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...at Beamish Museum in County Durham, represents the home of a well-to-do tenant farmer in the 1820s. Pockerley actually had a tenant farmer until 1990, when the hall was 'annexed' by the museum, opening to the public five years later following extensive development and restoration.
Pockerley (the name is derived from the Anglo-Saxon words 'pock' or 'pokor', meaning 'pimple' or 'bag-like', and 'ley', meaning a woodland clearing) has stood on its hilltop site for several centuries, the earliest record of a settlement dating from a rental survey for the Bishop of Durham in 1183, though its defensive attributes suggest that there could have been an Iron Age hill fort there. Pictured is the main farmhouse, or 'new' house – dating from the late 1700s! – with the adjoining (though never connected) mediaeval strong house, or 'old' house, to the right. In the foreground is the ornamental section of the Hall's terraced gardens.
This is a belated upload, following a lull in shooting that prompted me to trawl through my old photographs in search of any 'hidden gems' I might previously have passed over (as you do). The original colour shot pre-dates my acquisition of the Nik Collection, and I thought it was a good candidate for what has rapidly become my favourite preset in Silver Efex Pro: 'Antique Plate II', which I am still determined not to over-use! :-)
Ce Temple représente le leu le plus SACRE de l'EMPIRE INCA...
A l'arrivée des Espagnols, le Temple contenait des richesses fabuleuses en OR...... Le Temple fut rasé et pillé.
Il n'en subsiste que des vestiges....
Il reste cette plaque d'OR qui représente les cultes du temp...
Sur ses fondations, les espagnols construisirent l'Eglise et le couvent Santo Domingo...
Outside shelves - porch (Master Nicholaus twelfth century) are represented the twelve months of the year (here August July June) - Basilica of San Zeno Verona
Principale capolavoro del romanico in Italia, la basilica di San Zeno è uno degli edifici più importanti della città. E' dedicata all'ottavo vescovo di Verona, un santo di origine africana a cui si attribuiscono numerosi miracoli e la conversione al cristianesimo delle popolazioni venete. Il nucleo originario della Basilica di San Zeno risale al IV secolo, quando una piccola chiesa fu eretta vicino al luogo di sepoltura del Santo.
L'interno della chiesa, con pianta a forma di croce latina a tre navate, presenta una peculiare suddivisione su tre livelli: la cripta è in basso, sovrastata prima dalla chiesa plebana e poi dal presbiterio (o Chiesa Superiore) a cui si accede mediante due maestose scalinate in marmo. Anche il grande Chiostro (a cui si accede attraverso la navata di sinistra) è in stile romanico e risale al XII secolo: composto da numerosi archetti sorretti da colonnine binate, racchiude antichi sepolcri, preziosi affreschi e una edicola che conteneva il lavatoio dei frati.
Basilica of San Zeno, Verona
Main masterpiece of Romanesque architecture in Italy, the Basilica of San Zeno is one of the most important buildings of the city. It is dedicated to the eighth bishop of Verona, a saint of African origin to which are attributed many miracles, and the conversion to Christianity of Veneto populations. The original nucleus of the San Zeno Basilica dates back to the fourth century, when a small church was built near the site of the Holy Burial.
The interior, with a Latin cross plan with three naves, presents a peculiar split on three levels: the crypt is at the bottom, topped by the first parish church and then from the presbytery (or Upper Church) which can be accessed via two majestic marble staircases. Even the great cloister (which is accessed through the left aisle) is Romanesque and dates from the twelfth century, composed of numerous small arches supported by twin columns, contains ancient tombs, ancient frescos and a shrine containing the wash of the friars.
Le monument aux Girondins situé sur l'esplanade des Quinconces à Bordeaux Gironde.
Statue représentant l’Éloquence.
A classic image to represent Spring. It's not the easiest task to find an accessible rapeseed field as I first thought, and not always the easiest to photograph. I quite like the contrast of the blue sky against the yellow rapeseed, as long as the light isn't too harsh. This was taken with a 10 stop ND filter, which was mainly to get some motion in the clouds, but I ended up also liking the motion of the rapeseed blowing in the wind.
It was very windy when we went to see the Meoto Iwa (Wedded Rocks) at the Futamiokitama Shrine, located in Ise, Mie Prefecture, Japan. According to the Shinto religion, the rocks represent the union of the creator kami, Izanagi and Izanami. The rocks, therefore, celebrate the union in marriage of man and woman. They are joined by a shimenawa (a heavy rope of rice straw) and are considered sacred by worshipers of the shrine.
I placed the tripod at a spot that was protected from the winds, and took 11 minutes worth of long exposure images using an ND filter. Blending those images result in this silky smooth water surface -- all the waves from the gusty wind got smoothed out. The rope between the rocks moved and was blurry, so I blended the rope in from a short exposure image.
I blended 22 long exposure JPG images into a single image, blended the ropes from a short exposure image, processed a balanced and a realistic HDR photo from that, blended them selectively, carefully adjusted the color balance and curves, and desaturated the image. I welcome and appreciate constructive comments.
Thank you for visiting - ♡ with gratitude! Fave if you like it, add comments below, like the Facebook page, order beautiful HDR prints at qualityHDR.com.
-- ƒ/8.0, 50 mm, 1/125, 22 x 30 sec, ISO 50, Sony A7 II, Canon 50mm f0.95 "Dream Lens", HDR, 23 RAW exposures, _DSC9772_9_x22_hdrj1bal1rea1j.jpg
-- CC BY-NC-SA 4.0, © 2024 Peter Thoeny, Quality HDR Photography
Built 1956 for the USAF with the serial 56-0312, this Voodoo last served with the Kentucky Air National Guard before going into store at Davis Monthan in April 1976. The aircraft was transferred to RAF Alconbury as a Battle Damage Repair airframe before joining the Midland Air Museum in 1992. Now painted to represent a Royal Canadian Air Force CF-101.
The works representing mythological figures.
Drawing on information from the excavation and stylistic comparisons, the pavement has been dated to the first half or middle of the 2nd century AD. A deeper examination of the pavement during its lifting and restoration allowed for an understanding of the construction techniques and the successive phases of installation of its different segments. While the ensemble was realised in situ, in opus tessellatum, the circular medallion, created in opus vermiculatum using miniscule elements, was composed within a workshop upon a terracotta base (the emblema technique) and then inserted into a space left empty in the centre of the shield. The border decorated with a guilloche was added at a third stage in order to camouflage the join between the shield and the emblema. By identifying the material used for the medallion and the guilloche, we can say that the creation of the panel and its insertion were carried out by the same team.
Représentant l'archipel du Japon avec ces pierres noires désormais posées sur l'eau, ce jardin nous entraîne dans une poétique méditation sur le paysage. Fumiaki Takano a ensuite inventé, en lien avec le grand maître japonais un très beau projet circulaire, enserrant l'œuvre de Shodo Suzuki, en multipliant par trois la surface des miroir d'eau dans lesquelles se reflètent les nuages.
With its dazzling combination of blue and gold
The Crucifixion is at the centre of the altarpiece. Christ is represented as dying on the cross. The Blessed Virgin and Saint John stand on either side of the cross, while Mary Magdalene kneels at the foot. This “Calvary” stands on a small altar as a witness of the unity that exists between the sacrifice of the Cross and that of the Mass.
The way to heavenly bliss
The visual composition directed upwards toward the vault of the church indicates the way to eternal happiness in heaven, an ascent amid angels and stars against a deep blue background. This ascent, as a symbol of life, is traced in the sacrifice of Christ and in the Mass.
Statues of the prophets Isaiah and Daniel, carved by the sculptor Louis-Philippe Hébert in 1882, appear on the right and left sides of the altarpiece.
Over the choir stalls on the right and left sides are six polychrome (painted) statues.
First on the right is Saint Paul, with a sword of his martyrdom in Rome, where he was beheaded. Next are two evangelists and their respective symbols: Matthew, with a winged male figure, and Luke, with his winged ox.
To the left of the altar stands Saint Peter with his keys, and the rooster, recalling Peter’s betrayal of Jesus, his master and friend on the morning of His suffering and death. Then the other two evangelists: John, holding a chalice symbolizing his love for the Eucharist, with the eagle, a sign of his far-seeing gospel, and Mark with his winged lion.
(from history of the Notredame Basilica)
I needed a break from studying so I set out to create a very specific image. The result was something entirely different, but to me that is what's so beautiful about creative expression. Intent is important when creating a photo but being open to new possibilities, to truly living in the moment and reacting fluidly to what is around you...Responding to the forces that surround you while you're creating - that is just as special.
This photo is rooted in two thoughts...The first is from one of my favourite movies, Chronicles of Narnia (I read the book a long time ago, I'm sure it's amazing but the visuals in the movie are incredible <3)...The image has to do with the scene where the little girl meets Mr. Tumnus and learns that winter has lasted for a long time. So that connects to the whimsical aspect of the photo. The second part is that this looks like an ad for something. It has that element of sexuality and smoking. The materialism that is symbolized represents how obsessive we have become over consumer goods, over trivial nonsense. The two girls face the same direction, and one even looks straight at the camera. The earth behind them is warm, green and lush but there is no way of knowing whether or not they are aware of this. They are huddling together for warmth. Ultimately, they are immersed in the lifeless cold of winter but there is always hope for summer and what summer represents :)
BTS shots are on my blog
The Great WARNING.
The field is the world, and the good seed represents the people of the Kingdom. The weeds are the people who belong to the evil one.The enemy who planted the weeds among the wheat is the devil. The harvest is the end of the world, and the harvesters are the angels.“Just as the weeds are sorted out and burned in the fire, so it will be at the end of the world.The Son of Man will send his angels, and they will remove from his Kingdom everything that causes sin and all who do evil.And the angels will throw them into the fiery furnace, where there will be weeping and gnashing of teeth.Then the righteous will shine like the sun in their Father’s Kingdom. Anyone with ears to hear should listen and understand! - Matthew 13:38-43 www.biblegateway.com/passage/?search=Matthew13:38-43&...
El Manneken Pis ([ˌmɑnəkə(m) ˈpɪs] en neerlandés; ‘hombrecito que orina’) es una estatua de bronce de 65.5 centímetros situada en el centro histórico de Bruselas (Bélgica) Representa a un niño pequeño desnudo orinando dentro del cuenco de la fuente. Fue diseñada por un escultor de Brabante llamado Jérôme Duquesnoy el Viejo y fue colocada en su sitial en 1618 o 1619. Junto con el Atomium y la Grand Place es uno de los símbolos de Bruselas y una de sus atracciones turísticas principales, simbolizando el espíritu independiente de sus habitantes.
Había ya una estatua parecida de piedra a mediados del siglo XV, quizás ya desde 1388 (fecha de la primera mención hallada en los archivos de la catedral de Santa Gúdula), que fue robada en varias ocasiones. En 1619 fue reemplazada por una estatuilla de bronce hecha por el escultor barroco franco-flamenco Jérôme Duquesnoy el Viejo, que la situó sobre una columna de seis pies tallada por Daniel Raessens, siendo sustituida por el actual nicho en estilo rococó, en 1770. Los bruselenses protegieron la estatuilla durante el asedio y bombardeo de la ciudad por los franceses en 1695. Una inscripción quedó escrita bajo la estatua después del asalto francés: In petra exaltavit me, et nunc exaltavi caput meum super inimicos meos (El Señor me levantó sobre una roca, y ahora elevo mi cabeza sobre mis enemigos). La estatua actual es una reproducción de la original, que unos vándalos robaron allá por los años 1960, siendo objeto de noticias de prensa que contribuyeron a dar a la estatua y al monumento cierta fama internacional. Recuperada la original algún tiempo después, lo que dio lugar a una nueva información mediática, por fin se depositó junto a otra copia en bronce dorado del siglo XVII en el Musée de la ville de Bruselas.
es.wikipedia.org/wiki/Manneken_Pis
Manneken Pis ( [ˌmɑnəkə(m) ˈpɪs] ; Dutch for 'Little Pissing Man') is a landmark 55.5 cm (21.9 in) bronze fountain sculpture in central Brussels, Belgium, depicting a puer mingens; a naked little boy urinating into the fountain's basin. Though its existence is attested as early as the mid-15th century, Manneken Pis was redesigned by the Brabantine sculptor Jérôme Duquesnoy the Elder and put in place in 1619. Its stone niche in rocaille style dates from 1770. The statue has been repeatedly stolen or damaged throughout its history. Since 1965, a replica has been displayed, with the original stored in the Brussels City Museum. Manneken Pis is one of the best-known symbols of Brussels and Belgium, inspiring several legends, as well as numerous imitations and similar statues both nationally and abroad. The figure is regularly dressed up and its wardrobe consists of around one thousand different costumes. Since 2017, they have been exhibited in a dedicated museum called GardeRobe MannekenPis. Owing to its self-derisive nature, Manneken Pis is also an example of belgitude (French; lit. 'Belgianness'), as well as of folk humour (zwanze) popular in Brussels.
Crossed flintlock pistols represent the Military Police Corps and the unit crest below identifies the 175th Military Police Battalion in which my father served as a company commander during the U.S. occupation of Germany in the first years of 1950 during the Korean War. When we returned to the United States he served in what came to be called the Criminal Investigation Command now the Army Criminal Investigation Division (CID) which these days is the Army version of NCIS.
For the Macro Mondays challenge, Father. Area shown is about 45mm tall.
Happy Macro Monday!
El carnero representa a Amón, «El oculto», símbolo del poder creador y «Padre de todos los vientos» en la mitología egipcia, originalmente una deidad tebana, cuyo culto se popularizó cuando la ciudad de Tebas pasó a ser una de las más influyentes de Egipto, tras la expulsión de los hicsos a manos de los príncipes tebanos que darían origen a la Dinastía XVII.
La figura pequeña representa a Taharqo, Nefertumjura Taharqo, rey de la dinastía XXV de Egipto, o Kushita, cuyo reinado se data de ca. 690 a. C. a 664 a. C.;Manetón lo denominó Tarcos, comentando que reinó 18 años (Julio Africano), Eusebio de Cesarea lo llama Taracos (según Jorge Sincelo) o Saraco (versión armenia) asignándole veinte años de reinado, y además era hermano de Shabitko, el rey precedente, e hijo de Piye, rey Nubio de Napata que conquistó Egipto.
(Internet)
XRN019 and XRN022 power up the grades of the Blue Mountains with 1881 Freight to load cotton and grain at Trangie South.
Woodford, NSW.
Tuesday 8 August 2017.
L’Antiquité représente pour le peintre Hubert Robert un cadre familier. Il illustre ici l’intérieur d’une basilique romaine : ruines grandioses d’une basilique à la voûte ornée de caissons et à la colonnade corinthienne, qui sert d’étable à un troupeau. La lumière pénètre par le trou de la voûte effondrée et au premier plan, une zone d’ombre, colline de décombres au sommet de laquelle se détache une vache, accentue cet effet remarquable de perspective. Affectionnant tout particulièrement le thème de la galerie, il sublime ces vestiges en tirant parti des dégradations du temps et en les amplifiant. Avec sa touche légère et esquissée, il anime ces ruines d’une façon qui lui est très personnelle en intégrant des personnages s’appropriant très naturellement le lieu.
En détail
Un personnage en tunique romaine peut être aperçu au sein du groupe d’individus ayant investi la galerie : une fantaisie fréquente chez le peintre.
Le saviez-vous ?
Hubert Robert illustre ici la possibilité d’éclairer par le haut la grande galerie du Louvre dont on veut en cette fin de XVIIIe siècle faire un musée. L’accident de la voûte, d’où s’échappe un rayon lumineux, préfigure l’éclairage zénithal des musées à venir.
Torcecuello euroasiático
(Jynx torquilla)
El más atípico representante de la familia de los pícidos en Europa es un ave de pequeño tamaño y críptico plumaje que poco tiene que ver con los verdaderos pájaros carpinteros. En efecto, el extraño torcecuello es incapaz de taladrar la madera, carece de algunas de las adaptaciones de los piciformes típicos y se comporta más como un paseriforme cuando se posa en las ramas o corretea por el suelo; sin embargo, conserva los hábitos
trogloditas y una larga lengua con la que asalta los hormigueros.
Descripción y Clasificación
Orden Piciformes; familia Picidae
Longitud 16-17 cm. Envergadura 25-27 cm.
Identificación
Este pícido de pequeño tamaño posee un aspecto característico y notables singularidades morfológicas que lo diferencian de los restantes componentes de la familia, dentro de la cual constituye una subfamilia independiente. En contraposición a los contrastados coloridos de otros pájaros carpinteros, el torcecuello luce una librea muy críptica, de color pardo grisáceo y profusamente manchada de punteados y barrados, que recuerda inmediatamente a la de los chotacabras o las rapaces
nocturnas. La especie no presenta apenas dimorfismo sexual y su aspecto general resulta bastante diferente del de otros pícidos, pues recuerda en ocasiones al de un paseriforme, ya que suele deambular a saltos por el suelo, prefiere posarse en ramas horizontales (en lugar de hacerlo por los troncos) y carece de algunas de las características propias del grupo, como las rígidas rectrices (sustituidas en su caso por largas plumas blandas) y el fornido pico para perforar la madera, algo que el torcecuello jamás intenta .
Canto
Produce un sonido nasal y lastimero —ki, ki, ki, ki—, que puede parecerse al de otros pícidos e incluso al de ciertas rapaces.
Trying out the new 6DOO male skin from v i o l e t t a. as well as the new 6DOO head :).
You can get the new skin at this months event Memento Mori !!!
Head : *6DOO* Human mesh head EKASI-01 Ver.1.02
Skin : violetta. -6doo male skin&brows applier 01monolid(vampire)
Eyes : AMITOMO.Eye Collection 2 - 25
Top : NEWCLOVER))MA-1 LONG JACKET GREEN (NEW FIT)
Pants : REPRESENT - Jerry.L Club Trousers "S, Gray"
Socks : ..::ILLI::.. SLink Physique Adapter Socks to SLink Male (L&R)
Shoes : [ VERSOV ] LOLITOV_( SLINK M )_BLACK&GUM
Jake represents the Proletariat, desperately clutching at worldly possessions and societal expectations (the gift box) while simultaneously dangling over the abyss of environmental and economic catastrophe (the floor), suspended all along by the weight of history and bourgeois establishment (the cast iron staircase), ironically a situation of our own creation.
(yes I am joking here mostly)
Mr. Bones es un esqueleto que se encuentra en los locales de Kiehl's de todo el mundo.
Representa el legado farmacéutico del miembro de la familia Kiehl, Aaron Morse, quien usaría un esqueleto durante las consultas para educar a los clientes sobre las dolencias y cómo las remediarían.
Kielh's es una tienda estadounidense de cosméticos que se especializa en productos para el cuidado de la piel, el cabello y el cuerpo.
Comenzó con un solo local en Manhattan en la 3a. Avenida y la calle 13 en 1851.
Fue comprada por el grupo L'Oréal en el año 2000 y actualmente cuenta con más de 250 locales en todo el mundo y más de 1,000 puntos de venta en grandes almacenes y aeropuertos, así como también distribuidores independientes.
Kiehl's es reconocido por sus actividades filantrópicas. Hace más de 40 años, Aaron Morse, su dueño en aquel entonces, escribió la "Misión de Kiehl", una declaración de 137 palabras que comprometía a la empresa con el objetivo de "hacer mejores ciudadanos, mejores empresas y mejores comunidades".
Aaron se hizo cargo de la tienda en los años 1960. Al más joven de los Morse se le atribuye haber llevado la marca desde la oscuridad de la década del 50 al reconocimiento internacional como una exclusiva tienda de cosméticos naturales en los 80.
Aaron convirtió la tradicional farmacia que prefería su padre para desarrollar líneas de productos para el cuidado de la piel. Al morir, en 1995, su escritorio y algunas de sus antiguas motocicletas comenzaron a ser exhibidas en la tienda.
Para entonces, la hija de Aaron, Jami Morse Heidegger, llevaba siete años operando el negocio familiar. Descrita como una comerciante astuta, ella utilizó el «boca a boca» y las muestras gratis para promover sus productos en vez de la publicidad convencional.
Hoy la empresa se centra en tres causas filantrópicas principales: investigación y prevención del SIDA, bienestar de los niños, y el medio ambiente.
Las tiendas Kiehl's también han comenzado regularmente a organizar eventos de adopción de mascotas.
En agosto de 2010, la compañía lanzó su primera "Kiehl's Liferide for amfAR" (La Fundación para la Investigación del SIDA).
PANAVIA Tornado painted to represent GR.1, ZA447/EA ‘MiG Eater’ of RAF No.15 Squadron, Operation Granby, positioned in front of the setting sun at White Waltham.
Vamos a recrearnos hoy en uno de los rincones coloniales mas representativos de La Habana, si de La Habana que pudo haber sido y no es , pero SERÁ. La Plaza Vieja construida en 1559 con el nombre de PLAZA NUEVA. En el siglo XIX, tras la ampliación de la plaza de Armas y la urbanización de otras zonas, dejó de ser la principal plaza pública de la ciudad, pasando a llamarse Plaza Vieja. Desde la década de 1950 a 1990 fue APARCAMIENTO DE COCHES!!!!!!!!!
En la actualidad, tras su restauración (fondos de la UNESCO) ha recobrada su esplendoroso aspecto original.
Se trata de una plaza porticada con una serie de edificios históricos de cuatro siglos diferentes. El mas importante de ellos, La Casa del Conde Jaruco, construida entre 1733 y 1737. En ella vivió la condesa de Merlín, novelista romántica cubana que tomó la nacionalidad francesa y escribió un libro de viajes sobre Cuba. En la actualidad el edificio de utiliza para exposiciones de arte. En la primera planta luce bellas vidrieras de medio punto.
Hay también dos edificios del siglo XVII y en la esquina de las calles Muralla e Inquisidor se encuentra el hotel Palacio Cueto de estilo Art Nouveau. Data de 1908 y fue hotel.
En el centro de la plaza se halla una fuente de 1796 con el escudo de la ciudad y el del conde de Santa Clara, entonces gobernador.
(Guía Pais-Agiular)
Existen varios restaurantes, cafeterías y cervecerías de corte bastante actual que por unos instantes le hacen a uno olvidar las calles circundantes y personalmente me confirman lo que ya sabia: LA HABANA FUE UNA MARAVILLOSA CIUDAD, alegre, bulliciosa, de gente extrovertida y amable ideal para vivir en mas amplio sentido de la palabra. Personalmente brindo para que en pocos años TODA LA HABANA sea como este oasis de color y belleza con sabor colonial.
¡Amén!.
www.fluidr.com/photos/29469501@N03</
www.flickriver.com/photos/29469501%40N03/popular-interest...
This elderly grainary represents all that is left of "Wyarno"; to the railroad it was just "Arno" and a BN standard station sign used say that in big black letters, because I photographed the building through its twin posts about 30 years ago on a foggy evening. The state highway map no longer shows a "Wyarno", and the railroad eliminated the station, so this lonely grain elevator just stands at the east end of a long siding called "Dutch"; the west end of the siding is the beginning of the branch to Decker Mine, a few miles north in Montana. I'm just amazed it's still there as an eastbound Herzog ballast train passes it. It's about eight miles east of Sheridan.
In retrospect, I probably shouldn't have taken this photo. I'm a bit of a novice on the subject and could be wrong, but he appears to be flashing a gang sign at me.
Do you realise that the symbol used to represent pi….you know, that horrible 3.141….thing you had to learn about at school in maths for calculating the circumference or area of a circle….., originated in North Wales?
The first calculation of pi was made by Archimedes of Syracuse (287–212 BC), one of the greatest mathematicians of the ancient world, but it was a much less famous man called William Jones who introduced that symbol ‘π’ which until then was just a Greek letter.
William Jones was born sometime around 1675 on the island Anglesey in the parish of Llanfihangel Tre’r Beirdd, about four miles west of the town which is now Benllech. He had a humble up-bringing and was raised on a small farmstead by his parents Siôn Siôr (John George Jones) and Elizabeth Rowland. However his talent for mathematics quickly became apparent when he attended a charity school at Llanfechell. It was to be his only formal education. His aptitude for the subject ensured that he would not follow in the family footsteps. A local squire and landlord of the distinguished Bulkeley family, heard of his skill and took him under their patronage. They arranged for him to work in a merchant’s counting house in London.
It was only the first of many journeys. Between 1695 and 1702 he served in the Royal Navy, sailing to the West Indies during which time he taught mathematics on board a man-of-war, en-route learning about navigation. He was present at the battle of Vigo in October 1702 when the English successfully captured the Spanish treasure fleet as it was returning to the port in north-west Spain under French escort. Ignoring the obvious riches of silver to be had, he went in search of other booty according to an 1807 memoir by Baron Teignmouth, ‘... literary treasures were the sole plunder that he coveted.’
On his return he published A New Compendium of the Whole Art of Navigation which he dedicated to a benefactor John Harris, a writer, scientist and Anglican priest who had taken him under his wing. Back in the capital, his voyages over, he became a mathematics teacher in coffee houses and as a private tutor to the son of the future Earl of Macclesfield. He also became tutor to Philip Yorke, later 1st Earl of Hardwicke (1690-1764), who became Lord Chancellor and provided an invaluable source of introductions for his tutor.
In those circles, Isaac Newton had already mentioned to the Admiralty the benefit of sending mathematicians to sea. So inevitably it was only a matter of time before Jones came to the attention of Newton after reading “Jones’s Synopsis”, in which the younger man explained Newton’s methods for calculus as well as other mathematical innovations. It was in this book that Jones first used the Greek symbol ‘π’ to denote the pi. More significantly he used it as a constant number - 3.141...
Before Jones, approximations such as 22/7 and 355/113 had also been used to express the ratio. Explaining its use, he wrote: ‘... the exact proportion between the diameter and the circumference can never be expressed in numbers...’. Hence, a symbol was required to represent an ideal that can be approached but never reached. For this Jones recognised that only a pure platonic symbol would suffice.
In 1708 Jones was able to acquire an extensive library and archive, which contained several of Newton’s letters and papers written in the 1670s. The following year he applied for the mastership of Christ’s Hospital Mathematical School, despite references from Newton and Edmund Halley (the astronomer who calculated the orbit of the comet, now named after him) but he was turned down. Jones went back into private teaching but thanks to the papers he had acquired he was able to help his old mentor Newton resolving a dispute with German mathematician Gottfried Leibniz, over which of the men first invented calculus.
In 1712 Jones joined the committee set up by the Royal Society to determine which of them invented calculus. He was now firmly in the mathematical establishment.
He married twice, firstly the widow of his counting-house employer, whose property he inherited on her death.He remarried in 1731, to Mary, the 22-year-old daughter (30 years his junior) of cabinet-maker George Nix, with whom he had three children.
And therein lies the story of ‘π’ and it’s origins in North Wales. My photo is actually of part of some derelict structure of the Penmaenmawr quarry, the quarry that has removed the top one third of this granite mountain. But I thought it looked like ‘π’ standing high above the North Wales Expressway.
Cultural and traditional performances representing cultures and countries from around Asia and the Pacific in celebration and honor of Asian Pacific American Heritage Month in Balboa Park, San Diego (5/20/2023).
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25 Days of Christmas ~ Day 5
Advent Wreath
www.ourlittleroses.org/blog/what-is-advent-season/
The most significant tradition of the Advent season is the Advent Wreath. The wreath and candles are full of symbolism tied to the Christmas season. So what does the Advent Wreath symbolize? The wreath itself, which is made of various evergreens, signifies continuous life. The circle of the wreath, which has no beginning or end, symbolizes the eternity of God, the immortality of the soul, and the everlasting life we find in Christ.
Advent Candles
The candles also have their own special significance. The four candles represent the four weeks of Advent, and one candle is lit each Sunday. Three of the candles are purple because the color violet is a liturgical color that signifies a time of prayer, penance, and sacrifice.
•[11/28/21 Sunday] - THE FIRST CANDLE, which is purple, symbolizes hope. It is sometimes called the “Prophecy Candle” in remembrance of the prophets, especially Isaiah, who foretold the birth of Christ. It represents the expectation felt in anticipation of the coming Messiah.
•[12/5/21 Sunday] - THE SECOND CANDLE, also purple, represents faith. It is called the “Bethlehem Candle” as a reminder of Mary and Joseph’s journey to Bethlehem.
•[12/12/21 Sunday] - THE THIRD CANDLE is pink and symbolizes joy. It is called the “Shepherd’s Candle,” and is pink because rose is a liturgical color for joy. The third Sunday of Advent is Gaudete Sunday and is meant to remind us of the joy that the world experienced at the birth of Jesus, as well as the joy that the faithful have reached the midpoint of Advent.
•[12/19/21 Sunday] - On the fourth week of Advent, we light THE FINAL PURPLE CANDLE to mark the final week of prayer and penance as we wait for the birth of our Savior. This final candle, the “Angel’s Candle,” symbolizes peace. It reminds us of the message of the angels: “Peace on Earth, Good Will Toward Men.”
An urn, representing the great deity of lightning, from the pre-Colombian Zapotec culture in southern Mexico. He doesn't look like someone to argue with, From the Ancient Americas collection of the Field Museum, Chicago, Illinois -- May 7, 2016
"Cocijo was said to be the great lightning god and creator of the world. In Zapotec myth, he made the sun, moon, stars, seasons, land, mountains, rivers, plants and animals, and day and night by exhaling and creating everything from his breath." en.wikipedia.org/wiki/Cocijo
The Keukenhof Tulip Park of Holland, “my” Keukenhof, represents for me in Spring, what “my” Château De La Hulpe represents in Autumn : a GLORIOUS and massive Nature Beauty!! Why “massive”: because the Spring in my garden for example, appears in steps –first the tiny white campanulas, then the adorable Crocuses, then the golden Narcissi, then the bright red Tulips, then Cherry Trees, etc!! Whereas in Keukenhof, my heart stops beating the moment I enter: the WHOLE of the Glory of Springtime is springing all around me!!!! Simultaneously!!! All spring Nature is IN there!! From tiny plants like Anemones, to Cherry Trees, Rhododendrons, Lilacs!! There are even all sort of Begonias, Hydrangeas and Lilies beautifully growing in the three huge glasshouses… And human words are not enough descriptive for the utmost Beauty created in there by THE Artist and His human talented …..collaborators!!
*** My Keukenhof photos that you will be seeing from now on are from previous years .. You will see the new ones by the end of April.
Felices Navidades para todos y mis deseos sinceros de paz y felicidad para el año que se avecina.
Belén basado en fotografías que realicé de elementos representativos de La Sierra de Gata, en Cáceres, Extremadura, y la obra "La adoración de los pastores" del sevillano Bartolomé Esteban Murillo. (1.650)
TRADITON AND ANTITRADITION
291. Tradition means a handing over: the handing over of a supertemporal circle of principles here in time.
292. Tradition is the atemporal thrown into temporality.
293. Knowledge of the origin, knowledge of the path, knowledge of the all-transcending, ultimate goal: this is metaphysical realisation.
294. Tradition springs forth from the eternal, points at the eternal, and in the human modality of being represents the aspiration towards the eternal.
295. Metaphysical tradition is at the same time solar and polar: polar for though it appears in the earthly-human sphere, yet it is of heavenly origin and for this reason its origin is not subject to the whirlpool of existence (samsara), it is solar for the powers characteristic of my self-awareness which provide the rule of the auton are present in it.
296. There is only one primordial tradition for there is only one metaphysics, and there is only one metaphysics for there is only one being.
297. Tradition can never be identified simply with metaphysical doctrines or with symbology bearing a doctrinal value, and even less with the archaic documents that present these. Tradition is the total acceptance of a world and the total denial of another.
298. Metaphysically speaking, tradition is nothing other than »remembrance«, and the bearing of the connection with the origin. Modernity, however, is not only the lack of this »remembrance«, but at the same time the denial of this metaphysical »remembrance« and aims at the destruction of every kind of representation of remembrance.
299. The most sinister thing is forever if something subsists, but not truly; this is really much worse than if it disappeared. Since if something does not truly subsist, it will sooner or later come to function as a caricature and antithesis of the original.
[It especially refers to those legitimate traditional, spiritual and initiatory organisations which have maintained their continuity, but whose original features have gradually faded away or turned directly to their opposites.]