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Sandstone Falls, Located in West Virginia's.
Sandstone Falls is an enormously wide and complicated waterfall on the New River. The thousand plus foot wide river tumbles over a sandstone ledge creating a number of segments of different heights and widths. Board walks take you out into the middle of the falls, but only distant views of the largest drops are available.
Sandstone Falls is a wide, wide waterfall on the New River a few miles north of the town of Hinton. The New River is about 1500 feet wide at the point it encounters a sandstone ledge. The rivers breaks over and around the ledge, creating an island and a number of falls of varying heights and widths depending on the level of the river.
There is no vantage point from which you can view the entire falls. The closest is an overlook high above the falls. A series of trails and boardwalks are located on the western edge of the river and they take you to some up close and personal views of different parts of the falls. Unfortunately the eastern edge of the falls is the highest, and you can only get distant views.
Aswan's Nubian museum opened in 1997 and houses an extensive collection of sculptures and artefacts from across the former land of Nubia immediately south of Aswan which was flooded in the 1960s following construction of the High Dam (most of ancient Nubia now lies beneath the waters of Lake Nasser).
The Museum is a more worthy replacement for the old Aswan Museum and enhances the city one of the newest and most rewarding museums in Egypt.
- www.kevin-palmer.com - The sandstone bluffs at Medicine Rocks State Park are filled with holes and arches. I especially liked this rock formation since it was easy to climb inside and get lots of different perspectives.
The San Rafael Swell is a large geologic feature located in south-central Utah, USA about 30 miles (50 km) west of Green River, Utah. The San Rafael Swell, approximately 75 miles (121 km) by 40 miles (64 km), consists of a giant dome-shaped anticline of sandstone, shale, and limestone that was pushed up millions of years ago. Since that time, infrequent but powerful flash floods have eroded the sedimentary rocks into numerous valleys, canyons, gorges, mesas and buttes. The Swell is part of the Colorado Plateau physiographic region.
Interstate 70 divides the Swell into northern and southern sections, and provides the only paved road access to the region. The swell lies entirely within Emery County.
The northern Swell is drained by the San Rafael River, while the southern Swell is drained by a number of small creeks which eventually join the Dirty Devil River in Hanksville, Utah. The Dirty Devil River is a tributary of the Colorado River, while the San Rafael River joins the Green River before it also flows into the Colorado. Muddy Creek cuts into the western edge of the Swell, exits at Muddy Creek Gorge, and then flows into the Fremont River.
The San Rafael Swell was formed when deeply buried Precambrian rocks faulted, or broke, during the Laramide orogeny, about 60 million years ago. These "basement" rocks below the present-day Swell moved upwards relative to the surrounding areas and caused the overlying sedimentary rocks to fold into a dome-like shape called an anticline. The resulting structure is analogous to a series of blankets draped over a box.
Since that time, the relentless force of running water has eroded the geologic layers, resulting in older rocks becoming exposed in the middle of the Swell, and younger rocks exposed around the edges. Many of the most impressive landforms are composed of more resistant rocks, including the Jurassic Navajo Sandstone, Triassic Wingate Sandstone, and Permian Coconino Sandstone. The folding is much steeper on the eastern edge of the Swell than in the west, and this eastern edge is referred to as the San Rafael Reef.
Evidence of Native American cultures, including the Fremont, Paiute, and Ute, is common throughout the San Rafael Swell in the form of pictograph and petroglyph panels. From about 1776 to the mid-1850s the Old Spanish Trail trade route passed through (or just north of) the Swell. In the past 150 years, areas of the Swell have been used for the grazing of sheep and cattle, as well as for uranium mining. Although surrounded by the communities of Price, Green River, Hanksville, Ferron, Castle Dale, and Huntington, the Swell itself does not support permanent residents.
The area is managed by the U.S. Bureau of Land Management, although the Swell as a whole does not currently enjoy special protection, parts of it are protected as wilderness study areas. Cattle grazing is only allowed in parts of The Swell that are not designated as such. The San Rafael Swell is also dotted with squares of land managed by The Utah School and Institutional Trust Lands Administration, as is much of the state of Utah.
The San Rafael Swell attracts hikers, backpackers, horseback riders, and all-terrain vehicle (ATV) enthusiasts. Many steep, narrow slot canyons popular with technical canyoneers are found in the San Rafael Reef. The use of ATVs in the Swell is controversial, as environmentalists draw attention to the fact that off-road vehicles damage the fragile desert cryptobiotic soils.
Goblin Valley State Park is on the southeastern edge of the San Rafael Swell.
en.wikipedia.org/wiki/San_Rafael_Swell
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
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All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
While only 200 feet above the valley floor, the views from this Overlook are spectacular. The lava flow below the Bluffs is nearly 18 miles long and fills the entire width of the valley in places. Such a humbling experience to absorb everything you can see here...
Part of the Garden "Corby Castle" in Cumbria UK.
The natural Cascade runs into the River Eden.
I believe it dates back to the early 1800,s
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I believe this to be a sandstone boulder but I could be wrong...might be metamorphic. Either way, its beautiful and sits in my neighbor's yard. I can't help but check it out every time I pass it.
There's something special about using dry stone walling to create sweeping curves. See more @evergreenwales.com
Fragile sandstone formations in Fantasy Canyon in the Uinta Basin about 30 miles SE of Vernal, Utah in the middle of the Basin Natural Gas Fields. The land is managed by the BLM and Fantasy Canyon is a bit tricky to find and get to. Definately a 4wd opportunity. Take lots of water -- it is seriously hot in this remote little canyon. But the formations -- unique in the world, are well worth the trek. To find the place get a map at the BLM field office in Vernal.
Compare these fragile eclectic shaped formations with the more rounded smooth formations in Valley of Goblins. Both sandstone shaps were exposed by the same process. See goblins here: farm3.static.flickr.com/2334/1808935039_5d022a7265_b.jpg
Sandstone located inland, miles from the Pacific Ocean. San Antonio Alluvial Fan, San Marcos Foot Hills, San Barbara, CA.
Lower Antelope Canyon Abstract Red Sandstone Page AZ Sculpture Fuji GFX100 Fine Art Landscape Nature Photography! Arizona Slot Canyons Elliot McGucken Master American West Medium Format Photography dx4/dt=ic Fuji GFX 100 Fine Art!
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
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Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
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Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
Cross-like pattern in small sandstone pebble, Agrafiotis river, South Pindos, Greece. Stones like this may be considered as "God's Signs" by religious people in Greece. It is a typical filling of crossed at right angles cracks inside the stone with new mineral material.
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Another one found cleaning out my photos. I was entranced with the beautiful scrulptural qualities of this mountainside of eroded sandstone. The first time I drove by there was a small herd of big horn sheep on these slopes.
Offering stele with a scene in the upper register depicting the deceased (right) in front of the solar boat with four gods and goddesses below a winged sun disc. Below are six lines of hieroglyphic insciptions in the form of an offering formula.
Ptolemaic Period, no provenance.
MM 10005
Medelhavsmuseet, Stockholm.
Built on Burke Road on a rise between the busy shopping strips that make up the Camberwell Junction and the grand catholic Our Lady of Victories Basilica, stands the striking Saint John the Apostle and Evangelist Church of England.
Almost since the beginning of 1863, Church of England Services have taken place on the site where Saint John the Apostle and Evangelist Church of England stands. In 1863, Camberwell was not the affluent and well established inner city Melbournian suburb that it is today; rather it was a small rural outpost of Melbourne. Therefore the first church, known simply as the Church of England at Camberwell, was little more than a small Victorian Gothic church of brick and stone. However Camberwell, like most of Melbourne, grew as a result of the Gold Rushes and by 1869 an additional chancel had been completed to make allowances for a congregation of around 200 people. As Camberwell's citizenry swelled in number and wealth, so too did their places of worship, and by 1887 Saint John the Apostle and Evangelist Church of England was enlarged and added to. There was no shortage of money, as by this time Camberwell was the home of wealthy industrialists, businessmen and pastoralists as well as a backbone of respectable middle class white collar workers, so the church's windows were filled with elegant and costly stained glass from companies like Mathieson and Gibson, Brooks, Robinson and Company and artists like William Montgomery. Further additions were made on the cusp of the Great War in 1914, and finally a towering spire was added after the War in 1924. In 1930 three stained glass windows by Australian husband and wife artists Christian and Napier Waller featuring the Apotheosis of David were added.
By the outbreak of the Second World War, Saint John the Apostle and Evangelist Church of England was an enormous brick an sandstone Victorian Gothic edifice, recognised as a local landmark, and a source of great pride for its wealthy and respectable congregation. Seating over 800 people, it continued to be a place of worship and many happy occasions until the night of the 18th of March 1955, when as a result of an arson attack, the grand building was destroyed by fire. Only the bell tower and spire survived, standing defiantly against the odds, pointing to the heavens.
Devastated by the arson attack, the congregation of the church rallied and engaged successful ecclesiastical architect Louis Williams to design a new Saint John the Apostle and Evangelist Church of England. The foundation stone for the new church was laid by the then Archbishop of Melbourne, The Most Reverend J. J. Booth on the Feast of Saint Michael and All Angels on the 29th of September 1956. Rising like a phoenix from the ashes, the new Saint John the Apostle and Evangelist Church of England was completed within two years, finished in November 1957. Sadly, it was discovered several years after its completion, that the belfry and tower of the old Saint John the Apostle and Evangelist Church of England were seriously damaged by the heat of the 1955 fire. Constructionally compromised and therefore a danger not only to the congregation, but any passerby on busy Burke Road should the tower and spire fall into the thoroughfare, the remnants of the old church had to be demolished.
The current Saint John the Apostle and Evangelist Church of England building is architecturally very striking. The vast red brick facade rises vertically towards the sky with very little external decoration and is a fine example of Post-War Ecclesiastical architecture. In the wake of the Second World War, faced with austerity and building material shortages as well as the decimation of a workforce skilled enough to architecturally enhance revivalist buildings, architects had to re-think their designs to please their conservative clients who did not want the flat-roofed, glass encrusted boxes that were in vogue in architecturally avant-garde post-war America. Their answer was that between 1940 and 1960, they designed simplified versions of medieval churches. This link back to the more peaceful past, whilst managing the current difficulties of labour and building supplies worked beautifully. Saint John the Apostle and Evangelist Church of England is an ultra-stripped back, simplified version of a Romanesque church. It maintains a traditional rectangular shape, features a traditional pyramidal roof and has aisles that flank the central nave. Its front facade has a post-war Art Deco feel, particularly around the front porch which has elegant brick detailing and a very stylised Art Deco sandstone eagle - an attribute of Saint John the Apostle and Evangelist - above the door. This link to the past is enhanced by the two Old English Gothic style wrought iron lamps that flank the portico's outer doors. A traditional Gothic window with simplified sandstone tracery appears on the facade and is imbedded into a rounded arch which is more shallow than pre-war examples. The church's slender lancet windows have semicircular heads and feature for the most part, latticed plain glass. This allows the church's interior to be flooded with natural light even on a cloudy afternoon, such as the one when I visited Saint John the Apostle and Evangelist Church of England. Some describe the building as elegant, others austere, but the general consensus is that it is one of Louis William's finest architectural works from his very large output of work.
Inside the light filled church, the use of stained glass is at a minimum, yet there are three examples which are a throwback to Saint John the Apostle and Evangelist Church of England's glorious stained glass past. When the arsonist attack in 1955 raised the church, so many magnificent, historical and valuable stained glass windows were lost to the conflagration including the three stained glass windows by Australian husband and wife artists Christian and Napier Waller of the Apotheosis of David (shepherd, king and builder) installed in 1930. As part of the church's re-building, Napier Waller (Christian had died by 1955) was commissioned to create three new stained glass windows in memory of those from Saint John the Apostle and Evangelist Church of England who served in the two World Wars. Saint Columba, Saint Alban and Saint Aidan were unveiled in 1961. Installed to the left of the narthex, the three windows are set into their own bay with Saint Columbia on the left, Saint Alban in the middle and Saint Aidan on the right. Designed in post-war Art Deco style, Saint Columbia has an inscription which comes from Psalm 107:23 "They do business in the great waters", Saint Alban has an inscription from Psalm 76:8 "The earth trembled and was still" and Saint Aidan has an inscription from Psalm 18:10 "He did fly upon the wings of the wind".
Louis Reginald Williams (1890 – 1980) was born in Hobart, Tasmania and attended school at Queen’s College. His father was a furniture manufacturer, and the family was very religious. Louis’ interest in churches guided him into choosing a career in architecture. He was trained by architect Alexander North, with whom Louis eventually formed a joint partnership when they moved to mainland Australia and set up an architectural firm, Williams and North, in Little Collins Street in Melbourne. Although Louis was commissioned to design commercial buildings and houses, it is for his ecclesiastical buildings that he is best known. He worked mostly in either traditional Gothic or Arts and Crafts styles. Not only was he concerned about the exteriors of his churches, but the interiors as well, and he maintained a group of skilled craftsmen whom he trusted to create his designs for furniture and fittings to harmonise with the buildings he created. He also advised on stained glass, lighting and even mosaic tiling, and no detail was too small for Louis. He designed churches throughout Australia for the Church of England, Presbyterians, Lutherans, Methodists and the Christian Scientists. His career lasted for nearly sixty-five years until he was in his mid eighties.
One of Marquette's great sandstone buildings. This was built in 1875 for Andrew Ripka, who managed the ore docks, but I always think of it as my piano teacher's house. There was a huge entry hall, with a formal dining room off to the left and the sitting room to the right. Our lessons were in the sitting room, which had plenty of room for two grand pianos. The west-facing bay windows held her collection of Murano glass figurines. Now owned by a woman very active in beautification work. She's building an addition, matching the original sandstone. More about her and the house here.
Part of the Ridge and Arch Historic District, listed on the National Register of Historic Places.