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VATICANO ARCHEOLOGIA e RESTAURO ARCHITETTURA: Catacombe Domitilla, presentati i nuovi restauri: ecco il nuovo museo, LA REPUBLICA, THE DAILY MAIL & THE TELEGRAPH U.K., (30/05/2017) [ITALIANO & ENGLISH].
1). ROMA - Catacombe Domitilla, presentati i nuovi restauri: ecco il nuovo museo, LA REPUBLICA (30/05/2017).
Si è svolta oggi la presentazione dei restauri e del nuovo museo delle Catacombe di Domitilla, nella zona dell'Appia Antica. Tra i presenti il cardinale Gianfranco Ravasi, presidente del Pontificio Consiglio della Cultura e Fabrizio Bisconti, sovrintendente della Pontificia commissione di Archeologia sacra del Vaticano. Grazie agli scavi archeologici condotti nel Novecento sono stati trovati nella struttura degli insediamenti funerari dell'epoca pre-cristiana (I secolo a.C.), oltre ai resti del tardo impero (III-IV secolo d.C.), quando gli esponenti di famiglie nobiliari di religione cristiana si facevano seppellire vicino alle reliquie dei martiri. (foto ANTONIO MASIELLO/AGF).
FONTE | SOURCE:
-- LA REPUBBLICA (30/05/2017).
roma.repubblica.it/cronaca/2017/05/30/foto/catacombe_domi...
2). ROME - Stunning 1,600-year-old early Christian frescoes are revealed in Rome's biggest catacomb after lasers remove centuries of grime, THE DAILY MAIL, U.K., (30/05/2017).
-- Two areas of the vast labyrinth of Domitilla catacombs were unveiled adorned with a set of frescoes
-- Renovated areas of Domitilla include beautiful frescoes from both pagan mythology and Christian faith
-- The Domitilla catacombs are the largest in Rome, stretching over 12 kilometres and descending four levels
-- They contain 26,250 tombs, many reserved for rich Romans, and date from the second to fifth centuries AD
The catacombs of Domitilla, close to the Appian Way, have been restored using laser technology to remove centuries of grime and dirt that had rendered them invisible.
The renovated areas include frescoes from both pagan mythology and Christian faith, revealing how wealthy Romans moved away from their pagan beliefs toward the religion of Christ around the fourth century AD.
The Domitilla catacombs, named after a member of the Roman family that had commissioned the burial grounds, are the largest in Rome.
They stretch over 12 kilometres (7.4 miles) and descend four levels with 26,250 tombs, dating from the second to the fifth centuries.
The intricately painted frescoes decorate the ceilings of two crypts, which were both unveiled on Tuesday after decades of delays to renovations.
They depict scenes of from the Old and New Testaments, including Noah and his Ark and Jesus's feeding of the 5,000 with bread and fishes.
There are also peacocks shown in the paintings - a pagan sign of the afterlife.
At the centre of the ceiling fresco is an image of Christ with two men either side of him, believed to be St Peter and St Paul or St Nerius and St Achilleus.
The crypts were built for merchants who were part of the intricate and highly organised imperial grain trade.
The frescoes detail how grain was transported on boats to the ancient Roman port of Ostia from the Mediterranean.
It was then transferred to smaller vessels which took it up the Tiber River to warehouses in the centre of the imperial capital.
At the time every Roman was entitled to a daily bread ration and so the trading and import of grain was a state monopoly regulated by high-ranking officials.
As a result some imperial functionaries grew rich on the grain trade and production of bread, earning them luxurious tombs.
For centuries the intricate frescoes that adorned the catacomb's ceilings were covered with a thick layer of algae, calcium deposits and smoke stains from oil lamps.
Laser instruments were used to carefully peel away the grime, leaving the paintings beneath unharmed.
The new area also includes a small museum displaying statues, parts of sarcophagi and other artefacts from the tombs.
'These tombs represent the roots of our deepest identity, the roots of Rome and of Christianity,' Cardinal Gianfranco Ravasi, head of the pontifical commission, said at a news conference this week.
The first area, which was restored without the use of laser, dates back to the third century and still has many references to pagan art.
Paintings of grape vines adorn the vaults of the passages, and cupids are used for the smaller tombs, most likely belonging to children.
Many of the crypts have frescoes that seem blotted out. In fact, they were stripped by 'ripping' when catacombs were looted and frescoes cut out and removed as trophies in the Middle Ages.
This ancient form of art theft can be found in a museum in Catania, which displays examples that were originally brought to Sicily by a nobleman to decorate his home.
This area also includes two biblical scenes, Daniel and the lions, and Noah with his ark, as well as a number of frescoes depicting Christ and the apostles.
These scenes often include slices of daily life, but the intertwining of the spiritual and the prosaic really comes to life in the second area, known as the 'room of the bakers.'
Here the laser revives vivid depictions of Christ and the Apostles accompanied by scenes from the life of a baker.
Not only do they tell the story of life in Rome, but they highlight the importance of bread in both Christian and pagan symbolism.
'These works show the difficult path the Romans walked on the way to their new faith,' said Monsignor Giovanni Carru of the Pontifical Commission of Sacred Art.
Final touches still have to be put on the museum, which the organisers hope to open to the public by the end of June.
It will be several months longer before the restored areas are opened.
In the meantime, the rest of the vast archaeological site is open to visitors throughout the summer.
FONTE | SOURCE:
-- THE DAILY MAIL, U.K., (30/05/2017).
www.dailymail.co.uk/sciencetech/article-4556660/Domitilla...
3). ROME - Laser technology uncovers 1,600-year-old Christian frescoes in Rome's biggest catacomb, THE TELEGRAPH, U.K., (30/05/2017).
Deep in a labyrinth of dank tunnels, in the heart of Rome’s oldest and largest catacombs, archaeologists have discovered an exquisite set of 1,600-year-old frescoes painted to commemorate the city’s early Christians.
Experts used the latest laser technology to uncover the centuries of grime which had rendered the frescoes invisible.
The discovery has shed new light on the process by which wealthy Romans shifted away from their pagan beliefs and embraced the new religion of Christ in the fourth century AD.
The beautifully rendered, multi-coloured frescoes adorn the ceilings of two crypts which were built for merchants who were part of the complex and highly organized imperial grain trade.
Archaeologists found a series of frescoes which chronicle how grain was transported by ship from around the Mediterranean to the ancient Roman port of Ostia, then transferred to smaller boats which brought it up the Tiber River to warehouses in the centre of the imperial capital.
The import and distribution of grain was a state monopoly controlled by high-ranking officials, at a time when every Roman was entitled to a daily bread ration.
The crypts, hacked out of soft volcanic rock, were created for the families of the imperial functionaries who grew rich on the grain trade and the production of bread.
For centuries, the ceiling frescoes in the Catacombs of St Domitilla were covered in a thick black layer of calcium deposits, algae and smoke from oil lamps.
Laser instruments were used to burn away the dirt and deposits, leaving only the rich colours of the frescoes beneath.
“When we started work, you couldn’t see anything – it was totally black. Different wavelengths and chromatic selection enabled us to burn away the black disfiguration without touching the colours beneath,” said Barbara Mazzei [* = See below | s.v., sotto], who was in charge of the project. “Until recently, we weren’t able to carry out this sort of restoration – if we had done it manually we would have risked destroying the frescoes.”
At the centre of the ceiling fresco is an image of Christ, seated on a throne, with two men either side of him. They are thought to be either St Peter and St Paul or St Nerius and St Achilleus, two Roman soldiers who were martyred for preaching the new faith.
There are scenes from the Old and New Testaments, including Noah and his Ark and the miracle of Jesus’ feeding of the five thousand with bread and fishes.
The fresco is adorned with peacocks, which in pagan belief were symbols of the afterlife. The crypts were painted around 360AD – just a few decades after Christianity had been made legal by Emperor Constantine.
There are also depictions of Christ the Shepherd, with a lamb slung over his shoulders and sheep at his feet. Either side of him are figures gathering fruit from trees – a pagan image that represents the seasons.
“It’s a fusion of older pagan symbols with new Christian images. The family had only recently converted to Christianity,” said Ms Mazzei.
Fabrizio Bisconti, superintendent of the Pontifical Commission for Sacred Archaeology, a Vatican department which manages the catacombs, said: “Rich Romans were the last to convert to Christianity. They were all pagan until the middle of the fourth century AD.”
After the fall of the Roman Empire, the catacombs were gradually abandoned and forgotten. They were rediscovered in the 16th century by an amateur archaeologist, Antonio Bosio, who celebrated his find by daubing his name all over the frescoes in thick charcoal writing.
“He’s regarded as the Christopher Columbus of the catacombs – he discovered them all,” said Ms Mazzei.
FONTE | SOURCE:
-- THE TELEGRAPH, U.K., (30/05/2017).
www.telegraph.co.uk/news/2017/05/30/laser-technology-unco...
FOTO | FONTE | SOURCE:
-- LA REPUBBLICA & THE DAILY MAIL, U.K., (30/05/2017).
* = Prof. Barbara Mazzei, "IL CUBICOLO “DEI FORNAI”NELLE CATACOMBE DI DOMITILLA A ROMA ALLA LUCE DEI RECENTI RESTAURI," pp. 1927-1942 [PDF], in: AA.VV., ACTA XVI CONGRESSVS INTERNATIONALIS ARCHAEOLOGIAE CHRISTIANAE COSTANTINO E I COSTANTINIDI L'INNOVAZIONE COSTANTINIANA, LE SUE RADICI E I SUOI SVILUPPI Pars II | STUDI DI ANTICHITÀ CRISTIANA PUBBLICATI A CURA DEL PONTIFICIO ISTITUTO DI ARCHEOLOGIA CRISTIANA LXVI (2016).
www.academia.edu/30082795/IL_CUBICOLO_DEI_FORNAI_NELLE_CA...
* = Prof. B. Mazzei et al.,, "The mural execution technique of the “dei Fornai” cubicle revealed by laser cleaning," pp. 73-82 [PDF]; in: C. Saiz-Jimenez (ed.) The conservation of the subterranean cultural heritage, London (2014).
www.academia.edu/25604841/The_mural_execution_technique_o...
s.v.,
-- VATICANO ARCHEOLOGIA e RESTAURO ARCHITETTURA: Il mito e il tempo - L’incessante lavoro di restauro nelle catacombe cristiane d’Italia da parte della Pontificia Commissione di Archeologia Sacra, L'Osservatore Romano (29/05/2017).
-- ROMA | VATICANO - Papa Francesco alla tomba di S.Pietro, è il primo Papa che visita la necropoli, LA REPUBBLICA (01/04/2013).
-- Prof. Massimiliano Ghilardi, "Gli scavi della Roma sotterranea cristiana," pp. 117-129 [PDF], in: F. Coarelli (a cura di), Gli scavi di Roma, 1878-1921, Roma: Edizioni Quasar (2004).
-- Prof. Massimiliano Ghilardi, "Gli scavi della Roma sotterranea cristiana," pp. 97-114 [PDF], in: F. Coarelli (a cura di), Gli scavi di Roma, 1922-1975, Roma: Edizioni Quasar (2006).
Master Bathroom
Walls - Great Gray ATC-78
Trim - Delicate White 518-1
Ceiling - Ceiling White
Electrical - Custom - Whole House - White Wall Plates throughout house except Kitchen Backsplash - Backsplash wall plates to match tile as closely as possible
Electrical - Custom - Structured wiring, security, camera system and Sonos audio system
Door Harware - Round Knobs - Chrome - Interior and Exterior
Custom Stain Wood Plantation Shutters in Front Room, Master Bedroom, Master Bath and Powder Room - Sig Series 3.5 Louvers, Yoga - Hunter Douglas Pirouettes, 5 inch Grande in Cotton - Aspen, Semi-opaque w/ Motors and switch
Master Bath Vanities - Custom Manhattan Furniture Style - (2) - L21ACVAS3D36 -Metropolitan Maple - To be painted on site
(2) Custom Master Bath Mirrors - Yorktowne - Crescent Vanity Framed Mirror - Color to match cabinets - AVFM3342 - Top of mirrors to line up with window
Cabinet Hardware Throughout - D34, D35, D36 - Use largest size possible - Mount horizontally throughout - mount at bottom of upper cabinets and at top of base cabinets
Countertops - Cultured Sink - Rectangular Wave Bowl
Countertops - Cultured Sink - Matte Finish
Countertops - Custom - Master Bath - Cultured Marble - Level 2 - 1-1/2 inch Rollover Edge - Carolina Cream #220 - Matte Finish - No backsplash
Flooring - Tile - Emser - Pamplona - Fidelio - 10x20, Accent - Daltile - Marble Collection - Silver Screen M744 - Brick-Joint Polished - 1/2 x 1 Mosaic - Grout #24 Natural Grey
Flooring - Custom - Master Bath - Transition Strip between bath and bedroom to be 3 inch Accent Tile - Daltile - Silver Screen M744 - Brick-Joint Polished - 1/2 x 1 Mosaic - Grout #24 Natural Grey
Flooring - Custom - Master Shower Floor & Seat - Accent - Daltile - Silver Screen M744 - Brick-Joint Polished - 1/2 x 1 Mosaic - Grout #24 Natural Grey
Wall Tile - 42 inch Tile Wainscoting - On all walls except toilet room - Emser - Pamplona - Fidelio - 10x20 - Brick, Accent -Daltile - M744 - Brick Joint Polished - Grout #24 Natural Grey
Wall Tile - To ceiling as shown - Daltile - Stone Mosaics - Chenille White - 3 X 1 1/2 - Marquise Mosaic Polished - L191, Liner - Natural Stone - 3/4x12 - L757 - Grout #24 Natural Grey
Lav Faucet - Single Lever - 90 Degree - Chrome
Shower Fixture - 90 Degree - Chrome
Custom - Tile Master Shower Floor - No Fiberglass pan
Custom - Master bath freestanding tub - Sunstruck K-6369-0 with special Clearflo bath drain K- 7265-CP
Custom - Add Shower seat to master shower - seat to be tiled
Custom - Master Bath Tub Faucet - Kohler - 90 Degree Chrome two-handle high arc roman tub faucet includes hand shower - Mounted on Tub Deck - TS904 + 9796 Custom - Toilet - Elongated Water Sense Commode
Bath Hardware - Moen - Waterhill - Chrome - 24 inch towel bars YB9824CH - Towel Rings YB9886CH, Toilet Paper Holders YB9808CH
Bath Hardware - Custom - Frameless Master Shower Door - Southeastern Aluminum - Signature Hinge - Chrome - 24 inch Ladder Towel Bar on exterior w/ 8 inch Ladder pull on interior - 1/2 inch Clear Glass - 900 series clamps
Interior Trim - Linen Closet - Open Shelving with no door - Painted to match trim
Interior Trim - 8 foot sliding barn door in lieu of the standard pocket door
Master Bath Vanities - Custom Painted - Mother of Pearl 513-1
A quick selfportrait / test session of my new Elinchrom Skyport triggers - they works like a charm.
Strobist-info:
Keylight: Nikon SB-910 shot through a HONL Traveler 8 mini softbox at 1/8 power
Camera+lens: Nikon D810 w/ AF-S 70-200/2.8G VR II @ 90mm, f/11, 1/125s, ISO 64
[ website | instagram | istock | getty images ]
model: Selfportrait
location: Klokkerholm, Denmark
Lorenzo Live 2011 www.soleluna.com
Torino 18 Maggio 2011 - Palaolimpico
Altre foto su www.rollingstonemagazine.it
simpatica...
quando mi guardo allo specchio,
sono simpatica...
(Celentano) SONO UN SIMPATICO it.youtube.com/watch?v=0fB9K1MDZ1Q
Questa foto mi è stata scattata da mia sorella Susanna ("mareggiata" su Flick)
Sono figlia di madre istriana, anche se la bisnonna era ungherese.
Connecticut Department of Transportation Number 130, a Brookville BL20GH diesel-electric locomotive that was leading a Metro-North Railroad train through Norwalk, Connecticut on Tuesday, May 15, 2018 at 4:19 PM EDT.
This image is a screenshot from the Virtual Railfan camera on YouTube of the former South Norwalk (SONO) Tower.
CDOT 130 [BL20GH]
Slayer
Alcatraz - Milano
19 Giugno 2013
Tom Araya
Kerry King
Jeff Hanneman
Dave Lombardo
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Immagine protetta da copyright © Mairo Cinquetti.
Tutti i diritti sono riservati. L'immagine non può essere usata in nessun caso senza autorizzazione scritta dell'autore.
Per contatti: mairo.cinquetti@gmail.com
From the opening squeals of the guitars of Kerry King and Jeff Hanneman and the punishing breakaway attack of Dave Lombardo's drums on "Flesh Storm" it's clear from the first thirty seconds the thrash metal titans have returned to pummel listeners with a raging onslaught of new music guaranteed to lay waste to MP3 players, car stereo speakers and whatever else gets in their way.
Christ Illusion marks the long-awaited return of the legendary Slayer. Its first record in five years and its first record in fifteen years with the original band line-up, Christ Illusion is a cacophony of brutality. A soundtrack for the post-Apocalypse. Steeped in scorching riffs and a litany of menacing tracks/tirades on religion and violence, Slayer forges ahead on its devastating path of aural destruction with ten new songs, each charged with the electric hostility for which Slayer is renowned.
Of the record Kerry King is ecstatic: "I love it. I really like God Hates Us All and I think that's the best record we've done in my opinion since Seasons In The Abyss, and I like this better than that one. I think it's a more complete record, I think sonically it better: all the performances are awesome. I think this one is more intense not because we're trying to do 'Reign In Blood: The Sequel,' it's just that's where our writing is taking us now."
Songs like the "Flesh Storm," "Eyes of the Insane," "Skeleton Christ," "Jihad" and the first single, "Cult" showcase the band at its most blazing intensity. The sonic excitement of speed, propelled by King, Hanneman and Lombardo and lead by the immutable roar of Tom Araya provoke the listener with Slayer's trademark fascination with terror, violence and religion.
For as long as Slayer has been making records it has been surrounded by controversy.
Since the band recorded its first album, "Show No Mercy," Slayer has been plagued with accusations of Satanism, fascism, racism and so on. Christ Illusion gives no quarter to critics who would mindlessly attack the band for, what the Germans call, "der Reiz des Unbekannten" (meaning "the attraction of the unknown"). A lyric fascination with violence and terror which guitarist King enthusiastically describes this way: "When I was I kid I would see a horror movie over a love story. Being shocked, being in an environment that's not reality might be frightening but is cool nonetheless. With a lot of our songs we put people in that place. It doesn't bother me because I enjoy it. It could easily be programming from all the fucking news channels."
Slayer is often assailed for its subject matter, though the band is unrepentant. " According to Araya, "Violence, darkness... So much of my inspiration comes from news articles or pictures and just start describing the images. Television- A&E, the History Channel, Court TV, Documentaries."
The singer continues, "With this record, as far as a theme: there is none. That's just our favorite subject matter. The common thread is death. I think that's just a common thread in general: we all share death, and we all share it at different times in different ways, but it's the one thing that we all have in common. We all die. It's how we live that makes us different."
Beyond being controversial Slayer is an exceptional force in music, highly praised for its trailblazing style of fast, heavy and aggressive music yet bristling with melody. The much-heralded return of Dave Lombardo to the drummer's throne will leave fans gasping for breath as he clobbers the listener on song after song.
Commenting on Lombardo's return to the fold, King notes, "Not to say the shine's worn off, but it's old news to us. I think the thing the kids are going to get into, besides just being the first Slayer album in five years, is that Dave's on it. When he came back he wasn't a member, he just came back to do a couple of tours and people started asking back then 'Is he gonna hang around?' And I would tell them that was up to Dave. But I could tell that Dave was having a killer time." King confided. "So it was just a matter of time before he said, 'Yeah, let's do it!' But it's great. And now that he's got a new Slayer album that he's played on, I think he's going to get some more enjoyment out of playing. He takes pride in everything he does and it's awesome to have him back with us."
Having the original members record their first album together in fifteen years is certainly newsworthy but the lasting might of the band and its continued popularity is an achievement few can boast. For each of the members, the band is resolute. There is no other band like Slayer.
"The staying power behind Slayer is that we've stuck to our guns," Says Araya. "Integrity... that would be number one. A lot of it has to do with the fact that we've stuck to what we do best. And the fact that we've been together as a band for so long. Ten years with Dave; another ten without Dave; and now Dave's back. It has a lot to do with compromise, that's just the way it has to be. You have to be able to compromise and give and take and that has a lot to do with why we're still together and a force to be reckoned with. I've learned that without each other, Slayer wouldn't exist, and that the whole is greater than its parts."
Kerry King is far more succinct. "Slayer to me is the coolest band on the planet. There is a timeless quality to Slayer. It's cool, but I can't explain it. It's our life."
Slayer has created one mesmerizing record after the next, has influenced many of today's most successful bands, including Slipknot, Sepultura, Killswitch Engage, and continues to earn new generations of fans, while staying true to its ceaselessly devoted followers. Slayer's legacy is cemented in music forever and the band remains undaunted in its directive to make punishing, aggressive and exciting music. With Christ Illusion the band marks its territory. Slayer has exceeded itself far beyond thrash metal to become an unstoppable juggernaut without equal.
Tom Araya sums it up: "I think the best thing is the band's longevity and the fact that we haven't bowed to anyone. That we were able to make a record like Reign In Blood, which, to us, was just another record, but to others, was something very special, it's had such an impact. People will remember it for a long time, and it's all because we did things our way, we didn't bow down to anyone. We didn't compromise. We stuck to being who we are."
E crescendo impari che la felicità non e' quella delle grandi cose...
Crescendo impari che la felicità e' fatta di cose piccole ma preziose...
...e impari che il profumo del caffe' al mattino e' un piccolo rituale di felicità, che bastano le note di una canzone, le sensazioni di un libro dai colori che scaldano il cuore, che bastano gli aromi di una cucina, la poesia dei pittori della felicità, che basta il muso del tuo gatto o del tuo cane per sentire una felicità lieve.
E impari che la felicità e' fatta di emozioni in punta di piedi, di piccole esplosioni che in sordina allargano il cuore, che le stelle ti possono commuovere e il sole far brillare gli occhi,e impari che un campo di girasoli sa illuminarti il volto, che il profumo della primavera ti sveglia dall'inverno, e che sederti a leggere all'ombra di un albero rilassa e libera i pensieri...
(F.Volo)
Ferma. Appoggiata al muro.
E guardo gli altri passare.
Tempo di attesa, la mano tesa
ora chiusa.
Ora sola.
Lublino: il campo di concentramento dimenticato di Majdanek
Sono pochi i visitatori che si spingono fin qui a visitare il campo di concentramento polacco di Majdanek, costruito a ridosso della città di Lublino.
Il campo di concentramento di Majdanek, nella periferia di Lublino, nella Polonia dell’est, è tra i meglio conservati di tutta la storia della Shoah, sebbene venga spesso dimenticato a discapito dei più noti Auschwitz, Mauthausen o Dachau. La particolarità di Majdanek è il suo essere rimasto tale e quale a come era stato lasciato prima della grande fuga dei nazisti, quando gli eccidi si svolgevano senza alcun tentativo di occultamento.
Qualche numero…
10 i minuti prima di crollare al suolo delle camere a gas.
41 il numero del Blocco dove avveniva l’immatricolazione e la disinfestazione.
24 le ore necessarie per bruciare 1000 corpi.
270 gli ettari di estensione dell’intero campo.
700 i gradi impiegati per la cremazione.
730 i kg di capelli tagliati.
78.000 i morti.
800.000 le paia di scarpe ritrovate.
.......Per non Dimenticare !
Lublin: the forgotten concentration camp of Majdanek
There are few visitors who go so far to visit the Majdanek Polish concentration camp, built near the city of Lublin.
The Majdanek concentration camp, on the outskirts of Lublin, in eastern Poland, is among the best preserved in all the history of the Holocaust, though it is often forgotten at the expense of the most famous Auschwitz, Mauthausen or Dachau. Majdanek's peculiarity is that he has remained as such and as it had been left before the great escape of the Nazis, when the massacres took place without any attempt of concealment.
Some numbers ...
10 minutes before collapsing gas chambers to the ground.
41 the number of the Block where the matriculation and disinfestation occurred.
24 hours required to burn 1000 bodies.
270 hectares of extension of the entire field.
700 degrees used for cremation.
730 kg of cut hair.
78,000 dead.
800,000 pairs of shoes found.
.......Not to forget !