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R8TERZ X DREAMDAY
The Jess Set is now available at @dreamday.sl.
Features a 3 piece set:
Puffer Coat, Tights, Puffer Leg Warmers.
Bodies Include:
Legacy F, Reborn, Peach, Kupra.
HUDs are included.
Be sure to try the demo before making a final purchase.
Explore: # 171 - 03.17.2009 (short lived but made it for a bit) Thanks everyone =)
I personally don't really like how this came out, but I would like to see the reaction of flickites.. so any critiques and comments are welcome =)
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@ Crystal Cove
-HDR - 3 Exposures (-2,0,+2)
-Photomatix - tonemapped
-PS CS3 for unsharp mask, layer mask, saturation (red), noiseninja, smart sharpen
Jó reggelt kívánok e délutáni képpel,
Bennem az ellentétek ereje az, ami éltet,
A séta itt is jó volt a Mesteremmel,
Ezen új nap reggelén is a remény keltett,
Bár az idő esős, burult, de a lelkemben él a derű.
Tanítványom - szólt a Mester, s tett egy kérdést felém:
Írtál neki verset angolul?
Igen írtam - válaszoltam,
Hangüzenetben neki elszavaltam.
Nagyszerű, jött a válasz,
Köszönöm dícséretedet Mesterem,
Most megyek, napod, s mindenkié,
Legyen kellemes.
Mester, egy percre térek hozzád vissza,
S szeretném, ha az esti diskurzusunk tárgya lenne az,
Amiről álmomban az éj folyamán beszéltél, tettél szomorú említést róla.
Mi az, Vilmos?
Mondtál egy kitalált…, fiktív… esetet, amely történt egy egyetemen.
Oh, a fajgyűlölő, náci tanárra gondolsz?
Aki kiutálta a lelkes tanítványt annak nagy orra miatt?
Igen, arra. Ez a dolog engemet bánt. Nekem is nagy az orrom.
Vilmos, most menj és dolgozz.
Megyek.
Kellemes napot!
Oh, Mester, megjött az éj, s megint nálad vagyok,
Ugortam a képbe, s e szép táj engemet megint fogadott.
Kereslek, merre vagy, oh szeretett Mesterem?
Keress, most sok a dolgom, ellenségeidet irtom,
Most ne zavarj, írd a verset, szavald, hogy legyen neki szeretett hanganyag.
Mester, megyek, teszem.
Helyes.
Oh, Mester!
Oh, Vilmos!
Mester, oh írtam egy verset megint, mely szól angolul.
Látom, oh kedves tanítványom, hm, jók a sorok, de a csiszolni való az még sok.
Bár látom a lelkedet, az üzenete az volt szívből jött.
Akkor most ne írj, hanem szavalj, várom az eredményt.
Teszem, oh, Mesterem.
Mesterem, bocsáss meg, hogy kevés a versszok, de ígérem, hogy lersz minden javítotté terjedelmesebb.
Elvárom. Tedd fel a a versesedtt.
Teszem. Íme:
Dangerous, Perfect and Diamond Love
Hm, my Love, you know that, you destroyed my life,
Absolutely, the love is death to me,
The darkness coming, your love was my perfect death.
Yes, oh, my Love, your arrival into my life was a new hope, first, last, again.
Because your spirit gave what my soul was looking for (sought), hm, you,
She is You, her old (wise) personality running away. (of You)
Hm, my Love, you can not feel that, what you did to me,
Hm, that is painful for me, it is painful for me.
But I love you, I want to be a forgotten soul,
And your life will always be fine,
Please, leave this bad guy, delete him from your memory,
Hm, he was just a phenomenon in your life,
Nothing else, just only…
My Love, oh magnetic and lovely Honey Rose,
Oh, beautiful Lady, you will forget me, I know,
The distance will give you (a) friendship,
I’ll be away, do not worries about me,
Be good, my life will follow you from the expanding distance,
What is the Forever Life.
Given to you.
Love you
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Mester, tegnap kértem, hogy a diskurzus folytatása legyen a fajgyűlölő egyetemi tanár elemzésével folytatott.
Azt nem értem, hogy viselkedése belőle honnan fakadott,
Az egyetemen tanított, de a fajgyűlölete az első pillantásra kirívott,
Kinyírta a tanítványt a nagy orra miatt,
De nem csak azért, hiszen az álomban látható volt más is, ami a személyéből fakadott,
Itt gondolok a kisebbségi érzésére is, amely benne az értelem felé gyűlöletet fakasztott.
Igen, kedves tanítványom, fajgyűlöletének, s értelem gyűlöletének az oka ez is volt,
De volt ott más is, menj a szükséges tudatszintedre, s a jelenetet ismét nézd meg,
Voltak ott fiatal nők, is akik a tanítványnak tetszettek, s a tanárban féltékenység keletkezett.
Igen, igen, kedves Mesterem, ez nekem is szemet szúrt, de hát azok korban bőven a lányai lehettek volna,
Így van tanítványom, de az egyetemi tanárnak a szűz lányokra, lyánykákra fájt a foga, na meg ott a pedofília,
Mester, tehát pedofil volt az álombeli náci egyetemi tanár?
Igen tanítványom, pedofil volt a náci, fajgyűlölő egyetemi tanár. E kérdésre majd térjünk vissza később, reggel van, kevés az idő, nincs korán.
De ki a pedofil és náci egyetemi tanár?
Kérdezd Imrét.
Ki az?
Nem ismered.
Rendben Mester, tényleg múlik a hajnal, s nincs már korán.
Most keress egy másik képet.
Keresem.
Tanítványom!
Mesterem!
Vilmos!
Mester!
"If you love something, set it free; if it comes back it is yours, if it doesn't, it never was." ~ Anonymous
* * * *
Thank you to. . .
Background: breakme-stock
Model: attemptestock
Dove: salsolastock
Clouds: yami-horse
Hair: flordelys-stock
Sunlight: redheadstock
Texture: tsabo6
* * * *
Thank you for taking the time to look . . .
.:W.G Store:.
♥
Set Melissa *New Release
HUD Top 20 Colors (All Modify)
HUD Short 13 Colors (Two Models) * 4 Bonus
HUD Sandal 20 Colors (All Modify)
Top: Belleza (Freya, Isis, Venus), Maitreya, Slink (Physique, Hourglass)
Short: Belleza (Freya, Isis, Venus), Maitreya, Slink (Physique, Hourglass)
Sandal: Belleza, Maitreya, Slink
Chevrolet Corvette C4 (1984-96) Engine 5735cc LSI V8
Registration Number H 575 KGS (Luton)
CHEVROLET SET
www.flickr.com/photos/45676495@N05/sets/72157623638181561...
The C4 Corvette was launched in 1984 with sleek modern looks, in a departure from previous generation Corvettes the C4 was produced with its rear bumpers and panels were made from molding plastics, a sheet molding compound, against the fiberglass panels of the earlier cars. The C4 Coupe was the first general production Corvette to have a glass hatchback (the limited edition 1982 Collectors Edition being the first Corvette equipped with this feature) for better storage access.
Unlike the evolution of the earlier generations, the C4 had a completely new chassis with an emphasis on handling and braking, with all-independent suspension with light-weight suspension and wheels, and all new brakes with aluminum calipers. The front suspension saw the C3's coil springs replaced by a transverse fiberglass mono-leaf spring, which was only 1/3 of the weight of the coil springs while also introducing an anti-roll bar-like effect on the front. Improving handling but detracting from ride comfort. The C4 did not use separate body-on-frame construction like its predecessors. Instead, it used what GM termed a "uniframe", which consisted of a traditional perimeter frame, with the door posts, windshield frame, halo, and the rear portion of the floor pan integrated into one welded assembly. This was not a unibody assembly, as none of the exterior body panels were structural members.
Diolch am 74,553,066 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 74,553,066 amazing views, every one is greatly appreciated.
Shot 07.07.2019 at Cars in the Park, Beacon Park, Lichfield 143-019
Shot with a Canon A-1 with a 50/1.4 using Kodak Tri-X 400.
Took this photo during my short 1 week break back in Hong Kong for my birthday. Big thanks to Euky who volunteered his own time in taking me to this location for the shoot. I was always fascinated by housing estates and the lifestyles which surrounded them even though I have never really lived in one myself. With the government tearing these places down in favour of newer public housing these places are really getting rare too. Hopefully this one lasts till the next time I am home for me to shoot it again. View On White
Click here to view my most interesting
Click here to view my Film Set
Click here to view my Hong Kong Streets set
Click here to view my Street Photography Collection
"Thalia" Set - for this Happy Weekend!
TAXI:
maps.secondlife.com/secondlife/DERNIER/117/141/1006
comes in 12 colors. 3 extra colors are in the FATPACK ONLY! - Fatpack include color HUD.
Maitreya (Lara), Legacy (Original), eBody (Reborn and Waifu) and Kupra (Original).
A exciting collab with our admirable girl Maya Reyes, you can find "Cardi" Unit at Dernier.
GWR Castle Set with Class 43 No.43094 passes Tiverton Parkway,with the 12:50 Penzance to Cardiff Central service,on 27th of January 2022.
On the car park shuttle services at Luton Air Port is this 2009 Mercedes Citaro that is operated by Go London (London General).
Arriva the shires 5139 (N39JPP) a 1996 Northern Counties bodied Volvo Olympian is seen parked on Church street while being used on staff shuttle duties. This bus is one of the last Volvo Olympians in service with the shires others being (5138-41). New to Luton & District.
Agents can't afford to sit still sipping tea in a building when villains roam the world. That's why they can now sip tea in their very own mobile HQ!... :P
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This is a closer look at the Imperial Mobile HQ, a steampunk recreation of the Ultra Agents set 70165. Created for the Big Build entry for the LEGO Steampunk group's competition.
Upper Deck:
The main deck is separated into two parts - the office and workshop/lab. Since this is an HQ, I figured the agents should be able to do everything here. In the office, there's a bookcase filled with reference books and artifacts from previous missions, a billboard pinned with all relevant information to the latest mission, a desk to write reports on (those pesky reports), and a wall full of weapons and even more weapons in a chest. The stove in the middle is absolutely necessary for brewing tea. Then there's the shared workshop and lab for Agent O'Malley to invent and fix contraptions, and for Professor Whirlygull to conduct her research on the go.
Lower Deck:
On the lower deck, the Steam Bike rests securely on its platform, and the temporary prison as well. Both prison and bike holds up when the wall is folded to close the container in the HQ's mobile mode.
Truck:
The original truck is so much shorter, but it's only because I placed a giant boiler behind it. Come on, the thing needs a ridiculous amount of power to pull all those agents' books, stove and furniture, right? :P
Considering that the original set had a drone stuck to the back of the truck, it's here as well, but as a gyro-copter for the agents to wear in case they need an aerial advantage.
See More:
Great Western Railway 43042+43098 Castle Set GW07 waits for time at Plymouth working 2C12 0722 Exeter St. David's to Penzance.
Une traverse. L'environnement des chats de ce quartier. Les rues, dans ce quartier singulier, ne se nomment pas "rues" mais "traverses". Sur la carte, on peut voir précisément le tracé rectiligne de presque toutes ces traverses.
A container stack train stopped just short of a signal tower between Geneva and Dekalb, IL on the Geneva subdivision of the Union Pacific. The train was at a full stop, and the crossing gates were not activated. Does anyone know the clearance height from rail to bottom of the bridge, for these new signal bridges ? My guess is 10 meters but not sure. Seem very very tall
Just Pinned to set, pose, shoot: ♀ Women portrait Vogue Italia, 1997. Photographer: Paolo Roversi. S) ift.tt/1qdTN5p
Una Set is made up of two pieces, both with 10 textures. The Gloves in the set are sold separately in Fatpack form at a very low price.
Fitted for:
Legacy
Legacy Perky
Waifus
Reborn
Lara X
Kupra
To purchase in Mainstore:
maps.secondlife.com/secondlife/Paradise%20Isla/69/248/801
Check more from Boldbae:
a four dedolight set up.
1. over head through diffusion screen with DIY ring gobo
2. spot light on back ground
3. back light from left
4. side light from right
a piece of white paper was placed next to the lens to bring out the "Canon" logo.
The Assumption of the Blessed Virgin, Ufford, Suffolk
Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle. You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses. In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage. I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them. So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing. But there was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago.
The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. As at Great Ryburgh in Norfolk, patronage ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale like here and Ryburgh. His is the extraordinary war memorial window in the south aisle chapel, dedicated to St Leonard. It depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciation, although it is the figures above which are most extraordinary. They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert. However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I also think that the images of heads below may be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and although it no longer maintains its high Anglo-catholic worship tradition, it is is still kept in high liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.