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La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
Dá-me a mão... Vem comigo sentar junto à árvore, vamos sentir o cálido dos raios de sol e da nossa pele a aquecer-nos o coração
Let's hold hands... Come and sit with me by the tree, feeling the late afternoon's sun and the touch of our skin warming our hearts
Lo tengo bien pensado, amigos míos, un día me sentaré, la cara al viento aquí junto a la mar que vi de niño y aquí, bajo este sol, bajo este cielo y oyendo vuestros pasos por mi lado me dejaré dormir un largo sueño. (Rafael Alberti). Epitafio del gran Paco Rabal.
Apesar de ser um Bairro da Cidade do Rio de Janeiro, a ilha de Paqueta que esta no interior da Baia de Guanabara, parece uma pacata cidade que parou no tempo com suas ruas livres de automoveis e repleta de charretes e bicicletas e onde o tempo preguiçoso parece mover-se embalado na saudade dos seus anciões
Nesta foto temos tambem um a Visão da Região Serrana do Rio de Janeiro onde aconteceram as tragedias como a chuva, tambem podemos ver melhor a formação rochosa que chamamos de DEDO DE DEUS
Foto: Paquetá - Rio de Janeiro - Brasil
A segunda foto da sequencia esta aberta, pois ja foi postada anteriormente
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
El repliegue es evidente, los días se acortan y las temperaturas descienden, la naturaleza se prepara para el letargo. En la misma piedra, en la misma posición, en el mismo estado, disfruto de esta vista policromada: amarillos,naranjas, marrones, verdes, el azul y blanco del cielo, los grises de la piedra...
La próxima vez me sentaré sobre la nieve.
Alguém se veio sentar à tua mesa,
Alguém a quem não vês, mas que pressentes.
(...)
(José Saramago, in Jorge de Sena, Líricas Portuguesas, vol. II, Edições 70, 1983)
---------------------------
(rough translation)
Someone came and sit at your table
Someone you don't see but can sense.
(José Saramago)
Fiesta de fin de año TVMEX
Pues bueno, ya esta por acabarse el año, ya casi se terminan las apariciones de Jessica en este 2007
Y pues bueno, una de estas para cerrar bien, fue ir a la fiesta de fin de año, que organiza el grupo TVMEX en la Ciudad de Mexico, DF.
Pues bueno al inicio la aventura de siempre, que si el avion llega retrasadito, que moverme hasta donde me hospedo, etc.
Ya llegue, y pues de ahi tenia dos opciones, podia cambiarme ahi mismo en el hotel y desde ahi irme a la fiesta. O bien podia salir de niño, irme a blush que esta cerca, cambiarme alla y luego dirigirme a la fiesta.
La verdad me daba nervio eso de salir de niña desde el hotel, pero la otra opcion aparte de que me tomaria mas tiempo (llegando mas tarde a la fiesta), pues implicaba andar cargando mochila, y la verdad que flojera.
Asi que me decidi a salir de niña desde mi hospedaje. Ya cuando solo faltabame los ultimos retoques, marque a recepcion para que me pidieran un taxi (la seguridad ante todo aunque saliera un poco mas caro).
Ya estaba por terminar (solo faltaba darle la ultima peinada a la peluca, y ponerme los zapatos), cuando suena el telefono "Su taxi ya llego joven" (naturalmente dirian joven, siendo un hombre el hospedado en esa habitacion y la voz del telefono)
Ya pues a ponerme las zapatillas, y !!HORROR!!! una de ellas no tenia la correita, a vaciar la maleta, las bolsas donde venian las cosas, nada (se quedo aca en casa), pues asi sin correita seria, al fin no se salia mucho, cosa de caminar despacio, y pues ahi traia una liguita , ya tendria que ingeniarmelas.
Logre sin problemas subirme al elevador, y empezo a bajar a la recepcion, el nervio, ¿Me atreveria a salir, asi de chica???
Pues ya estando arreglada y con todo el plan, pues no me iba a hechar para atras, asi que ahi sale Jessica del elevador, tratando de ser lo mas femmy posible.
Ya me dirijo a la recepcion, entrego mi llave y pregunto "El taxi cual es?" (ya que no veia taxi, es que de hecho los de ahi son coches sin la pintura clasica de taxi)
Obvio que incluso si por milagro mi voz se escuchara convincente , sabian que la chica era el joven de dicha habitacion, el que pidio el taxi, aun asi el joven de recepcion dijo "A si, es ese auto negro que esta ahi señorita, que se divierta"
Lo siguiente fue decirle al taxista a donde iba, y claro con el nervio, pues ni la mas minima modulacion de voz asi que seguro lo caso de onda la bizarra persona que llevaba como pasajera (bueno eso es lo que yo pienso igual y no), pero pues ya tras un rato llegamos al destino.
Y pues ya, luego luego vi a mi amiga Trixie por ahi, ayudando en la organizacion, la fui a saludar, y ya me dijo donde nos ibamos a sentar.
Fui a dejar mis cosas, y a repara mi zapatillas, lo que hize fue que la liguita la desamarre, y luego la cruce como la cinta del zapato, y pues ahi ayudaba a mantenerlo mas en sitio. Si hasta baile y brinque despues.
Y luego a dar la vuelta y a saludar y a ver que amigas andaban por ahi.
Bueno ya luego les seguire contando del resto de la noche, por que no quiero que este post se vuelva kilometrico.
Kisses
Jessica
End of Year party in TVMEX
Well the year is about to end, and the last times as Jessica in 2007 are now.
And one of them to get a nice year closing, was to go to End of Year party , of the group TVMEX, in Mexico City.
I arrived to Mexico City adventure as usual, plane bit late, move quickly to my hotel, the rest.
Once in my hotel room I had two options, I could dress up there at the hotel and from ther go to the party. Or go out of hotel in boy-mode, go to blush near by, change there, and then go to party.
I was really nervous of the option of going out from the hotel already in girl-mode, but the other option required moving, lots of time (wich would make me arrive even more late to the party) and to also carry around the bag of boy clothes, nnah, too much trouble and me too lazy.
So I decided to go out girly from there. when I was just to end the last makeup details, I dialed reception, so they called me a taxi (safety frst, even if that taxi cost more)
I was aout to end (only a las brush to the wig, and put shoes), when the phone rings "your taxi is here young man" (of course he refered as male, since that was the person in the room, and the voice on the phone)
To put the shoes, and !!HORROR!! one of them was missing the lace to keep it tight. Empty the bags, suitcase, and it was not anywhere (It was safe at home), would have to use the shoe without it, anyway the shoe didn't move a lot, just to walk slow and carefull, and I had a little elastic string, later I would have to think of a way to use it instead.
I managed to get into elevator no problem, and down, the nervousness "Would I dare to go out like that???"
Already dressed up, and with a plan to go party, it was no time to go back, so there goes Jessica out of the elevator, trying to be the most feminine possible.
I go toward reception, give my key, and ask "where is the taxi??" (since I saw no regular taxi, since they used a car without the regular paintjob)
Obviously, even if by miracle my voice sounded anything feminine, the boy at reception desk would know, that in that room there was a man, not a woman, that a man has called for a taxi, even so he said "Its the black car Miss, enjoy your night"
Next, tell the taxi driver where to go, and nervousness again, no voice softening, so surely he was surprised of what kind of bizarre thing he had as passenger (tats my thinking, maybe not his), and after a bit we arrived to the destination
And once there, I quickly saw my friend Trixie, helping organizing, I went to say Hello, and she told me where we were sitting.
I left my things there, quickly repaired the shoe with the ellastic string, that i crossed as the shoe lace, it did helped to hold it, I danced and jumped like nothing.
And the to walk around and say hello to a few friends around there.
And well I will tell you the rest of it later, for I dont want this post to be long.
Kisses
Jessica
- Ahir, quan anava a seure a una cadira al jardí, em vaig trobar amb aquest saltamartí que em mirava desafiant. Semblava pensar ... "no se t´acudeixi seure a la meva cadira".... i el cert és que va sortir guanyant ell i jo vaig anar a buscar-me una altre cadira :-)
Bona tarda de Dissabte !!!!!!!!!!!!!!!
- Ayer, cuando me fuí a sentar en una silla en el jardín, me encontré con este ejemplar de saltamontes que me miraba desafiante. Debía pensar ... "ni se te ocurra sentarte en mi silla" .... y lo cierto es que salió ganando él, y yo fuí a buscarme otra silla :-)
Feliz tarde de sábado !!!!!!
♪ ♫♪♫ en mi cabeza sonaba .... ♪ ♫♪♫
Recomendación para quen pase por Piornedo. Sentar neste banco e desfrutar das vistas, a poder ser a tardiña ou o amencer, seguro que vos levades un recordo que non esqueceredes.
Busca o banco na foto grande, a situación da un pouco de vertixe.
Recomendación para quien se pase por Piornedo. Sentarse en este banco y disfrutando de las vistas, ya sea al atardecer o al amanecer, seguramente te llevarás a casa un recuerdo que no olvidarás.
Busca el banco en la foto grande, la situación da un poco de vértigo.
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
My first levitation! ^^
Actually I wasn't gonna levitate, I was just going to sit under the tree, but then I thought: why don't levitate? I couldn't help it, and I enjoyed it a lot! xD
Inspiring pictures by:
website · facebook · deviantART · blog (Spanish)
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Mi primera levitación! ^^
En realidad no iba a levitar, sólo me iba a sentar debajo del árbol leyendo, pero de repente pensé: y por qué no levitar? No pude evitar la tentación, y la verdad es que me lo pasé pipa xD.
Imágenes inspiradoras de:
website · facebook · deviantART · blog
Então vi eu que a sabedoria é mais excelente do que a estultícia, quanto a luz é mais excelente do que as trevas.
_Prov.4.7_
Boa semana amigos,
começa terça né?!
:))))
:**
si estas a mi lado te dare un beso, y me sentare a tu lado con mis piernas en las tuyas.. te gusta?.. muaaa
SUMANDO SUENOS EN SU PICO:
Loor a esta ciguita del pinar-Dendroia pinus-Pine Warbler (hembra) cuyo amor por tener un hogar seguro para sus hijos, la llevo a poner los pies en tierra. Esto para mi fue un gran momento fotografico, que me dejo muchas ensenanzas y gratos recuerdos.
Jamas imagine ver a esta ciguita tocar la tierra! y les dire el porque!!
La ciguita del pinar es un avecilla que se ha adaptado a vivir en un nicho totalmente limitado a los pinos.No es capaz de ir lejos de los pinares, porque en estos arboles duerme, vive,canta, se desplaza, come y en ellos hace su nido.
La profesora Annabelle Stockton de Dod, partio de este mundo con muchas preguntas en su cabeza sin contestar y que hoy tenemos las respuestas!!!
Una de sus preguntas era de si coge a sus victimas o si aprovecha la resina donde muchos insectos quedan atrapados!!! Mi respuesta es que hace ambas cosas.
Ella partio de este mundo preguntandose, que no sabia cuales materiales utilizaba esta ciguita para hacer su nido, y que cuantos huevos ponen? Ni el color de ellos?
Yo le respondo a Dona Annabelle, que ella utiliza justamente agujas del arbol de los pimos donde vive y esta es la documentacion fotografica que estoy mostrando.Tambien se cuantos huevos ponen y su color. Ponen cuatros huevos blancos con manchas marrones en un nido en forma de taza y generalmente hecho en la parte mas alta donde se bifurca o trifurca el cojollo de un pino joven.
No hay dudas de que esta especie no puede vivir fuera de su ambiente de los pinares, por tanto debemos proteger nuestros pinos del fuego y de la destruccion, ya que sin el ambiente de pinos, la ciguita del pinar no puede sobrevivir.
Esta serie fotografica no esta presentada en el orden de la calidad de las fotos, sino en el numero de palitos o ajujas de pinos que se van sumando en su pico.
Por eso decia que que todo largo camino se inicia con un primer paso y que todo gran nido se inicia con un primer palito.
Las fotos las tome con lo que llamamos " La hora dura",es decir cuando tenemos una luz indefinida y el sol en nuestra cabeza.
La serie esta dedicada a tres grandes seres humanos, que al igual que esta ciguita representan en mi vida un ejemplo te trabajo, responsabilidad y arte.Estas tres palabras definen a mis homenajeados en esta ocasion. Coco es trabajo, Vitico es responsabilidad y Delio Garcia( expotocon) es arte.
Asocie la actitud de la ciguita del pinar con ellos y aunque no entrare en muchos detalles, ellos han sido como esta ciguita en sus vidas.
Repasando en mi memoria me llegaron momentos en que este amigo, sobrino y hermana los vi construir su nido y el de sus hijos.
SOBRE EL NIDO DE YEYO:
Hace mas de 2O anos, una noche de un caluroso verano y siendo las 07:30 de la noche vivi una experiencia con mi amigo Yeyo que me hizo despertar y al mismo tiempo ponerme a pensar. Reconozco que para la epoca yo vivia como las aves,sin preocupaciones futuras de envergaduras como tener un nido. Un dia Yeyo me sorprendio sacando de su bolsillo "Un sueno". Un papel estrujado de mascota escolar y me dijo.. Vale, yo voy hacer mi casita , yo quiero construir mi propio nido y formar una familia.
La verdad que me quede con el cerebro "divoriao" en ese momento, pues jamas habia pensado en formar familia y mucho menos tener un nido propio. Para esa epoca pensaba, que para que tener un solo nido, si todos los nidos eran mios!!Para suerte y gracia, Yeyo culmino con su sueno, en el mismo lugar y espacio que escogio y aun vive alli feliz rodeado de su arte, con su amada y sus dos pichones.
SOBRE EL NIDO DE VITICO:
Vitico es, fue y sera nuestro primer sobrino.Radical en sus conceptos, cimarron por conviccion y por ejercicio.Es de los que se mata trabajando desde muy joven, de lunes a viernes y luego lo encuentras cada fin de semana con una vara de pesca en una de nuestras presas del pais.
Generacionalmente hay mucha diferencia de edad entre el y yo , pero en el fondo, tiene muchas influencias de cimarrron mayor.
Recuerdo muy claramente, cuando un dia a las 2 de la tarde y en un momento muy dificil para la familia(papa estaba muy enfermo),cuando me sorprende diciendome que esta construyendo su propio nido y que hara vida independiente para formar una familia. Este cimarron lo unico que puso claro, es que su nido seria propio y se mudo con una cama, una nevera ejecutiva que le done y un humilde radio de corriente y pilas para escuchar a Silvio y a Aute. Ni lista de invitados, ni lista de regalos,pero si, su nido propio construido con esfuerzo y trabajo.Como Vitico representa el trabajo desde muy joven, este cambio de un nido pequeno a un nido mas grande y Ahi vive feliz con su amada y sus tres pichones.
SOBRE EL NIDO DE COCO:
La abnegada Coco vivio en muchos nidos alquilados jajajaja, pero nunca dejo de sonar con su nido propio.Ella abnegadamente cargaba con sus pichones de nido en nido, pero nunca dejo de trabajar y sonar con el suyo propio.Coco vio su sueno realizado y tiene un nido maravilloso, repleto de arte,colibries, nisperos, cerezas y ciguas palmeras.Coco trabaja desde la adolescencia y creo que no hay un ser humano mas noble y de gran corazon sobre la tierra. Coco lo resume todo, es trabajo, responsabilidad y arte. Coco vive feliz ahora en su propio nido,con su amado y sus tres pichones.
Todo a su tiempo!!! No nos llegan los nidos del cielo,ni hemos tenido la suerte de que nos entreguen el nido sin tener que haber cargado palito por palito, con el sabor del sacrificio,de los suenos, cargando un palito hoy y otro manana, sumando palitos en nuestros picos, como esta "dendroica pinus", para un dia poder decir... por fin he cargado el ultimo palito y por fin tengo mi nido.
Un abrazo. Ustedes son ejemplo de tenacidad, perseverancia y sacrificio.
Cimarron mayor Panta.
Estas letras son especialmente para el gran Tily.
MIRA DE SILVIO RODRIGUEZ
Mira, espera que voy a nacer de nuevo,
voy a elegir la tela de mi cuna
en la nueva latitud del universo,
en los fósiles y el fuego primitivo
para desde entonces ser lo que no he sido.
Mira, me voy a descubrir el arco iris,
me sentaré al final de cada lluvia
sin ideas de desenterrar el oro
sin ideas de tocar el espejismo
sin ideas de inventar malabarismos.
Me voy a convertir en animal, para luego crecer,
para luego crecer.
Aprenderé a cazar con pedernal, para luego saber,
para luego saber.
Mira, ya llegaré un buen día a las canciones
ya llegaré un buen día a la cordura,
apretado el corazón contra los hombres
con el mismo amor del primer nacimiento,
las palabras aún serán los sentimientos.
Mira.
Ver em fundo preto ou grande.
Ano passado, em nossa visita a Inglaterra, um dos lugares por onde passamos foi Felixstowe Ferry: uma simpática povoada que tem pouco para fazer, a não ser visitar o pub (vale a pena!), comer fish & chips no café (dizem que é muito bom), ou comprar peixe e mariscos fresquinhos na única loja. A povoada fica no limítrofe do campo de golfe do vizinho Felixstowe, que já é uma cidade de tamanho razoável. Enquanto bati esta foto do banco caído que fica perto do campo de golfe, uma mulher na casa atrás perguntou por que eu estava fotografando o banco. Expliquei que achei a cena interessante e meio melancólica, e ela começou a me contar a história do banco...
O banco na foto tinha sido colocado lá pela mãe dela, para substituir outro que já estava caindo em pedações. Na época o traçado do campo de golfe passava perto, a grama estava bem cuidada e as pessoas costumaram sentar no banco para assistir ao golfe. Mas, alguns anos atrás, o traçado foi mudado, se afastando desse pequeno canto. Não havia interesse mais em cortar a grama que, aos poucos, virou capim, e o banco caiu em desuso.
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During our trip to England last year, one of the places we visited was Felixstowe Ferry. Strangely enough, FF is not the place were the ferries leave Felixstowe to go to the continent: it's a small village next to Felixstowe, which earns the Ferry addendum because of a small boat that, for many many years, has transported people and bicycles across the River Deben. Nowadays the ferry only runs in summer, as a tourist attraction. There's little else in FF, except for a café that, they say, serves very good fish & chips, a small shop selling freshly caught fish & seafood, and an excellent pub.
To the south, Felixstowe Ferry lies at the edge of Felixstowe Golf Course, which this old bench looks over. While I was framing this photo, a woman from the house behind asked me why I was photographing the bench. I explained that I found the scene interesting, and rather melancholic. And so she began to tell me the history of the bench...
For as long as she could remember, there had been a bench in this spot, and this was the second bench there that she knew of. It had been placed there by her mother, and substituted the previous bench which had been falling to pieces. At that time, the golf course passed quite close to this little corner, the grass was quite well kept, and the bench was used by golfers to rest a little, and passers by who would watch the golf. Some years ago, however, the golf club had altered the course, moving the fairway further away, and there was little interest in keeping the grass short. With the players more distant, and the grass growing around the bench, it fell into disuse. This time there are no plans to replace it.
Tots estavem al curs de fotografia d'aliments. L'Albert, un bon company i amic es va sentar devant meu i a vegades és un petit perill ja que pots acabar ben retratat. Queda demostrat que així passa.
Tots feiem atenció a les explicacions que ens anaven fent explicacions. Queda demostrat que ens agrada més fer les pràctiques que no haver d'escoltar ... però també ho fem.
Ja espero la pròxima trobada que serà ben aviat ... Mai se sap prou malgrat les despistades.
The teacher of my grandmother. Lisbon, Portugal, 1924
Visite Fotos antigas portuguesas / Visit Old photos from Portugal
Back from hiatus. I've been missing all my friends from Flickr, but - sadly - from the lack of time to sit in front of my computer I wasn't able to be on this site for the amount time I used to do (and also the amount of time I would like to do).
This wedding cake was inspired by the work of Kerry Vincent. All decoration was made with fondant.
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Estou de volta. Senti saudades de todos os meus amigos do Flickr. Infelizmente, devido a falta de tempo para sentar em frente ao computador, não tenho dedidado a esse site a quantidade de tempo que dedicava antigamente (e que gostaria de dedicar atualmente).
Este bolo de casamento foi inspirado pelo trabalho de Kerry Vincent. Todos os detalhes foram feitos com fondant.
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Si el fin del mundo se parece en algo a esto..., yo estoy listo para morir.
¡Y me sentaré en el infierno a la izquierda de Satán!
Naum sei pq, mas gosto dessa foto !!!
=^^=
Bati na estrada, foi um click rápido, naum deu pra ficar "pensando" muito em enquadramento e etc... Ai saiu assim tortinha. Até bati uma segunda foto, com enquadramento certo e tals, mas preferi essa q está mais natural.
Além disso, na segunda foto passou o momento... Gostei do jeito q esta ficou !!!
;D
Bjoks Flickrs.
=*
Reir, cantar, llorar, saltar, pedir, comer, pegar, anunciar, ser, vivir, estar, contar, soñar, parecer, cuincidir, solucionar, encontrar, suspirar, sorprender, insultar, chupar, tocar, ver, jadear, gritar, susurrar, maquillar, suspirar, entender, amar, extrañar, revelar, fluir, picotear, refugiar, besar, oler, pintar, sospechar, intuir, pellizcar, ganar, naufragar, perder, entrar, conjugar, despertar, salir, odiar, peinar, amar, suspender, levantar, estornudar, agradecer, imitar, murmurar, beber, aprovar, disfrazar, silvar, morder, disfrutar, cotillear, sellar, saborear, pisar, recordar, inspirar, meditar, absorver, temer, descansar, parpadear, escoger, tantear, sembrar, esconder, recoger, consumir, hidratar, robar, fumar, conquistar, sentar, provocar, colorear, inflar, burlar, asaltar, motivar, perder, traginar, existir, querer, notar, conectar, aprender, atar, enfriar, palpitar, mantener, conceder, estropear, unir, seducir, inspirar, juntar, poseer, flojear, calentar, difuminar, churretear, fotografiar... VIVIR, DISFRUTAR.
first part here: ♥
www.flickr.com/photos/rococo-rococo/5728487436/
~~~~~♥
Julian: Hey, Baby, don't do this!+_+ I'm good, I swear! I love your sister and love you too, little one!^^
Baby: Take off your P-E-R-V-E-R-T hands of Baby! ònó~~~
Julian:ó.ò~~~This isn't fair!x.x'
Kula:Don't worry!^^ She's just a child!^^'
CandyHiiii~~~~~~♥Oh!!! Julian,D♥A♥R♥L♥I♥N♥G what a L♥O♥V♥E♥L♥Y surprise~~~~~~♥
Baby:Oh,no! A wild Candy appears!ònó
Candy: Watch your mouth,BRATTY!?ò____ó Oh, Julian, I'll sit here!♥
Baby: Julian, you can date and marry Candy, Baby doesn't care! :3 But my Kula is MINE!>.<
Candy:Marry me! Marry me!♥ Yes, I do!*o*~♥
Julian: Omg. D:
Kula: LOL xD
~~~~~♥
Julian: Ô,Baby, eu sou legal, eu juro!^^' Eu amo sua irmã e gosto muito de você também!^^'
Baby: Tira essas mãos de taraduuuuuu da Baby!!!!>.<
Julian: Isso não é justo!ó_ò~
Kula: Pára de ser tão dramático, ela é só uma criança!^^'
Candy: Oiiiiiii~~~~~~~~♥ Julian! ♥u♥ Que surpresa A♥DO♥RÁ♥VEL!!!!~~~~~~♥♥♥
Baby: Ah não!x.x' O Pokémon selvagem apareceu!!!=T
Candy: O QUE É QUE VOCÊ DISSE AI,PIRRALHA!?ò___ó Ah,Julian, vou sentar aqui!^o^~♥
Baby: Julian, você podenamorar a Candy e casar com ela que a Baby não liga! Mas a MINHA Kula é MINHA!ònó~
Candy: Sim!*o*~♥ Case-se comigo!Case-se comigo! Sim,eu aceito!~♥
Julian:AIMEUDEUS.D:
Kula:hahahah!xD
~~~~~♥
O Julian sofre nas mãos das três, tadinho!xD Ainda bem que ele é bonzinho e só fica sem-graça mesmo!xD
Comprei as perucas da minha Blanche e da MM ontem/hoje!X)~ O cabelo da Blanche ia ser castanho... mas ai lembrei que quero minha Tiphona (espero que até mês que vem ela nãodê soldout!+_+') morena e as duas ficariam de cabelo castanho... então dei uma de louca e comprei uma peruca,assim,queé um bolo de casamento...verde.='D Rá. Eu sempre quis a tal peruca, mas não tinha doll para colocar... daí pensei nela e comprei #OREMOS para que fique boa, hahaha!xD
E a da My Melody vai ser rosa mesmo, encontrei uma que não deu pra resistir!x.x' Não queria MAIS UMA de cabelo rosa (tenho já a Cherry, a Cassie e a Sugar _que tá de rosa enquanto não troco a dela por uma lilás)mas não resisto a uma peruquinha cor de docinho,não consigo!x.x~ Espero que o tom seja, pelo menos, diferente das que tenho aqui!^^
Ok,LOLOLOL minhas bonecas são tudo parecidas, mas nem ligo, tá,elas se parecem com a mãe delas (acho!xD),isso que conta!xD
Ai tô em dúvida entre pedir a Tiphona ou a Puki mês que vem (se tudo der certo na minha vida... e não tô falando dedolls com isso... /OREMO$), qual será que tem mais chance de "acabar" antes? Acho que a Tiphona,né?+_+' Minha irmã vai pedir, FINALMENTE, a Jaldet dela (eu acho linda, mas note a diferença de gostos, eu nunca teria uma Jaldet)e vou aproveitar e rachar frete e será feliz demais economizar!xD~
Queria tirar e arrumar fotos para a semana toda,pois,com minha nova rotina,fica apertado fazer isso de dia de semana, mas tô com preguiça e preciso de corpinhos e perucas pras dolls que ainda estão sem,o que também desanima!=(
Uruguay. No pasaba ningún auto. Dejé la cámara en la ruta con autodisparador, hice foco, clickeé y corrí. Llegué justito, pero se nota en la foto que justo me acababa de sentar. Enfoqué re mal, también.
Podemos.. Reir, cantar, llorar, saltar, pedir, comer, pegar, anunciar, ser, vivir, estar, contar, soñar, parecer, cuincidir, solucionar, encontrar, suspirar, sorprender, insultar, chupar, tocar, ver, jadear, gritar, susurrar, maquillar, suspirar, entender, amar, extrañar, revelar, fluir, picotear, refugiar, besar, oler, pintar, sospechar, intuir, pellizcar, ganar, naufragar, perder, entrar, conjugar, despertar, salir, odiar, peinar, amar, suspender, levantar, estornudar, agradecer, imitar, murmurar, beber, aprovar, disfrazar, silvar, morder, disfrutar, cotillear, sellar, saborear, pisar, recordar, inspirar, meditar, absorver, temer, descansar, parpadear, escoger, tantear, sembrar, esconder, recoger, consumir, hidratar, robar, fumar, conquistar, sentar, provocar, colorear, inflar, burlar, asaltar, motivar, perder, traginar, existir, querer, notar, conectar, aprender, atar, enfriar, palpitar, mantener, conceder, estropear, unir, seducir, inspirar, juntar, poseer, flojear, calentar, difuminar, churretear, fotografiar..y más y más !
que importante es hallarnos en la historia, buscar en el corazón, proyectarnos tal cual somos. Amar nuestras raíces, encontrar nuestro cable a tierra, ser libre y volver a sentar cabeza.
Que importante es amar.
Pues eso, después de estar tanto tiempo guardada por no tener su peluca. Y a pesar de que siempre la quise con pelo de mohair rosa. Hace algo más de una semana vino Reyes (www.flickr.com/photos/diekonigin/) a verme para probarle a su Xiao Fan la peluca verde que tenía limitada de Leeke, y su niña venía con esta peluca puesta. Al final lo que empezó como un juego de prueba de pelucas, acabó con intercambio de pelucas y me acabé quedando con esta para Phoebe y le he cambiado también los chips por un color nuevo más a juego con su nuevo look. No sabía que la peluca le fuese a sentar tan bien y creo que le da mucha luz a su maquillaje. Me tiene de nuevo enamorada y creo que con esta peluca he conseguido una nena muy original, dulce y luminosa ^_____^
Gracias también a Tifi, Mrs.Poppies y Karu Aileas por una kedada de lo más adorable, relajada, amena, divertida y preciosa. Es uno de los momentos del mes más desestresante que tenemos y que a pesar de la calor de esta última semana, ayer incluso nos acompañó el fresquito y nos lo pasamos en grande. Muchos besitos chicas y gracias por hacer que los problemas y las preocupaciones se esfumen ♥♥♥
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Phoebe, after long time saved in her showcase, she has a new look with a new wig and new eyes. Always i wanted my Pullip Kirsche with a pink mohair wig, but a little more than week ago, a friend came to visit me to try on her Pullip Xiao Fan a new limited wig from leekeworld that i had in my house, and finally we made an exchange. She taked my new deep green wig, and i taked this wonderfull wig from her to try on Phoebe and i love it the new look. I think with this wig i get an original Kirsche, sweet and bright ^____^
________________________
Phoebe wear an outfit made by Felicity Dolls, a headband made by Dolly Boutique and a wig from Licht.
I am back, just about...still trying to get to normal life.
It is a new year and I decided I need a new job...I wouldn't mind getting the place of the lady in the photo...just need to make sure nobody would take any risks in the water...I am not sure I am fit enough for a fast swin.
Glad to be able to browse around the flickr photos of you all again, I hope to be able to send a hello to everyone very soon.
Estou de volta...bem, nao totalmente, ainda perdidona entre o frio e calor.
Nesse novo ano decidi que preciso de um novo emprego e ate que adoraria sentar nessa escadinha e ficar olhando o mar, logicamente que seria bom que ninguem estivesse em apuros na agua, pois nao acho que estou rapida o suficiente para salvar os banhistas.
Estou feliz de poder apreciar as fotos de todos voces por aqui novamente.
Espero me organizar e poder mandar um alo para todos brevemente.
beijos
kisses
paz
peace
love
amor
saude
health
para
todos
to
everyone.
xxxxx
Lo primero que quise, en mi primera cita, fue que pasara rápido …
Te pones tu mejor pantalon, ese que te hace un culito casi perfecto, esa camiseta, que posiblemente sea la única bien planchada que tengas con 13 años, y la colonia que te regalaron en navidades y nunca te pusiste …
No sueles ser puntual, pero llegas antes que la persona con la que has quedado, y mientras esperas; le vas dando vueltas a tus pulseras, o a ese reloj que le has robado a tu hermano mayor y que tanto mola … ese reloj que si lo ve puesto en tu muñeca puede causar un desenlace no muy grato.
El tiempo, en esas primeras citas, el tiempo de la espera; se hace eterno … y empiezas a plantearte el hecho de irte, y el hecho de por qué te preguntas que cojones haces tú ahí sentado, con lo tranquilo que estas con tus colegas de la calle fumandote tus primeros cigarritos y hablando sobre a quien le han crecido más las tetas de entre tus amigas …
Tic-tac, tic-tac … empiezas a tener la impresión de que el molon reloj de tu hermano es una mierda, y que el minutero digital no funciona, o pasa más lento que el resto de los relojes …
Ni siquiera tienes un plan, o sí lo tienes, pero te parece lo bastante absurdo como llevarlo a cabo: ¿Me besará? ¿Medejará tocarle las tetas? ¿Olerá bien, o se pondrá esa horrorosa colonia de bebé? O lo que es mejor … ¿Será lo suficientemente bueno como para contarles la verdad a los colegas? ¿O les tendré que mentir?
Lo primero que quise, en mi primera cita, fue que pasará rápido …
El problema … es que no llevé reloj, mi hermano lo odiaba .. y aun sigo sentado en la puerta de aquel garaje …
...
The first that I wanted, in my first appointment, was that it passed express… You put your better trousers, that than it does culito to you almost perfect, that t-shirt, that is possibly the unique ironed good that you have with 13 years, and the colony that gave to you in Christmases and you never put yourself… Usually you are not precise, but you arrive before the person with whom you have been, and while delays; you are giving to him returned to your bracelets, or to that clock that you have robbed your older brother to him and than as much mola… that clock that it sees if it position in your wrist can cause an outcome not very pleasing. The time, in those first appointments, the time of the delay; one becomes eternal… and you begin plantearte the fact of irte, and the fact of why you wonder yourself that cojones beams you seated, with calm which these with your colleagues of the street fumandote there your first cigarritos and speaking envelope to that they have grown to him plus the teats among your friendly… Tic-TAC, tic-TAC… you begin to have the impression that molon clock of your brother is an excrement, and that the digital minute hand does not work, or happens slower than the rest of the clocks… Not even you have a plan, or you have yes it, but it seems to you the quite absurd thing like carrying out it: It will kiss to me? Medejará to touch the teats to him? It will smell or, or will put itself that horrifying colony of baby? Or what is better… It will be sufficiently good like telling the truth to the colleagues? Or I will have to them to lie? The first that I wanted, in my first appointment, was that it will pass express… The problem… is that I did not take clock, to my hated it brother. and itself even seated in the door of that one garage…
M.Orero
Casa da Música,Porto.
Rem Koolhaas ( Arquitecto )
___________________________
Syrinx, Ficção Pastoral (XVII)
Perdoa, não sabia que cantavas
Em sossego, silenciosamente. Neste calor
é preciso beber água gelada; também convém
não adorar ídolos, por exemplo a imagem
que aí trazes de ti e te atormenta
(ou me atormenta a mim?).
Outros exemplos incluem jardins de babilónia,
Erupções do etna, o efeito
afrodisíaco do diamante,
as ciências da educação.
Vou-me sentar aqui, respirar até doer
as coisas possíveis nunca reais,
aprender, nó a nó, como te soltas;
Vamos cair num poço, sem
bússola e pára-quedas, vamos ser o primeiro
amor a dois no mundo.
© 1999, António Franco Alexandre
From: Quatro caprichos
Publisher: Assírio & Alvim, Lisbon, 1999
_______________________
Syrinx, a Pastoral Fiction (XVII)
Sorry, I didn’t realize that you sing
in silence, all alone. In this heat
you should drink ice water; it’s also a good idea
not to worship idols – including, for example,
your own self-image that torments you
(or that torments me?).
Other examples include babylonian gardens,
eruptions of mt. etna, the aphrodisiac
effect of diamonds,
and the arts and sciences of education.
I’m going to sit right here, breathe possible
but inevitably unreal things until it hurts,
and learn knot by knot how you untie yourself.
We’ll fall into a well without
parachute or compass and be the first
twin love in the world.
© Translation: Richard Zenith