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Keith Rabin-Hoover and his supporters from Lucent Performing Arts announced on February 1, 2020, they are resurrecting the spirit of the late Ignite Theatre as Forge Light Theatreworks, a new theatre company dedicated to producing non-Broadway musicals. For more information, go to the DCPA NewsCenter at MyDenverCenter.Org. Photos by John Moore.
(Maybe other countries' McD:s have it as well, but I haven't checked.)
I'd been holding it vertically, so most of the good apple goo is in the other end in this picture...
Vegan FAQ! :)
The Web Site the Meat Industry Doesn't Want You to See.
Please watch Earthlings.
(My most viewed photostream item on 13-Mar-2013 - 30235 views. EH... THAT'S ONLY LIKE FAR MORE VIEWS THAN ANY OF MY PICS HAD IN THEIR LIFETIME. LOLWAT. XD Maybe it was a bug... :p Hmmm, it appears 134 of the hits came from here. ... And so, this became my first photo to reach 10000 views. :| )
2025 Easter Vigil (Holy Saturday evening) - Our Lady of Mount Carmel Parish - Barasoain, Malolos, Bulacan
Kamadhenu (Sanskrit: कामधेनु, [kaːməˈd̪ʱeːnʊ], Kāmadhenu), also known as Surabhi (सुरभि, Surabhī), is a divine bovine-goddess described in Hinduism as the mother of all cows. She is a miraculous "cow of plenty" who provides her owner whatever he desires and is often portrayed as the mother of other cattle as well as the eleven Rudras. In iconography, she is generally depicted as a white cow with a female head and breasts or as a white cow containing various deities within her body. All cows are venerated in Hinduism as the earthly embodiment of the Kamadhenu. As such, Kamadhenu is not worshipped independently as a goddess, and temples are not dedicated to her honor alone; rather, she is honored by the veneration of cows in general throughout the observant Hindu population.
Hindu scriptures provide diverse accounts of the birth of Kamadhenu. While some narrate that she emerged from the churning of the cosmic ocean, others describe her as the daughter of the creator god Daksha, and as the wife of the sage Kashyapa. Still other scriptures narrate that Kamadhenu was in the possession of either Jamadagni or Vashista (both ancient sages), and that kings who tried to steal her from the sage ultimately faced dire consequences for their actions. Kamadhenu plays the important role of providing milk and milk products to be used in her sage-master's oblations; she is also capable of producing fierce warriors to protect him. In addition to dwelling in the sage's hermitage, she is also described as dwelling in Goloka - the realm of the cows - and Patala, the netherworld.
ETHYMOLOGY
Kamadhenu is often addressed by the proper name Surabhi, which is also used as a synonym for an ordinary cow. Professor Jacobi considers the name Surabhi - "the fragrant one" - to have originated from the peculiar smell of cows. According to the Monier Williams Sanskrit - English Dictionary (1899), Surabhi means fragrant, charming, pleasing, as well as cow and earth. It can specifically refer to the divine cow Kamadhenu, the mother of cattle who is also sometimes described as a Matrika ("mother") goddess. Other proper names attributed to Kamadhenu are Sabala ("the spotted one") and Kapila ("the red one").
The epithets "Kamadhenu", "Kamaduh" (कामदुह्) and "Kamaduha" (कामदुहा) literally mean the cow "from whom all that is desired is drawn" - "the cow of plenty". In the Mahabharata and Devi Bhagavata Purana, in the context of the birth of Bhishma, the cow Nandini is given the epithet Kamadhenu. In other instances, Nandini is described as the cow-daughter of Surabhi-Kamadhenu. The scholar Vettam Mani considers Nandini and Surabhi to be synonyms of Kamadhenu.
ICONOGRAPHY AND SYMBOLISM
According to Indologist Madeleine Biardeau, Kamadhenu or Kamaduh is the generic name of the sacred cow, who is regarded as the source of all prosperity in Hinduism. Kamadhenu is regarded as a form of Devi (the Hindu Divine Mother) and is closely related to the fertile Mother Earth (Prithvi), who is often described as a cow in Sanskrit. The sacred cow denotes "purity and non-erotic fertility, ... sacrificing and motherly nature, [and] sustenance of human life".
Frederick M. Smith describes Kamadhenu as a "popular and enduring image in Indian art". All the gods are believed to reside in the body of Kamadhenu - the generic cow. Her four legs are the scriptural Vedas; her horns are the triune gods Brahma (tip), Vishnu (middle) and Shiva (base); her eyes are the sun and moon gods, her shoulders the fire-god Agni and the wind-god Vayu and her legs the Himalayas. Kamadhenu is often depicted in this form in poster art.
Another representation of Kamadhenu shows her with the body of a white Zebu cow, crowned woman's head, colourful eagle wings and a peacock's tail. According to the Philadelphia Museum of Art, this form is influenced by the iconography of the Islamic Buraq, who is portrayed with a horse's body, wings, and a woman's face. Contemporary poster art also portrays Kamadhenu in this form.
A cow, identified with Kamadhenu, is often depicted accompanying the god Dattatreya. In relation to the deity's iconography, she denotes the Brahminical aspect and Vaishnava connection of the deity contrasting with the accompanying dogs - symbolizing a non-Brahminical aspect. She also symbolizes the Panch Bhuta (the five classical elements) in the icon. Dattatreya is sometimes depicted holding the divine cow in one of his hands.
BIRTH AND CHILDREN
The Mahabharata (Adi Parva book) records that Kamadhenu-Surabhi rose from the churning of the cosmic ocean (Samudra manthan) by the gods and demons to acquire Amrita (ambrosia, elixir of life). As such, she is regarded the offspring of the gods and demons, created when they churned the cosmic milk ocean and then given to the Saptarishi, the seven great seers. She was ordered by the creator-god Brahma to give milk, and supply it and ghee ("clarified butter") for ritual fire-sacrifices.
The Anushasana Parva book of the epic narrates that Surabhi was born from the belch of "the creator" (Prajapati) Daksha after he drank the Amrita that rose from the Samudra manthan. Further, Surabhi gave birth to many golden cows called Kapila cows, who were called the mothers of the world. The Satapatha Brahmana also tells a similar tale: Prajapati created Surabhi from his breath. The Udyoga Parva Book of the Mahabharata narrates that the creator-god Brahma drank so much Amrita that he vomited some of it, from which emerged Surabhi.
According to the Ramayana, Surabhi is the daughter of sage Kashyapa and his wife Krodhavasha, the daughter of Daksha. Her daughters Rohini and Gandharvi are the mothers of cattle and horses respectively. Still, it is Surabhi who is described as the mother of all cows in the text. However, in the Puranas, such as Vishnu Purana and Bhagavata Purana, Surabhi is described as the daughter of Daksha and the wife of Kashyapa, as well as the mother of cows and buffaloes.
The Matsya Purana notes two conflicting descriptions of Surabhi. In one chapter, it describes Surabhi as the consort of Brahma and their union produced the cow Yogishvari, the eleven Rudras, "lower animals", goats, swans and "high class drugs". She is then described as the mother of cows and quadrupeds. In another instance, she is described as a daughter of Daksha, wife of Kashyapa and the mother of cows.[15] The Harivamsa, an appendix of the Mahabharata, calls Surabhi the mother of Amrita (ambrosia), Brahmins, cows and Rudras.
The Devi Bhagavata Purana narrates that Krishna and his lover Radha were enjoying dalliance, when they thirsted for milk. So, Krishna created a cow called Surabhi and a calf called Manoratha from the left side of his body, and milked the cow. When drinking the milk, the milk pot fell on the ground and broke, spilling the milk, which became the Kshirasagara, the cosmic milk ocean. Numerous cows then emerged from the pores of Surabhi's skin and were presented to the cowherd-companions (Gopas) of Krishna by him. Then Krishna worshipped Surabhi and decreed that she - a cow, the giver of milk and prosperity - be worshipped at Diwali on Bali Pratipada day.
Various other scriptural references describe Surabhi as the mother of the Rudras including Nirrti (Kashyapa being the father), the cow Nandini and even the serpent-people nāgas. The Mahabharata also makes a passing reference to Surabhi as the mother of Nandini (literally "daughter") in the context of the birth of Bhishma, an incarnation of a Vasu deity. Nandini, like her mother, is a "cow of plenty" or Kamadhenu, and resides with sage Vashista. Nandini is stolen by the divine Vasus and thus cursed by the sage to be born on the earth. The Raghuvamsa of Kalidasa mentions that king Dilip - an ancestor of god Rama - once passed by Kamadhenu-Surabhi, but failed to pay respects to her, thus incurring the wrath of the divine cow, who cursed the king to go childless. So, since Kamadhenu had gone to Patala, the guru of Dilip, Vasistha advised the king to serve Nandini, Kamadhenu's daughter who was in the hermitage. The king and his wife propitiated Nandini, who neutralized her mother's curse and blessed the king to have a son, who was named Raghu.
In the Ramayana, Surabhi is described to be distressed by the treatment of her sons - the oxen - in fields. Her tears are considered a bad omen for the gods by Indra, the god-king of heaven. The Vana Parva book of the Mahbharata also narrates a similar instance: Surabhi cries about the plight of her son - a bullock, who is overworked and beaten by his peasant-master. Indra, moved by Surabhi's tears, rains to stop the ploughing of the tormented bullock.
WEALTH AND PROTECTOR OF THE BRAHMIN
In Hindu Religion, Kamadhenu is often associated with the Brahmin ("priest class" including sages), whose wealth she symbolizes. Cow's milk and its derivatives such as ghee (clarified butter) are integral parts of Vedic fire sacrifices, which are conducted by Brahmin priests; thus the ancient Kamadhenu is sometimes also referred to the Homadhenu - the cow from whom oblations are drawn. Moreover, the cow also offers the Brahmin—who is prohibited to fight - protection against abusive kings who try to harm them. As a goddess, she becomes a warrior, creating armies to protect her master and herself.
JAMADAGNI´S COW
A legend narrates that the sacrificial cow Kamadhenu resided with sage Jamadagni. The earliest version of the legend, which appears in the epic Mahabharata, narrates that the thousand-armed Haihaya king, Kartavirya Arjuna, destroyed Jamadagni's hermitage and captured the calf of Kamadhenu. To retrieve the calf, Jamadagni's son Parashurama slew the king, whose sons in turn killed Jamadagni. Parashurama then destroyed the kshatriya ("warrior") race 21 times and his father is resurrected by divine grace. Similar accounts of the abduction of the celestial cow or her calf, the killing of Jamadagni by Kartavirya Arjuna, and the revenge of Parashurama resulting in the death of Kartavirya Arjuna, exist in other texts. The Bhagavata Purana mentions that the king abducted Kamadhenu as well as her calf and Parashurama defeated the king and returned the kine to his father. The Padma Purana mentions that when Kartavirya Arjuna tried to capture her, Kamadhenu, by her own power, defeated him and his army and flew off to heaven; the enraged king then killed Jamadagni.
In the Brahmanda Purana, Kamadhenu creates a great city by her power to accommodate Kartavirya Arjuna's army, when they visit Jamadagni's hermitage. On returning to his kingdom, Kartavirya Arjuna's minister, Chandragupta, persuades him to capture the divine cow. The minister returns to the hermitage and tries to convince the sage to give away the cow, but to no avail, so he tries to snatch Kamadhenu with force. In the ensuing fight, the sage is killed, but Kamadhenu escapes to the sky and Chandragupta takes her calf with him instead. The Brahmanda Purana narrates this Kamadhenu Sushila was given to Jamadagni by the Kamadhenu-Surabhi, who governs in Goloka.
The Brahma Vaivarta Purana narrates that the celestial cow – called Kapila here – produces various weapons and an army to aid Jamadagni defeat the king's army, who had come to seize her. When the king himself challenged Jamadagni for battle, Kapila instructed her master in martial arts. Jamadagni led the army created by Kapila and defeated the king and his army several times; each time sparing the life of the king. Finally, with the aid of a divine spear granted to him by the god Dattatreya, the king killed Jamadagni.
VASHISTA'S COW
The Ramayana presents a similar account about Kamadhenu, however, here the sage is Vashista and the king is Vishwamitra. Once, king Vishwamitra with his army arrived at the hermitage of sage Vashista. The sage welcomed him and offered a huge banquet – to the army – that was produced by Sabala – as Kamadhenu is called in the text. The astonished king asked the sage to part with Sabala and instead offered thousand of ordinary cows, elephants, horses and jewels in return. However, the sage refused to part with Sabala, who was necessary for the performance of the sacred rituals and charity by the sage. Agitated, Vishwamitra seized Sabala by force, but she returned to her master, fighting the king's men. She hinted Vashista to order her to destroy the king's army and the sage followed her wish. Intensely, she produced Pahlava warriors, who were slain by Vishwamita's army. So she produced warriors of Shaka-Yavana lineage. From her mouth, emerged the Kambhojas, from her udder Barvaras, from her hind Yavanas and Shakas, and from pores on her skin, Haritas, Kiratas and other foreign warriors. Together, the army of Sabala killed Vishwamitra's army and all his sons. This event led to a great rivalry between Vashista and Vishwamitra, who renounced his kingdom and became a great sage to defeat Vashista.
ABODES
Kamadhenu-Surabhi's residence varies depending on different scriptures. The Anushasana Parva of the Mahabharata tells how she was given the ownership of Goloka, the cow-heaven located above the three worlds (heaven, earth and netherworld): the daughter of Daksha, Surabhi went to Mount Kailash and worshipped Brahma for 10,000 years. The pleased god conferred goddess-hood on the cow and decreed that all people would worship her and her children – cows. He also gave her a world called Goloka, while her daughters would reside on earth among humans.
In one instance in the Ramayana, Surabhi is described to live in the city of Varuna – the Lord of oceans – which is situated below the earth in Patala (the netherworld). Her flowing sweet milk is said to form Kshiroda or the Kshirasagara, the cosmic milk ocean. In the Udyoga Parva book of the Mahabharata, this milk is said to be of six flavours and has the essence of all the best things of the earth. The Udyoga Parva specifies that Surabhi inhabits the lowest realm of Patala, known as Rasatala, has for daughters – the Dikpalis – the guardian cow goddesses of the heavenly quarters: Saurabhi in the east, Harhsika in the south, Subhadra in the west and Dhenu in the north.
Apart from Goloka and Patala, Kamadhenu is also described as residing in the hermitages of the sages Jamadagni and Vashista. Scholar Mani explains the contradicting stories of Kamadhenu's birth and presence in the processions of many gods and sages by stating that while there could be more than one Kamadhenu, all of them are incarnations of the original Kamadhenu, the mother of cows.
OTHER SCRIPTURAL REFERENCES
The Bhagavad Gita, a discourse by the god Krishna in the Mahabharata, twice refers to Kamadhenu as Kamadhuk. In verse 3.10, Krishna makes a reference to Kamadhuk while conveying that for doing one's duty, one would get the milk of one's desires. In verse 10.28, when Krishna declares to the source of the universe, he proclaims that among cows, he is Kamadhuk.
In the Anushasana Parva of the Mahabharata, the god Shiva is described as having cast a curse on Surabhi. This curse is interpreted as a reference to the following legend: Once, when the gods Brahma and Vishnu were fighting over who was superior, a fiery pillar - linga (symbol of Shiva) - emerged before them. It was that decided whoever found the end of this pillar was superior. Brahma flew to the skies to try to find the top of the pillar, but failed. So Brahma forced Surabhi (in some versions, Surabhi instead suggested that Brahma should lie) to falsely testify to Vishnu that Brahma had seen the top of the linga; Shiva punished Surabhi by putting a curse on her so that her bovine offspring would have to eat unholy substances. This tale appears in the Skanda Purana.
WORSHIP
Some temples and houses have images of Kamadhenu, which are worshipped. However, she has never had a worship cult dedicated to her and does not have any temples where she is worshipped as the chief deity. In Monier-Williams's words: "It is rather the living animal which is the perpetual object of the object". Cows are often fed outside temples and worshipped regularly on all Fridays and on special occasions. Every cow to "a pious Hindu" is regarded as an Avatar (earthly embodiment) of the divine Kamadhenu.
WIKIPEDIA
Stained glass window on the north side of St Peter Cornhill, designed by Hugh Easton c1950.
Of all Wren's City of London churches St Peter Cornhill is one of the least visited, being almost always locked outside services and only accessible by appointment. Fortunately a friend organised exactly that as part of a Flickrmeet in the heart of London, and the church was revealed to be a bit of an Aladdin's Cave of glass and furnishings.
The exterior is difficult to appreciate being tucked away in a courtyard beyond the street, whilst inside many furnishings survive despite the loss of the pews. One of the special qualities of this church is that it escaped the Blitz unscathed (unlike so many of its brethren) and even retains its Victorian glass (for good or for bad) which being so heavy and dark makes one realise how differently many of Wren's better known interiors must have looked prior to the almost wholesale removal of pre-war glass by wartime bombing elsewhere in the city.
The Eden was at the time of this picture, a small independent operating in South County Durham and when Arriva came along, it disappeared with the larger company taking over the routes, vehicles and the name of this old established operator. Time moved on and much later, enterprising potential new owners decided to return The Eden to the road in its former familiar locale. New blood with a definite plan and purpose purchased the trading name from Arriva and with a small amount of running stock, the wheels began to turn. The Eden is once again a regular sight and with a contracts and an established service to a nearby town, progress has definitely been made. In this view, Plaxton bodied CPT 196L sweeps into a flowered roundabout and is followed by an early 1960's Hillman Minx and a Bedford Val.
www.youtube.com/watch?v=Zxanj3nbw-w&feature=related
Dead Can Dance - The Ubiquitous Mr Lovegrove
Jim Morrison resurrects
Abstract point of interest for Jim I am sure
Then ...
Probably now !
:-)))
g
Moving back in time again! After I recently found a NIB Takara kit of the Duey attack helicopter, I decided to salvaged the same kit I had already built about 20 years ago and had been resting in the basement in pieces for maybe 15 years.
This specimen was released in 1985 or 1986 by Revell, in a set called "Assault Squad" together with an 1:72 scale "Ironfoot" robot and the company's hodgepodge 'Robotech' label. I found the Duey's design cool at that time, and you can clearly tell that the AH-1 HueyCobra was the most prominent real combat helicopter around and the AH-64 pure science fiction. But you can find many design influences of these real helis in this mecha's design. Additionally, the experimental YAH-56A Cheyenne obviously had major impact on the Duey's look and concept, even though the Duey is surprisingly stout and compact. An AH-1 is much larger, esp. longer!
This kit has already seen one build OOB and was later re-painted, with doubtful colors, paints and methods. With rising personal execution standards, the kit disappeared from the “public collection” about 15 years ago, legitimately. But now it is back with a vengeance!
Fortunately, the disassembled kit was 90% complete, just some parts missing, but I would do some conversion, anyway, to have a personal variant. The NIB kit would be built in the official livery.
But before anything could be done, the thick(!) color coat had to go. Sanding was no option, so I used the slow method of bathing the parts in brake fluid for about one week, with frequent scrubbing with a tooth brush. Patience paid out and the original, bare surface was revealed with only minor suffering, and paint residue could easily be scraped off later.
Since some parts were missing, some modifications were made:
The original rotor was still there, but not its axis. Besides, I wanted to add a display to the kit to show it in flight. I used the original rotor head, but replaced the blades with a self-made disc from thin clear plastic, which mimics the rotation blur. The same technique was also used for the stabilizer rotor.
Since the original gatling gun part was missing, I decided not to build one from from scratch but implant a three-barreled 20mm turret from an AH-1W. The orginal gun cowling could be used, though, and the small turret blends well with the Duey's lines. The AH-1W's sensor turret from its nose was salvaged and implanted on the Duey, too.
Ordnance was changed, too, but not the hardpoints. Instead of the massive 7-rocket-launchers and the twin missile starters I went for classic ordnance: two huge FFAR starters (Russian style) and six Hellfire missiles, mounted on a TER. This is not "authentic", since the TER is supposed to hold just bombs, but, heck! It looks cool - and justifies the small sensor turret in the Duey's nose as a target designation instrument.
The clear canopy was in bad shape, poor painting. I wet-sanded the piece, and later polished. Even though this cleaned the clear piece, the canopy still is a bit milky, but overall O.K.
The pilot figures could not be saved. Searching for replacements I found them to be VERY small - they seem to be 1:100, not 1:72 scale! I tried fitting 1:72 pilot figures, but there was no space, so I went for slightly converted 1:87 scale (HO gauge) soldier figures from Preiser, which also offered some posing options and were much more slender than the original pygmies.
For painting, instead of the "official" Dougram livery (all sand with some contrasts in dark green and with red rocket launchers), I wanted a true desert camouflage scheme. Since I find the USMC livery for helicopters from the 80ies quite attractive (a wrap-around scheme in light grey, olive and black), I decided to use the respective paint scheme from the AH-1 and replace colors, which became Middle Stone (a WWII RAF tone, very yellow-ish - I like to call it mustard yellow), Leather (for a red earth tone, but different from FS30219) and Brown Bess (Humbrol 225, 62 and 170, respectively). Pretty harsh contrasts, but together with the paint scheme this effectively breaks up the helicopter's lines, and later, weathering would tone things down anyway.
After basic painting, a light ink wash with black was applied, some weathering through light dry painting, and letters and stencelling from an aftermarket A-10 decal sheet. A matte varnish coat sealed everything in place, and, finally, exhaust stains and guns moke were simulated with grinded soft pencil mine. Some light dry painting with silver emphasized leading edges.
The display is a soft iron wire, which is attached to a heavy base. The respective female plug is a simple polystyrene tube hidden in the kit's belly, which allows simple detachment and is almost invisible.
A simple kit, nothing complicated. It is not as crisp as if built right from the box, but I am happy that I finally resurrected this one, too, since these kits become more and more a rarity ;)
Friend Andrew comes through with a little light-handed TIG help to build the edges back up (the crown will be brass brazed).
Eglise romane Saint-Pierre-et-Saint-Paul ; commune de Rosheim, Bas-Rhin, 67, Alsace, France
... L'EXTÉRIEUR
La façade plate, décorée par des lésènes et des arcatures lombardes, dont le contour traduit la coupe de la nef à la manière italienne, reste entièrement dans la tradition rhénane. Deux lignes horizontales divisent la paroi en trois registres. Celui du milieu repose sur un bandeau ourlé d'une file de modulons à talon, reliant les chaperons des demi-pignons des collatéraux, et s'arrête à la naissance du pignon principal sous une corniche à doucine, qui se retourne sur les murs gouttereaux. L'étage du bas comprend sept champs élancés, celui du centre légèrement en saillie occupé par le portail, ceux sur les côtés en creux, surmontés chacun de trois arcatures, dont les baguettes descendent sur les pilastres d'angle et les lésènes. Le portail ne présente pas encore l'ébrasement à ressaut à angle droit, en faveur à la fin du XIIe siècle, mais le rétrécissement du passage est réalisé par une disposition en biais des jambages constitués de bandes plates, encadrées par une série de torsades ou boudins cannelés, qui contournent sans discontinuer la porte, surmontée d'un tympan semi-circulaire. Au-dessus de la cimaise profilée du portail, dans un cadre rectangulaire, à frettes crénelées et serti d'une double baguette, on distingue les traces d'un bas-relief martelé. A l'étage supérieur, la division par lésènes se poursuit. Le champ central, plus large, présente au fond d'une niche plate en plein cintre une rose fortement ébrasée. Les arcatures qui relient les lésènes sont surmontées d'une moulure arrondie marquant le départ des combles. Les rampants du pignon sont bordés d'une corniche composée d'arcatures, aux branches étagées sous une tablette soulignée par une file de corbeaux. Et comme si ce décor n'était pas suffisamment riche, une bande horizontale d'arcatures subdivise la surface triangulaire en deux champs et contourne d'un arc plus large la niche centrale abritant la statue de saint Pierre, tandis que le champ supérieur est percé d'un oculus. Et maintenant, le décor sculpté : un grand oiseau est placé sur le fleuron qui couronne le faîtage. Mais, au pied des rampants, des lions accroupis posent leurs pattes sur les épaules d'un homme, affaissé sous le poids de la bête, motif qui se répète aussi à la base des demi-pignons des collatéraux. Ces sculptures, qui donnent un accent pittoresque à la silhouette presque classique de la façade, ont provoqué une légende étiologique. En effet, on raconte qu'un certain comte de Salem, habitant la maison romane située au haut de la ville, homme au cœur dur et plein de suffisance, dut un jour subir de lourdes épreuves. Tour à tour, ses quatre enfants furent dévorés par un loup qui hantait les forêts voisines. Le comte, se repentant, consulta un ermite, qui lui conseilla, pour obtenir le pardon divin, de construire une église sur l'emplacement qui lui serait indiqué par un oiseau. C'est cette légende qui aurait été illustrée par le sculpteur. A la façade, au pied des rampants, se dresserait le monstre dévorant les enfants, la statue du comte, fondateur de l'église, posée sur le glacis triangulaire Sud-Ouest de la tour, tandis que l'ermite lui fait pendant au Nord-Est. Enfin, l'oiseau indicateur est perché sur le faîte. Il s'agit là d'une explication légendaire, qui est contredite par le cycle complet de la représentation sculptée. Dans la niche du pignon se détache en effet saint Pierre, patron de l'église. Le lion qu'il foule à ses pieds est ingénieusement mis en parallèle avec les félins gigantesques retenant sous leurs pattes pesantes de pauvres hères, dont on croit percevoir les cris. En effet, si, d'après les paroles mêmes de l'Apôtre, le lion rugissant est une image du diable, les groupes placés aux extrémités des toitures possèdent certainement aussi une signification symbolique. L'art funéraire de l'Antiquité païenne les connaît déjà et les considère comme une sorte de mémento mort monumental, où le lion représente la mort hostile et dévorant toute chose. Pour les chrétiens, le sens de la figuration est à peine changé : ils y voient une illustration de la complainte du psalmiste : Aperuerunt super me os suum, sicut leo rapiens. A l'époque romane, le motif est des plus répandus et le groupe correspondant de la cathédrale de Pise est d'ailleurs accompagné d'une inscription de même sens, c'est celle tirée de l'invocation bien connue de l'office des morts : Libéra me de ore leonis. Quant à l'oiseau du faîtage, il s'agirait de l'aigle triomphal symbolisant la Résurrection. Mais ce n'est pas tout, le décor plastique s'étendait primitivement plus bas. Sur le tympan martelé, on distingue encore les traces d'un Christ trônant dans une mandorle portée par quatre anges, et dans la niche rectangulaire surmontant le portail, les figures également martelées d'une Crucifixion. La croix n'était pas sculptée, ce qui indiquerait que primitivement le fond du relief était polychrome. En comparaison de cette richesse de la façade, le décor des murs latéraux est bien plus sobre. Il se borne à souligner la subdivision intérieure. L'ordonnance des bas-côtés, il est vrai, se répète sur les murs gouttereaux, bien qu'à deux champs corresponde à l'intérieur une seule travée. Dans le détail, les moulures des lésènes et arceaux se différencient par étage. Dans les arcatures du bas, les branches retombent sur des modillons garnis de billettes. A la façade haute, leurs profils se retournent sous les branches et les lésènes sont de plus chargées d'une colonnette sans fonction apparente, mais qui était sans doute primitivement destinée à supporter l'encorbellement d'une corniche plus saillante. L'actuelle est profilée en doucine sous la toiture de la nef, tandis que sur les collatéraux elle est constituée par un cordon de damier. Deux portes s'ouvrent dans les bas-côtés. Celle du Nord est encadrée de boudins continus. Un massif rectangulaire en saillie sur le mur et découpé en demi-cercle autour du tympan constitue une sorte d'auvent, posé sur deux puissantes consoles. Sur la corniche reposent des animaux enchevêtrés, à côté d'un personnage accroupi. Le portail Sud est plus richement décoré. Il s'ouvre sous une arcade formée par deux colonnes, couvertes de chevrons et d'un ornement en spirale, portant sur leur chapiteau cubique et tailloir en damier une archivolte moulurée. Comme au portail occidental, ses jambages sont largement ébrasés. Entre les torsades se succèdent un cordon de palmettes et un maillage d'anneaux. Les façades des croisillons sont divisées en deux étages par un cordon, au Sud avec palmettes. La partie haute se compose de trois champs limités par des lésènes, mais celui du bas est décoré de quatre longues niches plates bordées d'une double baguette. Les arcatures lombardes retombant sur des modillons alternativement garnis de billettes et de têtes sculptées, sont recouvertes d'un cordon de damier, qui remonte aussi le rampant des pignons percés au centre d'un oculus. Parmi les sculptures figuratives, relevons a l'angle Sud-Ouest du croisillon Sud le chevalier qui délivre un compagnon d'armes, englouti à mi-corps dans la gueule d'un dragon ailé. Cette scène, peut-être inspirée par un épisode de l'épopée de Théodoric de Ravenne, possède ici sans doute une signification allégorique de la victoire du Christ sur la mort, qui arrache le chrétien à la gueule de l'enfer, complétant le sens des groupes de la façade occidentale. Encadrant l'oculus, on distingue encore un homme qui enfonce sa main dans la gueule d'un dragon, allusion probable à l'évocation du royaume de paix par le prophète Isaïe : Et in caverna reguli, qui ablactatus fuerit manum suam mittet. Mais passons du côté du chevet. C'est sur l'abside centrale qu'est répandue toute la richesse du décor. Fait curieux, son parement n'est pas parfaitement circulaire et présente un pan coupé à sa face. Six pilastres aux arêtes moulurées et dotées de chapiteaux doriques supportent des petites arcades jumelles retombant sur des corbeaux ornés de damiers disposés en grappes, tandis que la corniche est constituée de quatre rangs de billettes.
Les fenêtres latérales sont percées à cru, mais l'encadrement de celle qui s'ouvre dans l'axe est d'autant plus riche : bordure de palmettes doublée d'une haute arcade retombant sur deux colonnes à fût hélicoïdal. De part et d'autre, sont sculptés les symboles des évangélistes : l'aigle et le boeuf à gauche, le lion et l'homme à droite, ce dernier d'ailleurs martelé sous la Révolution. Le Christ en majesté ou l'Agneau ne sont pas représentés. Mais le Seigneur est-il vraiment absent ? On remarquera l'emplacement donné aux évangélistes : n'évoque-t-il pas la présence divine sur l'autel placé derrière cette fenêtre, lors de la célébration du sacrifice eucharistique ! Le décor de l'abside latérale est un peu moins riche : lésènes sans chapiteaux et arcatures jumelles soutenues par des animaux. Reste la chapelle rectangulaire, qui s'élève au Sud-Est, dans l'angle du chœur et du transept. D'une facture plus archaïque, elle se distingue par des arceaux à double ressaut, assemblés à claveaux reposant sur des pilastres bordés de tores. Le clocher octogonal, enfin est une œuvre du XIIIe siècle. Quatre grandes baies en tiers-point, dont les meneaux soutiennent deux arcs trèfles et un quatre-feuilles, alternent avec des lancettes trilobées plus étroites, tandis que la doucine de la corniche est chargée de roses, l'emblème héraldique de la cité. Mais, à la naissance de l'octogone, sur les glacis triangulaires de l'ancienne tour romane sont encore posés deux marmousets, dont l'un tient un gobelet dans sa main et l'autre caresse sa barbe. Portées au nombre de quatre, ces statues figurent également à la tour de croisée de Guebwiller. Une explication satisfaisante n'a pu en être donnée à ce jour. L'impression d'équilibre et de clarté dégagée par les façades de l'église de Rosheim n'est pas uniquement due à la grande variété du décor, mais elle provient également de la qualité technique des ouvrages et, pour une large part, de la beauté du matériau mis en œuvre. Tous les parements sont en pierre de taille, le tracé de l'appareil dépasse en régularité celui des façades de Murbach et de Marmoutier et ne sera plus atteint avant Altorf et Strasbourg. La précision du coup de ciseau et la perfection du modelé des profils sont exemplaires et attestent la haute qualité des exécutants. Le matériau choisi est le grès jaune de la région de Westhoffen pour les parties romanes et le grès rouge des carrières de Gresswiller pour la tour gothique. Les teintes vives du grès participent à l'effet harmonieux que dégage l'édifice, qui vibre littéralement, éclairé par le soleil couchant ou sous les faisceaux des projecteurs.
L'INTERIEUR
En pénétrant dans l'église, on est quelque peu surpris : à la tonalité chaude et à la profusion du décor des façades ont succédé la pénombre et les masses pesantes de l'ordonnance intérieure. La nef sombre et lourde est dominée par la puissante ossature des voûtes. Piliers, colonnes et arcades dégagent eux aussi une force impressionnante, au point que l'espace intérieur des vaisseaux semble comprimé entre les larges surfaces nues des parois. Et néanmoins, les proportions ne sont nullement archaïques. A une largeur de 6 m 14 dans œuvre de la nef correspond une hauteur sous clef de 11 m 37. Le rapport de largeur à hauteur est donc de 1 à 1,8. Où qu'il se dirige, le regard ne rencontre que pierre de taille. Piliers et colonnes, arcades et ogives sont sculptés dans le grès, les murs gouttereaux dressés en grand appareil, ceux des bas-côtés en blocage plus petit, mais également destinés à rester apparents. Seuls les champs des voûtes, crépis et couverts d'un badigeon clair, contrebalancent cette extraordinaire massivité de l'ensemble.
Nef
La nef est divisée en deux travées doubles sensiblement plus profondes que larges, précédées d'une travée simple barlongue, tangente au mur de façade. A chaque travée double correspondent deux travées carrées dans les bas-côtés. L'alternance des supports en découle. Elle est traitée selon la tradition rhénane. Entre les larges piliers cruciformes (leur socle a 2 m 60 de côté) séparant les travées, s'élèvent de grosses colonnes à fût monolithe et tronconique, qui portent les arcades en plein cintre. Les énormes bases (posées sur des dalles carrées de 1 m 50 de côté), munies aux angles de fortes griffes, sont de type attique. Les chapiteaux possèdent des formes et un décor chaque fois différents. Le premier est composé de huit chapiteaux cubiques, retenus par une bande ornementale sculptée en méplat, l'astragale constitué par une natte tressée. Sur le suivant, les lobes des huit petits chapiteaux sont devenus un quadruple feston et l'astragale est formé par une couronne de 21 petites têtes humaines. Le troisième chapiteau se compose de quatre cubes dont les lobes sont couverts d'un décor de feuilles à peine esquissé et les parties sphériques ornées de palmettes. Le fût est entouré d'un solide anneau. Le quatrième enfin abandonne la forme cubique; un calice de feuilles d'acanthe, larges et charnues, supporte, par l'intermédiaire d'une dalle ronde munie aux angles de pointes, l'embrase carrée du tailloir. Les profils des tailloirs sont de deux types, l'un à doucine et quart-de-rond, l'autre à tore plat entrer filets. Ces colonnes sont non seulement étonnantes par le renouvellement de la modénature et du décor, mais aussi par leurs volumes et proportions. La hauteur du tambour du fût est égale à la circonférence prise à sa base, tandis que la hauteur totale de la colonne mesure 4 fois 1/2 celle du chapiteau. La longueur du côté du tailloir qui le couronne, par contre, est égale au tiers de la hauteur. Bien entendu, base et chapiteau sont, comme les fûts, débités dans un seul bloc de pierre. Ces dimensions et proportions, rarement adoptées à l'époque romane, prêtent à ces soutiens une force de poussée néanmoins empreinte d'harmonie. D'aucuns seront surpris par la fraîcheur des surfaces et la netteté des sculptures, pour en conclure à une œuvre moderne. Mais les magnifiques relevés à grande échelle, extrêmement précis, déposés aux archives des Monuments historiques et datant de 1845, donc bien avant la première restauration, montrent les mêmes chapiteaux en parfait état, et l'absence d'une mention de réfection dans les décomptes également conservés prouve que nous sommes encore en présence des originaux romans.
Les piles fortes cruciformes ne sont pas renforcées dans les encoignures, à l'exception du pilier de l'extrémité Ouest de la paroi Nord, où les colonnettes des écoinçons munies de chapiteaux cubiques s'arrêtent à hauteur des impostes des arcades. Mais, aux autres piliers du mur Nord, comme le prouvent les bases laissées en attente, ces colonnettes étaient pour le moins prévues, tandis qu'elles manquent complètement aux piliers du mur Sud. Les piédroits des arcades et ceux tournés vers les bas-côtés sont pourvus d'impostes moulurées; sur le pilier Ouest de la paroi Nord, son profil se retourne même sur le ressaut rectangulaire portant le doubleau de la nef. Les arcades, à simple rouleau assemblé de claveaux réguliers, à arêtes vives, sont, à l'exception de deux, parfaitement circulaires. Sous l'étage des fenêtres, à hauteur des impostes des arcs doubleaux, un bandeau profilé règne sur le pourtour de la nef et se poursuit dans les croisillons ainsi que dans le chœur. Les fenêtres hautes relativement grandes et fortement ébrasées, sont jumelées dans les lunettes des travées doubles. Les formerets sont en plein cintre, mais décrivent une courbe en tiers-point dans la travée occidentale. Les arcs-doubleaux, également en plein cintre, qui séparent les voûtes, se composent de deux rouleaux non concentriques. Il en résulte un allongement des claveaux de l'arc inférieur, qui donne à ses faces latérales une forme de faucille ou de croissant. Les branches d'ogives constituées d'un simple tore de forte section ne possèdent pas de support particulier, mais vont se perdre en s'amincissant en fuseau entre le doubleau et le formeret. Au point de raccord avec la pointe conique, la nervure torique est découpée en zigzag. Il n'y a pas de clef sculptée, seule une petite bague est posée à la rencontre des ogives. La retombée commune du rouleau supérieur de l'arc-doubleau et du formeret voisin est soutenue par une figure d'atlante ou un masque sculpté, engagé dans l'angle du pilier et de la paroi.
Bas-côtés
Quant aux bas-côtés, ils sont couverts de simples voûtes d'arêtes, construites en moellons bruts et crépies. Le long des murs, les arcs formerets reposent sur des dosserets rectangulaires, tandis que les doubleaux retombent sur des colonnettes qui y sont engagées. Dans le bas-côté Sud uniquement, une colonnette semblable est adossée aux ressauts des piles fortes et ce n'est pas sans mal que les voûtes ont été réalisées. En raison de la saillie inégale, voire de l'absence de dosseret du côté des grosses colonnes monolithes, les arcs-doubleaux sont d'ouverture variable et comme ces dosserets sont moins larges du côté du mur que du côté de la nef, les voûtes sont irrégulières et les voûtains souvent gauchis. Dosserets et colonnettes reposent du côté du mur sur une banquette, régnant sur toute la longueur. Une seule fenêtre est percée dans chaque travée ; dans l'avant-dernière cependant elle est remplacée par une porte.
Transept
L'effet produit par le transept est celui d'une extrême nudité. Les murs des croisillons, comme d'ailleurs ceux de la travée du chœur précédant l'abside, n'ont d'autre décoration que le cordon mouluré régnant à hauteur des tailloirs des piliers. Deux fenêtres surmontées d'une baie plus petite ajourent les murs de fond. De petites baies semblables sont percées dans les lunettes des autres parois, tandis qu'une seule fenêtre éclaire l'absidiole du Nord. Dans le croisillon Sud, une arcade à double rouleau s'ouvre dans la chapelle de la Vierge. La baie géminée qui la surmonte a été percée en 1860, pour laisser passer le son de l'orgue Silbermann, relégué au premier étage de l'ancienne tour-chœur. La chapelle est couverte d'une simple voûte d'arêtes, dont les formerets reposent sur des ressauts rectangulaires. Son sol primitif, qu'on vient de rétablir, est en contrebas par rapport à celui du transept et de la nef, et prouve l'antériorité de cette partie de l'édifice. On observera d'ailleurs des traces du relèvement du dallage, entraînant une modification des profils du socle, exécutée lors de la construction de la nef actuelle. La croisée est couverte d'une voûte d'oglves dont les branches toriques se terminent, comme dans la nef, en fuseau entre les retombées des grandes arcades en plein cintre. Celles-ci sont à double rouleau, les doubleaux inférieurs portés par les piédroits des piliers; les supérieurs faisant office de formerets, reçus du côté du chœur sur des colonnes engagées dans l'encoignure des piliers, tandis que du côté de la nef, les fûts sont remplacés par un groupe sculpté formant cul-de-lampe. Dans les croisillons par contre, les nervures des ogives possèdent un profil rectangulaire. Elles retombent sans se rétrécir au Nord sur des colonnettes engagées dans l'angle des murs et au Sud sur des colonnettes à fût tronqué et terminé en pointe.
Chœur
Récemment (été 1968), les murs et voûtes du chœur ont été débarrassés des lourdes peintures et dorures d'inspiration byzantine, que l'architecte Ringeisen y avait fait appliquer pour pallier la nudité des parois et l'absence de décor sculpté. Il est vrai que dès le Moyen Age l'abside était peinte. On découvrit dans la voûte, lors du débadigeonnage en 1859, un Christ bénissant la Vierge nimbée et agenouillée à sa droite, scène du Couronnement ou de la Déisis ? On ne sait, pas plus qu'on ne connaît l'âge exact de cette fresque. Trois fenêtres en plein cintre, celle du centre plus large que les autres, éclairent l'abside. La paroi Nord de la travée droite est ajourée de deux fenêtres superposées. Pour donner à l'organiste la vue sur l'autel, on perça lors de la restauration, dans la paroi Sud, deux ouvertures semblables. Le millésime de 1454 est gravé au-dessus de la porte communiquant avec la chapelle de la Vierge. Le socle de l'abside est décentré par rapport aux maçonneries montantes, indice d'un changement en cours de travaux et sans doute la cause du curieux pan coupé du parement, observé à l'extérieur. Plus intéressante est la voûte. Les branches d'ogive de section rectangulaire sont chargées d'un demi-tore. Comme dans les croisillons, elles retombent sur des colonnettes engagées dans les angles des murs. Mais cette fois, en raison de sa largeur, la bande rectangulaire est entaillée à partir de sa rencontre avec les formerets. Seul le profil du boudin reste intact et se poursuit jusqu'au sol par le fût de la colonnette.
Pour l'étude des voûtes romanes, l'église de Rosheim offre un véritable répertoire de toutes, les formes utilisées en Alsace. En effet, on y trouve, dans les bas-côtés, les voûtes d'arêtes traditionnelles, déjà employées dans les cryptes de Neuwiller ou d'Andlau. Dans la haute nef, le transept et le chœur, la voûte sur croisée d'ogives est représentée par trois types différents : d'abord les branches d'ogives de section carrée à arêtes vives, proches de celles du chœur de Murbach, ensuite le demi-tore engagé sur une bande rectangulaire, semblable aux nervures des voûtes de l'église Saint-Jean près de Saverne, enfin, le gros boudin terminé en Cône renversé, jusqu'ici sans précédent. La même variété règne dans les supports particuliers : colonnettes élancées à chapiteaux cubiques, chapiteaux prolongés par un tronçon de fût, consoles en forme de masque ou encore en atlante. ... (extrait de : Alsace romane, Ed. Zodiaque, Coll. Nuit des Temps)
For the full story and more photos, please see rally65.multiply.com/journal/item/117/Santo_Addicts_I_Hav...
At a Lenten Exhibit in Mandaluyong in March 2014. Photo courtesy of the Francisco Vecin Picture Collection.
I understand James Cameron is looking for a new project. I think he should resurrect the Alien series.
During the 1950’s millions of white middle class Americans, mainly ex veterans with wives and children escaped the financial blackout of city culture through economic expansion, substantial quantities of cheap housing estates and advanced service of social Technology in mass produced suburbs. A middle class community who replaced the bourgeoisie class as a social standard of society. A conformist society where belonging to the neighbourhood network was just as important as the return to family life. The social structure depends partly on what can be called self-appointed public characters that are in frequent contact with a wide circle of people. Public characters need no special talents or wisdom to fulfil their function, just presence among ones counter parts which basically binds respect. The long term relation settles for a simple form of togetherness like the Barbeque or Salad bar. A plain contrast of characteristics that regards serendipity.
Modern design created an element of illusion called the French windows with their function as sliding doors. Daniel Boorstin doubted the comfort of this invention as a declining of importance concerning indoors and outdoors which erased the border between public and private space.
The Post War Television of the 1950’s was a general guide to family values, neighbourhood bonding and community participation. The television rose within one decade from 9% to nearly 90% in all American homes offering an ability to combine private with public spaces. The modernism of magazines, films and airwaves became the cultural representatives of this “good life” and the average citizen watched about five hours of television per day. Privatization of spectator’s amusements and separation of the public sphere were contemporary topics of the main media.
Suburban space was designed to represent the young, middle class community patterns of nuclear family life. Black Americans, older people, gay or lesbian people and unmarried people were simply written of these community spaces and kept in the cities. Suburban space was the purified ideal that carried America throughout the industrial depression.
The magazine House Beautiful reviewed female TV space for daughters to find “peace of mind away from the house yet still at home.” Promising to keep children away from unsupervised, varied spaces whilst offering desires to the very people who were considered dirty and diseased. They applauded televisions ability of confronting the lives of disadvantaged groups with the public spaces in which they were typically unwelcome. Although social critics honoured television’s ability to combine public and private domains, this fantasy of space binding revealed an unpleasant underside. Metaphors of disease were continually used to discuss television’s unwelcome presence in domestic life. Television was praised by some to keep children out of dangerous public spaces. Others saw the electrical environment as a threatening extension of the public sphere.
People left their families and long life friends in the city to find instant neighbourhoods in pre planned communities. A sense of community was vital for newcomers experiencing rootless ness. While the garden barbeque was yet to obtain its purpose of purchase, the developers of the mass produced suburbs tried to smooth tensions causing rootless ness. They promised an increase of community life in their advertisements. But as the newcomers arrived in their suburban communities, they were confronted by something different from the ideal that the magazines and advertisements suggested. The neighbourhood planning was compressed to the extent that the French windows gazed not onto a calm horizon of green acres, but into the neighbour’s living room. An awkward situation usually known as the “goldfish bowl” affect that caused claustrophobia. These neighbourhood ideals required therefore an enormous amount of pressure to conform to the group.
These televised neighbours seemed to ease the painful transition from the city to the suburb. But more than simply supplying a tonic for displaced sub urbanities, television promised modes of spectator pleasure premised upon the sense of an illusionary-rather than a real-community of friends. It maintained ideals of community togetherness and social interconnection by placing the community at a fictional distance.
Joshua Meyrowitz stated “During the male labour time, televisions first and strongest impact regarded the degree of the public space females obtain or require." He assumes that public space is male and private space is female. So television was not bringing male space into female space but transposed one system of sexually organized space onto another. Postwar media often suggested that television would increase women’s social isolation from the public life by reinforcing spatial power structures that had already defined their everyday experiences in male dominated cultures. So family theatres were typically broadcasted to confront his leisure time and limit her isolation as she presented her freshly baked pie from the oven.
Household claustrophobia was also experienced by teenagers. 80 percent of the girls admitted they would rather go to a low budget movie than stay home and watch television. Experts considered these old values of human progress as becoming manifest. However the women and children left in empty suburban towns with no particular cultural life did not enjoy the routine of drone monotone life in identical designed houses with neighbours who desired to unfold themselves far from it.
Films like Marlon Brando’s The Wild One in 1953 portrayed the rebelliousness of the new and young middle class. Middle class affluence put money in the pockets of their children who became economic factors themselves which created the youth culture who liberated from their one dimensional suburbs to rage against the world. The conscious of Motherhood then establishment the 2nd Female Liberation, one decade later.
Most of the given Information above was attained from Lynn Spigel with Beatrix Colomina's book : Sexuality & Space
Savannah - Macon empty rock train 63A marches uphill with a clear signal at M&E JUNCTION with a well-worn, rusted SD70M-2 leading.
A few years after the entire fleet was placed in storage or sold off, NS made the decision to reactivate about 3 dozen due to their power shortage (resulting from the 2019/2020 fleet purges). While nearly identical to the SD70ACe, the main differences are their age (built 2005-2006; 6-7 years before NS' fleet of ACes), and the use of DC instead of AC traction.
November 10, 2023
Gordon, GA