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Her Savior
July 12th 2010
Her world was lifeless, boring, devoid of color... until he drifted in and landed on her lawn.
As modern buses go I like the enviro 500, ADL has seen success with export orders but a batch do run closer to home in Glasgow. Here 38215 is seen one evening in Milton to the North of the city illustrating the refreshed livery. I was told some time ago some of these were earmarked for transfer to Aberdeen during 2015 .....
St Saviour , Ellerby Road, Leeds :: Shared Description
St Saviour's Church, is thought to be the first Anglo Catholic church built outside London in 1845. Built with an anonymous gift of £10,000 later discovered to be from E.B. Pusey the Regius Professor of Hebrew for Oxford University.
The church was designed by Irish architect John Macduff Derick who under instruction from Pusey included the inscription 'Ye who enters this holy place pray for the sinner that built it'. Pusey encouraged High Anglican worship, a section of the Anglican Church who followed the Catholic traditions of confession and confirmation. It was for this reason that the building of the church and clergy house were held up, by the Bishop of Ripon who objected to the strong Catholic architecture traditions followed in the design.
Finally completed, the 550 capacity church was consecrated by the Bishop of Ripon, 28th October 1845. St Saviour's was a poor parish whose locals suffered many socio-economic problems which the clergy attempted to alleviate.
In 1849 during a virulent cholera outbreak they went to the parishioners to give medical care and support, also besieging the council with demands for assistance and improvements in living conditions. The vicarage garden is a consecrated area containing graves and possibly a cholera pit from the 1849 epidemic.
The tower is a later addition from 1937 when the original wooden spire was destroyed during a gale. Sam Smith OBE, founder and managing director of Ringtons Tea Merchants gave an anonymous monetary gift for the construction.
St. Saviour's is the sister church of St. Bartholomew's.
It is rumoured to have more stained glass than any other church in Yorkshire.
It's commonly chosen over Leeds Minster for choir concerts as it's believed to have some of the nicest acoustics in th
www.lonelyplanet.com/spain/andalucia/ubeda
Úbeda es una ciudad española y un municipio de la provincia de Jaén, capital de la comarca de La Loma de Úbeda, en la comunidad autónoma de Andalucía. La ciudad, junto a la cercana Baeza, fue declarada Patrimonio Cultural de la Humanidad por la Unesco el 3 de julio de 2003, debido a la calidad y buena conservación de sus numerosos edificios renacentistas y de su singular entorno urbanístico.
Llamada «la ciudad de los cerros», constituye un importante centro de atracción, cuenta con hospital comarcal, centros educativos y escuelas universitarias (UNED y SAFA), delegaciones de Hacienda y de la seguridad social, juzgados, capitanía de zona, Centro del Profesorado (CEP), etc., derivando en uno de los índices de centralidad más altos de toda Andalucía. Según el anuario de La Caixa, se trata de la capital de una de las provincias económicas de España, con una zona de influencia de más de 200 000 habitantes que acude habitualmente a comprar en ella., datos que resaltan su centralidad comercial.
Su riqueza de hoy corresponde a su esplendor antiguo. Úbeda vive principalmente del sector terciario, el comercio y la administración, que ocupan el 49% de la población activa. Pero además el peso de la agricultura ocupa a más de un 50% de la población, siendo el centro neurálgico del olivar y de la producción aceitera, siendo uno de los mayores productores y envasadores de la provincia de Jaén de aceite de oliva, piedra angular de toda su economía. De hecho, la comarca de La Loma viene siendo la mayor productora mundial, con un 15% de toda la producción aceitera mundial. Otras actividades complementarias son la industria, la ganadería y un incipiente turismo cultural.
Úbeda (Spanish pronunciation: [ˈuβeða]; from Arabic Ubbada al-`Arab and this from Iberian Ibiut) is a town in the province of Jaén in Spain's autonomous community of Andalusia, with 34,733 (data 2017) inhabitants. Both this city and the neighbouring city of Baeza benefited from extensive patronage in the early 16th century resulting in the construction of a series of Renaissance style palaces and churches, which have been preserved ever since. In 2003, UNESCO declared the historic cores and monuments of these two towns a World Heritage Site.
The most outstanding feature of the city is the monumental Vázquez de Molina Square, surrounded with imposing Renaissance buildings such as the Palacio de las Cadenas (so named for the decorative chains which once hung from the façade) and the Basílica de Santa María de los Reales Alcázares. The Chapel of the Savior or Capilla del Salvador was constructed to house the tombs of local nobility. Both the interior and exterior are decorated; for example, interior has an elaborate metawork screen by the ironworker Bartolomé de Jaen. The Hospital de Santiago, designed by Vandelvira in the late 16th century, with its square bell towers and graceful Renaissance courtyard, is now the home of the town's Conference Hall. Ubeda has a Parador hotel, housed in a 16th-century palace which was the residence of a high-ranking churchman of that period.
The town lends its name to a common figure of speech in Spanish, andar por los cerros de Úbeda (literally 'to walk around the hills of Úbeda'), meaning 'to go off at a tangent'.
The city possesses 48 monuments, and more of another hundred of buildings of interest, almost all of them of Renaissance style. Though to the romantic travelers of the 18th and 19th centuries it impressed more the Muslim flavor of its streets than this Renaissance brilliance. All this patrimony led Úbeda to being the second city of renowned Spain Historical – artistic Set, in the year 1955. In the year 1975 it received the appointment of the Council of Europe as Exemplary City of the Renaissance. Finally, in 2003 it was named a World Heritage Site, together with Baeza, by UNESCO.
La Sacra Capilla del Salvador del Mundo es un templo construido bajo patrocinio de Francisco de los Cobos como panteón anexo a su palacio de Úbeda (provincia de Jaén), en la actualmente llamada Plaza Vázquez de Molina.
Mandada construir en 1536, formaba parte de un extenso programa artístico (del que formaban parte su Palacio, una Universidad y un Hospital)1 destinado a encumbrar la fama, la fortuna y la gloria personal que había alcanzado el secretario personal de Carlos V; para lo que recurrió a artistas de primer nivel. El proyecto inicial se encargó a Diego de Siloé, mientras que la realización corrió a cargo de Andrés de Vandelvira a partir de 1540. El templo fue consagrado en 1559. Su primer capellán fue el Deán Ortega, para quien se construyó el gran palacio que hay a la izquierda de la fachada principal de la capilla.
El Salvador fue la empresa más ambiciosa de toda la arquitectura religiosa privada del Renacimiento español. Declarado monumento histórico-artístico en 1931, se ha convertido, a su vez, en uno de los más divulgados símbolos de esta ciudad cuyo conjunto monumental renacentista, que junto con el de Baeza, fue declarado Patrimonio de la Humanidad por la Unesco en 2003.2
es.wikipedia.org/wiki/Sacra_Capilla_del_Salvador
This famous chapel, built between 1536 and 1559, is the flagship of Úbeda Renaissance architecture. Commissioned by Francisco de los Cobos y Molina as his family's funerary chapel, it presents a marked contrast between the relatively sober proportions of the interior (by Diego de Siloé, architect of Granada's cathedral) and the more decorative western facade. The facade, a pre-eminent example of plateresque style, was designed by Andrés de Vandelvira, one of Siloé's stonemasons, who took over the project in 1540.
The chapel thus represents the first architectural commission obtained by Vandelvira, who went on to endow Úbeda, Baeza and Jaén with most of their outstanding Renaissance buildings. He worked in tandem with the French sculptor Esteban Jamete, who carved an orgy of classical sculpture depicting Greek gods on the underside of the facade arch, and scattered numerous skulls among the facade's decoration in a reminder that the building is a funerary chapel. Classical figures are also prominent in the sacristy (accessed from the northeast corner of the interior), another Vandelvira creation, but are absent from the main body of the chapel – where the Capilla Mayor sits beneath a stately dome painted in gold, blue and red, and features a grand 1560s altarpiece sculpture of the transfiguration by Alonso de Berruguete.
The Cobos family tombs lie beneath the floor of the chapel and aren't open to visitors. The chapel is still privately owned by the Seville-based Medinaceli ducal family, descendants of the Cobos. The audio guide is full of interesting information and anecdotes and well worth listening to as you go round the chapel.
Next to the chapel stands what was originally its chaplain's residence, the Palacio del Deán Ortega – another Vandelvira creation. The mansion is now Úbeda’s luxurious parador hotel.
www.lonelyplanet.com/spain/ubeda/attractions/sacra-capill...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of St. Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This Church was built on the site where Emperor Alexander II was fatally wounded in March 1881.The church was built between 1883 and 1907. The construction was funded by the imperial family.
Church of the Savior on Blood #sanktpetersburg #stpetersburg #visitsanktpetersburg #russia #cathedral #coloursinarchitecture #colours #tiles #mosaic #gold #towers #cross #art #architecture #arkitektur
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asbjorlykke: Oops...wrong chathedral...this is The Savior on Spilled Blood #savioronblood
the kid said that someone brought these two baby turtles to his home,he didnt like it so he wanted to release these two in to the sea.took this one just before he relesed them.
"It was on Holy Saturday in 1880 when the Vorya River flooded and people from nearby villages had no opportunity to cross the river and attend the Easter service in the church, they directed their steps to the estate because they knew that the matins would be held there. The Abramtsevo manor house was full of worshippers and Savva Mamontov got the idea to correct the situation and to build a separate chapel... But the idea did not come true, – recalled Natalya Polenova, the participant of the Abramtsevo Colony. – In 1881 the spring was wonderful, the matins were organized in the Manor House and then the idea was brought up again. But everybody decided that a chapel would be too small and that it would be better to build a church. We chose the appropriate place in the park and were determined to build a church in the name of the Icon of Christ of Edessa, on the model of Old Russian cathedrals".
The basic project for the church was worked out by Vasily Polenov and the prototype for it became the Church of the Saviour at Nereditsa (12th century) located near Novgorod. This project outlined the main proportions and forms of the future building. The dome reposed on the massive drum crowing the high pyramidal roof. The portal of the main façade with the Icon of Christ of Edessa had the look of a belfry. Three apses were at the eastern sanctuary part. For the northern façade the artist designed two windows: the triple one and the small semi-oval window. The walls were strengthened with buttresses. The main difficulty was the southern façade. Well observed through the alley of the park it was as important as the western one. Vasily Polenov left the project unfinished.
Viktor Vasnetsov continued the work at the project. "I was keen on the Kremlin and Moscow churches, later on the Yaroslavl and Rostov ones", – he wrote in his letter to Vladimir Stasov. The artist changed the proportions, made the walls higher and the roof lower. The two windows of the northern façade were shifted to the southern one thus making it impressive and letting more light into the church. The Vasnetsov's church became proportional and harmonious, it better corresponded to its purpose – to be a small estate church, nestled in the Abramtsevo park.
In 1881 Viktor Vasnetsov wrote about the beginning of the construction: "All of us, the artists – Vasily Polenov, Ilya Repin, me – Savva Mamontov and his family set to work together being inspired. Our art assistants – Yelizaveta Mamontova... Yelena Polenova, Natalya Polenova (she was Yakunchikova then), Vera Repina – kept up with us. We were drawing facades and ornaments, painting icons and our ladies were embroidering gonfalons, veils and cloths, they were even carving ornaments in stone standing on the scaffold like real stonemasons. Savva Mamontov was working as a sculptor... There was so much energy and art creativity: everybody was working tirelessly, competing and with interest..."
By the end of July the church was roofed. Decorative work and interior required the detailed studying of the medieval Russian art and participants of the Colony took trips to Rostov, Yaroslavl and other towns. In summer the church was adorned with stone carved ornaments. The ornament of the portal roller had images connected with Christian symbols and Gospel themes: the Lamb personified Christ; the head of a donkey reminded the Christ's entry into Jerusalem; the cock – the denial of the Apostle Peter; the angel, lion, eagle and calf symbolized evangelists and the like. The frieze of coloured tiles made the massive drum more elegant. Later the Icon of Christ of Edessa painted by Vasily Polenov was placed above the portal (1882) and the chimney was covered with tiles (1890s).
The leading role in the interior design was given to Vasily Polenov. His sketches were used to make the iconostasis, icon cases, candleholders, the altarpiece cross, the church chandelier, wedding crowns, gonfalons and other church utensils. The double-level iconostasis dates back to the interiors of the rural churches in the Russian North. Icons of traditional painting collected by the Abramtsevo Colony participants are combined with the authors' icons: "Christ of Edessa" by Ilya Repin (1881–1882), "St. Nicholas" by Nikolay Nevrev (1881), "St. Sergius of Radonezh" and "Virgin and Child" (1881) by Viktor Vasnetsov (1882), "Annunciation" by Vasily Polenov (1882) and other works of the Abramtsevo artists. It was the first time when the icons of the Orthodox Church were painted in realistic manner, anticipating the work of Viktor Vasnetsov in the St. Vladimir's Cathedral of Kiev. The relief "The Head of John the Baptist" on the northern wall was made by Mark Antokolsky (1880s), the icon on the southern wall "St. Prince Fyodor with his Sons Konstantin and David" was painted by Yelena Polenova (1890s). Viktor Vasnetsov painted flowers and butterflies on the choirs. He was also the author of the mosaic floor with a stylized flower and the dates of the construction: 1881–1882 written in Slavonic letters. In 1892 Mikhail Vrubel designed the stove.
Preparation of documents took all summer in 1881. In autumn, when the church was already built, the official laying was held, and the next summer the church was consecrated in the name of the Icon of Christ of Edessa.
Explore: Apr 2, 2009 #437
And now the weak say I have strength
By the spirit of power that raised Christ from the dead
And now the poor stand and confess
That my portion is Him and I'm more than blessed
Let now our hearts burn with a flame
A fire consuming all for your Son's holy name
And with the heavens we declare
You are our king
We love you Lord, we worship you
You are our God, you alone are good
You asked your Son to carry this
The heavy cross our weight of sin
I love you Lord, I worship you
Hope which was lost, now stands renewed
I give my life to honor this
The love of Christ, the savior king
Let now your church shine as the bride
That you soar in your heart as you offered up your life
Let now the lost be welcomed home
By the saved and redeemed those adopted as your own
I give my life to honor this
The love of Christ, the savior king
Haghpat monastery complex was founded in the X century.
"The monastery has a complex plan. It consists of several buildings, some of which are connected by covered galleries like this one, called "The Savior's Passage", which connects the library depository and the St. N'shan church. It was also used as the monastery academy."
The gallery extends around the east end of the church and opens into the courtyard with a view to the mountains and village in the distance.
Haghpat monastery, Armenia, 2011
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
Taken @Esfahan, Iran
(Echeveria strictiflora). Davis Mountains, Texas.
One of the Davis Mountains most spectacular botanical residents is the Desert Savior. This succulent member of the stonecrop family (Crassulaceae) is primarily found on rocky canyon walls and slopes of central and northern Mexico. In the United States it is known only from Jeff Davis, Brewster, and Presidio Counties in far West Texas.
We found several growing from rock crevices and the bases of boulders at elevations above 6000 feet. Here they were able to take advantage of minute amounts of soil and moisture that collect over time. In the Davis Mountains they seem to be found primarily in exposed rock outcrops and canyon walls adjacent to rocky streams.
The Desert Savior is a truly spectacular plant. It's stalk of waxy, fiery flowers reaches up to a foot and a half over it's thick, grayish green succulent leaves. Each curled stalk may bare 2 dozen or more flowers that gradually open, unfurling the stalk as they develop and fade. Hummingbirds are likely an important pollinator of these succulents, as evidenced by their bright red coloration, somewhat tubular flowers, and the fact that their peak blooming seems to coincide with the start of hummingbird migration of late summer.
he, with a bottle of alcohol, sitting in front of the city hall, acted as if he is the savior of the world. He preached aloud, pretending not seeing me , less than 2 meters away, at ground level, aiming the lens at him...
San Francisco, CA
+1 in comments!!
here is the golden hour dream catcher photo i promised. I JUST took a few minutes ago :)
"its not always rainbows and butterflies, its compromise that move us along"
- maroon 5
~VIEW LARGE~
Church of the Savior on Spilled Blood in the Morning, Saint Petersburg, Russia
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Our Savior's Prayers
I have prayed for you. - Luke 22:32
From the pen of Charles Spurgeon:
What an encouragement to know of our Redeemer’s never-ceasing intercession for us! When we pray, He pleads our case, and even when we are not praying, He is advocating our cause and through His supplications He shields us from unseen dangers. Notice the words of comfort spoken to Peter:
Simon, Simon, Satan has asked to sift you as wheat. But... - Luke 22:31-32
But what? “But go and pray for yourself”? Certainly that would be good advice, yet that is not what we read. Nor does Jesus say, “But I will keep you alert, and thus you will be spared.” Of course, that would have been a great blessing.
What Jesus did say was:
But I have prayed for you, Simon, that your faith may not fail. – Luke 22:32
Actually, we know very little of how much we owe to our Savior’s prayers. But once we reach the mountaintops of heaven and look back on the paths the Lord our God has led us, oh, how we will praise Him — He who before His Father’s eternal throne thwarted the mischief Satan was doing on earth! Oh, how we will thank Him for never keeping His peace, but instead, day and night, pointing to the wounds in His hands and carrying our names on His breastplate! (See Exodus 28:29.)
Even before Satan had begun to tempt us, Jesus obstructed our enemy’s way and entered a plea in heaven.
Mercy outran malice!
Notice that although He told Peter,
Satan demanded to have you. – Luke 22:31
Jesus restrained Satan’s every desire, nipping them in the bud. He did so, not by saying, “But I have desired to pray for you,” but by saying, “ ‘I have prayed for you’; I have already done it; I have gone to court and entered a counterclaim even before an accusation has been made.”
O Jesus, what a comfort to know You have pleaded our cause against our unseen enemies, countermined their landmines, and unmasked their ambushes. Your intercession on my behalf fills me with joy, gratitude, hope, and confidence.
Luke 22:32
From the pen of Jim Reimann:
We tend to forget the numerous legal terms used in the Scriptures, such as witness and testify. Spurgeon makes the point that Jesus entered God’s “court and entered a counterclaim” on our behalf. We need to remember as well that God is a God of justice and that what He does is done legally and in order. With the “legal-ness” of our God in mind, consider the following passages:
My dear children, I write this to you so that you will not sin. But if anybody does sin, we have one who speaks to the Father in our defense — Jesus Christ, the Righteous One. - 1 John 2:1
A number of other translations say, “We have an advocate with the Father.” The underlying meaning in the Greek is that Jesus is our defense attorney, which brings to mind the verse where He refers to the Holy Spirit as “the Counselor” (John 14:26), another term for advocate or attorney.
Thus, when Satan comes accusing us of sin, our defense Attorney in heaven “speaks to the Father in our defense,” saying, in essence, “Don’t look at his sin, look at My cross where I paid the price for his sin.” After all,
[Jesus] is the atoning sacrifice for our sins. - 1 John 2:2
Excerpted from Evening by Evening: The Devotions of Charles Spurgeon by Jim Reimann, copyright Zondervan.