brutus and his co-conspirators instrumentalized this symbolism of the pileus to signify the end of Caesar's dictatorship and a return to the (Roman) republican system.[2][not in citation given]. These Roman associations of the pileus with liberty and republicanism were carried forward to the 18th-century, when the pileus was confused with the Phrygian cap, with the Phrygian cap then becoming a symbol of those values.

France's bonnet rouge.French revolutionaries wearing bonnets rouges and tricolor cockades.In revolutionary France.In 1675, the anti-tax and anti-nobility Stamp-Paper revolt erupted in Brittany and north-western France, where it became known as the bonnets rouges uprising after the blue or red caps worn by the insurgents. Although the insurgents are not known to have preferred any particular style of cap, the name and color stuck as a symbol of revolt against the nobility and establishment. Robespierre would later object to the color, but was ignored.

The use of a Phrygian-style cap as a symbol of revolutionary France is first documented in May 1790, at a festival in Troyes adorning a statue representing the nation, and at Lyon, on a lance carried by the goddess Libertas.[4] To this day the national allegory of France, Marianne, is shown wearing a red Phrygian cap.By wearing the bonnet rouge and sans-culottes ("without silk breeches"), the Parisian working class made their revolutionary ardour and plebeian solidarity immediately recognizable. By mid-1791, these mocking fashion statements included the bonnet rouge as Parisian hairstyle, proclaimed by the Marquis de Villette (12 July 1791) as "the civic crown of the free man and French regeneration." On 15 July 1792, seeking to suppress the frivolity, François Christophe Kellermann, 1st Duc de Valmy, published an essay in which the Duke sought to establish the bonnet rouge as a sacred symbol that could only be worn by those with merit. The symbolic hairstyle became a rallying point and a way to mock the elaborate wigs of the aristocrats and the red caps of the bishops. On 6 November 1793, the Paris city council declared it the official hairstyle of all its members.The bonnet rouge on a spear was proposed as a component of the national seal on 22 September 1792 during the third session of the National Convention. Following a suggestion by Gaan Coulon, the Convention decreed that convicts would not be permitted to wear the red cap, as it was consecrated as the badge of citizenship and freedom. In 1792, when Louis XVI was induced to sign a constitution, popular prints of the king were doctored to show him wearing the bonnet rouge.[6] The bust of Voltaire was crowned with the red bonnet of liberty after a performance of his Brutus at the Comédie-Française in March 1792.During the period of the Reign of Terror (September 1793–July 1794), the cap was adopted defensively even by those who might be denounced as moderates or aristocrats and were especially keen to advertise their adherence to the new regime. The caps were often knitted by women known as Tricoteuse, who sat beside the guillotine during public executions in Paris and supposedly continued knitting in between executions.[2][not in citation given] The spire of Strasbourg Cathedral was crowned with a bonnet rouge in order to prevent it from being torn down in 1794.In 1814, the Acte de déchéance de l'Empereur decision formally deposed the Bonapartes and restored the Bourbon regime, who in turn proscribed the bonnet rouge, La Marseillaise and Bastille Day celebrations. The symbols reappeared briefly in March–July 1815 during "Napoleon's Hundred Days", but were immediately suppressed again following the second restoration of Louis XVIII on 8 July 1815.The symbols resurfaced again during the July Revolution of 1830, after which they were re-instated by the liberal July Monarchy of Louis Philippe I, and the revolutionary symbols—anthem, holiday, and bonnet rouge—became "constituent parts of a national heritage consecrated by the state and embraced by the public."Mariannes with bonnets rouges demonstrate against same-sex marriage in Paris on 13 January 2013, organised by the group "Manif pour tous”In modern France?The republican associations with the bonnet rouge were adopted as the name and emblem of a French satirical republican and anarchist periodical published between 1913 and 1922 by Miguel Almereyda that targeted the Action française, a royalist, counter-revolutionary movement on the extreme right.

The anti-tax associations with the bonnet rouge were revived in October 2013, when a French tax-protest movement called the bonnets rouges used the red revolution-era Phrygian cap as a protest symbol. By means of large demonstrations and direct action, which included the destruction of many highway tax portals, the movement successfully forced the French government to rescind the tax.

In the United States: A Phrygian cap on the Seal of the U.S. Senate.In the years just prior to the American Revolutionary War of independence from Great Britain, the symbol of republicanism and anti-monarchial sentiment reappeared in the United States as headgear of Columbia,[8] who in turn was visualized as a goddess-like female national personification of the United States and of Liberty herself. The cap reappears in association with Columbia in the early years of the republic, for example on the obverse of the 1785 Immune Columbia pattern coin, which shows the goddess with a helmet seated on a globe holding in a right hand a furled American flag topped by the liberty cap.Starting in 1793, U.S. coinage frequently showed Columbia/Liberty wearing the cap. The anti-federalist movement likewise instrumentalized the figure, as in a cartoon from 1796 in which Columbia is overwhelmed by a huge American eagle holding a Liberty Pole under its wings.[8] The cap's last appearance on circulating coinage was the Walking Liberty Half Dollar, which was minted through 1947 (and reused on the current bullion American Silver Eagle).The U.S. Army has, since 1778, utilized a "War Office Seal" in which the motto "This We'll Defend" is displayed directly over a Phrygian cap on an upturned sword. It also appears on the state flags of West Virginia (as part of its official seal), New Jersey, and New York, as well as the official seal of the United States Senate, the state of Iowa, the state of North Carolina (as well as the arms of its Senate,[9]) and on the reverse side of the Seal of Virginia.In 1854, when sculptor Thomas Crawford was preparing models for sculpture for the United States Capitol, Secretary of War Jefferson Davis (later to be the President of the Confederate States of America) insisted that a Phrygian cap not be included on a Statue of Freedom, on the grounds that "American liberty is original and not the liberty of the freed slave". The cap was not included in the final bronze version that is now in the building.

In Latin America: The coat of arms of Haiti includes a Phrygian cap on top of a palm tree, commemorating that country's foundation in a slave revolt.Many of the anti-colonial revolutions in Latin America were heavily inspired by the imagery and slogans of the American and French Revolutions. As a result, the cap has appeared on the coats of arms of many Latin American nations. The coat of arms of Haiti includes a Phrygian cap to commemorate that country's foundation by rebellious slaves.The cap had also been displayed on certain Mexican coins (most notably the old 8-reales coin) through the late 19th century into the mid-20th century. Today, it is featured on the coats of arms or national flags of Argentina, Bolivia, Colombia, Cuba, El Salvador, Haiti, Nicaragua and Paraguay.

en.wikipedia.org/wiki/Phrygian_cap

The revolutionaries are wearing a Phrygian cap. In this article we will be interested in the origin of this bonnet. The cap was worn for the first time in France at the Procope, a coffee shop where revolutionaries used to gather. It resembles the cap worn by freed slaves in the Roman Empire; slaves whose masters had endowed them with freedom and whose descendants became fully-fledged Roman citizens. The Phrygian cap was thus a symbol of freedom as early as Antiquity already. The oldest traces of this bonnet date back to Mithra, the Iranian divinity of the Sun, of friendship, oath, and contracts. Mithraism was the most widespread religion in Europe before Christianity. The statues of Mithra, which have survived to present day, represent Mithra wearing a Phrygian cap and a floating cape; he is kneeling on the primordial bull, holding a dagger in the right hand and drawing the bull's head towards the back with the left.

aramis.obspm.fr/~heydari/divers/marianne-eng.html

After preparing several digital representations of actual buses, it is refreshing to return to the fictional world for this last image in this current run of Scottish buses. Graham's of Paisley tweaked its livery and introduced a new logo at or about the time of deregulation; and updated its fleet at the same time., most notably with Plaxton Derwent 2 single-deckers. The Derwent's contemporary at the time was the Duple 300, favoured by Hutchinson's of Overton on Volvo B10M chassis. This fictional image depicts a former Hutchinson's bus in GBS livery; in reality, this bus passed to A1 Service and later to the Stagecoach Group (14-Jan-18).

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Photo.

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In: FOUR - A Rediscovery of the 'Tetragonus mundus'

Marten KUILMAN (1996/2011). Falcon Press, Heemstede.

ISBN 978-90-814420-1-5

4.9. The quadriga

The representations of a quadriga on Corinthian, Chalkidic and Attic vases marked the beginning of a stock motif. A variety in style was clear from the early days of the evolution in the Corinthian vases (600 - 500 BC). Quadrigae without a guide, one guide or a guide in association with the rider can be noted. The portrayals on Chalkidic vases showed a typical curvature of the breast of the horses. Often there was only one driver, with his head in an oblique position. The vases were presumably made in a relatively short period of time between 550 and 510 BC.

Representations of quadrigae were made on reliefs of bronze and clay and as on adornments and coins. The elaboration of forms was closely related to the painting on vases. Many coins minted in Chalkis - from the end of the six and the early fifth century BC - featured a quadriga. Chalkis and, a century later, Syracuse were colonial cities with a predilection for the quadriga.

The city of Syracuse, on the isle of Sicily, had a close alliance with the motif. The stamp cutters Euainetos, Eukleidas, Kimon and others shaped, around 400 BC, many medallions and coins with depictions of a quadriga. Around one and a half million dekadrachm were minted, of which some four hundred are still known to exist. LUNSINGH SCHEURLEER (1992) reported twenty-four varieties of the quadriga and at least forty-four stamps were used for the imprinting of 'La Bella' (the nimph Arethusa) on the backside of the coin. The water nymph Arethusa, often associated with dolphins, was a symbol of the city of Syracuse. The city, which was founded by the seafarers and merchants from Corinthe in 733 BC, kept a strong Greek character over the years.

This exceptional issue of money was probably connected with the autocratic government of Dionysios (405 - 367 BC), who needed much money to pay his soldiers. The mercenaries were recruited from Celtic tribes. They were called 'Gaesatae', a name derived from their spear (gaesa). It is obvious that the symbolism of the quadriga and the goddess Victory appealed to these hired soldiers with their cultural background rooted in central Europe. These people were part of the large migration movement, which started in the fifth century in the northern part of Europe (NASH, 1987; CUNLIFFE (1997), p. 68). Rome was plundered in 390 BC by the Celts and the oracle of Delphi was desecrated some hundred years later (279 BC) by Celtic war parties headed by Brennus.

HAFNER (1938), in his quest to find the roots of the motif, dated a cutted stone with a frontal quadriga from the 'transitory period between the mycenian and archaic-greek style period' (Furtwängler) and reckoned this specimen to be the oldest representation of the motif. He concluded that the scheme must have been known in the geometric art. The actual change from an agrarian/utility vehicle to a heroic/symbolic use of the quadriga was difficult to establish and both forms probably existed simultaneous in time.

Many Attic vases featured a quadriga in frontal view. A point of distinction was the person besides the quadriga, giving an explanation and commentary in captions. Furthermore, the breast of the horses was different from the Chalcidic and Corinthian representations. The oldest group was dated between 580 and 540 BC and had Corinthian influences. The younger group (of 540 - 130 BC) did not show further development of the breast musculature of the horses.

Bibl.:

CUNLIFFE, Barry (1997). The Ancient Celts. Oxford University Press, Oxford. ISBN 0-19-815010-5

HAFNER, German (1938). Viergespanne in Vorderansicht: die repräsentative Darstellung der Quadriga in der griechischen und der späteren Kunst. Neue Deutsche Forschungen Ab. Archäologie, Band 2, Junker und Dünnhaupt Verlag, Berlin.

LUNSINGH SCHEURLEER, Robert A. (1992). Euainetos in Amsterdam. Vereniging van Vrienden Allard Pierson Museum, Amsterdam. Mede-delingenblad nr. 53, april 1992. ISSN 09-159 X

NASH, Daphne (1987). Coinage in the Celtic World. B.A. Seaby Ltd., London. ISBN 0 900652 85 3

Model: Lilah

Set designer: Daisy Lang

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On the long sides representations of characters and symbols of religious nature. On this face an imaginary hybrid creature, similar to a sphinx, and a male figure are standing on either side of a sacred pillar supporting a cushion capital. In Minoan Crete, these pillars were stone columns having a sacred and religious meaning.

The column is the focal point of the scene, where the male figure approaching from the right and wearing an elaborate bordered robe is met by a large sphinx coming from the left. The standing figure without weapons and wearing a long robe could be regarded as a priest, rather than a priestess, engaged in some funeral ritual of blessing the house of the deceased. The sphinx is wingless, and equipped with human arms (as well as four legs!); both figures touch the column, and both wear the flat cap characteristic of sphinxes; the sphinx’s one has the usual floating plume. Two animals (bulls and/or horses) are floating over and under the sphinx body.

The association of the sphinx with death in the iconography of the larnakes is not limited to this example, which is, however, the most compelling in its suggestion of the sphinx as guardian of the house and tomb, a role it was destined to play also in Archaic Greece.

The Pillar cult, and its dual version in association with the “Sacred Tree” cult, was so widespread that it may be said to mark a definite early stage of religious evolution. These primitive cults of trees and pillars, or rude stones, could be regarded as an identical form of worship. The group is indeed inseparable, and a special feature of the Mycenaean cult scenes which we have to deal is the constant combination of the sacred tree with pillar or dolmen. The same religious idea - the possession of the material object by the “numen” of the divinity - is common to both. No doubt, as compared with the pillar-form, the living tree was in some way a more realistic impersonation of the godhead, as a depositary of the divine life manifested by its fruits and foliage. In the whispering of its leaves and the melancholy soughing of the breeze it was possible to hear, as in Dodona, the actual voice of the divinity.

Monsters are often associated with these pillars as guardians. The griffins, sphinxes and lions that we see before the sacred pillars were, probably, all taken from the Egypt.

Source: Immerwahr S., “Death and the Tanagra Larnakes” in “The Ages of Homer: A Tribute to Emily Townsend Vermeule”

Clay Larnax

Height 51.0 cm, width 69.0 cm

14th - 13th century BC

From Tanagra, Boeotia

Thebes, Archaeological Museum

In various Mithraic temples there have been found representations of a monstrous figure (according to Hieronymus a monstruosum portentum), generally with a lion's head and a human body entwined by a snake. On none of these, however, is there an inscription to tell us precisely which deity is portrayed. Several attempts have been made, particularly in more recent years, to equate this figure with Ahriman, the god of evil, a suggestion made by Prof. R. Zaehner of Oxford and accepted, with reservation, by the Belgian scholar of Persian, Duchesne-Guillemin. There are, it is true, some dedicatory inscriptions to Ahriman, but they are carved on altars and only three of them are recorded, one each in Rome, England and Austria. They were obviously intended to placate the god of evil and to implore him to avert his magic force, and they must have been inscribed by sorely troubled followers of Mithras who preferred to invoke Ahriman himself rather than place complete trust in their own god who, ultimately and inevitably, was to conquer evil. To us it would seem odd to find an altar dedicated to the devil in a Christian church, but to the ancient way of thinking this was not unusual and even sacrifices of wild boars were made to pacify the malicious Ahriman.

The lion-headed figure is the Time-god called Aion by the Greeks and Zervan in Persian literature. As far as the Persian texts are concerned, three different aspects of the Time-god must be distinguished. According to the orthodox teaching of Zarathushtra, Zervan is a creature of Ahura-Mazda, the God of Good. According to a second theory, however, there were originally two archetypes, that of Good and that of Evil. A separate Sassanid sect regarded Zervan Akarana, Infinite Time, as the cause and the source of all things. Ahura-Mazda and Ahriman both sprang from Zervan and were subject to him, and the followers of this cult called themselves Zervanists. It seems plausible that the same Zervan, after having undergone all kinds of foreign influences, was admitted into the Mithraic pantheon and that the figure with the lion's head is none other than Zervan who, by means of a put on Chronos (Time), was identified in the Greek texts with Kronos and, in the Roman world, with Saturn. This god is mostly portrayed in a stiff hieratic pose, with legs close together. Sometimes he is shown nude, though often his sex is disguised by a loin-cloth or by an enveloping snake, as if it were intended either to leave the deity's sex vague or to convey that both sexes were united in him, and that he was capable of self procreation. In between the coils of the snake, which often winds itself, significantly, seven times round the god, are sometimes seen the signs of the zodiac. The horrifying figure usually has a lion's head with flowing mane and wide-open mouth showing threatening protruding teeth. For even greater effect the mouth is sometimes painted red and the gullet is hollowed out. A statue from Saida in Africa has an opening made in its head, and it is highly likely that this was intended to take a burning torch. The statue would thus appear to breathe fire and so inspire even more respect for the god than his dread visage alone could evoke. In one example he is holding two torches, while a long-pointed flame shoots out of his mouth and fuses with the flames of the burning altar beside him. An unknown author records in an essay on Saturn that he 'is sometimes represented with the appearance of a snake because of excessive cold, and at other times with a wide open lion's mouth on account of scorching heat'. Sometimes this strange creature is carrying a key in both hands, a pointer to a connection with Janus, the ruler of the ianus, the gateway to the underworld of which he possessed the keys. Finally, parallels have been drawn between Saturn and Sarapis, the Egyptian deity of the realm of the dead, and he is in some way related to certain Syrian figures who are found entwined by snakes.

Tripod leg, cast, with representations in six relief panels:

1.A male figure holding a horse by the bridle.

2.A lion and on top of it a scorpion.

3.Odysseus escapes from the Cyclops’ cave hiding under the ram’s belly. On top of the ram, a bird.

4.A goat and a bird.

5. Two opposed birds are fighting.

6. The Gorgon with her child, Pegasus. Beside her head a lizard, an underworld being symbolizing the Gorgon’s death.

Tripod leg

Ca. 600 BC.

Corinthian workshop

Olympia, Archaeological Museum

Villahermosa, Parque-Museo La Venta, Colossal Head, Monument 1

The Olmec colossal heads are at least seventeen monumental stone representations of human heads sculpted from large basalt boulders. The heads are a distinctive feature of the Olmec civilization of ancient Mesoamerica. All portray mature men with fleshy cheeks, flat noses, and slightly crossed eyes; their physical characteristics correspond to a type that is still common among the inhabitants of Tabasco and Veracruz. The backs of the monuments often are flat. The boulders were brought from the Sierra de los Tuxtlas mountains of Veracruz. Given that the extremely large slabs of stone used in their production were transported over large distances, requiring a great deal of human effort and resources, it is thought that the monuments represent portraits of powerful individual Olmec rulers. Each of the known examples has a distinctive headdress. The heads were variously arranged in lines or groups at major Olmec centres, but the method and logistics used to transport the stone to these sites remain unclear.

Dating the monuments remains difficult because of the movement of many from their original contexts prior to archaeological investigation. Most have been dated to the Early Preclassic period (1500–1000 BC) with some to the Middle Preclassic (1000–400 BC) period. The smallest weigh 6 tons, while the largest is variously estimated to weigh 40 to 50 tons, although it was abandoned and left unfinished close to the source of its stone.

The Olmec civilization developed in the lowlands of southeastern Mexico between 1500 and 400 BC. The Olmec heartland lies on the Gulf Coast of Mexico within the states of Veracruz and Tabasco, an area measuring approximately 275 kilometres east to west and extending about 100 kilometres inland from the coast. The Olmecs are regarded as the first civilization to develop in Mesoamerica.

The Olmecs were the first inhabitants of the Americas to construct monumental architecture and to settle in towns and cities. They were also the first people in the Americas to develop a sophisticated style of stone sculpture. In the first decade of the 21st century evidence emerged of Olmec writing, with the earliest examples of Olmec hieroglyphs dating to around 650 BC. Examples of script have been found on roller stamps and stone artefacts; the texts are short and have been partially deciphered based on their similarity to other Mesoamerican scripts. The evidence of complex society developing in the Olmec heartland has led to the Olmecs being regarded as the "Mother Culture" of Mesoamerica, although this concept remains controversial.

The seventeen confirmed examples of Olmec colossal heads are known from four sites within the Olmec heartland on the Gulf Coast of Mexico, namely San Lorenzo Tenochtitlán, La Venta, Tres Zapotes, and La Cobata.

La Venta Monument 1 is speculated to have been the portrait of La Venta's final ruler. Monument 1 measures 2.41 metres high by 2.08 metres wide by 1.95 metres deep; it weighs 24 tons. The front of the headdress is decorated with three motifs that apparently represent the claws or fangs of an animal. Above these symbols is an angular U-shaped decoration descending from the scalp. On each side of the monument a strap descends from the headdress, passing in front of the ear. Each ear has a prominent ear ornament that descends from the earlobe to the base of the monument. The features are those of a mature man, with wrinkles around the mouth, eyes and nose. Monument 1 is the best preserved head at La Venta but has suffered from erosion, particularly at the back. The head was first described by Franz Blom and Oliver La Farge who investigated the La Venta remains on behalf of Tulane University in 1925. When discovered it was half-buried; its massive size meant that the discoverers were unable to excavate it completely. Matthew Stirling fully excavated the monument in 1940, after clearing the thick vegetation that had covered it in the intervening years. Monument 1 has been moved to the Parque-Museo La Venta in Villahermosa. The head was found in its original context; associated finds have been radiocarbon dated to between 1000 and 600 BC.

(source: en.wikipedia.org/wiki/Olmec_colossal_heads)

Model: Lilah

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medievalpoc: Jan van Kessel I The Continent of Africa Antwerp (1666) Oil on canvas Alte Pinakothek, Munich Representations of the Four Parts of the World came into vogue in the Netherlands about a century before Kessel’s series. The explorations of the 16th century had helped replace the old tripartite division of Europe, Asia and Africa with the concept of the Four Continents, and at the same time had served to underline Europe’s superiority. Such allegorical images served both State and Church, and were used by the latter during the Counter Reformation to express its worldwide influence. [source] [source]

The Terracotta female figure in the three-legged chair is from Late Helladic IIIB period, dated 13th century B.C. The figurine belongs to Helladic, Mycenaean culture and was hand-made from terracotta. According to the the Metropolitan Museum of Art such representations are often interpreted as thrones with a deity. It was purchased by subscription from the Cesnola Collection in 1874-76. The museum website believes it is from Alambra, Cyprus and can be seen at the museum’s Gallery 151. The image is on the public domain. Accession Number: 74.51.1711

www.metmuseum.org/art/collection/search/241266

The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).

ABOUT GARUDA

In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.

Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.

His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.

In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.

Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.

Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.

Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.

With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.

IN THE MAHABHARATA

BIRTH AND DEEDS

The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.

Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.

One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.

Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.

DESCENDANTS

According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.

AS A SYMBOL

Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.

IN BUDDHISM

In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.

The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.

Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.

There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.

The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.

The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).

The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.

In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.

The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.

The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).

For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.

In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).

As a cultural and national symbol

In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.

INDIA

India primarily uses Garuda as a martial motif:

Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines

Brigade of the Guards of the Indian Army uses Garuda as their symbol

Elite bodyguards of the medieval Hoysala kings were called Garudas

Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses

Garuda rock, a rocky cliff in Tirumala in Andhra pradesh

13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda

INDONESIA

Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.

Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.

Indonesian national airline is Garuda Indonesia.

Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent

Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.

In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.

In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.

Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".

The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.

The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.

THAILAND

Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.

One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."

The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.

MONGOLIA

The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.

The bird also gives its name to Hangard Aviation

Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.

Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.

State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.

SURINAME

In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.

WIKIPEDIA

Representations of a crocodile chained to a palm tree can be seen across Nîmes. The palm tree is an old Roman symbol for victory, while the crocodile represents Egypt. Roman soldiers who had fought in the campaign that defeated Cleopatra and Marc Antony were awarded plots of land around Nimes by Caesar Augustus.

The use of she for I (also for you and he) is common in literary representations of Highland English.

" 'And here she comes,' said Donald, as Captain Dalgetty entered the hall." — Walter Scott, The Legend of Montrose iv (1819).

She is also used instead of it for things to which feminine gender is conventionally attributed: a ship or boat (especially in colloquial and dialect use), often said of a carriage, a cannon or gun, a tool or utensil of any kind, and occasionally of other things.

She refers to abstractions personified as feminine, and also for the soul, a city, a country, an army, the Church, and others.

"Stanley had been ridiculing the habit of personifying the Church as a woman, and speaking of it tenderly as she." — George C. Brodrick, Memory and Impressions (1900) 252

"With all the pompous titles ... bestowed upon France, she is not more than half so powerful as she might be." — The Annual Register III. Miscellaneous Essays (1760) 203

"[He] told the Ambassadour, that the Turkes army was at Malta, and that she had saccaged the towne." — Thomas Washington tr. Nicholay’s Voyages i. xiii. (1585) 14 b

Rarely and archaically, she referred to an immaterial thing without personification. Also of natural objects considered to be feminine, as the moon, or the planets that are named after goddesses; also of a river (now rare), formerly of the sea, a tree, etc. William Caxton in 1483 (The Golden Legende 112 b/2) and Robert Parke in 1588 (tr. Mendoza’s Historie of the great and mightie kingdome of China, 340) used she for the sun, but this may possibly be due to misprint; survival of the Old English grammatical gender can hardly be supposed, but Caxton may have been influenced by the fact that the sun is feminine in Dutch.

She has been used for her, as an object or governed by a preposition, both in literary use (now rare), or vulgarly, as an emphatic oblique (object) case.

"I want no angel, only she." — Olive Schreiner Story African Farm ii. xiii. (1889) 284

" 'I hope—our presence did not inconvenience—the young lady?' 'Bless your heart, sir! nothing ever inconveniences she'." — Miss Dinah Mulock Craik, John Halifax, gentleman x (1856).

She is also used attributively, applied to female animals, as in: she-ass, -ape, -bear, -dog, -dragon, -sheep, -wolf, -lion [really a punning distortion of shilling], -stock, and -stuff [in the U.S. = cattle]. When applied to persons, it is now somewhat contemptuous, as in she-being, -cousin, -dancer, -thief, and others. She-friend meant a female friend, often in bad sense, that is, a mistress; but she-saint, was simply a female saint. Rarely she was also prefixed to masculine nouns in place of the (later frequent) feminine suffix -ess.

"They took her for their Patroness, and consequently for their she God." — Daniel Brevint, Saul and Samuel at Endor, vii. (1674) 161.

It has also been prefixed to nouns with the sense "that is a woman", often in disparaging use but also with intensive force, as she-woman. Now it is somewhat rare:

"Some she-malady, some unhealthy wanton, Fires thee verily." — Robinson Ellis, The poems and fragments of Catullus, vi. (1871)

The Yule goat is a Scandinavian and Northern European Yule and Christmas symbol and tradition. Its origin is from Germanic paganism and has existed in many variants during Scandinavian history. Modern representations of the Yule goat are typically made of straw.[1]

The Yule goat's origins go back to ancient Pagan festivals. This event clearly marks the Sun's annual re-entry into the astrological sign of Capricornus, and a kid goat sacrifice was made in honour of the Norse god Njord or Saturn; the god of agriculture and plenitude who rules this particular sign. The 'cornus' element in Capricorn's name refers to the cornucopia or 'horn of plenty' with its promise of a bountiful harvest to come. While its origins are unclear, a popular theory is that the celebration of the goat is connected to worship of the Norse god Thor, who rode the sky in a chariot drawn by two goats, Tanngrisnir and Tanngnjóstr; it goes back to common Indo-European beliefs. The last sheaf of grain bundled in the harvest was credited with magical properties as the spirit of the harvest and saved for the Yule celebrations, called among other things Yule goat (Julbocken).[2]

This connects to ancient proto-Slavic beliefs where the Koliada (Yule) festival honors the god of the fertile sun and the harvest. This god, Devac (also known as Dazbog or Dažbog), was represented by a white goat,[3] consequently the Koliada festivals always had a person dressed as a goat, often demanding offerings in the form of presents.[4] A man-sized goat figure is known from 11th-century remembrances of Childermas, where it was led by a man dressed as Saint Nicholas, symbolizing his control over the Devil.[2]

Other traditions are possibly related to the sheaf of corn called the Yule goat. In Sweden, people regarded the Yule goat as an invisible spirit that would appear some time before Christmas to make sure that the Yule preparations were done right.[2] Objects made out of straw or roughly-hewn wood could also be called the Yule goat, and in older Scandinavian society a popular Christmas prank was to place this Yule goat in a neighbour's house without them noticing; the family successfully pranked had to get rid of it in the same way.

The function of the Yule goat has differed throughout the ages. In a Scandinavian custom similar to the English tradition of wassailing, held at either Christmas or Epiphany, young men in costumes would walk between houses singing songs, enacting plays and performing pranks. This tradition is known from the 17th century and still continues in certain areas. The group of Christmas characters would often include the Yule goat, a rowdy and sometimes scary creature demanding gifts.[2][5][6]

During the 19th century the Yule goat's role all over Scandinavia shifted towards becoming the Christmas gift-bringer, with one of the men in the family dressing up as the Yule goat.[7] In this, there might be a relation to Santa Claus and the Yule goat's origin in the medieval celebrations of Saint Nicholas.[2] The goat was then replaced by the jultomte (Father Christmas/Santa Claus) or julenisse during the second half of the 19th century and early 20th century, although he is still called the Joulupukki (Yule goat) in Finland, and the tradition of the man-sized goat disappeared.

The Yule goat in Nordic countries today is best known as a Christmas ornament. This modern version of the Yule goat figure is a decorative goat made out of straw and bound with red ribbons, a popular Christmas ornament often found under or on the Christmas tree. Large versions of this ornament are frequently erected in towns and cities around Christmas time; a tradition started with the Gävle goat in the 1960s.

Julebukking is a Christmas tradition of Scandinavian origin.[8] Between Christmas and New Year's Day, people wearing masks and costumes (Julebukkers) go door to door, where neighbors receiving them attempt to identify who is under the disguise. In one version of Julebukking, people go door to door singing Christmas songs. After they have sung, they are usually rewarded with candy. Another tradition requires that at least one person from the visited household join the band of Julebukkers and continue to the next household.[9]

In certain aspects, the custom resembled the modern-day tradition of Halloween trick-or-treating.[10][11] Julebukkers will often disguise their voices and body language to further the masquerade. Offering people holiday treats and something to drink is customary. Once identities are known and the food is eaten, the Julebukkers continue to the next home.[12]

The Christmas goat is mentioned in many older Christmas songs dated back to the late 19th and early 20th century, when the Santa Claus tradition had not been fully established throughout Sweden. Among the songs are Julbocken, Julpolska and Raska fötter springa tripp, tripp, tripp.

en.wikipedia.org/wiki/Yule_goat

The GLAAD Media Awards at the Waldorf Astoria Hotel in New York City

The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.

GLAAD, the world's lesbian, gay, bisexual, and transgender (LGBT) media advocacy organization, honored Robert De Niro, Mariah Carey, and the best in film, television, and journalism at the 27th Annual GLAAD Media Awards at the Waldorf Astoria New York on Saturday May 14th 2016. Jennifer Lawrence, Aziz Ansari, Connie Britton, Diane Sawyer, Caitlyn Jenner, Tamron Hall, Noah Galvin, Andrew Rannells, Andreja Pejić, and Jason Biggs were among the special guests. Recording artists Alex Newell and Bebe Rexha, as well as the Tony Award-winning Broadway musical Fun Home performed at the event hosted by Emmy Award-winning actress Laverne Cox. The 27th Annual GLAAD Media Awards were presented by Delta Air Lines, Hilton, Ketel One Vodka, and Wells Fargo.

GLAAD Media Award recipients announced Saturday in New York. Additional awards were presented in Los Angeles at the Beverly Hilton on April 2.

Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)

Ally Award: Mariah Carey (presented by Lee Daniels)

· Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview" 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]

· Outstanding TV Journalism Segment: "Interview with Jim Obergefell" Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]

· Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]

· Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)

· Outstanding Individual Episode: "The Prince of Nucleotides" Royal Pains (USA Network)

· Outstanding Digital Journalism – Multimedia: "Stopping HIV? The Truvada Revolution" Vice Reports (Vice.com)

· Outstanding Newspaper Article: "Cold Case: The Murders of Cosby and Jackson" by Dianna Wray (Houston Press)

· Outstanding Magazine Article: "Behind Brazil's Gay Pride Parades, a Struggle with Homophobic Violence" by Oscar Lopez (Newsweek)

· Outstanding Digital Journalism Article: "This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life" by J. Lester Feder (Buzzfeed.com)

SPANISH-LANGUAGE NOMINEES

· Outstanding Daytime Program Episode: "¿El marido de mi padre o yo?" Caso Cerrado (Telemundo)

· Outstanding TV Journalism – Newsmagazine: TIE: "Amor que rompe barreras" Un Nuevo Día (Telemundo) and "En cuerpo ajeno" Aquí y Ahora (Univision)

· Outstanding TV Journalism Segment: "Víctimas de abusos" Noticiero Univision (Univision)

· Outstanding Digital Journalism – Multimedia: "Campeones de la igualdad" (Univision.com)

GLAAD (formerly the Gay & Lesbian Alliance Against Defamation) is a U.S. non-governmental media monitoring organization founded by LGBT people in the media.

Motto - to promote understanding, increase acceptance, and advance equality.

Founded - 1985

Founder

Vito Russo

Jewelle Gomez

Lauren Hinds

GLAAD 2016 President and CEO Sarah Kate Ellis

GLAAD

104 W 29th St #4,

New York, NY 10001

USA

(212) 629-3322

Waldorf Astoria Hotel

301 Park Ave,

New York, NY 10022

USA

(212) 355-3000

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May 14th 2016‬

The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).

ABOUT GARUDA

In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.

Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.

His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.

In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.

Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.

Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.

Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.

With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.

IN THE MAHABHARATA

BIRTH AND DEEDS

The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.

Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.

One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.

Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.

DESCENDANTS

According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.

AS A SYMBOL

Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.

IN BUDDHISM

In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.

The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.

Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.

There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.

The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.

The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).

The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.

In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.

The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.

The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).

For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.

In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).

As a cultural and national symbol

In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.

INDIA

India primarily uses Garuda as a martial motif:

Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines

Brigade of the Guards of the Indian Army uses Garuda as their symbol

Elite bodyguards of the medieval Hoysala kings were called Garudas

Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses

Garuda rock, a rocky cliff in Tirumala in Andhra pradesh

13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda

INDONESIA

Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.

Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.

Indonesian national airline is Garuda Indonesia.

Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent

Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.

In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.

In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.

Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".

The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.

The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.

THAILAND

Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.

One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."

The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.

MONGOLIA

The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.

The bird also gives its name to Hangard Aviation

Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.

Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.

State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.

SURINAME

In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.

WIKIPEDIA

The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).

ABOUT GARUDA

In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.

Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.

His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.

Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.

Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.

Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.

With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.

IN THE MAHABHARATA

BIRTH AND DEEDS

The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata. According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.

Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.

DESCENDANTS

According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.

AS A SYMBOL

Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.

IN BUDDHISM

In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.

The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.

Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.

There were also the four garuda-kings : Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.

The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.

The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).

The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.

In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.

The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc.[15] Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).

AS A CULTURAL AND NATIONAL SYMBOL

In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.

INDIA

India primarily uses Garuda as a martial motif:

- Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines

- Brigade of the Guards of the Indian Army uses Garuda as their symbol

- Elite bodyguards of the medieval Hoysala kings were called Garudas

- Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses

- Garuda rock, a rocky cliff in Tirumala in Andhra pradesh

- 13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda

INDONESIA

Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.

- Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection

- Indonesian national airline is Garuda Indonesia.

- Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent

- Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.

- In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.

- In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.

- Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".

- The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.

- The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.

THAILAND

Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.

- One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."

- The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.

MONGOLIA

- The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator.[17] According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.

- The bird also gives its name to Hangard Aviation

- Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.

- Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.

- State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.

SURINAME

In Suriname there is a TV channel called Garuda. Suriname has a lot o people from Indonesia and Java. It is a multicultural country.

WIKIPEDIA

Robert De Niro applause at the GLAAD Media Awards at the Waldorf Astoria Hotel in New York City

The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.

GLAAD, the world's lesbian, gay, bisexual, and transgender (LGBT) media advocacy organization, honored Robert De Niro, Mariah Carey, and the best in film, television, and journalism at the 27th Annual GLAAD Media Awards at the Waldorf Astoria New York on Saturday May 14th 2016. Jennifer Lawrence, Aziz Ansari, Connie Britton, Diane Sawyer, Caitlyn Jenner, Tamron Hall, Noah Galvin, Andrew Rannells, Andreja Pejić, and Jason Biggs were among the special guests. Recording artists Alex Newell and Bebe Rexha, as well as the Tony Award-winning Broadway musical Fun Home performed at the event hosted by Emmy Award-winning actress Laverne Cox. The 27th Annual GLAAD Media Awards were presented by Delta Air Lines, Hilton, Ketel One Vodka, and Wells Fargo.

GLAAD Media Award recipients announced Saturday in New York. Additional awards were presented in Los Angeles at the Beverly Hilton on April 2.

Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)

Ally Award: Mariah Carey (presented by Lee Daniels)

· Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview" 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]

· Outstanding TV Journalism Segment: "Interview with Jim Obergefell" Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]

· Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]

· Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)

· Outstanding Individual Episode: "The Prince of Nucleotides" Royal Pains (USA Network)

· Outstanding Digital Journalism – Multimedia: "Stopping HIV? The Truvada Revolution" Vice Reports (Vice.com)

· Outstanding Newspaper Article: "Cold Case: The Murders of Cosby and Jackson" by Dianna Wray (Houston Press)

· Outstanding Magazine Article: "Behind Brazil's Gay Pride Parades, a Struggle with Homophobic Violence" by Oscar Lopez (Newsweek)

· Outstanding Digital Journalism Article: "This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life" by J. Lester Feder (Buzzfeed.com)

SPANISH-LANGUAGE NOMINEES

· Outstanding Daytime Program Episode: "¿El marido de mi padre o yo?" Caso Cerrado (Telemundo)

· Outstanding TV Journalism – Newsmagazine: TIE: "Amor que rompe barreras" Un Nuevo Día (Telemundo) and "En cuerpo ajeno" Aquí y Ahora (Univision)

· Outstanding TV Journalism Segment: "Víctimas de abusos" Noticiero Univision (Univision)

· Outstanding Digital Journalism – Multimedia: "Campeones de la igualdad" (Univision.com)

GLAAD (formerly the Gay & Lesbian Alliance Against Defamation) is a U.S. non-governmental media monitoring organization founded by LGBT people in the media.

Motto - to promote understanding, increase acceptance, and advance equality.

Founded - 1985

Founder

Vito Russo

Jewelle Gomez

Lauren Hinds

GLAAD 2016 President and CEO Sarah Kate Ellis

GLAAD

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May 14th 2016‬

The caduceus (☤; /kəˈduːsiːəs/ or /kəˈdjuːʃəs/; from Greek κηρύκειον kērúkeion "herald's wand, or staff") is the staff carried by Hermes in Greek mythology and consequently by Hermes Trismegistus in Greco-Egyptian mythology. The same staff was also borne by heralds in general, for example by Iris, the messenger of Hera. It is a short staff entwined by two serpents, sometimes surmounted by wings. In Roman iconography, it was often depicted being carried in the left hand of Mercury, the messenger of the gods, guide of the dead and protector of merchants, shepherds, gamblers, liars, and thieves.

Some accounts suggest that the oldest known imagery of the caduceus have their roots in a Mesopotamian origin with the Sumerian god Ningishzida whose symbol, a staff with two snakes intertwined around it, dates back to 4000 B.C. to 3000 B.C.

As a symbolic object, it represents Hermes (or the Roman Mercury), and by extension trades, occupations, or undertakings associated with the god. In later Antiquity, the caduceus provided the basis for the astrological symbol representing the planet Mercury. Thus, through its use in astrology and alchemy, it has come to denote the elemental metal of the same name. It is said the wand would wake the sleeping and send the awake to sleep. If applied to the dying, their death was gentle; if applied to the dead, they returned to life.

By extension of its association with Mercury and Hermes, the caduceus is also a recognized symbol of commerce and negotiation, two realms in which balanced exchange and reciprocity are recognized as ideals.This association is ancient, and consistent from the Classical period to modern times. The caduceus is also used as a symbol representing printing, again by extension of the attributes of Mercury (in this case associated with writing and eloquence).

The caduceus is often incorrectly used, particularly in North America, as a symbol of healthcare organizations and medical practice, due to confusion with the traditional medical symbol, the rod of Asclepius, which has only one snake and is never depicted with wings.

Hermes hastens bearing his kerukeion, on an Attic lekythos, c. 475 BC, attributed to the Tithonos Painter

Iris with the caduceus in detail from an Attic red-figure pelike, middle of fifth century BC (Agrigento, Sicily)

It is thought that this symbol's long lasting association with the medical profession stems from early use of twigs to draw out long bodied inter muscular parasitic worms by wrapping them slowly around the twig as to not break them or allow them to escape back into the body, a successful treatment still in use today, see Dracunculiasis.

The term kerukeion denoted any herald's staff, not necessarily associated with Hermes in particular.

In his study of the cult of Hermes, Lewis Richard Farnell (1909) assumed that the two snakes had simply developed out of ornaments of the shepherd's crook used by heralds as their staff. This view has been rejected by later authors pointing to parallel iconography in the Ancient Near East. It has been argued that the staff or wand entwined by two snakes was itself representing a god in the pre-anthropomorphic era. Like the herm or priapus, it would thus be a predecessor of the anthropomorphic Hermes of the classical era.

Ancient Near East

Caduceus symbol on a punch-marked coin of king Ashoka in India, third to second century BC

William Hayes Ward (1910) discovered that symbols similar to the classical caduceus sometimes appeared on Mesopotamian cylinder seals. He suggested the symbol originated some time between 3000 and 4000 BC, and that it might have been the source of the Greek caduceus.A.L. Frothingham incorporated Dr. Ward's research into his own work, published in 1916, in which he suggested that the prototype of Hermes was an "Oriental deity of Babylonian extraction" represented in his earliest form as a snake god. From this perspective, the caduceus was originally representative of Hermes himself, in his early form as the Underworld god Ningishzida, "messenger" of the "Earth Mother". The caduceus is mentioned in passing by Walter Burkert as "really the image of copulating snakes taken over from Ancient Near Eastern tradition".

In Egyptian iconography, the Djed pillar is depicted as containing a snake in a frieze of the Dendera Temple complex.

India

The caduceus also appears as a symbol of the punch-marked coins of the Maurya Empire in India, in the third or second century BC. Numismatic research suggest that this symbol was the symbol of the Buddhist king Ashoka, his personal "Mudra". This symbol was not used on the pre-Mauryan punch-marked coins, but only on coins of the Maurya period, together with the three arched-hill symbol, the "peacock on the hill", the triskelis and the Taxila mark.

Classical antiquity

Mythology

Punishment of Ixion: in the center is Mercury holding the caduceus and on the right Juno sits on her throne. Behind her Iris stands and gestures. On the left is Vulcan (blond figure) standing behind the wheel, manning it, with Ixion already tied to it. Nephele sits at Mercury's feet; a Roman fresco from the eastern wall of the triclinium in the House of the Vettii, Pompeii, Fourth Style (60-79 AD).

The Homeric hymn to Hermes relates how Hermes offered his lyre fashioned from a tortoise shell as compensation for the cattle he stole from his half brother Apollo. Apollo in return gave Hermes the caduceus as a gesture of friendship. The association with the serpent thus connects Hermes to Apollo, as later the serpent was associated with Asclepius, the "son of Apollo".

The association of Apollo with the serpent is a continuation of the older Indo-European dragon-slayer motif. Wilhelm Heinrich Roscher (1913) pointed out that the serpent as an attribute of both Hermes and Asclepius is a variant of the "pre-historic semi-chthonic serpent hero known at Delphi as Python", who in classical mythology is slain by Apollo.

One Greek myth of origin of the caduceus is part of the story of Tiresias, who found two snakes copulating and killed the female with his staff. Tiresias was immediately turned into a woman, and so remained until he was able to repeat the act with the male snake seven years later. This staff later came into the possession of the god Hermes, along with its transformative powers.

Another myth suggests that Hermes (or Mercury) saw two serpents entwined in mortal combat. Separating them with his wand he brought about peace between them, and as a result the wand with two serpents came to be seen as a sign of peace.

In Rome, Livy refers to the caduceator who negotiated peace arrangements under the diplomatic protection of the caduceus he carried.

Iconography

In some vase paintings ancient depictions of the Greek kerukeion are somewhat different from the commonly seen modern representation. These representations feature the two snakes atop the staff (or rod), crossed to create a circle with the heads of the snakes resembling horns. This old graphic form, with an additional crossbar to the staff, seems to have provided the basis for the graphical sign of Mercury (☿) used in Greek astrology from Late Antiquity.

Modern used

Caduceus on the coat of arms of Jyväskylä, Finland

The Caduceus as an astrological symbol

Caduceus is encoded in Unicode at code point U+2624: ☤.

Symbol of commerce

A simplified variant of the caduceus is to be found in dictionaries, indicating a “commercial term” entirely in keeping with the association of Hermes with commerce. In this form the staff is often depicted with two winglets attached and the snakes are omitted (or reduced to a small ring in the middle). The Customs Service of the former German Democratic Republic employed the caduceus, bringing its implied associations with thresholds, translators, and commerce, in the service medals they issued their staff. The caduceus is also the symbol of the Customs Agency of Bulgaria.

Confusion with Rod of Asclepius

Main article: Caduceus as a symbol of medicine

The US Army Medical Corps Branch Plaque. The adoption, in 1902, of the caduceus for US Army medical officer uniforms popularized the use of the symbol throughout the medical field in the United States.

Rod of Asclepius

It is relatively common, especially in the United States, to find the caduceus, with its two snakes and wings, used as a symbol of medicine instead of the Rod of Asclepius, with only a single snake. This usage was popularised largely as a result of the adoption of the caduceus as its insignia by the U.S. Army Medical Corps in 1902 at the insistence of a single officer (though there are conflicting claims as to whether this was Capt. Frederick P. Reynolds or Col. John R. van Hoff).

The Rod of Asclepius is the dominant symbol for professional healthcare associations in the United States. One survey found that 62% of professional healthcare associations used the rod of Asclepius as their symbol. The same survey found that 76% of commercial healthcare organizations used the Caduceus symbol. The author of the study suggests the difference exists because professional associations are more likely to have a real understanding of the two symbols, whereas commercial organizations are more likely to be concerned with the visual impact a symbol will have in selling their products.

The long-standing and abundantly attested historical associations of the caduceus with commerce are considered by many to be inappropriate in a symbol used by those engaged in the healing arts. This has occasioned significant criticism of the use of the caduceus in a medical context.

“As god of the high-road and the market-place Hermes was perhaps above all else the patron of commerce and the fat purse: as a corollary, he was the special protector of the traveling salesman. As spokesman for the gods, he not only brought peace on earth (occasionally even the peace of death), but his silver-tongued eloquence could always make the worse appear the better cause. From this latter point of view, would not his symbol be suitable for certain Congressmen, all medical quacks, book agents and purveyors of vacuum cleaners, rather than for the straight-thinking, straight-speaking therapeutist? As conductor of the dead to their subterranean abode, his emblem would seem more appropriate on a hearse than on a physician's car.”

— Stuart L. Tyson, "The Caduceus", in The Scientific Monthly

en.wikipedia.org/wiki/Caduceus

And now for something completely different.

This was influenced by Cynthia Greig's work Representations.

Strobist: 580ex with grid aimed at watermelon interior. 550ex with umbrella at camera left and high. Triggered via pocket wizards.

Predator Cast Picture vs MiniMates Representations

Blain, Hawkins, Dutch, Mac, Dillon, Billy, Poncho, and Anna

One of the most characteristic and poorly-understood features of the Mysteries is the naked lion-headed figure often found in Mithraic temples, named by the modern scholars with descriptive terms such as leontocephaline (lion-headed) or leontocephalus (lion-head). He is entwined by a serpent (or two serpents, like a caduceus), with the snake’s head often resting on the lion’s head. The lion’s mouth is often open, giving a horrifying impression. He is usually represented as having four wings, two keys (sometimes a single key), and a scepter in his hand. Sometimes the figure is standing on a globe inscribed with a diagonal cross. In the figure shown here, the four wings carry the symbols of the four seasons, and a thunderbolt is engraved on the breast. At the base of the statue are the hammer and tongs of Vulcan, the cock, and the wand of Mercury. A variation the same figure, but with a human head instead of the lion-mask, is also found, but is rare..Although animal-headed figures are prevalent in contemporary Egyptian and Gnostic mythological representations, an exact parallel to the Mithraic leontocephaline figure has not been found.[47] The name of the figure has been deciphered from dedicatory inscriptions to be Arimanius, a Latinized form of the name Ahriman – a demonic figure in the Zoroastrian pantheon. Arimanius is known from inscriptions to have been a god in the Mithraic cult as seen, for example, in images from the Corpus Inscriptionum et Monumentorum Religionis Mithriacae (CIMRM) such as 222 from Ostia, 369 from Rome, and 1773 and 1775 from Pannonia.Some scholars identify the lion-man as Aion, or Zurvan, or Cronus, or Chronos, while others assert that it is a version of the Zoroastrian Ahriman.[There is also speculation that the figure is the Gnostic demiurge, (Ariel) Ialdabaoth.[51] Although the exact identity of the lion-headed figure is debated by scholars, it is largely agreed that the god is associated with time and seasonal change.] An occultist, D. J. Cooper, speculates to the contrary that the lion-headed figure is not a god, but rather represents the spiritual state achieved in Mithraism's "adept" level, the Leo (lion) degree.

Mithraism, also known as the Mithraic mysteries, was a mystery religion centred around the god Mithras that was practised in the Roman Empire from about the 1st to the 4th century. The religion was inspired by Persian worship of the god Mithra (proto-Indo-Iranian Mitra), though the Greek Mithras was linked to a new and distinctive imagery, and the level of continuity between Persian and Greco-Roman practice is debated.[1] The mysteries were popular in the Roman military.Worshippers of Mithras had a complex system of seven grades of initiation and communal ritual meals. Initiates called themselves syndexioi, those “united by the handshake”.[3] They met in underground temples, called mithraea, which survive in large numbers. The cult appears to have had its centre in Rome.Numerous archaeological finds, including meeting places, monuments and artifacts, have contributed to modern knowledge about Mithraism throughout the Roman Empire. The iconic scenes of Mithras show him being born from a rock, slaughtering a bull, and sharing a banquet with the god Sol (the Sun). About 420 sites have yielded materials related to the cult. Among the items found are about 1000 inscriptions, 700 examples of the bull-killing scene (tauroctony), and about 400 other monuments.[6] It has been estimated that there would have been at least 680 mithraea in Rome. No written narratives or theology from the religion survive; limited information can be derived from the inscriptions and brief or passing references in Greek and Latin literature. Interpretation of the physical evidence remains problematic and contested.The Romans regarded the mysteries as having Persian or Zoroastrian sources. Since the early 1970s the dominant scholarship has noted dissimilarities between Persian Mithra-worship and the Roman Mithraic mysteries. In this context, Mithraism has sometimes been viewed as a rival of early Christianity with similarities such as liberator-saviour, hierarchy of adepts (bishops, presbyters, deacons), communal meal and a hard struggle of Good and Evil (bull-killing/crucifixion).The name Mithras (Latin, equivalent to Greek "Μίθρας",is a form of Mithra, the name of an Old Persian god – a relationship understood by Mithraic scholars since the days of Franz Cumont. An early example of the Greek form of the name is in a 4th century BCE work by Xenophon, the Cyropaedia, which is a biography of the Persian king Cyrus the Great.The exact form of a Latin or classical Greek word varies due to the grammatical process of declension. There is archeological evidence that in Latin worshippers wrote the nominative form of the god’s name as "Mithras". However, in Porphyry’s Greek text De Abstinentia («Περὶ ἀποχῆς ἐμψύχων»), there is a reference to the now-lost histories of the Mithraic mysteries by Euboulus and Pallas, the wording of which suggests that these authors treated the name "Mithra" as an indeclinable foreign word.Related deity-names in other languages include.Sanskrit Mitra (मित्रः), the name of a god praised in the Rig Veda. In Sanskrit, "mitra" means "friend" or "friendship".the form mi-it-ra-, found in an inscribed peace treaty between the Hittites and the kingdom of Mitanni, from about 1400 BCE.Iranian "Mithra" and Sanskrit "Mitra" are believed to come from an Indo-Iranian word mitra meaning contract / agreement / covenant.Modern historians have different conceptions about whether these names refer to the same god or not. John R. Hinnells has written of Mitra / Mithra / Mithras as a single deity worshipped in several different religions.On the other hand, David Ulansey considers the bull-slaying Mithras to be a new god who began to be worshipped in the 1st Century BCE, and to whom an old name was applied.Mary Boyce, a researcher of ancient Iranian religions, writes that even though Roman Empire Mithraism seems to have had less Iranian content than historians used to think, none the less “as the name Mithras alone shows, this content was of some importance.”.Mithra was the god of light, purity, goodness, truth and occupied an important place in the faith of the ancient India-European peoples.There are various opinions on the spread of the Mithra (or Mithras, Mitra) cult, but the most reliable one is the first written protocol about the Mithraic cult from 14th century BC.In the treaty text signed between the powerful kingdom of Mitanni (Mitanni was situated in the North of Armenian Plateau) of king Shativaza (unknown-1350 BC), and the Hittite king of Suppiluliuma (1380-1346 BC) we can see the name of Mithra. So the Mithraic cult was mentioned in Persian cuneiform inscriptions and in the Indian Vedic texts since the fourth century BC.As a result of the religious revolution of Ardashir II, the Sassanid King of Persia in 395 AD, the cults of Mithra and Anahita, the Iranian goddess, were imported to Persia and combined with Zoroastrianism. In the first century BC the cult of Mithra penetrated into Rome, and in the third century AD this religion had become international and spread from India to the Black Sea, from the Balkans to Britain and Spain. Now there are more than four hundred Mithraic temple ruins throughout the Europe.So at first, in fourth century BC this cult spread from the Armenian Plateau to South Persia and India and in first century BC to North-West Europe. The Mysteries of Mithras.....The upper grades, known as the “Participants,” were: 4th . Lion, of the element of FireI died as a mineral and became a vegetable, I passed away as vegetation and became animal. Leaving the animal state I became man. Why should I fear? When was I less through death? I shall once more die: from manhood, to soar with angels: and I must pass beyond angelhood—all perish but God. When I have given up my angel self, I shall be what no mind has conceived.—Jalaluddin Rum.Perhaps it was fitting to begin the following article on the Mithraic Mysteries on the day of the recent Winter Solstice. According to tradition, the god Mithras was born of (“sprang from”) the rock on the shortest day of the year, his birthday celebration occurring on December 25, marking the return of Sol Invictus, the Unconquered Sun.Prior to the vision of Roman Emperor Constantine later establishing Christianity as state religion, a fraternity centered upon the Rites of Mithras once captivated the Western world. Originating in India and later spreading to Persia, Mithraism moved across Europe along with the sprawl of the late Roman Empire.Plutarch, in his Life of Pompey credits the introduction of Mithraism in Rome to pirates arriving from Cilicia, an ancient region south of the Tarsus Mountains in southeast Asia Minor along the Mediterranean Sea.The Indo-Persian myth describing Ahura-Mazda’s battle of Light against Darkness casts Mithras as an associate of the Sun.As the tale begins, Mithras captures the wild bull, the first creation of Ahura-Mazda, and confines it within a cave. The bull escapes, and the Sun sends his messenger the Raven to look for it. Mithras is also sent by Ahura-Mazda and with the help of his dog, he recaptures the beast. He drags it back to the cave and straddles it, cutting the bull’s throat. From the resulting issue of blood springs corn, wheat, and other forms of life. In retaliation, Ahriman, the Chief of Darkness, orders his minions, the ant, snake, and scorpion, to drink up the miraculous fluid, but to no avail: it spreads all over the world giving it life. In a gesture of acknowledgement, the Sun kneels before Mithras offering a crown to seal a covenant with him. The two part ways after a sacramental meal.As we shall see, the reenactment of the myth in the rites of initiation involved passing through seven grades that correspond to seven planets. The worship of Mithras at this time required the construction of a Mithraea, a temple in the form of an underground vault or “cave.” The temple interior consisted of a torch-lit hall with side benches culminating in a central sculpted image of Mithras. Adorned with a Phrygian (“Persian”) cap, he is depicted holding a bull by the nostrils from behind in the act of stabbing it in the neck with a dagger. His image is often accompanied by two torchbearers, possibly representing the Sun and the Moon: Cautes, with upraised torch, and Cautopates, with torch pointed earthward. The ceiling of the sanctuary was painted to resemble the starry “cave” of the night sky. Franz Cumont has mapped the dispersion of various Mithraea across Europe and Asia Minor. The number of them, and of other related Mithraic artifacts is astounding, and indeed, many temples remain intact to this day.

Roman Mithraism appropriated and adapted occult knowledge from the Pythagorean Mysteries, through the astronomical revelations of Hipparchus and the later speculations of the Stoics.Accordingly, Mithraic scholar David Ulansey feels that The Rites of Mithra may be explained by examining the astral religion of the Hellenistic period. The position of the images depicted in the sanctuary suggest that they are directly related to constellations observable at that time: the bull to Taurus, scorpion to Scorpio, snake to Hydra, raven to Corvus, dog to Canus minor, lion to Leo major.Ulansey connects Mithras with the Greek god Perseus of the constellation just above Taurus, who was also known as “the Persian.” Perseus was popularly worshipped in Cilicia, home to the pirates described by Plutarch. In myth, Perseus kills the Gorgon and similarly, as we have seen, Mithras kills the bull. The astral adaptation is a metaphor for the precession of the equinoxes signaling the end of the Age of Taurus, and the beginning of the Age of Aries. Mithras is seen as a diety with the power to move the universe on its cosmic axis, one who controls Fate. Identification with such a God through ritual would seem to confer similar gifts upon the initiate, bestowing the promise of everlasting life.8)One writer has labeled Mithraism “the Alchemy of the Roman World.”

However, initiation into the Mysteries of Mithras in a Roman Mithraea involved austerities and hardships that would make the most rugged Freemason of today blanch.10) The candidate entered the ritual space blindfolded and naked. An oath of secrecy was obtained. Ordeals by fire, by branding upon the forehead, scourging, striking with the leg of a bull, as well as the laying on of hands, pouring on of water, and the bestowing of a solar crown upon the head are reported. Masks and costumes representing key figures found in the myth were worn by participants who had previously achieved the various grades in the hierarchy of the Rite.The “grades” accompanying initiation correspond to the principal participants and their activity found within the myth.The lower grades, known collectively as “Servitors” were in ascending order: 1st. Raven, of the element of Air, is under the sign of Mercury messenger of the gods. Symbols of this degree include the raven, cup, and caduceus of Mercury. 2nd. Bride(groom?), of the element of Water, is under the sign of Venus. Fragments suggest that symbols of this degree included a lamp and a crown. The joining of hands was part of this grade, hence the allusion to a “wedding ceremony.” 3rd. Soldier, of the element of Earth, is under the sign of Mars. Symbols are the soldier’s pouch worn over his shoulder, a helmet, and a lance.The upper grades, known as the “Participants,” were: 4th . Lion, of the element of Fire, under the sign of Jupiter. Symbols of this degree include a fire shovel, a sistrum, and thunderbolts. 5th. Persian, of the element of Water, under the sign of the Moon. Symbols include a hooked knife, a scythe or plow, and the moon and a star. 6th. Courier of the Sun, of the element of Fire, under the sign of the Sun. Symbols are a torch, crown, and a whip (to drive his chariot across the sky). 7th. Father (Pater) under the sign of Saturn. Symbols include a ring or dish, a staff, the Phrygian cap, and a sickle. The holder of this highest rank dressed like Mithras himself. During initiations and other regular ritual activity including sacramental meals, the holders of the various grades were regarded as the earthly representatives of celestial, archetypal participants in the myth.Were the Rites of Mithras “co-alchemic?” Not in the Roman rite, which was most popular among men in the military. At its peak, it was a warrior’s religion. However, evidence suggests that there were fraternal relationships with women from the Cybele-cult, who possibly shared the taurobolium—a “baptism” in bull’s blood, with initiates of Mithraism. This point is controversial, and it is not clear how it may have been performed in a typically small Mithraea.A final sculptural image of Mithras depicts him as the Aeonic Mithras, the Mithraic Cronus, representative of Boundless Time.According to Armenian ancient beliefs, 365 saints are living in the heart of the Sun and each of them is the owner of one day of the year, appointed in order to prevent evil.It is said that within the salty sea (Lake of the Van), there was a rock, and when heaven was darkened the light fell on the rock and shortly after was born Mithra, almost naked but with a Phrygian hat on his head, and torch in his left hand, and it illuminated the world. By killing the bull, Mithra was creating the world from its parts.Strabo chronicled that during the ruling of Achaemenid Empire the Armenian Satrap donated 20,000 horses to the annual Mithra celebration. The observations dedicated to Mithra were celebrated by Armenians in the Month of Areg, which coincided with Iranian month of Mithra. The Armenian seventh month is named Mehekan and each month’s eighth day was called Mithra.Mithra, the god of light, kindness and contracts was indeed born from the very rock—this characteristic is affirmed either by archaeological finds or by the Geghard temple in Armenia, which is carved into the rocky landscape.In 1953-54 during research in Eskikale (Turkey) a tunnel was unearthed which reached depths of 160 meters (525 feet) consisting of a long mountain slope ending with two circular rooms. It is similar to the tunnel at Bagaritch in Upper Armenia with the temple complex dedicated to Mithra.From the mythological point of view, tunnels are the place of birth of Mithra as it said “the beam, separated from the star, penetrates into the depths of the tunnel, giving birth to Mithra, from where he ascended to heaven.” The carved temple of Geghard has also been seen as the birthplace of Mithra during the pre-Christian period.In Vedic texts Mithra is the god who protected the Sun and is always mentioned with Varuna.In Indian sources Mithra is the god of love, light, tenderness and sun shine. The closeness and affection of Mithra and Varuna is inseparable and stable. Varuna is the god of heaven and night. Mithra is the god of light, sunshine and day. These gods of night and day are fellows in cult rituals. Varuna is also the god of waters and seas , and is the husband of Varun, god of wine.Vedic texts are notable for the main ritual of the Mithraic cult, such as sacrificing a bull, which penetrated to Europe. One of the noblest gods is Soma (in Avesta, the primary collection of religious texts of Zoroastrianism, he is instead named Haoma). Soma is the god of invincible power, the god who cures all the diseases. It is Soma who gave life, wealth, and wish fulfillment.In Sanskrit, the name Soma is used for the Moon. They are the same only by name, however, as all the characteristics of the Moon are attributed to a goddess of plants. So, they believed the moon presided over healing plants and thus sacrificed oblations and offerings in worship rituals.Also Soma is the name of a sacred plant. From the leaf of this plant was made a strong alcoholic beverage loved by the gods, and which was dedicated to the gods. During rituals, priests drank this beverage in order to come close to and join with the gods. Soma was the life deity and life essence, and even though the gods received their eternity from this beverage, mortal men could attain temporary ‘eternity’ by drinking the beverage too, allegorically meaning the joining with the God and Essence.According to legend a riot arose between the gods. The god Shiva got involved in the formidable fighting and in one stoke divided god Soma in two, which demonstrates the tradition of sacred bull killing.In other versions the gods decided to kill Soma. The god Wayuu ordered the execution and asked help from Mithra-Varuna. Mithra refused to help and said, “I wish love, boon and affection to everybody.” At the end Mithra agreed to participate in ritual killing in order to benefit from the sacrifice. After the killing they crushed Soma between two stones. It was Mithra’s responsibility to spill on the ground the part of his Soma juice from which would germinate the plants and the animals.In pictures and sculptures of the bull sacrifice ritual, Mithra is often seen turning his face and eyes away, indicating the rejection or distaste of this action. But the bull is the source of life, and the ritual is necessary.“A Being with lion’s head, and eagles wings, and brute’s feet, and human body, enwrapped with a serpent, standing on a globe and holding the keys of life and death in its two hands….The Autozoon, or Living Creature in itself the summation of all forms of life, including man.”14)“It was this God, that the adepts of the mysteries placed at the head of the celestial hierarchy, and considered the first Principal.”15) Surrounded by the signs of the zodiac, he is the winged, invincible Soul emerging from the Cosmic Egg, coiled in the form of the rising serpent representing the manifestation of matter out of the central mystery of Eternity.The fraternal Mithraic Rites fulfill the function of a Mystery School designed to join the temporal nature of the initiate with the Eternal Reality of Spiritual Truth. Establishing a Golden Chain linking Heaven and Earth through the intermediary of human experience, the follower of Mithras walks a path mirroring that of the stars moving through the Universe, and beyond, into a timeless realm that truly, no mind may conceive.Mithraism.......Lion-headed figure... He will say: 'Where ... ?One of the most characteristic and poorly-understood features of the Mysteries is the naked lion-headed figure often found in Mithraic temples, named by the modern scholars with descriptive terms such as leontocephaline (lion-headed) or leontocephalus (lion-head). He is entwined by a serpent (or two serpents, like a caduceus), with the snake’s head often resting on the lion’s head. The lion’s mouth is often open, giving a horrifying impression. He is usually represented as having four wings, two keys (sometimes a single key), and a scepter in his hand. Sometimes the figure is standing on a globe inscribed with a diagonal cross. In the figure shown here, the four wings carry the symbols of the four seasons, and a thunderbolt is engraved on the breast. At the base of the statue are the hammer and tongs of Vulcan, the cock, and the wand of Mercury. A variation the same figure, but with a human head instead of the lion-mask, is also found, but is rare.Although animal-headed figures are prevalent in contemporary Egyptian and Gnostic mythological representations, an exact parallel to the Mithraic leontocephaline figure has not been found.The name of the figure has been deciphered from dedicatory inscriptions to be Arimanius, a Latinized form of the name Ahriman – a demonic figure in the Zoroastrian pantheon. Arimanius is known from inscriptions to have been a god in the Mithraic cult as seen, for example, in images from the Corpus Inscriptionum et Monumentorum Religionis Mithriacae (CIMRM) such as 222 from Ostia, 369 from Rome, and 1773 and 1775 from Pannonia.Some scholars identify the lion-man as Aion, or Zurvan, or Cronus, or Chronos, while others assert that it is a version of the Zoroastrian Ahriman.There is also speculation that the figure is the Gnostic demiurge, (Ariel) Ialdabaoth.[51] Although the exact identity of the lion-headed figure is debated by scholars, it is largely agreed that the god is associated with time and seasonal change.[52] An occultist, D. J. Cooper, speculates to the contrary that the lion-headed figure is not a god, but rather represents the spiritual state achieved in Mithraism's "adept" level, the Leo (lion) degree. According to M. J. Vermaseren, the Mithraic New Year and the birthday of Mithras was on December 25.[54][55] However, Beck disagrees strongly.[56] Clauss states: "the Mithraic Mysteries had no public ceremonies of its own. The festival of Natalis Invicti, held on 25 December, was a general festival of the Sun, and by no means specific to the Mysteries of Mithras."Mithraic initiates were required to swear an oath of secrecy and dedication,[58] and some grade rituals involved the recital of a catechism, wherein the initiate was asked a series of questions pertaining to the initiation symbolism and had to reply with specific answers. An example of such a catechism, apparently pertaining to the Leo grade, was discovered in a fragmentary Egyptian papyrus (P.Berolinensis 21196), He will say: 'Where ... ?... he is/(you are?) there (then/thereupon?) at a loss?' Say: ... Say: 'Night'. He will say: 'Where ... ?' ... Say: 'All things ...' (He will say): '... you are called ... ?' Say: 'Because of the summery ...' ... having become ... he/it has the fiery ... (He will say): '... did you receive/inherit?' Say: 'In a pit'. He will say: 'Where is your ...?... (Say): '...(in the...) Leonteion.' He will say: 'Will you gird?' The (heavenly?) ...(Say): '... death'. He will say: 'Why, having girded yourself, ...?' '... this (has?) four tassels. Very sharp and ... '... much'. He will say: ...? (Say: '... because of/through?) hot and cold'. He will say: ...? (Say): '... red ... linen'. He will say: 'Why?' Say: '... red border; the linen, however, ...' (He will say): '... has been wrapped?' Say: 'The savior's ...' He will say: 'Who is the father?' Say: 'The one who (begets?) everything ...' (He will say): '('How ?)... did you become a Leo?' Say: 'By the ... of the father'. ... Say: 'Drink and food'. He will say '...Almost no Mithraic scripture or first-hand account of its highly secret rituals survives;[29] with the exception of the aforementioned oath and catechism, and the document known as the Mithras Liturgy, from 4th century Egypt, whose status as a Mithraist text has been questioned by scholars including Franz Cumont.[60][61] The walls of Mithraea were commonly whitewashed, and where this survives it tends to carry extensive repositories of graffiti; and these, together with inscriptions on Mithraic monuments, form the main source for Mithraic texts.Nevertheless, it is clear from the archeology of numerous Mithraea that most rituals were associated with feasting – as eating utensils and food residues are almost invariably found. These tend to include both animal bones and also very large quantities of fruit residues.[63] The presence of large amounts of cherry-stones in particular would tend to confirm mid-summer (late June, early July) as a season especially associated with Mithraic festivities. The Virunum album, in the form of an inscribed bronze plaque, records a Mithraic festival of commemoration as taking place on 26 June 184. Beck argues that religious celebrations on this date are indicative of special significance being given to the Summer solstice; but this time of the year coincides with ancient recognition of the solar maximum at midsummer, whilst iconographically identical holidays such as Litha, St John's Eve, and Jāņi are observed also.For their feasts, Mithraic initiates reclined on stone benches arranged along the longer sides of the Mithraeum – typically there might be room for 15 to 30 diners, but very rarely many more than 40 men.[64] Counterpart dining rooms, or triclinia, were to be found above ground in the precincts of almost any temple or religious sanctuary in the Roman empire, and such rooms were commonly used for their regular feasts by Roman 'clubs', or collegia. Mithraic feasts probably performed a very similar function for Mithraists as the collegia did for those entitled to join them; indeed, since qualification for Roman collegia tended to be restricted to particular families, localities or traditional trades, Mithraism may have functioned in part as providing clubs for the unclubbed.[65] However, the size of the Mithraeum is not necessarily an indication of the size of the congregation.Each Mithraeum had several altars at the further end, underneath the representation of the tauroctony, and also commonly contained considerable numbers of subsidiary altars, both in the main Mithraeum chamber and in the ante-chamber or narthex. These altars, which are of the standard Roman pattern, each carry a named dedicatory inscription from a particular initiate, who dedicated the altar to Mithras "in fulfillment of his vow", in gratitude for favours received. Burned residues of animal entrails are commonly found on the main altars indicating regular sacrificial use. However, Mithraea do not commonly appear to have been provided with facilities for ritual slaughter of sacrificial animals (a highly specialised function in Roman religion), and it may be presumed that a Mithraeum would have made arrangements for this service to be provided for them in co-operation with the professional victimarius[68] of the civic cult. Prayers were addressed to the Sun three times a day, and Sunday was especially sacred.It is doubtful whether Mithraism had a monolithic and internally consistent doctrine.It may have varied from location to location.However, the iconography is relatively coherent.[38] It had no predominant sanctuary or cultic centre; and, although each Mithraeum had its own officers and functionaries, there was no central supervisory authority. In some Mithraea, such as that at Dura Europos, wall paintings depict prophets carrying scrolls,[72] but no named Mithraic sages are known, nor does any reference give the title of any Mithraic scripture or teaching. It is known that intitates could transfer with their grades from one Mithraeum to another.HomeThe Red Cap of Liberty is also known as the Phrygian Cap, Mithraic Cap, sacrificial Cap, mitre and in French as the bonnet de laLiberté or bonnet rouge. It symbolizes the sacred acts of Initiation, Sacrifice, Liberty, Revolution, Enlightenment, and Brotherhood...It has been worn by various Abrahamic priesthoods over the last few thousand years and also newly emancipated slaves since the time of Ancient Rome. The red cap not only an ancient symbol, it is one of the oldest magical talismans that is still in use to this very day by various religions, secret societies, and governments all around the world.British Alchemist and Rosicrucian, Hargrave Jennings had written, "The Phrygian Cap, the classic Mithraic Cap, sacrificial Cap, and mitre all derive from one common ancestor." He continues, The whole is a sign of “initiation,” and of baptism of a peculiar kind. The Phrygian cap, ever after this first inauguration, has stood as the sign of the “Enlightened.” The heroic figures in most Gnostic Gems, which we give in our illustrations, have caps of this kind.""Mithras, God of the Sunset, low on the Western main. Thou descending immortal, immortal to rise again! Now when the watch is ended, now when the wine is drawn, Mithras, also a soldier, keep us pure till the dawn!”~From Song to Mithras, Rudyard Kipling."The significance of Mithraism as the first historical, pan-Eurasian religion has never been fully appreciated by European scholarship, which persistently has tried to draw an Iron Curtain between the East and West. In various forms, however, Mithraism has left an indelible and defining mark on the religious history of that vast continent. Christianity was at the same time the greatest benefactor as well as the most destructive scourge of Mithraic tradition. While destroying or vandalizing the material cultural remains of that once great religion, early Christians also copied and co-opted its outward forms in many details, building upon its successes and learning from its limitations. Indeed, both literally and figuratively, Christianity was built upon Mithraic foundations.2Such dependence was a great liability to a Church claiming a new and original dispensation, and every effort was made to suppress the commonalities. For the most part, this meant emphasizing the more obvious (and superficial) mythological and dogmatic differences, but this was hardly enough to demonstrate an essential practical difference between the visionary Eucharistic practices of the two competing Mystery Religions. In fact, the shared gnosis seemed to validate the syncretism and co-option that had so obviously occurred—even in the outward expressions—of the old and new “official” religions of the Empire. For the ancients, such a situation was the norm; that the unitive experiences elicited by the various Mysteries all demonstrated an essential and universal identification not only between the rites of particular gods and goddesses, but also between deities and the celebrant, and between the celebrant and the co-creative Cosmos as a whole.

Given such an underlying assumption of gnosis as a kind of basic and defining experience at the esoteric core of all the Mysteries, dogmatic and doctrinal differences were only of marginal concern and interest, and crass literal interpretations were easily abandoned in favor of a mythological richness infused and sacralized by a common gnosis.Mithraism, as we have shown, was a key and formative element in the radical syncretism that characterized much of Classical spirituality. Considered in these terms, it is important to note that Christianity came to stand in polar opposition to this synthesizing and comparatively tolerant attitude toward other religions. In fact, it is justifiable to consider the Christian claim, that of being the sole source of Salvation, as the only truly original and distinguishing characteristic of the new religion—this along with its insistence on the literal historical veracity of its Savior and His miracles. While Imperial Rome was singularly influential in popularizing and codifying both religions, we must recognize a common ecstatic and communal thread in them that starts in the earliest strata of Indo-European traditions and extends even into the present—intact in its esoteric, entheogenic essence.At the very root of the Mithraic Mysteries lay esoteric mythological, astrological, and pharmacological lore that was not easily to be suppressed, let alone destroyed. The long and almost unbelievably complex history of Mithraism in Eurasia had inseparably woven its mythopoeia into the very fabric of religious-intellectual, artistic, and literary culture throughout the Persian and Classical worlds. As Mithraism faded as a world religion, its venerable esoteric cannon became a river, fed by streams of derivative and original gnostic tradition. It is quite clearly this ancient torrent that sustained and characterized the post-Christian Hermetic and literary undercurrent, erupting throughout history in the various popular gnostic revivals, which were, repeatedly (and often violently), suppressed by the Church Triumphant, which opposed personal mysticism and insisted on imposing itself politically as the essential mediator with the deity.Surviving into modern times, and deriving from uncertain and legendary sources, Freemasonry3 is the most notable of the secret societies that have perpetuated the pre-Christian Mysteries. Although it is true that over the centuries the Masons have been accused of all manner of conspiratorial and diabolical activity (as has been the case with other ‘secret’ societies throughout history), this has been done with largely circumstantial evidence, partial understanding and paranoid zealotry. There can be no doubt, however, that Masonic lodges were indeed hotbeds of pro-revolutionary sentiment and the philosophies of the Enlightenment that opposed the feudal “Ancién Regime” with a “New World Order.”4 This new philosophy, in turn, was illuminated and inspired by the Classical Revival that had first found popular expression during the Renaissance. There can also be no doubt that Masonic membership was often made up of the social and intellectual elite who were the driving force behind the Revolutions that established the political reality of a new social paradigm—a paradigm that is at least as defining a characteristic of ‘modernity’ as the Industrial Revolution.Claiming to be the inheritors and preservers of ancient mysteries via direct lines of descent going back at least the time of the Knights Templar, Masonic symbolism does seem to betray a cohesive and accurate synopsis of the ancient Mysteries. Iconographic items such as the Sun, the all-seeing disembodied eye, the ouroboros, the sacred evergreen, and, most importantly for us, the red Phrygian cap atop a spear or Sword of the Accord are all elements well known to the ancient religions, possessing profound meanings to those initiates who learned of their true significance and interconnection.While most of these symbols are common to alchemical and Masonic imagery, the origins of the so-called ‘liberty pole’ and ‘liberty cap’ are less familiar. It goes without saying, however, that all elements are to be understood as cryptic references that simultaneously conceal and reveal arcane mysteries. The fundamental innovation promulgated in the revolutionary ideal is the dependence upon a kind of Natural Law—as well as the necessary and ongoing revelation of the natural, inalienable and sacred rights of citizens—as the nourishing and necessary spirit upon which a republican democracy might stand. Similarly, Thomas Jefferson appealed to the need for ‘eternal vigilance’ on the part of citizens in maintaining such a government.

While the American Revolution unfolded a world removed from the entrenched monarchies of Europe, the philosophical and political culture in which its revolutionary ideas fermented was fundamentally Continental. Encouraged by the American success, a democratic fervor set Europe—and especially France—ablaze with a call for an inevitable and radical reappraisal of basic political and social suppositions.The uncanny

correspondence between Mithraic, Alchemic, and revolutionary esoteric symbolism is clearly displayed in the various illuminated versions of the Declaration of the Rights of Man (Déclaration des droits de l’homme).

en.wikipedia.org/wiki/Mithraism

A few years ago, I got to see a 1:1500 scale model of London at the Building Centre there. It is a large scale model of the heart of the city in three dimensions, with representations of most buildings, landmarks, parks, the Thames, and the (at the time yet to be built) Olympic Park.

It's extremely impressive.

And it is as nothing compared to The Panorama at the Queens Museum of Art.

Here's two panorama photos to give a sense of the scale:

• view from the “west”

• view from the ”south”

⁂

Quoting from the Museum’s page on the The Panorama of the City of New York:

The Panorama is the jewel in the crown of the collection of the Queens Museum of Art. Built by Robert Moses for the 1964 World’s Fair, in part as a celebration of the City’s municipal infrastructure, this 9,335 square foot architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures.

The Panorama was built by a team of 100 people working for the great architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. In planning the model, Lester Associates referred to aerial photographs, insurance maps, and a range of other City material; the Panorama had to be accurate, indeed the initial contract demanded less than one percent margin of error between reality and the model. The Panorama was one of the most successful attractions at the ‘64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City.

After the Fair the Panorama remained open to the public, its originally planned use as an urban planning tool seemingly forgotten. Until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates changed over 60,000 structures to bring it up-to-date.

In the Spring of 2009 the Museum launched its Adopt-A-Building program with the installation of the Panorama’s newest addition, Citi Field, to continue for the ongoing care and maintenance of this beloved treasure.

The Queens Museum of Art has a program giving you the opportunity to “purchase” NYC real estate on The Panorama of the City of New York for as low as $50. To learn how you can become involved click here.

We hope that you will take time to enjoy the Panorama of the City of New York.

The Panorama of the City of New York is sponsored by the New York City Department of Cultural Affairs and New York State Assembly members Mike Gianaris, Mark Weprin, Audrey Pheffer, Nettie Mayersohn and Ivan Lafayette, The New York Mets Foundation and the supporters of the Adopt-A-Building Program.

View the winning pictures from our Gala 2011 Panorama Picture Contest!

View pictures from our Gala 2011 Photo booth, May 12, 2011!

View pictures of the Panorama on its Flickr page

Add your own pictures to our Panorama Flickr Group!

⁂

Quoting now from The Panorama section in Wikipedia’s Queens Museum of Art article:

The best known permanent exhibition at the Queens Museum is the Panorama of the City of New York which was commissioned by Robert Moses for the 1964 World’s Fair. A celebration of the City’s municipal infrastructure, this 9,335-square-foot (867.2 m2) architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures. The Panorama was built by a team of 100 people working for the architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. The Panorama was one of the most successful attractions at the ’64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City. After the Fair the Panorama remained open to the public and until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates was hired to update the model to coincide with the re-opening of the museum. The model makers changed over 60,000 structures to bring it up-to-date.

In March 2009 the museum announced the intention to update the panorama on an ongoing basis. To raise funds and draw public attention the museum will allow individuals and developers to have accurate models made of buildings newer than the 1992 update created and added in exchange for a donation. Accurate models of smaller apartment buildings and private homes, now represented by generic models, can also be added. The twin towers of the World Trade Center will be replaced when the new buildings are created, the museum has chosen to allow them to remain until construction is complete rather than representing an empty hole. The first new buildings to be added was the new Citi Field stadium of the New York Mets. The model of the old Shea Stadium will continue to be displayed elsewhere in the museum.

⁂

Quoting now from the explanatory sign at the exhibit:

THE PANORAMA OF THE CITY OF NEW YORK

The Panorama of the City of New York, the world's largest scale model of its time, was the creation of Robert Moses and Raymond Lester. Presented in the New York City Pavilion as the city’s premiere exhibit at the 1964/65 New York World’s Fair, it was intended afterwards to serve as an urban planning tool. Visitors experienced the Panorama from a simulated “helicopter” ride that travelled around perimeter or from a glass-enclosed balcony on the second floor, while news commentator Lowell Thomas provided audio commentary on “The City of Opportunity.” One of the “helicopter” cars is now on view in the Museum’s permanent exhibition, A Panoramic View: A History of the New York City Building and Flushing Meadows Corona Park.

Constructed at the Lester Associates workshop in Westchester, New York, the Panorama contains 273 separate sections, many of which are four-by-ten-foot rectangular panels. They are composed of Formica flakeboard topped with urethane foam slabs from which the typography was carved. Lester Associates’ staff consulted geological survey maps, aerial photographs, and books of City insurance maps, to accurately render the City’s streets, highways, parks, and buildings. Once the Panorama’s modules were completed at Lester Associates’ workshop, they were assembled on site in the New York City Building. It took more than 100 workers, three years to complete the model.

Built on a sale of 1:1,200 (1 inch equals 100 feet), the Panorama occupies 9.335 square feet and accurately replicates New York City including all 320 square miles of its five boroughs and 771 miles of shoreline, as well as the built environment. It includes miniature cars, boats, and an airplane landing and taking off at LaGuardia Airport.

The majority of the City’s buildings are presented by standardized model units made from wood and acrylic. Of more than 895,000 individual structures, 25,000 are custom-made to approximate landmarks such as skyscrapers, large factories, colleges, museums, and major churches. The amount of detail possible on most buildings is limited; at a scale of 1 inch to 100 feet, the model of the Empire State Building measures only 15 inches. The most accurate structures on the Panorama are its 35 major bridges, which are finely made of brass and shaped by a chemical milling process.

The model is color coded to indicate various types of land use. The dark green areas are parks. Parkways are also edged in dark green. Mint green sections are related to transportation including train and bus terminals. The pink rectangles that dot the City show the locations of recreational areas including playgrounds and tennis and basketball courts. Clusters of red buildings are indicative of publicly subsidized housing.

Red, blue, green, yellow, and white colored lights were installed on the surface of the Panorama in 1964 to identify structures housing City agencies relating to protection, education, health, recreation, commerce, welfare, and transportation. Overhead lights have been designed to run in a dawn to dusk cycle, and the nighttime effect is enhanced by ultraviolet paint, illuminated by blacklight.

In 1992, the City began a renovation of the Queens Museum of Art and the Panorama. Using their original techniques, Lester Associates updated the Panorama with 60,000 changes. In the current instalation, designed by Rafael Viñoly Architects, visitors follow the course of the original “helicopter” ride on an ascending ramp that enables them to experience the Panorama of the City of New York from Multiple Perspectives.

A few years ago, I got to see a 1:1500 scale model of London at the Building Centre there. It is a large scale model of the heart of the city in three dimensions, with representations of most buildings, landmarks, parks, the Thames, and the (at the time yet to be built) Olympic Park.

It's extremely impressive.

And it is as nothing compared to The Panorama at the Queens Museum of Art.

Here's two panorama photos to give a sense of the scale:

• view from the “west”

• view from the ”south”

⁂

Quoting from the Museum’s page on the The Panorama of the City of New York:

The Panorama is the jewel in the crown of the collection of the Queens Museum of Art. Built by Robert Moses for the 1964 World’s Fair, in part as a celebration of the City’s municipal infrastructure, this 9,335 square foot architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures.

The Panorama was built by a team of 100 people working for the great architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. In planning the model, Lester Associates referred to aerial photographs, insurance maps, and a range of other City material; the Panorama had to be accurate, indeed the initial contract demanded less than one percent margin of error between reality and the model. The Panorama was one of the most successful attractions at the ‘64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City.

After the Fair the Panorama remained open to the public, its originally planned use as an urban planning tool seemingly forgotten. Until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates changed over 60,000 structures to bring it up-to-date.

In the Spring of 2009 the Museum launched its Adopt-A-Building program with the installation of the Panorama’s newest addition, Citi Field, to continue for the ongoing care and maintenance of this beloved treasure.

The Queens Museum of Art has a program giving you the opportunity to “purchase” NYC real estate on The Panorama of the City of New York for as low as $50. To learn how you can become involved click here.

We hope that you will take time to enjoy the Panorama of the City of New York.

The Panorama of the City of New York is sponsored by the New York City Department of Cultural Affairs and New York State Assembly members Mike Gianaris, Mark Weprin, Audrey Pheffer, Nettie Mayersohn and Ivan Lafayette, The New York Mets Foundation and the supporters of the Adopt-A-Building Program.

View the winning pictures from our Gala 2011 Panorama Picture Contest!

View pictures from our Gala 2011 Photo booth, May 12, 2011!

View pictures of the Panorama on its Flickr page

Add your own pictures to our Panorama Flickr Group!

⁂

Quoting now from The Panorama section in Wikipedia’s Queens Museum of Art article:

The best known permanent exhibition at the Queens Museum is the Panorama of the City of New York which was commissioned by Robert Moses for the 1964 World’s Fair. A celebration of the City’s municipal infrastructure, this 9,335-square-foot (867.2 m2) architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures. The Panorama was built by a team of 100 people working for the architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. The Panorama was one of the most successful attractions at the ’64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City. After the Fair the Panorama remained open to the public and until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates was hired to update the model to coincide with the re-opening of the museum. The model makers changed over 60,000 structures to bring it up-to-date.

In March 2009 the museum announced the intention to update the panorama on an ongoing basis. To raise funds and draw public attention the museum will allow individuals and developers to have accurate models made of buildings newer than the 1992 update created and added in exchange for a donation. Accurate models of smaller apartment buildings and private homes, now represented by generic models, can also be added. The twin towers of the World Trade Center will be replaced when the new buildings are created, the museum has chosen to allow them to remain until construction is complete rather than representing an empty hole. The first new buildings to be added was the new Citi Field stadium of the New York Mets. The model of the old Shea Stadium will continue to be displayed elsewhere in the museum.

⁂

Quoting now from the explanatory sign at the exhibit:

THE PANORAMA OF THE CITY OF NEW YORK

The Panorama of the City of New York, the world's largest scale model of its time, was the creation of Robert Moses and Raymond Lester. Presented in the New York City Pavilion as the city’s premiere exhibit at the 1964/65 New York World’s Fair, it was intended afterwards to serve as an urban planning tool. Visitors experienced the Panorama from a simulated “helicopter” ride that travelled around perimeter or from a glass-enclosed balcony on the second floor, while news commentator Lowell Thomas provided audio commentary on “The City of Opportunity.” One of the “helicopter” cars is now on view in the Museum’s permanent exhibition, A Panoramic View: A History of the New York City Building and Flushing Meadows Corona Park.

Constructed at the Lester Associates workshop in Westchester, New York, the Panorama contains 273 separate sections, many of which are four-by-ten-foot rectangular panels. They are composed of Formica flakeboard topped with urethane foam slabs from which the typography was carved. Lester Associates’ staff consulted geological survey maps, aerial photographs, and books of City insurance maps, to accurately render the City’s streets, highways, parks, and buildings. Once the Panorama’s modules were completed at Lester Associates’ workshop, they were assembled on site in the New York City Building. It took more than 100 workers, three years to complete the model.

Built on a sale of 1:1,200 (1 inch equals 100 feet), the Panorama occupies 9.335 square feet and accurately replicates New York City including all 320 square miles of its five boroughs and 771 miles of shoreline, as well as the built environment. It includes miniature cars, boats, and an airplane landing and taking off at LaGuardia Airport.

The majority of the City’s buildings are presented by standardized model units made from wood and acrylic. Of more than 895,000 individual structures, 25,000 are custom-made to approximate landmarks such as skyscrapers, large factories, colleges, museums, and major churches. The amount of detail possible on most buildings is limited; at a scale of 1 inch to 100 feet, the model of the Empire State Building measures only 15 inches. The most accurate structures on the Panorama are its 35 major bridges, which are finely made of brass and shaped by a chemical milling process.

The model is color coded to indicate various types of land use. The dark green areas are parks. Parkways are also edged in dark green. Mint green sections are related to transportation including train and bus terminals. The pink rectangles that dot the City show the locations of recreational areas including playgrounds and tennis and basketball courts. Clusters of red buildings are indicative of publicly subsidized housing.

Red, blue, green, yellow, and white colored lights were installed on the surface of the Panorama in 1964 to identify structures housing City agencies relating to protection, education, health, recreation, commerce, welfare, and transportation. Overhead lights have been designed to run in a dawn to dusk cycle, and the nighttime effect is enhanced by ultraviolet paint, illuminated by blacklight.

In 1992, the City began a renovation of the Queens Museum of Art and the Panorama. Using their original techniques, Lester Associates updated the Panorama with 60,000 changes. In the current instalation, designed by Rafael Viñoly Architects, visitors follow the course of the original “helicopter” ride on an ascending ramp that enables them to experience the Panorama of the City of New York from Multiple Perspectives.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

In the early to mid-1930s, developments in airframe design outstripped available aircraft engine power, allowing large aircraft to be built that existing engines were unable to sufficiently lift or propel (at least not alone). A period ensued in which multi-engine designs mostly outperformed aircraft designed with just one engine. In air racing in Europe, the Dornier Do 17 outran every single-engine fighter it competed against. In Germany, this led to the idea of the "Schnellbomber", fast bombers that were expected to fly right past the defensive fighters. Although this period of twin-engine superiority would be short-lived, it also led to many air forces considering twin-engine fighter designs, resulting in the Lockheed P-38 Lightning, Westland Whirlwind, Grumman XF5F Skyrocket, and the Fw 187.

This eventually led to the Messerschmitt Bf 110, which was intended as a heavy fighter (“Zerstörer”) – but as soon as WWII broke out and especially during the Battle of Britain the Bf 110 showed its weaknesses: it was too big and too heavy to compete with single engine fighters. Losses were high.

Only a mere 230 Bf 205 A-1s were eventually built, most of them used by the Luftwaffe, but some were also handed over to Slovakian, Croatian and Romanian forces.

General characteristics:

Crew: 2

Length: 9,58 m (31 ft 4 in)

Wingspan: 13,32 m (46 ft 7 1/2 in)

Height: 3.49 m (11 ft 5 1/4 in)

Wing area: 30.40 m² (327.22 ft²)

Empty weight: 3,700 kg (8,157 lb)

Loaded weight: 5,000 kg (11,023 lb)

Powerplant:

2× Daimler Benz DB 601E 12-cylinder inverted-V piston, 992 kW (1.350 PS) each

Performance:

Maximum speed: 695 km/h at 4,200 m (431 mph at 13,780 ft)

Service ceiling: 12,000 m (39,370 ft)

Rate of climb: 1,050 m/min (3,445 ft/min)

Wing loading: 164.14 kg/m² (33.62 lb/ft²)

Armament:

4 × 20mm MG 151/20 cannons with 200 RPG in the lower forward fuselage

2 × 13mm MG 131 machine guns with 350 RPG in the upper forward fuselage

The kit and its assembly:

This Frankenstein creation was inspired by a recent Westland Whirlwind conversion: what could a German counterpart have looked like? The only comparable aircraft had been the Fw 187 Falke, but it was only built in a small pre-serial batch and did not see wide use. Any other German counterparts had been two-seaters, bigger, and rather multi-purpose aircraft than dedicated fighters. Only the late Ta 154 would conceptually come close, but it ended up as a two seat night fighter.

Time to spin the saw and create a personal interpretation and answer to this question. My idea was to use a Bf 109 as basis, since it is rather small and sleek, and convert it into a twin engine design. BTW, that's not as far-fetched as it sounds: a very similar concept had actually been planned for the P-40 in real life!

My choice fell on the elegant Bf 109, the F or early G models, since the aircraft was supposed to enter service right after the Battle of Britain, around 1943.

As basis I used two Hobby Boss kits, one of them was severely sliced up and re-arranged, together with some external donation parts. The second kit just donated the engine and the propeller.

From both kits, the engines were cut off. One pair of Bf 109 wings would be used as outer wings, the inner wing parts come from a Matchbox P-51D (from the scrap box). The engine nacelles are actually nose sections from two PZL Iskra kits (Master Craft, ex KP Models), the engines and propellers are transplants from the original Hobby Boss kits, and they fit very well in size and shape.

For the landing gear wells, the old wing openings in the Bf 109 and P-51 parts were faired over and new opening under the Iskra noses opened. The main landing gear comes from a Matchbox Vickers Wellington, sliced up and mated with wheels from a Matchbox P-51. The respective covers were taken from the scrap box.

Back to the fuselage: instead of the DB engine a new nose was fitted, donated from an ESCI Ka-34 ‘Hokum’, plus a 6mm plug for added length. Cockpit and canopy were taken OOB, just a voluminous Airfix pilot added that covers much of the interior’s bleakness.

In order to compensate for the bigger wing span and overall size a bigger and deeper fin was implanted: the upper section of a Revell Me 262 fin. Using the original Bf 109’s fin root position, the new, deeper fin lengthened the fuselage by maybe 5mm. In total, this would be enough to keep length/span proportions balanced. The stabilizers come from a Heller P-47, but they were reduced in depth and span in order to match the slender wings.

Once the basic arrangement was settled I had to look for a decent place for the radiators. The original Bf 109 arrangement had to go because of the engine nacelles, so I placed the new ones under the wing roots. These were built from scratch.

The armament is based on the state-of-the-art of the contemporary Fw 190 A-8, also with four cannons and two heavy machine guns.

Amazingly, the resulting aircraft reminds a lot of the Japanese Ki-45 and Ki-46, and slightly of the D.H. 88 Comet race plane (due to the cockpit position)?

Colors and markings:

The aircraft was supposed to enter service around 1943, so I settled for a typical „Type 5“ splinter scheme of that time in RLM 74/75/76. The paint scheme was inspired by contemporary Bf 110 aircraft, and I used Humbrol colors. 245 and 247 (RLM 74 and 76) are IMHO very good representations of the Luftwaffe tones, especially the RLM 74 is nice because it has a recognizable greenish hue that most other offerings lack. Only Humbrol's RLM 75 (246) looks a bit fishy to me - it is IMHO too dark, it almost looks like German Panzergrau. Even British Extra Dark Sea Grey (164) is better, or Modelmaster's Authentic tone.

I used Humbrol 176 (US Neutral Grey) as replacement, it is lighter than RLM 75 but this just emhances the color contrast with the RLM 74.

RLM 76 was taken high on the fuselage flanks and the fin, and large blotches with RLM 75, 74 and 02 added – this time not a finely mottled finish, but “art brut”.

The codes and markings are based on a real Bf 109 from VII/JG1 and represent a machine that was just marked in the newly introduced Reichsverteidigungcodes with fuselage bands in different colors and compositions. The simple red band was allocated to JG1. Only the white fin rudder is a personal addition. All markings were puzzled together from various aftermarket sheets (e .g. from Printscale), the red band was manually cut from a generic red TL Modellbau sheet which offers a perfect, dull red.

A bit of shading was done through dry-brushing and a light black ink wash, but that was all - no soot stains or chipped paint. Finally, the kit was sealed with acrlyic matt varnish.

Villahermosa, Parque-Museo La Venta, The Old Warrior, Monument 4

The Olmec colossal heads are at least seventeen monumental stone representations of human heads sculpted from large basalt boulders. The heads are a distinctive feature of the Olmec civilization of ancient Mesoamerica. All portray mature men with fleshy cheeks, flat noses, and slightly crossed eyes; their physical characteristics correspond to a type that is still common among the inhabitants of Tabasco and Veracruz. The backs of the monuments often are flat. The boulders were brought from the Sierra de los Tuxtlas mountains of Veracruz. Given that the extremely large slabs of stone used in their production were transported over large distances, requiring a great deal of human effort and resources, it is thought that the monuments represent portraits of powerful individual Olmec rulers. Each of the known examples has a distinctive headdress. The heads were variously arranged in lines or groups at major Olmec centres, but the method and logistics used to transport the stone to these sites remain unclear.

Dating the monuments remains difficult because of the movement of many from their original contexts prior to archaeological investigation. Most have been dated to the Early Preclassic period (1500–1000 BC) with some to the Middle Preclassic (1000–400 BC) period. The smallest weigh 6 tons, while the largest is variously estimated to weigh 40 to 50 tons, although it was abandoned and left unfinished close to the source of its stone.

The Olmec civilization developed in the lowlands of southeastern Mexico between 1500 and 400 BC. The Olmec heartland lies on the Gulf Coast of Mexico within the states of Veracruz and Tabasco, an area measuring approximately 275 kilometres east to west and extending about 100 kilometres inland from the coast. The Olmecs are regarded as the first civilization to develop in Mesoamerica.

The Olmecs were the first inhabitants of the Americas to construct monumental architecture and to settle in towns and cities. They were also the first people in the Americas to develop a sophisticated style of stone sculpture. In the first decade of the 21st century evidence emerged of Olmec writing, with the earliest examples of Olmec hieroglyphs dating to around 650 BC. Examples of script have been found on roller stamps and stone artefacts; the texts are short and have been partially deciphered based on their similarity to other Mesoamerican scripts. The evidence of complex society developing in the Olmec heartland has led to the Olmecs being regarded as the "Mother Culture" of Mesoamerica, although this concept remains controversial.

The seventeen confirmed examples of Olmec colossal heads are known from four sites within the Olmec heartland on the Gulf Coast of Mexico, namely San Lorenzo Tenochtitlán, La Venta, Tres Zapotes, and La Cobata.

La Venta Monument 4 measures 2.26 metres high by 1.98 metres wide and 1.86 metres deep. It weighs 19.8 tons. It was found a few metres to the west of Monument 2 and has been moved to the Parque-Museo La Venta. As with the other heads in the group, its archaeological context has been radiocarbon dated to between 1000 and 600 BC. The headdress is elaborate and, although damaged, various details are still discernible. The base of the headdress is formed by three horizontal strips running over the forehead. One side is decorated with a double-disc motif that may have been repeated on the other; if so, damage to the right side has obliterated any trace of it. The top of the headdress is decorated with the clawed foot of a bird of prey. Either straps or plaits of hair descend on either side of the face, from the headdress to the base of the monument. Only one earspool survives; it is flat, in the form of a rounded square, and is decorated with a cross motif. The ears have been completely eroded away and the lips are damaged. The surviving features display a frown and creasing around the nose and cheeks. The head displays prominent teeth.

(source: en.wikipedia.org/wiki/Olmec_colossal_heads)

Jacobus Buys (1724-1801) - A set of twelve representations of the months

www.sothebys.com/en/auctions/ecatalogue/2018/old-master-d...

The GLAAD Media Awards at the Waldorf Astoria Hotel in New York City

The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.

GLAAD, the world's lesbian, gay, bisexual, and transgender (LGBT) media advocacy organization, honored Robert De Niro, Mariah Carey, and the best in film, television, and journalism at the 27th Annual GLAAD Media Awards at the Waldorf Astoria New York on Saturday May 14th 2016. Jennifer Lawrence, Aziz Ansari, Connie Britton, Diane Sawyer, Caitlyn Jenner, Tamron Hall, Noah Galvin, Andrew Rannells, Andreja Pejić, and Jason Biggs were among the special guests. Recording artists Alex Newell and Bebe Rexha, as well as the Tony Award-winning Broadway musical Fun Home performed at the event hosted by Emmy Award-winning actress Laverne Cox. The 27th Annual GLAAD Media Awards were presented by Delta Air Lines, Hilton, Ketel One Vodka, and Wells Fargo.

GLAAD Media Award recipients announced Saturday in New York. Additional awards were presented in Los Angeles at the Beverly Hilton on April 2.

Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)

Ally Award: Mariah Carey (presented by Lee Daniels)

· Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview" 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]

· Outstanding TV Journalism Segment: "Interview with Jim Obergefell" Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]

· Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]

· Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)

· Outstanding Individual Episode: "The Prince of Nucleotides" Royal Pains (USA Network)

· Outstanding Digital Journalism – Multimedia: "Stopping HIV? The Truvada Revolution" Vice Reports (Vice.com)

· Outstanding Newspaper Article: "Cold Case: The Murders of Cosby and Jackson" by Dianna Wray (Houston Press)

· Outstanding Magazine Article: "Behind Brazil's Gay Pride Parades, a Struggle with Homophobic Violence" by Oscar Lopez (Newsweek)

· Outstanding Digital Journalism Article: "This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life" by J. Lester Feder (Buzzfeed.com)

SPANISH-LANGUAGE NOMINEES

· Outstanding Daytime Program Episode: "¿El marido de mi padre o yo?" Caso Cerrado (Telemundo)

· Outstanding TV Journalism – Newsmagazine: TIE: "Amor que rompe barreras" Un Nuevo Día (Telemundo) and "En cuerpo ajeno" Aquí y Ahora (Univision)

· Outstanding TV Journalism Segment: "Víctimas de abusos" Noticiero Univision (Univision)

· Outstanding Digital Journalism – Multimedia: "Campeones de la igualdad" (Univision.com)

GLAAD (formerly the Gay & Lesbian Alliance Against Defamation) is a U.S. non-governmental media monitoring organization founded by LGBT people in the media.

Motto - to promote understanding, increase acceptance, and advance equality.

Founded - 1985

Founder

Vito Russo

Jewelle Gomez

Lauren Hinds

GLAAD 2016 President and CEO Sarah Kate Ellis

GLAAD

104 W 29th St #4,

New York, NY 10001

USA

(212) 629-3322

Waldorf Astoria Hotel

301 Park Ave,

New York, NY 10022

USA

(212) 355-3000

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New York City, Manhattan Island, New York State, USA The United States of America country, North America continent

May 14th 2016‬

2022 Columbus Circle - The Maine Monument - 1914 Beaux Arts monument to commemorate the controversial sinking of the battleship Maine in 1898 - The ship has sculpted representations of the mythological figures Victory - Peace - Courage - Fortitude and Justice - Central Park Entrance NYC 03/08/2022 New York City statue statues group sculpture sculptures Art golden gold leaf woman horses hippocampus sea-horse hippocamp sea horse giant clam shell sled coach chariot mythology

The Garuda is a large bird-like creature, or humanoid bird that appears in both Hinduism and Buddhism. Garuda is the mount (vahana) of the Lord Vishnu. Garuda is the Hindu name for the constellation Aquila. The brahminy kite and phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda's depiction as its national symbol, where it depicts a Javanese eagle (being much larger than a kite).

ABOUT GARUDA

In Hinduism, Garuda is a Hindu divinity, usually the mount (vahana) of the Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle's beak and with a crown on his head. This ancient deity was said to be massive, large enough to block out the sun.

Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.

His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda - Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention Garuda as doing the same thing, which indicates that Śyena (Sanskrit for eagle) and Garuda are the same. One of the faces of Śrī Pañcamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one's body. In Tamil Vaishnavism Garuda and Hanuman are known as "Periya Thiruvadi" and "Siriya Thiruvadi" respectively.

In the Bhagavad-Gita (Ch.10, Verse 30), in the middle of the battlefield "Kurukshetra", Krishna explaining his omnipresence, says - " as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)" indicating the importance of Garuda.

Garuda wears the serpent Adisesha on his left small toenail and the serpent Gulika on his right cerebral cortex. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his two wives ‘Rudra’ and ‘Sukeerthi’ or (Sukirthi). These are all invoked in Vedanta Desika's Garuda Panchashath and Garuda Dandaka compositions. Garuda flanked with his consorts 'Rudra' and 'Sukirthi' can be seen worshipped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit ) in Karnataka state of India.

Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.

Garuda plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, Lord Hari rides on Garuda to save the devotee elephant Gajendra. It is also said that Garuda's wings when flying will chant the Vedas.

With the position of Garuda's hands and palms, he is also called 'Kai Yendhi Perumal', in Tamil.

IN THE MAHABHARATA

BIRTH AND DEEDS

The story of Garuda's birth and deeds is told in the first book of the great epic Mahabharata.[4] According to the epic, when Garuda first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.

Garuda's father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha. Kasyapa, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the Sun rises in the morning, and as also charioteer of the Sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird form emerged as Garuda, the king of birds. Garuda was thus born.

One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tall order. The amrita at that time found itself in the possession of the gods, who guarded it zealously, since it was the source of their immortality. They had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.

Undaunted, Garuda hastened toward the abode of the gods intent on robbing them of their treasure. Knowing of his design, the gods met him in full battle-array. Garuda, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. En route, he encountered Vishnu. Rather than fight, the two exchanged promises. Vishnu promised Garuda the gift of immortality even without drinking from the elixir, and Garuda promised to become Vishnu's mount. Flying onward, he met Indra the god of the sky. Another exchange of promises occurred. Garuda promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for Indra to regain possession of the elixir and to take it back to the gods. Indra in turn promised Garuda the serpents as food.At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onwards, serpents have split tongues and shed their skin as a kind of immortality. From that day onward, Garuda was the ally of the gods and the trusty mount of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.

DESCENDANTS

According to the Mahabharata, Garuda had six sons (Sumukha, Suvarna, Subala, Sunaama, Sunethra and Suvarchas) from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.

AS A SYMBOL

Throughout the Mahabharata, Garuda is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military formation named after Garuda. Krishna even carries the image of Garuda on his banner.

IN BUDDHISM

In Buddhist mythology, the Garuda (Pāli: garuḷā) are enormous predatory birds with intelligence and social organization. Another name for the Garuda is suparṇa (Pāli: supaṇṇa), meaning "well-winged, having good wings". Like the Naga, they combine the characteristics of animals and divine beings, and may be considered to be among the lowest devas.

The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda's wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed (Kākātī Jātaka, J.327). They are also capable of tearing up entire banyan trees from their roots and carrying them off.

Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 8 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can gobble up all the exposed dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.

There were also the four garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King, and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.

The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they wish to have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbalī, or silk-cotton tree.

The Garuda are enemies to the nāga, a race of intelligent serpent- or dragon-like beings, whom they hunt. The Garudas at one time caught the nāgas by seizing them by their heads; but the nāgas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing them from exhaustion. This secret was divulged to one of the Garudas by the ascetic Karambiya, who taught him how to seize a nāga by the tail and force him to vomit up his stone (Pandara Jātaka, J.518).

The Garudas were among the beings appointed by Śakra to guard Mount Sumeru and the Trāyastriṃśa heaven from the attacks of the asuras.

In the Maha-samaya Sutta (Digha Nikaya 20), the Buddha is shown making temporary peace between the Nagas and the Garudas.

The Thai rendering of Garuda (ครุฑ Krut) as Vishnu vehicle and Garuda's quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai's residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.

The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone (ဂဠုန်). In Burmese astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan language of the Philippines, the native word for eagle is galura. In Japanese a Garuda is called karura (however, the form Garuda ガルーダ is used in recent Japanese fiction - see below).

For the Mongols, the Garuda is called Khan Garuda or Khangarid (Mongolian: Хангарьд). Before and after each round of Mongolian wrestling, wrestlers perform the Garuda ritual, a stylised imitation of the Khangarid and a hawk.

In the Qing Dynasty fiction The Story of Yue Fei (1684), Garuda sits at the head of the Buddha's throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the "Eastern Window" plot that leads to Yue's eventual political execution. It is interesting to note The Story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C. T. Hsia explains the reason why Qian Cai, the book's author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei's courtesy name is Pengju (鵬舉). A Peng (鵬) is a giant mythological bird likened to the Middle Eastern Roc. Garuda's Chinese name is Great Peng, the Golden-Winged Illumination King (大鵬金翅明王).

As a cultural and national symbol

In India, Indonesia and the rest of Southeast Asia the eagle symbolism is represented by Garuda, a large mythical bird with eagle-like features that appears in both Hindu and Buddhist mythology as the vahana (vehicle) of the god Vishnu. Garuda became the national emblem of Thailand and Indonesia; Thailand's Garuda is rendered in a more traditional anthropomorphic mythical style, while that of Indonesia is rendered in heraldic style with traits similar to the real Javan hawk-eagle.

INDIA

India primarily uses Garuda as a martial motif:

Garud Commando Force is a Special Forces unit of the Indian Air Force, specializing in operations deep behind enemy lines

Brigade of the Guards of the Indian Army uses Garuda as their symbol

Elite bodyguards of the medieval Hoysala kings were called Garudas

Kerala and Andhra pradesh state road transport corporations use Garuda as the name for a/c moffusil buses

Garuda rock, a rocky cliff in Tirumala in Andhra pradesh

13th century Aragalur chief, Magadesan's, insignia was Rishabha the sacred bull and the Garuda

INDONESIA

Indonesia uses the Garuda, called the Garuda Pancasila, as its national symbol, it is somewhat intertwined with the concept of the phoenix.

Garuda Pancasila is coloured or gilt gold, symbolizes the greatness of the nation and is a representation of the elang Jawa or Javan hawk-eagle Nisaetus bartelsi. The black color represents nature. There are 17 feathers on each wing, 8 on the lower tail, 19 on the upper tail and 45 on the neck, which represent the date Indonesia proclaimed its independence: 17 August 1945. The shield it carries with the Indonesian Panca Sila heraldry symbolizes self-defense and protection in struggle.

Indonesian national airline is Garuda Indonesia.

Indonesian Armed Forces United Nations peacekeeping missions is known as Pasukan Garuda or Garuda Contingent

Airlangga University, one of the oldest and leading university in Indonesia uses Garuda on its emblem. The emblem, containing a Garuda in a blue and yellow circle, is called "Garudamukha", and depicts Garuda as the bearer of knowledge, carrying a jug of Amrita, the water of eternity, symbolizing eternal knowledge.

In Bali and Java Garuda has become a cultural symbol, the wooden statue and mask of Garuda is a popular artworks and souvenirs.

In Bali, we can find the tallest Garuda statue of 18 metres tall made from tons of copper and brass. The statue is located in Garuda Wisnu Kencana complex.

Garuda has identified as Indonesian national football team in international games, namely "The Garuda Team".

The stylized brush stroke that resemble Garuda is appear in the logo of 2011 Southeast Asian Games, held in Palembang and Jakarta, Indonesia.

The stylized curves that took form of Garuda Pancasila is appear in the logo of Wonderful Indonesia tourism campaign.

THAILAND

Thailand uses the Garuda (Thai: ครุฑ, khrut) as its national symbol.

One form of the Garuda used in Thailand as a sign of the royal family is called Khrut Pha, meaning "Garuda, the vehicle (of Vishnu)."

The statue and images of Garuda adorned many Buddhist temples in Thailand, it also has become the cultural symbol of Thailand.

MONGOLIA

The Garuda, known as Khangarid, is the symbol of the capital city of Mongolia, Ulan Bator. According to popular Mongolian belief, Khangarid is the mountain spirit of the Bogd Khan Uul range who became a follower of Buddhist faith. Today he is considered the guardian of that mountain range and a symbol of courage and honesty.

The bird also gives its name to Hangard Aviation

Khangarid (Хангарьд), a football (soccer) team in the Mongolia Premier League also named after Garuda.

Garuda Ord (Гаруда Орд), a private construction and trading company based in Ulaanbaatar, also named after Garuda.

State Garuda (Улсын Гарьд) is a title given to the debut runner up in wrestling tournament during Mongolian National Festival Naadam.

SURINAME

In Suriname, there is a TV channel called Garuda. Suriname has a lot of people from Indonesia and Java, as it is a multicultural country.

WIKIPEDIA

A few years ago, I got to see a 1:1500 scale model of London at the Building Centre there. It is a large scale model of the heart of the city in three dimensions, with representations of most buildings, landmarks, parks, the Thames, and the (at the time yet to be built) Olympic Park.

It's extremely impressive.

And it is as nothing compared to The Panorama at the Queens Museum of Art.

Here's two panorama photos to give a sense of the scale:

• view from the “west”

• view from the ”south”

⁂

Quoting from the Museum’s page on the The Panorama of the City of New York:

The Panorama is the jewel in the crown of the collection of the Queens Museum of Art. Built by Robert Moses for the 1964 World’s Fair, in part as a celebration of the City’s municipal infrastructure, this 9,335 square foot architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures.

The Panorama was built by a team of 100 people working for the great architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. In planning the model, Lester Associates referred to aerial photographs, insurance maps, and a range of other City material; the Panorama had to be accurate, indeed the initial contract demanded less than one percent margin of error between reality and the model. The Panorama was one of the most successful attractions at the ‘64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City.

After the Fair the Panorama remained open to the public, its originally planned use as an urban planning tool seemingly forgotten. Until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates changed over 60,000 structures to bring it up-to-date.

In the Spring of 2009 the Museum launched its Adopt-A-Building program with the installation of the Panorama’s newest addition, Citi Field, to continue for the ongoing care and maintenance of this beloved treasure.

The Queens Museum of Art has a program giving you the opportunity to “purchase” NYC real estate on The Panorama of the City of New York for as low as $50. To learn how you can become involved click here.

We hope that you will take time to enjoy the Panorama of the City of New York.

The Panorama of the City of New York is sponsored by the New York City Department of Cultural Affairs and New York State Assembly members Mike Gianaris, Mark Weprin, Audrey Pheffer, Nettie Mayersohn and Ivan Lafayette, The New York Mets Foundation and the supporters of the Adopt-A-Building Program.

View the winning pictures from our Gala 2011 Panorama Picture Contest!

View pictures from our Gala 2011 Photo booth, May 12, 2011!

View pictures of the Panorama on its Flickr page

Add your own pictures to our Panorama Flickr Group!

⁂

Quoting now from The Panorama section in Wikipedia’s Queens Museum of Art article:

The best known permanent exhibition at the Queens Museum is the Panorama of the City of New York which was commissioned by Robert Moses for the 1964 World’s Fair. A celebration of the City’s municipal infrastructure, this 9,335-square-foot (867.2 m2) architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures. The Panorama was built by a team of 100 people working for the architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. The Panorama was one of the most successful attractions at the ’64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City. After the Fair the Panorama remained open to the public and until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates was hired to update the model to coincide with the re-opening of the museum. The model makers changed over 60,000 structures to bring it up-to-date.

In March 2009 the museum announced the intention to update the panorama on an ongoing basis. To raise funds and draw public attention the museum will allow individuals and developers to have accurate models made of buildings newer than the 1992 update created and added in exchange for a donation. Accurate models of smaller apartment buildings and private homes, now represented by generic models, can also be added. The twin towers of the World Trade Center will be replaced when the new buildings are created, the museum has chosen to allow them to remain until construction is complete rather than representing an empty hole. The first new buildings to be added was the new Citi Field stadium of the New York Mets. The model of the old Shea Stadium will continue to be displayed elsewhere in the museum.

⁂

Quoting now from the explanatory sign at the exhibit:

THE PANORAMA OF THE CITY OF NEW YORK

The Panorama of the City of New York, the world's largest scale model of its time, was the creation of Robert Moses and Raymond Lester. Presented in the New York City Pavilion as the city’s premiere exhibit at the 1964/65 New York World’s Fair, it was intended afterwards to serve as an urban planning tool. Visitors experienced the Panorama from a simulated “helicopter” ride that travelled around perimeter or from a glass-enclosed balcony on the second floor, while news commentator Lowell Thomas provided audio commentary on “The City of Opportunity.” One of the “helicopter” cars is now on view in the Museum’s permanent exhibition, A Panoramic View: A History of the New York City Building and Flushing Meadows Corona Park.

Constructed at the Lester Associates workshop in Westchester, New York, the Panorama contains 273 separate sections, many of which are four-by-ten-foot rectangular panels. They are composed of Formica flakeboard topped with urethane foam slabs from which the typography was carved. Lester Associates’ staff consulted geological survey maps, aerial photographs, and books of City insurance maps, to accurately render the City’s streets, highways, parks, and buildings. Once the Panorama’s modules were completed at Lester Associates’ workshop, they were assembled on site in the New York City Building. It took more than 100 workers, three years to complete the model.

Built on a sale of 1:1,200 (1 inch equals 100 feet), the Panorama occupies 9.335 square feet and accurately replicates New York City including all 320 square miles of its five boroughs and 771 miles of shoreline, as well as the built environment. It includes miniature cars, boats, and an airplane landing and taking off at LaGuardia Airport.

The majority of the City’s buildings are presented by standardized model units made from wood and acrylic. Of more than 895,000 individual structures, 25,000 are custom-made to approximate landmarks such as skyscrapers, large factories, colleges, museums, and major churches. The amount of detail possible on most buildings is limited; at a scale of 1 inch to 100 feet, the model of the Empire State Building measures only 15 inches. The most accurate structures on the Panorama are its 35 major bridges, which are finely made of brass and shaped by a chemical milling process.

The model is color coded to indicate various types of land use. The dark green areas are parks. Parkways are also edged in dark green. Mint green sections are related to transportation including train and bus terminals. The pink rectangles that dot the City show the locations of recreational areas including playgrounds and tennis and basketball courts. Clusters of red buildings are indicative of publicly subsidized housing.

Red, blue, green, yellow, and white colored lights were installed on the surface of the Panorama in 1964 to identify structures housing City agencies relating to protection, education, health, recreation, commerce, welfare, and transportation. Overhead lights have been designed to run in a dawn to dusk cycle, and the nighttime effect is enhanced by ultraviolet paint, illuminated by blacklight.

In 1992, the City began a renovation of the Queens Museum of Art and the Panorama. Using their original techniques, Lester Associates updated the Panorama with 60,000 changes. In the current instalation, designed by Rafael Viñoly Architects, visitors follow the course of the original “helicopter” ride on an ascending ramp that enables them to experience the Panorama of the City of New York from Multiple Perspectives.

A few years ago, I got to see a 1:1500 scale model of London at the Building Centre there. It is a large scale model of the heart of the city in three dimensions, with representations of most buildings, landmarks, parks, the Thames, and the (at the time yet to be built) Olympic Park.

It's extremely impressive.

And it is as nothing compared to The Panorama at the Queens Museum of Art.

Here's two panorama photos to give a sense of the scale:

• view from the “west”

• view from the ”south”

⁂

Quoting from the Museum’s page on the The Panorama of the City of New York:

The Panorama is the jewel in the crown of the collection of the Queens Museum of Art. Built by Robert Moses for the 1964 World’s Fair, in part as a celebration of the City’s municipal infrastructure, this 9,335 square foot architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures.

The Panorama was built by a team of 100 people working for the great architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. In planning the model, Lester Associates referred to aerial photographs, insurance maps, and a range of other City material; the Panorama had to be accurate, indeed the initial contract demanded less than one percent margin of error between reality and the model. The Panorama was one of the most successful attractions at the ‘64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City.

After the Fair the Panorama remained open to the public, its originally planned use as an urban planning tool seemingly forgotten. Until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates changed over 60,000 structures to bring it up-to-date.

In the Spring of 2009 the Museum launched its Adopt-A-Building program with the installation of the Panorama’s newest addition, Citi Field, to continue for the ongoing care and maintenance of this beloved treasure.

The Queens Museum of Art has a program giving you the opportunity to “purchase” NYC real estate on The Panorama of the City of New York for as low as $50. To learn how you can become involved click here.

We hope that you will take time to enjoy the Panorama of the City of New York.

The Panorama of the City of New York is sponsored by the New York City Department of Cultural Affairs and New York State Assembly members Mike Gianaris, Mark Weprin, Audrey Pheffer, Nettie Mayersohn and Ivan Lafayette, The New York Mets Foundation and the supporters of the Adopt-A-Building Program.

View the winning pictures from our Gala 2011 Panorama Picture Contest!

View pictures from our Gala 2011 Photo booth, May 12, 2011!

View pictures of the Panorama on its Flickr page

Add your own pictures to our Panorama Flickr Group!

⁂

Quoting now from The Panorama section in Wikipedia’s Queens Museum of Art article:

The best known permanent exhibition at the Queens Museum is the Panorama of the City of New York which was commissioned by Robert Moses for the 1964 World’s Fair. A celebration of the City’s municipal infrastructure, this 9,335-square-foot (867.2 m2) architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures. The Panorama was built by a team of 100 people working for the architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. The Panorama was one of the most successful attractions at the ’64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City. After the Fair the Panorama remained open to the public and until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates was hired to update the model to coincide with the re-opening of the museum. The model makers changed over 60,000 structures to bring it up-to-date.

In March 2009 the museum announced the intention to update the panorama on an ongoing basis. To raise funds and draw public attention the museum will allow individuals and developers to have accurate models made of buildings newer than the 1992 update created and added in exchange for a donation. Accurate models of smaller apartment buildings and private homes, now represented by generic models, can also be added. The twin towers of the World Trade Center will be replaced when the new buildings are created, the museum has chosen to allow them to remain until construction is complete rather than representing an empty hole. The first new buildings to be added was the new Citi Field stadium of the New York Mets. The model of the old Shea Stadium will continue to be displayed elsewhere in the museum.

⁂

Quoting now from the explanatory sign at the exhibit:

THE PANORAMA OF THE CITY OF NEW YORK

The Panorama of the City of New York, the world's largest scale model of its time, was the creation of Robert Moses and Raymond Lester. Presented in the New York City Pavilion as the city’s premiere exhibit at the 1964/65 New York World’s Fair, it was intended afterwards to serve as an urban planning tool. Visitors experienced the Panorama from a simulated “helicopter” ride that travelled around perimeter or from a glass-enclosed balcony on the second floor, while news commentator Lowell Thomas provided audio commentary on “The City of Opportunity.” One of the “helicopter” cars is now on view in the Museum’s permanent exhibition, A Panoramic View: A History of the New York City Building and Flushing Meadows Corona Park.

Constructed at the Lester Associates workshop in Westchester, New York, the Panorama contains 273 separate sections, many of which are four-by-ten-foot rectangular panels. They are composed of Formica flakeboard topped with urethane foam slabs from which the typography was carved. Lester Associates’ staff consulted geological survey maps, aerial photographs, and books of City insurance maps, to accurately render the City’s streets, highways, parks, and buildings. Once the Panorama’s modules were completed at Lester Associates’ workshop, they were assembled on site in the New York City Building. It took more than 100 workers, three years to complete the model.

Built on a sale of 1:1,200 (1 inch equals 100 feet), the Panorama occupies 9.335 square feet and accurately replicates New York City including all 320 square miles of its five boroughs and 771 miles of shoreline, as well as the built environment. It includes miniature cars, boats, and an airplane landing and taking off at LaGuardia Airport.

The majority of the City’s buildings are presented by standardized model units made from wood and acrylic. Of more than 895,000 individual structures, 25,000 are custom-made to approximate landmarks such as skyscrapers, large factories, colleges, museums, and major churches. The amount of detail possible on most buildings is limited; at a scale of 1 inch to 100 feet, the model of the Empire State Building measures only 15 inches. The most accurate structures on the Panorama are its 35 major bridges, which are finely made of brass and shaped by a chemical milling process.

The model is color coded to indicate various types of land use. The dark green areas are parks. Parkways are also edged in dark green. Mint green sections are related to transportation including train and bus terminals. The pink rectangles that dot the City show the locations of recreational areas including playgrounds and tennis and basketball courts. Clusters of red buildings are indicative of publicly subsidized housing.

Red, blue, green, yellow, and white colored lights were installed on the surface of the Panorama in 1964 to identify structures housing City agencies relating to protection, education, health, recreation, commerce, welfare, and transportation. Overhead lights have been designed to run in a dawn to dusk cycle, and the nighttime effect is enhanced by ultraviolet paint, illuminated by blacklight.

In 1992, the City began a renovation of the Queens Museum of Art and the Panorama. Using their original techniques, Lester Associates updated the Panorama with 60,000 changes. In the current instalation, designed by Rafael Viñoly Architects, visitors follow the course of the original “helicopter” ride on an ascending ramp that enables them to experience the Panorama of the City of New York from Multiple Perspectives.

These 2 MOCs are mild representations of the execution of Aayla Secura, killed by Commander Bly (Not Present) and Barriss Offee, killed by Commander Galle on Felucia. Please note that these mocs are not entirely accurate but made to te best of my ability. Please Vote on which Order 66 moc you like the best.

Order 66 was one of a series of contingency orders that the clone troopers of the Grand Army of the Republic were trained to prepare for during their growth. The order branded the Jedi as traitors of the Republic and called for their immediate execution without question. Its issuing by Supreme Chancellor Palpatine marked the formal beginning of the Great Jedi Purge, starting the rise of the Galactic Empire, and it was chief among the atrocities that led to the Galactic Civil War.

Actual Code:Order 66: In the event of Jedi officers acting against the interests of the Republic, and after receiving specific orders verified as coming directly from the Supreme Commander (Chancellor), GAR commanders will remove those officers by lethal force, and command of the GAR will revert to the Supreme Commander (Chancellor) until a new command structure is established. -Wookiepedia

This graffiti on a garage door in Detroit, represents Detroit's baseball team, the Detroit Tigers. It also represents two men (friends) that were frequently seen outside of Comerica Park (Tigers baseball stadium) cheering for the Tigers on their game days. One of the men, James Van Horn, was known by many for holding a large hulk Styrofoam hand and chanting "Eat 'em up, Tigers, eat 'em up." The second man was known as Dreadlock Mike (Michael Alston). They were together when they died from a hit-and-run driver this past July. Here's more information for those that are interested: www.freep.com/article/20130802/NEWS01/308020083/Eat-Em-Up...

para un juego de no-representaciones... no-representativo... im-presentable!

# # #

for a game of non-representations ... non-representative ... un-presentable!

The GLAAD Media Awards at the Waldorf Astoria Hotel in New York City

The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.

GLAAD, the world's lesbian, gay, bisexual, and transgender (LGBT) media advocacy organization, honored Robert De Niro, Mariah Carey, and the best in film, television, and journalism at the 27th Annual GLAAD Media Awards at the Waldorf Astoria New York on Saturday May 14th 2016. Jennifer Lawrence, Aziz Ansari, Connie Britton, Diane Sawyer, Caitlyn Jenner, Tamron Hall, Noah Galvin, Andrew Rannells, Andreja Pejić, and Jason Biggs were among the special guests. Recording artists Alex Newell and Bebe Rexha, as well as the Tony Award-winning Broadway musical Fun Home performed at the event hosted by Emmy Award-winning actress Laverne Cox. The 27th Annual GLAAD Media Awards were presented by Delta Air Lines, Hilton, Ketel One Vodka, and Wells Fargo.

GLAAD Media Award recipients announced Saturday in New York. Additional awards were presented in Los Angeles at the Beverly Hilton on April 2.

Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)

Ally Award: Mariah Carey (presented by Lee Daniels)

· Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview" 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]

· Outstanding TV Journalism Segment: "Interview with Jim Obergefell" Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]

· Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]

· Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)

· Outstanding Individual Episode: "The Prince of Nucleotides" Royal Pains (USA Network)

· Outstanding Digital Journalism – Multimedia: "Stopping HIV? The Truvada Revolution" Vice Reports (Vice.com)

· Outstanding Newspaper Article: "Cold Case: The Murders of Cosby and Jackson" by Dianna Wray (Houston Press)

· Outstanding Magazine Article: "Behind Brazil's Gay Pride Parades, a Struggle with Homophobic Violence" by Oscar Lopez (Newsweek)

· Outstanding Digital Journalism Article: "This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life" by J. Lester Feder (Buzzfeed.com)

SPANISH-LANGUAGE NOMINEES

· Outstanding Daytime Program Episode: "¿El marido de mi padre o yo?" Caso Cerrado (Telemundo)

· Outstanding TV Journalism – Newsmagazine: TIE: "Amor que rompe barreras" Un Nuevo Día (Telemundo) and "En cuerpo ajeno" Aquí y Ahora (Univision)

· Outstanding TV Journalism Segment: "Víctimas de abusos" Noticiero Univision (Univision)

· Outstanding Digital Journalism – Multimedia: "Campeones de la igualdad" (Univision.com)

GLAAD (formerly the Gay & Lesbian Alliance Against Defamation) is a U.S. non-governmental media monitoring organization founded by LGBT people in the media.

Motto - to promote understanding, increase acceptance, and advance equality.

Founded - 1985

Founder

Vito Russo

Jewelle Gomez

Lauren Hinds

GLAAD 2016 President and CEO Sarah Kate Ellis

GLAAD

104 W 29th St #4,

New York, NY 10001

USA

(212) 629-3322

Waldorf Astoria Hotel

301 Park Ave,

New York, NY 10022

USA

(212) 355-3000

Hashtag metadata tag

#GMA @glaad ‪#‎glaadawards #GLAAD #GLAADMediaAwards #GLAADMedia #GLAADAwards #LGBT #GLBT #LGBTQ #GLBTQ #Lesbian #gay #gays #gaymen #gaywomen #bi #Bisexual #Trans #Transman #TransWoman #Transidentity #Transgender #Gender #GenderFluid #GenderIdentity #Queer #Media #TV #Television #Press #WaldorfAstoria #WaldorfAstoriaHotel #NY #NYC #NYS #NewYork #NewYorkCity #NewYorkState #USA #Equality #Pride #celebrity #fashion #famous #style #RedCarpet #RedCarpetEvent

Photo

New York City, Manhattan Island, New York State, USA The United States of America country, North America continent

May 14th 2016‬

On the neck are representations of actions relating to animal sacrifice, while the body represents the duel between Achilles and Memnon flanked by their mothers, Thetis and Eos, attending Zeus, who weighs their souls on a balance; and on the other side the introduction of Herakles to Olympos.

Found at Cerveteri, Banditaccia Necropolis, without context. Named for the archaeologist who discovered it.

(Etruscan/Ionian) Black Figure hydria of the 'Campana Group', attributed to the Ribbon Painter (aka the 'Painter of Louvre E 737-739' or the 'Painter of Louvre E 739', a painter of possibly North Ionian Greek (Phokaean?) origin), dated stylistically to ca. 530/525 BCE, perhaps produced at Cerveteri or Vulci.

(Caere/Cerveteri/Caisra/Cisra/Agylla: Pleiades; PECS (Perseus); Wikipedia).

In the collection of the Museo Nazionale Etrusco di Villa Giulia, Rome, Italy (MiBACT; en.wikipedia), inv. 80983.

This photo is made available under a Attribution-NonCommercial-ShareAlike 2.0 Generic (CC BY-NC-SA 2.0) license. You may not use the material for commercial purposes.

Day 31 of #inktober - prompt: Landmark

Landmarks can have several symbolic representations, as embodying collective memory, symbolising a past, or serve as gathering points, grounding a community’s sense of self, symbolising shared purpose, a place where community members come together for collective experience. It’s what I wanted to draw in this last prompt for what the “Inktober” landmark represents to me. I therefore express my great gratitude to @inktober organisers of this collective experience, and to all participants- known or unknown- with whom I interacted during this month of October 2024.

#inktober2024 #sketchnotes #visualthinking #community #landmark #continousline #continouslinedrawing #collectiveexperience #gratitude