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Petersen's Description:
Scene X (pp. 55-56)
In umgekehrter Richtung stehen hier Germanen links, Römer rechts von einem zwischen felsigen Ufern strömenden Fluss, etwas unterhalb der Vereinigungzweier Arme, eher als oberhalb der Teilung, da die Wirbel Strömung von oben nach unten anzeigen. In der Gabelung eine Buche, diesseits grösser eine Eiche, wal dige Gegend bedeutend, darin vier trotzig blickende Germanen, trotz der Ahnlichkeit mit dem Quadenkönig auf einer Münze des Antoninus Pius bei Cohen méd. imp. Il', S. 339, 687, geringe Leute, die im Bausche ihrer langen befranzten Mäntel Steinetragen, und mit Schleudern den römischen Kaiser bedrohen, der am andern Ufer zu ihnen redend steht. Er hat im Rücken ein Kastell mit römischer Besatzung, welche, ausgenommen die drei vorderen, mit Aufmerksamkeit auf den Kaiser und die Schleuderer blicken. Aus dem Kastell scheint auch Mare Aurel mit Garden und Legionaren und einem Begleiter gekommen, der hier gewappnet auftritt, während der Kaiser selbst, mit der Lanze in der Linken, unbedecktes Hauptes und ohne Panzer dasteht, aber von Garden mit ihren Schilden beschirmt wird.
Here, in reversed position, with the Germanics to the left, the Romans to the right of a river flowing between rocky banks, more likely below where two branches merge than above its fork, since the eddies indicate a current flowing from top to bottom. Where the river forks stands a beech tree, larger than an oak on this side, suggesting a forested area. In it stand four defiant looking Germanics, low-born men, despite their resemblance to the king of the Quadi on a coin of Antoninus Pius by Cohen méd. imp. II2, p. 339, 687. They carry rocks in their gathered up, long, fringed tunics and with their slingshots are menacing the Emperor who is standing on the other bank who is speaking to them. At his back, stands a castellum manned by Romans, who, except for the three in front, are closely watching the Emperor and the slingers. It looks like Marcus Aurelius has also emerged from the fort with Guards and legionaries and a single attendant, who appears armed here, while the Emperor himself, javelin in the left hand, stands there bareheaded and without armor, but protected by the Guards with their shields.
Scene XI (pp. 56-57)
Um mit demselben Kastell noch diese zweite Scene in Beziehung zu setzen, scheint in der vorigen Scene die Richtung umgekehrt zu sein. Denn hier, an der anderen Seite des Kastells, wo zwischen Halbsäulen dessen geschlossenes Thor sich zeigt, ist ein aus Balken aufgebautes Gerüst, in freilich sehr ungeschickter Weise, aber unverkennbar, als zusammenbrechend über niedergestürzten und stürzenden Barbaren dargestellt. Alle drei sind geringe Leute, 1 todt auf dem Rücken liegend mit nacktem Oberkörper, 2 mit über dem Kopf gehaltenem Schilde vornüberstürzend, desgleichen 3 mit einem Mantel soeben niedersinkend, den Buckelschild am linken Arm, die Rechte gesenkt, als halte sie eine Waffe. Die Ursache ihres Sturzes und des zusammen brechenden Belagerungsturmes zeigt sich oben, wo das Holzwerk in nach oben schlagenden Flammen steht, von fliessendem Wasser, wofür man sie angesehen hatte, bestimmt unterschieden, und in dieser Flamme ein grosser Blitz liegt, wie von rechts aus der Höhe hineingefahren. Kenntlich ist die mittlere Einschnürung zur Handhabung des himmlischen Wurfgeschosses, und besser als der untere erhalten der obere gedrehte Keil, von welchem, wie aus den Bruchstellen zu erkennen, die üblichen Zacken spitzen ausliefen. Zum Überfluss zeigt eine Flamme an dem Gestürzten 2 , dass auch er und seine Genossen vom Blitz getroffen wurden. Gleich neben diesen aber sehen wir Marc Aurel unbewaffnet, von einigen Garden und Legionssoldaten umgeben, von denen namentlich nach links ein Gebückter unten 9 und ein mehr Aufrechter nach rechts oben 5 mit Messtangen beschäftigt scheinen. An der Stange von 5 ist nicht allein das charakteristische dicke Ende sichtbar, sondern sogar die kleinen Löcher zur Bezeichnung der Massabteilungen: die metatores (Vegetius 2, 7) scheinen ganz dem Geschäft des Lagerahsteckens hingegeben, Marc Aurel selbst aber auf die nieder stürzenden Barbaren hinzuweisen, fulmen de caelo precibus suis contra hostium machinamentum extorsit, wie es in der Vita Marci 2 heisst.
Abgewandt von dieser Gruppe steht aber noch ein Römer 10, der, nach rechts gewandt, sich an einem seltsamen Gebilde zu thun macht : trotz des abgesplitterten Reliefs erkennt man vor allem oben einen Helm in Kopfhöhe des dahinter Stehenden, aber nicht auf menschlichem Körper, sondern einem nach rechts vorgekrümmten Stamme aufgesetzt, gegen den ein Schaft, natürlich eine Lanze, gelehnt war, und vor dem oben ein scutum, tiefer ein ebenfalls schildähnlicher Körper befestigt war. Eher als ein tropäum, das ja in damaliger Zeit, wie die Säule, Taf. 64 f., selbst lehrt, andere Dimensionen und andere Formen hatte, und zu dessen Errichtung kein Anlass vorlag, scheint eine fingierte Schildwache gemeint zu sein, woneben dann auch das Vermessen nur Schein sein möchte, bestimmt die Barbaren, welche, wie dort die Schleuderer, so hier in langer Doppelreihe hinter ihren Schilden lauernd, am Flusse Wache halten, irrezuführen oder vielmehr an diesem festzuhalten, um unterdes an anderem unbewachtem Orte den Fluss zu passieren. Ob dieser Fluss, derselbe wie der vorige, nur an andrer Stelle, oder ein ganz anderer, ist natürlich nicht zu sehen. Jedenfalls ist auch dieser von felsigen Ufern eingefasst und scheint diesseits von einem hügeligen Strich (vgl. Taf. 20 die Zone am Gebirg) begleitet. Jenseits sieht man Schild an Schild, darüber die spähenden Köpfe, nur im Umriss noch kennbar, darüber eine zweite Reihe von Köpfen bis 19, über dem vielmehr ein Herbeieilender erscheint, der mit ausgestrecktem Arme offenbar aufregende Kunde bringt, etwa, dass der Feind that sächlich anderswo eingedrungen sei: darum denn auch über 23 einer schon den Posten zu verlassen eilt.
In order to relate this second scene to the same castellum, the direction appears to be reversed in the prior scene. For here, on the fort’s other side, where its closed gate shows between two half columns, is a scaffold constructed of beams but obviously built in a very clumsy manner that is depicted unmistakably as collapsing on top of fallen and falling barbarians. All three are commoners: 1 with nude torso lying dead on his back; 2 with shield held overhead and falling forward; similarly, 3, in a tunic, also sinking down, a buckler on his left arm, the right lowered as if holding a weapon. What caused their fall and that of the collapsing siege tower is shown at the top, where the wooden structure is engulfed in upward shooting flames, clearly not the flowing water that they had previously been mistaken for, and, within these flames, appears a large lightning bolt as if it had struck from the upper right. The necking for handling it can be seen in the middle of the divine missile and, better preserved than the lower branch, is its twisted upper branch from which shoot the usual spikes. On top of that, a flame on the corpse 2 shows that he and his comrades, too, were hit by the lightning. But right next to them, we see an unarmed Marcus Aurelius, surrounded by a few Guards and legionaries, of whom one 9 is bent toward the left below and another, more erect 5, toward the upper right; both seem to be busy with measuring rods: these metatores (quartermasters) (Vegetius 2, 7) seem to be totally absorbed in the business of laying out a camp, while Marcus Aurelius himself seems to be pointing at the falling barbarians, fulmen de caelo precibus suis contra hostium machinamentum extorsit (his prayers have caused a thunderbolt to be hurled against the enemy’s machine), as it states in the Vita Marci 24.
Facing away from this group, however, stands another Roman 10 who, turned toward the right, occupies himself with a strange object: Despite the spalled relief, it is possible to discern, especially up top, a helmet at head height of the one standing behind it, but it rests not on a human body, being placed instead on a tree trunk that is bent forward to the right, against which leans a shaft, obviously a javelin, and in front of which on top are fastened a scutum (rectangular, semi- cylindrical legionary’s shield) and, farther down, another, also shield-like, object. Rather than representing a tropaeum (victory monument), that, as the column itself instructs us in Plate 64f, had different dimensions and other shapes at that time, and there was no reason to erect one yet in any case , this seems to have been a fake sentry to fool the barbarians that, like the slingers over there, here also lurked in a long double row behind their shields, keeping watch on the river, intended to keep them there while crossing the river elsewhere in the meantime at an unguarded place. If this river is the same as the previous one
only a different section or it is a completely different one, cannot be said. In any event, this one, too, is contained between rocky banks and on the nearest side seems to be paralleled by a hilly stretch (cf. Plate 20, the zone by the mountains). On the other side, we see shield next to shield, the heads peering out over them, only discernable in outline now, above it, a second row of heads until 19, above which someone comes running up with arms raised, who apparently is bringing stirring news, perhaps, that the enemy has, in fact, penetrated elsewhere, so that one. abover 23, of them is already hurriedly abandonding his position.
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Author: Petersen, Eugen (Eugen Adolf Hermann), 1836-1919.
Title: Die Marcus-säule auf Piazza Colonna in Rom, herausgegeben von Eugen Petersen, Alfred von Domaszewski, Guglielmo Calderini; mit CXXVIII Tafeln folio.
Format: Book
Published: München, F. Bruckmann a.g., 1896.
Description: 125 p. illus. (incl. ports., map) 39 cm. and atlas of 128 mounted pl. 50 cm.
Other contributors: Domaszewski, Alfred von, 1856-1927. Calderini, Guglielmo, 1837-1916. Mommsen, Theodor, 1817-1903.
Contents: Einleitung, von E. Petersen.--Der Marcomanen-krieg unter Kaiser Marcus, von T. Mommsen.--L'architettura della colonna, da G. Calderini.--Beschreibung der Bildwerke, von E. Petersen.--Erläuterung der Bildwerke, von A. von Domaszewski.
Subject headings: Column of Marcus Aurelius (Rome, Italy)
I recently posted a new tutorial video to my web site that may be of interest to those of you who shoot film. It covers the practice of making two scans from one negative so that both bright highlight detail and dark shadow detail in a contrasty negative can be recorded and brought into the master image. This is a technique that I use on some of my more challenging negs. The image in the demo is a pinhole photograph that I posted recently. Enjoy!
i>Street Scene, Manhattan. New York City. December 28, 2015. © Copyright 2015 G Dan Mitchell - all rights reserved.
Looking up a narrow street in the West Village
I like old photographs of cities, and especially of big cities like New York. For obvious reasons they tend to be in black and white. Once I started photographing these same subjects and making some of the photographs black and white, I began to notice that things in such places often look far more like they had in the past and that the supposed modern nature of such scenes is not at all obvious when abstracted by the camera.
I made this photograph from an elevated position along the High Line Park path that runs along a portion of the western side of Manhattan. In order to spot much here that is unique to the current time, I have to look closely — the overall impression is almost timeless. Yes, the vehicles are modern (at least for now), there are some traffic barriers in the distance that are a fairly new presence, and a very close look reveals somewhat modern attire on a few of the pedestrians.
G Dan Mitchell is a California photographer and visual opportunist. His book, "California's Fall Color: A Photographer's Guide to Autumn in the Sierra" is available from Heyday Books and Amazon.Blog | About | Flickr | Twitter | Facebook | Google+ | LinkedIn | Email
All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.
আপনাকে আবারো দোলের অসংখ্য শুভেচ্ছা। আর আপনাদের সবাইকেও।
[ বহু যুগ ধরে তোমার সাথে দেখা হওয়ার কথা ছিলে।
আজ রঙ্গ হয়ে থাকবে স্বাক্ষি,
আমাদের স্বাক্ষাতের মূহুর্তে,
তুমি রয়ে যাবে চীর স্মৃতি,
অখন্ড শিলালিপির মধ্যে রয়ে যাবে এই আমার উক্তি ]
©Zee Photography
Ornament Nativity Scene in teardrop shape made of plastic. Approximately 4 inches tall.
Dated circa 1963.
JANRAM greeting new friend in restroom scene
JANRAM the movie is now long gone, and DVD version was cut to little pieces in oversea market. Also banned in Singapore & Malaysia for lesbian contents. (schoolgirl tongue kissing and stuff)
Soundtrack in original film is horrible, don't know how bad it is in oversea version, probably as bad.. However, it was beautifully photographed. Too bad that NIEPCE House doesn't hold rights to re-cut the film, otherwise this could have been a really good one.
NATNALIN publishing may have a plan to print JANRAM in fictional version with series of new photographs. But still no confirmation at this time. Fictional version is somewhat different from the film, focusing on different characters, and Janram is not really a person - rather reflection or imagination..But fictional version is even bloodier than the film. Anyway, NN publishing still keeps quiet about the project although there're some cover design and sample photos sent by e-mail among their circles.
Sandal Castle is a ruined medieval castle in Sandal Magna, a suburb of the city of Wakefield in West Yorkshire, England, overlooking the River Calder. It was the site of royal intrigue and the setting for a scene in one of William Shakespeare's plays.
History
The Warennes
William de Warenne, 2nd Earl of Surrey (1081–1138) was granted the Sandal estates in 1107. The 2nd earl built the first Sandal Castle of timber. He supported Robert Curthose against Henry I and was banished from the kingdom for two years. Later he was given the Wakefield manor. William de Warenne, 3rd Earl of Surrey (1119–1148) spent little time at Sandal, having taken crusading vows and joined the Second Crusade. He had one daughter, Isabel de Warenne (1137–1199), who married William of Blois, son of King Stephen, who became the 4th earl. He died in 1159, leaving no children. Isabel, his widow, next married Hamelin (1129–1202), the 5th earl. He was the son of Geoffrey of Anjou and assumed the Warrene name on his marriage in 1164. Hamelin is thought to have built the early Norman stone fortifications at Conisbrough Castle and also begun to replace the wooden fortifications at Sandal with stone.
William de Warenne, 5th Earl of Surrey (1166–1240) married Maud Marshal in 1225. He was loyal to his cousin, King John and is one of the four nobles whose name appears in the Magna Carta for John. On King John's death in 1216 he supported Henry III. Maud de Warenne, William's widow, held the Wakefield Manor from 1240 until their son John de Warenne, 6th Earl of Surrey (1231–1304) came of age in 1252. John married Alice de Lusignan in 1247. In 1296 the 6th Earl was appointed warden for Scotland by Edward I and in 1299, the Earl and his royal master were triumphant over the Scots at the Battle of Falkirk.
William de Warrene (1256–1286) was killed at a tournament in Croydon pre-deceasing his father. His son John de Warenne, 7th Earl of Surrey (1286–1347) was born in the year of his death. John married Joan of Bar but lived adulterously with Maud de Nereford from a village near Castle Acre in Norfolk. In 1347, the 7th Earl died. His sons John and Thomas became Knights Hospitaller in the Holy Land, predeceasing their mother. The lands passed to Edward III. The Warennes had castles at Lewes in Sussex and Reigate in Surrey, Castle Acre Castle in Norfolk and Conisbrough in Yorkshire.
The Dukes of York
In 1347, Edward III granted Sandal to his fifth son Edmund of Langley who was six years old at the time. His elder brother John of Gaunt held Pontefract and Knaresborough Castles, Edmund was granted Wark Castle near Coldstream in the Scottish Borders, and in 1377 Fotheringhay Castle in Northamptonshire which was to become his home, and for the next 75 years the family seems to have spent little time at Sandal, leaving it to the management of constables or stewards.
In 1385 Edmund was made Duke of York as a reward for his support for his nephew, Richard II of England. He was succeeded by his son, also Edward who campaigned in Ireland and died at the Battle of Agincourt in 1415. Edward was succeeded by his nephew, Richard Plantagenet, 3rd Duke of York.
The Battle of Wakefield
Early in 1460, during the Wars of the Roses, Richard Plantagenet made a bid for the throne. He was initially not well-received, but an Act of Accord made in October 1460 recognised him as heir to the throne and named him Protector of the Realm. In December Richard went to Sandal Castle, either to consolidate his position or to counter Lancastrian dissent. He had an army of 3,000–8,000 men but on 30 December in the Battle of Wakefield, he was outnumbered and outmaneuvered by Queen Margaret's army, coming from nearby Pontefract. Richard suffered a crushing defeat and both he and his younger son Edmund, Earl of Rutland were killed (although only two months later Richard's eldest son Edward became king).
Richard III
The castle's last brush with royalty came in 1483 when Richard's eighth son (and twelfth child) Richard III chose it as a northern base and ordered significant investments. This hope was short lived however as Richard was killed in the Battle of Bosworth in 1485. After this the castle was maintained a little, but gradually declined, with the building of Wakefield Prison in the 1590s leaving it even less useful.
The English Civil War
During the English Civil War Sandal Castle was Royalist, although its neglected state left it out of the major conflicts. In 1645 however it was besieged at least three times by Parliamentarian troops. Butler recounts: Having been assured that they would receive a safe passage to Welbeck House in north Nottinghamshire they surrendered the castle at 10 o'clock on 1 October 1645. The garrison was then 10 officers and 90 men with two of the men called "seniors" implying that they were professional soldiers rather than just non-commissioned officers. They also surrendered 100 muskets, 50 pikes, 20 halberds, 150 swords and two barrels of gunpowder: no pieces of artillery are mentioned.
As a result of this capitulation, only Bolton Castle in Wensleydale and Skipton Castle remained in Royalist hands in Yorkshire, but Sandal "was the most resolute of all the three northern garrisons" and its fall caused great rejoicing among the parliamentarian forces. By the siege's end, it was a ruin. The following year, Parliament ordered that it be made untenable.
The castle
The motte at Sandal Castle
The castles built by William the Conqueror's followers were self-sufficient strongholds, some of which were tax-gathering points, some controlled the larger towns, river crossings or passes through hills. Two castles were built near Wakefield, one at Lowe Hill on the north bank of the Calder and Sandal on the south bank. The first castles were probably started and completed in the early 12th century by William de Warenne, 2nd Earl of Surrey after he had been granted the manor of Wakefield by Henry I.
Sandal and Lowe Hill were motte-and-bailey earthwork castles with wooden towers on the mound and baileys with timber palisades and deep ditches. Sandal is built on a natural sandstone ridge, the Oaks Rock. The motte was raised to 10 metres (33 ft) with the 7 metres (23 ft) deep moat surrounding it. Only Sandal survived and during the 13th century the keep, curtain wall and other buildings were rebuilt in stone, probably started by either the sixth or seventh Earls Warenne.[Timber motte and bailey castles were often converted into stone if they were in use for long periods; Sandal is a particularly good example of this.
The stone keep was circular with four towers each four storeys high; two of them close together formed a gatehouse, and the east tower contained a well, 37 metres (121 ft) deep. The double-walled keep would have had guardrooms, storerooms and servants' quarters on the ground floor, the main hall above and private apartments on the second floor. The tower rooms had garderobes, (lavatories) that discharged on the outer walls of the keep. The curtain wall was 6 metres (20 ft) high with a wall walk along its length, it enclosed the bailey and crossed the moat twice to reach the keep.
The barbican at Sandal was inside the bailey; it was a three-storey tower with a moat opposite two drum towers at the entrance to the keep, all of which were constructed in the early 1270s. The barbican with its own gate and portcullis added an extra line of defence between the main entrance gate and the keep. Attackers entering the barbican had to make a right-angled turn to enter the keep, which was protected by a drawbridge between the drum towers. A stairway from the barbican led to a sally port.
The bailey lay to the south-east of the keep with the main gatehouse on the north-east side. It was crescent shaped, about 71 metres (233 ft) long and 52 metres (171 ft) wide. Inside the bailey there was a 12 metres (39 ft) deep well and two privy shafts, one of which is 8 metres (26 ft) deep.
The ruins
The ruins were a source of stone for local building and became a place for locals to relax. They were depicted in the foreground of a drawing of Wakefield from the south by Samuel Buck in 1719 or 1722, and in 1753 an engraving was published of an Elizabethan survey drawing.
The ruins were first excavated by the Yorkshire Archaeological Society in 1893. A more detailed project began in the summer of 1964 and was a partnership between Wakefield Corporation, Wakefield Historical Society and the University of Leeds. This project started as an experiment in adult education, but with the help of over a hundred local volunteers it grew into a complete and rigorous excavation that continued for nine years. Whilst excavating the bailey, archaeologists found remains of flint tools suggesting a Mesolithic encampment was there in about 5,000 BC.
In 2003, a wooden walkway was provided to allow access to the summit of the motte without causing erosion: it was subsequently closed as unsafe. A visitor centre was constructed about 110 yards (100 m) from the castle. There have been historical re-enactments and "living history" days, including commemoration of the Battle of Wakefield and the deaths of Richard Duke of York and his son Edmund. In February 2015 Wakefield Council announced that due to budget constraints they were considering plans to either close the visitor centre or reduce its opening hours. The centre has since closed.
The castle is a Scheduled Monument, which means it is a "nationally important" historic building and archaeological site which has been given protection against unauthorised change. It is also a Grade II* listed building.
Ceramic Nativity Scene on Bible with story of the birth. Musical (Silent Night)
Approximately 6 X 6 inches.
Dated circa 2007.
Scene from the Tomb of Mehu’s antechamber, specifically the fourth register of the northeast wall. From the 6th Dynasty, Old Kingdom.
I fell in love with the baby shower cupcake scene Hannah of Baby Bath Cakes created, so I had to try it. www.flickr.com/photos/bathbabycakes/3748607481/
These were a hit with the birthday girl.
The girls said they were from Ringgold, Georgia (pop. 2,500 or so: 53% females, 47% males). They came out to see the guy's band, who i've never heard of but is supposedly "huge in Canada". He was pretty nice, but all I know is that his band sounded like 5,000 other bands that are "punk-pop".
I really like the way the picture turned out, though.