View allAll Photos Tagged Solidity
Standing on the pebble harbour beach at Portholland, Cornwall, looking east out to sea. The headland in the distance is Dodman Point.
I go on holiday with the family here each year. I had just had my first DSLR for all of a week so the learning curve was steep and lots of mistakes were made :). This was late in the afternoon/early evening, a miserable, grey, nondescript, slightly choppy sort of day, so I went out and bracketed with long exposures (this was 8 seconds). This smoothes out the sea and waves lapping over the rocks and makes for an interesting effect in the water. I also had some ND grad filters stacked to reduce the sky on there.
The RAW came out totally overexposed so I pulled the exposure value back a lot. From a technical point of view there are various flaws with it (no detail in some of the darks etc, bit more of a halo there than I'd really like) BUT I do actually think it works because it's got mood. On the plus side I like the tones in the water, the reflection/lighting is interesting and it's got a certain 'solidity' about it that I can't quite put my finger on.
The funny thing is that I had put this on the reject pile, and was about ready to delete it. But I thought I'd see what I could do with it. So, definitely, I'd love your opinion, feel free to give it some real critique and/or feedback. Do you think it works, does it have a mood about it?
Hair: (NO) Juno Style
Wings: CURELESS[+] Alouqua Wings Special
Makeup : Dotty's Secret - Goth Queen - Makeup Set
Skin: Go&See * Casie * Moon Tone
Lashes: (NO) Glitter Lashes - Set of 3
Pauldrons: :Moon Amore: Lady Cruel - Avant-Garde Gown
Bodysuit: CURELESS[+] Incubus&Succubus / M / Ardat Lili / RARE
Rings: (Yummy) Demon Queen Ring Collection
Nails: Rosary. Base Nails . Stiletto + Solidity HUD.
____________________________________________________
Sponsors and LMs
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and the massive scale gives it a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the shape of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst the fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century (mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
Son histoire commence au Ve siècle. Elle est bâtie sur les vestiges d'un temple romain dodécagonal, sans doute dédié à Apollon, et surmonté d'une coupole. Ce sont les empereurs romains qui confient ce temple aux chrétiens.
Le culte de la Vierge a été initié à Éphèse, en 431. C'est peut-être l'une des raisons de la construction de l'église de la Daurade, dédiée à la Vierge Marie représentée sous la forme d'une vierge noire. En effet, connue aujourd'hui sous le nom de « basilique de la Daurade » à cause de ses mosaïques à fonds dorés, l'église est d'abord appelée « basilique Sainte-Marie de Toulouse ». Son nom provient d'une mosaïque en or qu'elle renfermait : "Deaurata" qui veut dire couverte d'or[1].
Elle est intégrée au IXe siècle à un monastère bénédictin. Au XIe siècle, l'église, restée dodécagonale, est prolongée par une nef romane. Elle est rattachée à l’abbaye de Moissac en 1077, et le monastère est augmenté d’un cloître. La coupole est détruite en 1703, alors qu'elle manquait de s'écrouler. Un dôme est alors posé en 1760, entamant un peu plus la solidité des murs. En 1761, mal entretenue, toute l'église romane doit être démolie. Un projet de reconstruction débuté en 1764 est arrêté afin de permettre la construction des quais de la Garonne par l'architecte Saget en contrebas, et sur lesquels l'implantation de la basilique débordait.
Le nouveau projet était ambitieux. Il s'agissait de reproduire la basilique Saint-Pierre de Rome. Neuf ans plus tard, on modifia les plans, et on opéra une rotation et une translation de l'ensemble. Ainsi, le chœur de la basilique primitive, qui était bâtie sur les vestiges du temple romain, se situe aujourd'hui sous le transept. Les travaux furent interrompus par la Révolution. L'église fut consacrée basilique par le pape Pie IX en 1876, soit deux ans avant la basilique Saint-Sernin. Elle ne fut réellement terminée qu'en 1883.
Its history begins in the 5th century. It is built on the remains of a dodecagonal Roman temple, probably dedicated to Apollo, and surmounted by a dome. It was the Roman emperors who entrusted this temple to Christians.
The cult of the Virgin was initiated in Ephesus, in 431. This is perhaps one of the reasons for the construction of the Church of the Daurade, dedicated to the Virgin Mary represented in the form of a black virgin . Indeed, known today under the name of "Basilica of the Daurade" because of its mosaics with golden backgrounds, the church was first called "Basilica Sainte-Marie de Toulouse". Its name comes from a gold mosaic that it contained: "Deaurata" which means covered with gold[1].
It was integrated in the 9th century into a Benedictine monastery. In the 11th century, the church, which remained dodecagonal, was extended by a Romanesque nave. It was attached to the Abbey of Moissac in 1077, and the monastery was increased by a cloister. The dome was destroyed in 1703, when it nearly collapsed. A dome was then placed in 1760, further undermining the solidity of the walls. In 1761, poorly maintained, the entire Romanesque church had to be demolished. A reconstruction project started in 1764 was stopped in order to allow the construction of the quays of the Garonne by the architect Saget below, and on which the establishment of the basilica overflowed.
The new project was ambitious. It was a question of reproducing Saint Peter's Basilica in Rome. Nine years later, the plans were modified, and the whole thing was rotated and translated. Thus, the choir of the primitive basilica, which was built on the remains of the Roman temple, is now located under the transept. The work was interrupted by the Revolution. The church was consecrated as a basilica by Pope Pius IX in 1876, two years before the Basilica of Saint-Sernin. It was not really finished until 1883.
A byrding is a small viking merchant ship made for travel in shallow waters. It was used from late Antiquity to the end of the Viking Age.
This has been waiting to be photographed for a very long time now. It was originally supposed to be incorporated into a larger diorama for the "Shipyard" category of the CCC XV in 2017. It was pieces away from being finished, but I wasn't able to find time to finish it, or to come up with a decent idea for a base.
I finished it in a hurry in time for the Paredes de Coura Fan Week-end in June 2018, then left it to the dust of my shelves. I took it out again for my 2nd attendance at the Banyuls-sur-Mer exibition in September. After several unsuccessful attempts at photographing it and a little more dust-gathering, I finally took upon myself to purchase a new background roughly suiting the color scheme and the atmosphere I wanted to create. :)
As usual, I tried making it as close to reality as I could possibly could with the documents and original mesurements I had (which wasn't a lot).
I think the part I am the most proud of is the hull, which I managed to make extremely thin, without compromising the stability and solidity of the whole model. I'm really excited at the idea of perhaps refining the techniques I used in the future for another longship! Another thing I find cool is that the rigging really plays a role in the solidity of the MOC, and isn't just there for aesthetic reasons ;)
Hope you like it!
The music accompaniment for this creation is: Ótroðinn, by Adrian von Ziegler.
Excerpt from the plaque:
Tombs and Vaults
During the 1989-1993 works in the church several decorated 14th century tombs were discovered. The findings were important because they brough insight in the way people were buried and they gave more information about the perception of death in the Middle Ages.
Decorated tombs are typical for the county of Flanders and Bruges definitely had a leading role. In sixteen former or still existing Bruges places of worship decorated tombs were discovered. They all date back to the period between 1270 and the 17th century.
The paintings in the graves of Saint Saviour’s are stereotype ones. They are made with the fresco technique and are somewhat archaic.
Brick tombs were plastered and in the wet coat of plaster the painter scratched the most important silhouettes. He applied the natural and mineral pigments and finished his drawings with the application of black silhouette lines. As paint and plaster dry together, they become completely integrated and assure a good solidity.
As deceased persons had to be buried within 48 hours, the craftsman had little time to execute his work. Moreover it was an uncomfortable work because of the confined space and the faint light.
The inside walls of the tombs show identical images. The long sides show angels swaying censers, on the small sides we find the crucified Christ together with Mary and Saint John and a throning Madonna with Child.
Under the influence of the Franciscan friars the Christ triumphant from the 13th century onwards was converted into a suffering or dying Christ and Mary is depicted as a queen and mother. Moreover, she is shown as the Advocate nostra, our advocate and mediator in heaven who will plead the salvation of the deceased. Exceptionally we see the blessing Crist as Salvator Mundi with a globe. Like this, he probably refers to the name of this church. Further we recognise crosses (with lily tops), flowers and stars. The colours are restricted to dark red, blue and black.
In the 15th century the on-site painting was replaced by a paper image which was made in the atelier of the painter. When ready it was attached to the tomb walls. Wood engravings could also decorate tombs as proved a discovery in this church in 1841. It shows the coronation of Our Lady by the Holy Trinity.
The Castelvecchio Bridge (Italian: Ponte di Castelvecchio) or Scaliger Bridge (Italian: Ponte Scaligero) is a fortified bridge in Verona over the Adige River. The segmental arch bridge featured the world's largest span at the time of its construction (48.70 m).
It was built (most likely in 1354-1356) by Cangrande II della Scala, to grant him a safe way of escape from the annexed eponymous castle in the event of a rebellion of the population against his tyrannic rule. The solidity of the construction allowed it to resist untouched until, in the late 18th century, the French troops destroyed the tower on the left bank (although it probably dated from the occupation of Verona by the Visconti or the Republic of Venice).
The bridge was however totally destroyed, along with the Ponte Pietra, by the retreating German troops on April 24, 1945. A faithful reconstruction begun in 1949 and was finished in 1951, with the exception of the left tower.
The bridge is in red bricks in the upper part, as all landmarks in Verona from the Scaliger era, and in white marble in the lower one. It includes three spans of decreasing length starting from pentagonal towers. The largest span, measuring 48.70 m, meant that the bridge featured at the time of its construction the world's largest bridge arch (the others measure 29.15 and 24.11 meters). The two pylons are 12.10 x 19.40 and 6.30 x 17.30 meters respectively.
The bridge has a total length of 120 m.
Many thanks to everyone who will pass by visiting my shots. Comments are appreciated. You are welcome. Sergio
Panasonic Lumix FZ28
© Sergio Presbitero 2011, All Rights Reserved
This work may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
I am trying to find immobility. I long for repose and immobolisation. Within myself, I feel a longing to immobolise life around me, and that is why I like immobile objects; things that are always there and never change.
I attach importance only to solidity. A train passes along an embankment; the train does not exist for me. I only want to construct the embankment. The past is the precipice, the future is the mountain. So I had the idea of setting aside a buffer day between the past and the present. During that day, I am trying to do nothing at all.
You can't classify it, know where it belongs.I'm cut off from my own past; it's as if life were just beginning. It's as if the other had never been, so much so that it's - all of it - nothing but shadows. But anyway, as it's contracting, breaking up, growing smaller (the past, of course), it's shapeless you might say. It's more like a wooden hut that's collapsing; or rather, it's more like a picture with a perspective in space, and depth that flattens out suddenly, so that it's only on the surface.
What should I do with this watch? I have to keep looking at it. There's so much time; it is as though it were Spanish quillwork, dark and delicate, softly flowing and moist. I keep on telling myself it's a watch, but it doesn't fit together properly - the hands, the face, and the fact that it works. It's as if it were in pieces.
It's as if life were just beginning, the softness of it gradually working through me - like clouds flowing, smooth. I can't remember exactly - flowing, dark, warm, soft.
I know it comes and goes, and then stops. When the watch stops, then everything's alright - then I'm alright.
I like motionless things - trees when there's no wind, and they don't move; and there's no wind, they don't move.
The watch doesn't make so much noise, even when it's not going - even when it's not stopped. But now it is stopped, as the trees stopped, as I've stopped.
I know exactly where I am, but I don't feel I'm in the place where I am. It takes me backwards, but where to? Where it comes from, where it was before. It returns into the past.
I am like a machine that works, but doesn't move. It works at full speed, but it doesn't move. I'm like a flaming arrow that is shot forward, and then stops, falls back and is extinguished in an airless void. It is force-dependent. By that I mean that there is no future, and I am thrown back into the past.
Time is gliding into the past, the walls have fallen. Before, everything was solid, everything was as if it were tangible, as if nothing had ever been moved. Time is breaking up.
"The pulpit, by Butterfield, c1858, manages to exude both a rugged solidity and a harmonious delicacy, the latter on account of the brilliantly coloured geometrical mosaics which adorn it, comprising Derbyshire fossil grey, red Languedoc, yellow Sienna and Irish green marbles."
Maybe it's about getting older, but I often feel a tenuous connection with reality. Like I am barely here. Like life is a dream. Like I could be gone at any moment, and all feels insecure and unreal.
And in the mornings, I often have to rise up through a fog of depression and anxiety, spooning coffee into the stove-top until the obscure unknown fades away, leaving me with enough sense of solidity to do all those normal things we have to do. But that 'reality', it seems thin.... Who am I again?
(very real trees through very real smoke, apparently)
Fotografía realizada a las escaleras, mientras caminaba con mi cámara en mano, dentro de un parque.
Photographed using the stairs , walking with my camera in hand, in a park.
X Provence apart from its beauty is an area full of a rich and varied history . This is seen most dramatically at the Pont Du Gard . Seeing this remarkable 2,000 year old structure for the first time is extraordinary . I echo Henry James when he wrote in 1864
“ The hugeness, the solidity, the unexpectedness, the monumental rectitude of the whole thing leave you nothing to say – at the time – and make you stand gazing. You simply feel that it is noble and perfect, that it has the quality of greatness”
Pont du Gard was added to UNESCO's list of World Heritage Sites in 1985 on the criteria of "Human creative genius; testimony to cultural tradition; significance to human history”. The description on the list states: "The hydraulic engineers and ... architects who conceived this bridge created a technical as well as artistic masterpiece."
A little information
The Pont du Gard is a Roman monument built halfway through the 1st century AD. It is the principal construction in a 50 km long aqueduct that supplied the city of Nîmes, formerly known as Nemausus, with water. Built as a three-level aqueduct standing 50 m high, it allowed water to flow across the Gardon river.
Built on three levels, the Pont is 49 m high above the river at low water and 274 m long. Its width varies from 9 m at the bottom to 3 m at the top. The three levels of arches are recessed, with the main piers in line one above another. The span of the arches varies slightly, as each was constructed independently to provide flexibility to protect against subsidence. Each level has a differing number of arches.
The Pont du Gard was constructed largely without the use of mortar or clamps. It contains an estimated 50,400 tons of limestone some of the individual blocks weigh up to 6 tons. Most of the stone was extracted from the local quarry of Estel located approximately 700 metres downstream, on the banks of the Gardon River.The coarse-grained soft reddish shelly limestone, known locally as "Pierre de Vers", lends itself very well to construction . Although the exterior of the Pont du Gard is rough and relatively unfinished, the builders took care to ensure that the interior of the water conduit was as smooth as possible so that the flow of water would not be obstructed. The walls of the conduit were constructed from dressed masonry and the floor from concrete. Both were covered with a stucco incorporating minute shards of pottery and tile. It was painted with olive oil and covered with maltha, a mixture of slaked lime, pork grease and the viscous juice of unripe figs. This produced a surface that was both smooth and durable.
THANKS FOR YOUR VISITING BUT CAN I ASK YOU NOT TO FAVE AN IMAGE WITHOUT ALSO MAKING A COMMENT. MANY THANKS KEITH
A letter written on a Friday evening by the author Gustave Flaubert to his Louise Colet in 1846:
"You tell me, my angel, that I have not initiated you into my inner life, into my most secret thoughts. Do you know what is most intimate, most hidden in my heart, and what is most authentically myself? Two or three modest ideas about art, lovingly brooded over, that is all. The greatest events of my life have been a few thoughts, a few books, certain sunsets on a beach at Trouville, and talks five or six hours long with a friend now married and lost to me. I have always seen life differently from others, and the result has been that I've always isolated myself (but not sufficiently, alas!) in a state of harsh unsociability, with no exit. I suffered so many humiliations, I shocked people and made them indignant, that I long ago came to realize that in order to live in peace one must live alone and seal one's windows lest air of the world seep in. in spite of myself I still retain something of this habit. That is why I deliberately avoided the company of women for several years. I wanted no hindrance to my innate moral precept. I wanted no yoke, no influence. In the end I no longer desired woman's company at all. Stirrings of the flesh, throbbings of the heart, were absent from my life, and I was not even conscience of my sex. As I told you, I had an overwhelming passion when I was little more than a child. When it ended I decided to divide my life in two parts: to put on one side my soul, which I reserved for Art, and on the other my body, which was to live as best I could. Then you came along and upset all that. So here I am, returning to a human existence!
You have awakened all that was slumbering, or perhaps decaying, within me! I have been loved before, and intensely, though I'm one of those who are quickly forgotten and more apt to kindle emotion than to keep it alive. The love I arouse is always that felt for something a little strange. Love, after all, is only a superior kind of curiosity, an appetite for the unknown that makes you bare your breast and plunge headlong into the storm.
As I said, I have been loved before but never the way you loved me; nor has there ever been between a woman and myself the bond that exists between us two. I have never felt for any woman so deep a devotion, so irresistible an attraction; never has there been such complete communion. Why do you keep saying that I love the tinselly, the showy, the flashy? 'Poet of form!' That is the favourite term of abuse hurled by utilitarian's at true artists. For my part, until someone comes along and separates for me the form and the substance of a given sentence, I shall continue to maintain that that distinction is meaningless. Every beautiful thought has a beautiful form, and vice versa. In the world of Art, beauty is a by-product of form. just as in our world temptation is a by-product of love. Just as you cannot remove from a physical body the qualities that constitute it - colour, extension, solidity - without reducing it to hollow abstraction, without destroying it, so you cannot remove the form from the Idea, because the Idea exists only by virtue of its form. Imagine an idea that has no form - such a thing is as impossible as a form that expresses no idea. Such are the stupidities on which criticism feeds. Good stylist are reproached for neglecting the Idea, the moral goal; as though the goal of the doctor were not to heal, the goal of the painter to paint, the goal of the nightingale to sing, as though the goal of Art were not and foremost, Beauty!"
beneath the vast blue expanse of the madrid sky, one of the cuatro torres stands tall and imposing. the kpmg building pierces the sky, its reflective glass façade capturing the fleeting shapes of clouds. today, these clouds form ethereal shapes, reminiscent of ghostly figures swirling and dancing around the skyscraper, invoking memories of the spectral apparitions from ghostbusters. the interplay between the sleek, modern structure and the wispy, transient clouds creates a scene where the earthly meets the otherworldly, blending the solidity of human achievement with the ephemeral beauty of nature.
We never look deeply into the quality of a tree;
we never really touch it,
feel its solidity,
its rough bark,
and hear the sound that is part of the tree.
Not the sound of wind through the leaves,
not the breeze of a morning that flutters the leaves,
but its own sound,
the sound of the trunk and the silent sound of the roots.
(Jiddu Krishnamurti)
No 4 in the series of St Johns Cathedral in Brisbane.
The building is so stately and inspiring. I love the elements of height and structural solidity, especially the stone and stained glass.
Today I donated copies of the images to the cathedral administration who were very grateful for some new photos, as it appears that despite many people taking photos, no one seems to think to give them any copies. This surprised me a bit.
In the background on the horizon stands the Leh Palace, Ladakh.
There are countless number of photos of the Palace at Leh in Ladakh. Infact when I wanted to visit this monument one cloudless sunny November day, it was an exercise in futility as it was the weekly off so no entry was allowed. That was the last sight of the gates of the Palace or so I thought. I will not be ever seeing the palace again.
The facade of the Palace however is a prominent feature all along the bazaar side of the Leh town and you cannot afford to miss it in the skyline. So it did make periodic appearance in photographs that I took in the derelict and decaying inner sanctums of the township such as this place.
There is a life that goes on in the shadows and dark areas of Leh , while the sun shines fiercely and the monuments glisten on the mountainside while the sky takes on inky blue tones ( with an underexposure in camera)
This was built around the 17th century and is a a stone structure in 7 layers modeled on the Potala of Lhasa, Tibet.
This was the seat of the royal family of Ladakh. Today it stands mute testimony to its solidity while the square houses around the area were inundated by flash floods in 2009-2010.
_DSC5927 nef 2025 take2
Puente del Kursaal, Donostia, Guipúzcoa, España.
Puente de tramos rectos de hormigón armado, recubierto por piedra de Motrico y mármol rosa, con elementos decorativos de estilo modernista. Construido sobre grandes pilares, de donde arrancan las seis características farolas que contienen a esta obra su marcada personalidad.
A comienzos del siglo XX. El ayuntamiento apoya la construcción de un tercer puente sobre el Urumea "en el que se armonicen la solidez y la resistencia con la monumentalidad y belleza del conjunto".
El ingeniero Ribera presentó al Ayuntamiento una importante modificación: el puente de la Zurriola, proyecto inicialmente con arcos, será construido con tramos rectos.
El 14 de Agosto de 1921 numerosísimo público acudió a la inauguración.
El barandado metálico y los obeliscos que hacen de farolas son obra de Victor Arana. Las cuatro esfinges de bronce pertenecen a la reforma de 1993. Tienen 120 metros de largo como el puente de Santa catalina con el que mantiene cierta armonía de líneas y es algo mayor que el Puente de María Cristina, de 100 metros.
Años de realización: 1918-1921
Autor: J.E.RIBERA
Bridge of straight sections of reinforced concrete, covered by motric stone and pink marble, with decorative elements of modernist style. Built on large pillars, from which the six characteristic lanterns that contain this work its marked personality.
At the beginning of the 20th century. The city council supports the construction of a third bridge over the Urumea "in which solidity and resistance are harmonized with the monumentality and beauty of the whole".
Engineer Ribera presented the City Council with an important modification: the Zurriola bridge, initially with arches, will be built with straight sections.
On August 14, 1921, a large audience attended the inauguration.
The metal balustrade and the obelisks that act as lampposts are the work of Victor Arana. The four bronze sphinxes belong to the 1993 reform. They are 120 meters long, like the Santa Catalina bridge, with which it maintains a certain harmony of lines and is somewhat larger than the María Cristina Bridge, which is 100 meters long.
Years of realization: 1918-1921
Author: J.E.RIBERA
Crissolo (Cuneo - Italia): la natura mi affascina per la sua imponenza e solidità.
Crissolo (Cuneo - Italy): Nature fascinates me for its grandeur and solidity.
Excerpt from the plaque:
Tombs and Vaults
During the 1989-1993 works in the church several decorated 14th century tombs were discovered. The findings were important because they brough insight in the way people were buried and they gave more information about the perception of death in the Middle Ages.
Decorated tombs are typical for the county of Flanders and Bruges definitely had a leading role. In sixteen former or still existing Bruges places of worship decorated tombs were discovered. They all date back to the period between 1270 and the 17th century.
The paintings in the graves of Saint Saviour’s are stereotype ones. They are made with the fresco technique and are somewhat archaic.
Brick tombs were plastered and in the wet coat of plaster the painter scratched the most important silhouettes. He applied the natural and mineral pigments and finished his drawings with the application of black silhouette lines. As paint and plaster dry together, they become completely integrated and assure a good solidity.
As deceased persons had to be buried within 48 hours, the craftsman had little time to execute his work. Moreover it was an uncomfortable work because of the confined space and the faint light.
The inside walls of the tombs show identical images. The long sides show angels swaying censers, on the small sides we find the crucified Christ together with Mary and Saint John and a throning Madonna with Child.
Under the influence of the Franciscan friars the Christ triumphant from the 13th century onwards was converted into a suffering or dying Christ and Mary is depicted as a queen and mother. Moreover, she is shown as the Advocate nostra, our advocate and mediator in heaven who will plead the salvation of the deceased. Exceptionally we see the blessing Crist as Salvator Mundi with a globe. Like this, he probably refers to the name of this church. Further we recognise crosses (with lily tops), flowers and stars. The colours are restricted to dark red, blue and black.
In the 15th century the on-site painting was replaced by a paper image which was made in the atelier of the painter. When ready it was attached to the tomb walls. Wood engravings could also decorate tombs as proved a discovery in this church in 1841. It shows the coronation of Our Lady by the Holy Trinity.
Hair: Adah Hairstyle @ Blanc. Event Open which opens on the 28th
Outfit: Belle Epoque { Ninette }
Shoes: TETRA - Double Wrap Bootie
Nails: Rosary. Base Nails + Solidity HUD
Lipstick: : Dernier : "Anita Special" Lipstick
Photo was taken @ the The Vordun Museum and Gallery
There's something about standing on frozen water. The brittle crack of the ice on the shore as you step onto it; the solidity of the thicker ice; the unanswered question of what lies beneath.
I know - it's the same mountain as the last shot. This one presents an altogether different side to that solid and wonderfully shaped chunk of rock.
Made on a windy Friday afternoon, although in comparison to previous days ....a light breeze. The grasses all over the islands are shaped and moulded by the prevailing winds and form almost ocean like flows around solidity. I spent a lot of time observing and recording this and at long last I am glad I did.
Here is my Grendizer (Goldrake/Goldorak)! Being a real legend in many countries, this guy truly deserves a proper treatment, so i've made the biggest creation i've ever made so far: 320 mm is a good help while recreating the typical curved surfaces of 80ies Super Robots, but it has been also a challenge, trying to reach a good compromise between aesthetic, solidity and poseability.
Puente del Kursaal, Donostia, Guipúzcoa, España.
Puente de tramos rectos de hormigón armado, recubierto por piedra de Motrico y mármol rosa, con elementos decorativos de estilo modernista. Construido sobre grandes pilares, de donde arrancan las seis características farolas que contienen a esta obra su marcada personalidad.
A comienzos del siglo XX. El ayuntamiento apoya la construcción de un tercer puente sobre el Urumea "en el que se armonicen la solidez y la resistencia con la monumentalidad y belleza del conjunto".
El ingeniero Ribera presentó al Ayuntamiento una importante modificación: el puente de la Zurriola, proyecto inicialmente con arcos, será construido con tramos rectos.
El 14 de Agosto de 1921 numerosísimo público acudió a la inauguración.
El barandado metálico y los obeliscos que hacen de farolas son obra de Victor Arana. Las cuatro esfinges de bronce pertenecen a la reforma de 1993. Tienen 120 metros de largo como el puente de Santa catalina con el que mantiene cierta armonía de líneas y es algo mayor que el Puente de María Cristina, de 100 metros.
Años de realización: 1918-1921
Autor: J.E.RIBERA
Bridge of straight sections of reinforced concrete, covered by motric stone and pink marble, with decorative elements of modernist style. Built on large pillars, from which the six characteristic lanterns that contain this work its marked personality.
At the beginning of the 20th century. The city council supports the construction of a third bridge over the Urumea "in which solidity and resistance are harmonized with the monumentality and beauty of the whole".
Engineer Ribera presented the City Council with an important modification: the Zurriola bridge, initially with arches, will be built with straight sections.
On August 14, 1921, a large audience attended the inauguration.
The metal balustrade and the obelisks that act as lampposts are the work of Victor Arana. The four bronze sphinxes belong to the 1993 reform. They are 120 meters long, like the Santa Catalina bridge, with which it maintains a certain harmony of lines and is somewhat larger than the María Cristina Bridge, which is 100 meters long.
Years of realization: 1918-1921
Author: J.E.RIBERA
Castel Vecchio Bridge
It was built (most likely in 1354-1356) by Cangrande II della Scala, to grant him a safe way of escape from the annexed eponymous castle in the event of a rebellion of the population against his tyrannic rule. The solidity of the construction allowed it to resist untouched until, in the late 18th century, the French troops destroyed the tower on the left bank (although it probably dated from the occupation of Verona by the Visconti or the Republic of Venice).
The bridge was however totally destroyed, along with the Ponte Pietra, by the retreating German troops on April 24, 1945. A faithful reconstruction begun in 1949 and was finished in 1951, with the exception of the left tower.
Ce pilier est au centre du transept sud à coté de l'horloge astronomique. Ce pilier magnifique fut élevé de 1230 à 1250. A la base sont sculptés les attributs de quatres Evengélistes: l'ange, le lion, le boeuf, et l'aigle. Au dessus se trouvent les évengélistes, puis les anges sonnant la trompette du jugement dernier, enfin le Christ et trois anges portant les instruments de la Passion. Ce pilier, d'une audace folle est dû à un architecte de l'école de Chartres dont on ignore le nom, mais qui sans conteste l'un des plus grands sculpteurs de son temps. Il l'a décoré avec tant de virtuosité que l'on en oublie à le regarder, son rôle essentiel.
On l'appelle aussi le pilier du "Jugement dernier" et la légèreté de son faisceau de colonnes est telle que l'on doute à l'origine de sa solidité. Témoin le personnage pensif, accoudé de la "Tribune des chantres" et qui regarde le pilier d'un air anxieux.
Ce serait, pour certains, l'autoportrait de l'architecte Nikolaus de Haguenau, mais pour d'autres celui d'un visiteur qui aurait prédit l'éffondrement rapide du pilier.
"Vous doutez de la solidité" lui aurait répondu Maître Erwin? "Eh bien!vous résterez là à la regarder jusqu'à ce qu'elle ne s'écoule
the pillar of angels.
This pillar is in the center of the south transept next to the astronomical clock. This magnificent pillar was raised from 1230 to 1250. At the base are carved the attributes of four Evengélistes: the angel, the lion, the ox, and the eagle. Above are the evangelists, then the angels sounding the trumpet of the last judgment, finally Christ and three angels carrying the instruments of the Passion. This pillar, of a daring audacity is due to an architect of the school of Chartres whose name is unknown, but which undoubtedly one of the greatest sculptors of his time. He has decorated it with such virtuosity that one forgets to look at it, its essential role.
It is also called the pillar of the "Last Judgment" and the lightness of its bundle of columns is such that one doubts the origin of its solidity. Witness the thoughtful character, leaning on the "Tribune des chantres" and looking at the pillar anxiously.
It would be, for some, the self-portrait of the architect Nikolaus de Haguenau, but for others that of a visitor who would have predicted the rapid collapse of the pillar.
"You doubt the solidity" would have answered Master Erwin? "Well, you'll stay there watching it until it runs out
Whitman referred to this as "the best picture of all" when it came to portraits of himself.
Later in his life, he described it as having "almost the old professor look". He mused, "How well I was then! Full of initiative, vigor, joy, not much belly, but grit, fibre, hold, solidity. Indeed, all through those years, I was at my best, physically at my best, mentally, every way."
Original black and white photo by Alexander Gardner (1812-1882), courtesy of the Library of Congress
View this large.
The wind is not kind near the Sangre de Cristo Mountains. Climbing the dunes was the single, most fun thing I did on my trip. I had no idea what to expect, all I was told was, "Good luck. It's hard", When I started my climb.
Climbing giant dunes of quartz sand is what I imagine climbing giant piles of sugar must be like; extremely taxing, but very rewarding. Taking a three-foot step means sinking a foot into the dune and sliding two feet down the slope. Sure, I could have climbed the ridges of the dunes, which are comparatively easy due to the extreme winds packing the sand to a beach-like solidity, but that would ruin the challenge, and the fun.
By the time I eclipsed the first peak, I saw another higher. Me, not about to be defeated by a pile of sand, climbed the next highest peak... then the next highest, until I was finally high enough to look over every other dune in the field. I had climbed to the top of Star Dune, the highest dune in North America. Just previous I was on High Dune, which is also no small dune, second or third highest on the continent, I believe (Eureka in Death Valley may be higher, I don't know off the top of my head).
By the time I was finished climbing, I had emptied my shoes four times, amazed each time my feet still fit in my shoes with the volume of sand I had cast away. Winds and sand near the top of the dune whip hard enough to irritate skin, and turn it red for hours. "Seeing" the wind is fairly easy, and the hazier, softer, and more-flowing parts of the image--notably the left side--is evidence of sand in the wind.
Man, that was fun.
Spyder XRC Race Series '08. (day 1)
Feb. 23, 2008
Macapagal Ave., Pasay City
Shoot for RUSH Fitness Water
♕ Beret: Moon Elixir x MUSE - Fetish Chic - Beret Hat @ MUSE
♕ Hair: DOUX - Valentina hairstyle
♕ Eyeshadow: Tutti Belli - 'Supercut' Collection @ Tutti Belli
♕ Lipstick: Tutti Belli - 'Sugar' Collection @ Tutti Belli
♕ Skin: poema - SIDONIE skin T.1 @ POEMA
♕ Necklace: RAWR! Royals Necklaces @ RAWR
♕ Earrings: 7;] Hibbert Drop Ear Cuff Earrings - @ SEVEN
♕ Ring 1: OLD TREASURES - 15 - RUSSIAN WINTER Gem Ring Silver
♕ Ring 2: Orsini Jewelry HW COCO Ring Bento @ ORSINI
♕ Ring 3: Orsini Jewelry HW GLAM Ring Bento @ ORSINI
♕ Ring 4: Orsini Jewelry LOLI Ring Bento @ ORSINI
♕ Nails: Rosary. Base Nails . Square + Solidity HUD @ ROSARY Nail Shop
♕ Dress: ISON - velvet crush dress @ ISON
♕ Belt: Rowne.Huizi Leather Belt @ ROWNE
♕ Shoes: Phedora ~ Austria Heels @ PHEDORA
♕ Pose: BERAS - Static Pack Blue- Pose 3 @ LEVEL
♕ Backdrop: Rowne.Montmarte Staircase. Paris RARE
The Chattanooga Bank Building, located in the downtown business district, was constructed in the late 1920's and reflect Architect Reuben Harrison Hunt's passage from Classical Revival style of architectural influences into the Art Deco period. While this building does not reflect the total influence of the Art Deco style, it represents, in a different manner, this significant transitional period of both Hunt and the style.
Structurally, this building is similar in composition to the Medical Arts Building (also designed by R.H. Hunt) and reflects the traditional skyscraper design with a rectangular base with three visual divisions...a two-story base, the middle shaft section, and a decorative cornice. Yet, the execution of the exteriors is quite different. While the Medical Arts Building reflects the geometric influences of the Art Deco style, the Chattanooga Bank Building reflects more of the theme of nature in its decorative elements. The facade of the two-story base is clearly delineated by a series of arched windows. Below each window is a series of flowers & vines; above each window is a decorative band composed of waves & elongated lillies. This delineation is reinforced by a series of eagles above the second floor level placed on piers between the windows. Flat & unlifelike, these streamlined eagles harmonize with the vertical emphasis of the shaft division of the building. Also, their wings are designed to give the impression of a chevron, a geometric element. Although the eastern entrance has been altered, the western entrance remains unchanged & again exhibits elements related to the theme of nature. The entrance is flanked by a marble surround which contains a series of flowers. Also on the marble is an element which appears to be bound sticks with a hatchet/ax protruding—again symbolic elements relating to plants & man. Again, the eagle motif appears. Since much of the Art Deco style involved symbolism, the eagle motif was probably used on this structure—a bank—to convey the impression of solidity & security.
For its significance in the area of architecture and specifically a transition in architectural style by Reuben Harrison Hunt, the Chattanooga Bank Building was added to the National Register of Historic Places (NRHP) on September 15, 1980. All of the information above was found on the original documents submitted for listing consideration and can be viewed here:
npgallery.nps.gov/NRHP/AssetDetail/07f3cd99-70fd-4238-8ac...
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
into rain, wire, sheep, grass.
each, only for a short time, then there is dispersion, separation.
The form fades in, and fades out, like a cloud.
It is a breathing, in and out.
The entire universe is breathing.
And each molecule, when looked into, is itself made of particles that are a coming and going of energy, which has no dimension, no solidity, no permanence. Between the particles of relatively substance-less, mass-less energy, there is what appears to be a second kind of nothingness we call space; endless space - within which all fades into, and fades out of.
This nothingness that is between the everythingness, how can you measure it?
From where does it all come, this vast universe of incalculable energy, and to where does it all go?
Post #053
DOUA Outfit
Head: Genus - Classic Face W001 @Mainstore
Body: Legacy Mesh Body @Mainstore
Outfit:
Top - *New* DOUA- Ripper Tank @Mainstore
Jeans - *New* DOUA - Ripper Thong @Mainstore
Socks - Spoiled - Lollyta Heart Stockings @Marketplace
Hair:
Buns - *New* DOUX - Ines Hairstyle @Dubai
Accessories:
Nails - Rosary - Solidity Nails @Mainstore
Glasses - Spoiled - Gamer Girl Glasses @Marketplace
Headset - Spoiled - Boho Unicorn Gaming Headset @marketplace
Necklace - HIVE - Customized Choker @Kustom9
"The atoms are in a continual state of motion. Among the atoms, some are separated by great distances, others come very near to each other in the formation of composite bodies, or at times are enveloped by others which are combining. But in this latter case they, nevertheless, preserve their own unique motion, thanks to the nature of the vacuum, which separates the one from the other, and yet offers them no resistance. The solidity which they possess causes them, while knocking against each other, to react the one upon the other, Finally, the repeated impacts bring on the dissolution of the composite body. For all this there is no external cause, the atoms and the vacuum being the only causes". Epicurus. Letter To Herodotus
"The atoms are in a continual state of motion. Among the atoms, some are separated by great distances, others come very near to each other in the formation of composite bodies, or at times are enveloped by others which are combining. But in this latter case they, nevertheless, preserve their own unique motion, thanks to the nature of the vacuum, which separates the one from the other, and yet offers them no resistance. The solidity which they possess causes them, while knocking against each other, to react the one upon the other, Finally, the repeated impacts bring on the dissolution of the composite body. For all this there is no external cause, the atoms and the vacuum being the only causes". Epicurus. Letter To Herodotus
3Q88 Derby - Bangor running down to Shrewsbury, before returning a couple of hours later. The Cefn Mawr viaduct emphasises solidity; it was built in 1846-8 and was claimed to be the longest viaduct in Britain. The sandstone was quarried locally. Various transport links cross the valley of the River Dee in this area, the A5 road is a way behind the camera, and above the lead loco in the distance can be glimpsed the Pontcysyllte Aqueduct. This dates from 1795 to 1805, carries the Llangollen Canal in cast iron troughs and is a World Heritage Site.
I hope that's at least a week's supply! :-)
I think the street sign really ties the real world into the mural here, and the garish primary colours of both make it match rather nicely and it blends the two together. I also used some contrast and de-haze to give the real figure some two-dimensional solidity to make him harder to separate from the background. Lens at maximum zoom and minimum aperture of course goes without saying. Then, just to leave a clue, I gave it the title. The real figure was just about to light the first cigarette from the 10 or so packets he was carrying!
"The atoms are in a continual state of motion. Among the atoms, some are separated by great distances, others come very near to each other in the formation of composite bodies, or at times are enveloped by others which are combining. But in this latter case they, nevertheless, preserve their own unique motion, thanks to the nature of the vacuum, which separates the one from the other, and yet offers them no resistance. The solidity which they possess causes them, while knocking against each other, to react the one upon the other, Finally, the repeated impacts bring on the dissolution of the composite body. For all this there is no external cause, the atoms and the vacuum being the only causes". Epicurus. Letter To Herodotus
As I edged closer to the back of this old burial ground I was overwhelmed by how the visual sensation meshed so perfectly with the emotional impact of being here. Boundary lines are always a fascination for me, and here that sense was particularly keen. Both in terms of standing on the precipice of a steep ravine but even more so the frontier that separates life from death. And there's just something about foggy days that makes that metaphorical distinction as ill-defined as the atmosphere itself...again a visual that enhances the visceral. Beyond all of this was the contour of the land, and the sense of subsidence and erosion, as if the ground beneath my feet might suddenly slip away, taking me over the brink along with the old grave markers in one big woosh! A very uneasy feeling. One thing we take for granted is the solidity of the earth, and losing that is destabilizing in so many ways. I've seen videos of landslides, usually from California and they are horrifying yet oddly mesmerizing. Once it starts it just seems so inexorable. As I stood here I was taken with the sense that even the trees were contributing to the visual sense of imminent peril, tipping and leaning as they were. It appeared they were already beyond the threshold of safety. I just love scenes that offer a duality; in this case a seeming sense of serenity balanced a feeling of disorder. When everything is not all that it seems.
La ciudad de Toro (Zamora) – Spain, está a una distancia de 34 kilómetros de Zamora en la Comunidad de Castilla y León, estando declarada de interés turístico y Conjunto Monumental-Artístico.
La Colegiata de Santa María la Mayor de Toro (Zamora) – Spain, es una verdadera joya artística, se empezó a construir a finales del siglo XII en estilo románico y se finalizó ya en el siglo XIII.
Vemos un detalle del interior con grandes muros, columnas, decoración de capiteles y pechinas, dando aspecto de solidez constructiva en toda su estructura.
---------------------------------------------------------------
The city of Toro (Zamora) - Spain, is at a distance of 34 kilometers from Zamora in the Community of Castilla y León, being declared of tourist interest and Monumental and Historical site.
The Collegiate Church of Santa María la Mayor de Toro (Zamora) - Spain, is a real artistic jewel, it was built at the end of the 12th century in Romanesque style and was completed in the 13th century.
We see a detail of the interior with large walls, columns, decoration of capitals and pendentives giving an aspect of constructive solidity throughout its structure.
"The atoms are in a continual state of motion. Among the atoms, some are separated by great distances, others come very near to each other in the formation of composite bodies, or at times are enveloped by others which are combining. But in this latter case they, nevertheless, preserve their own unique motion, thanks to the nature of the vacuum, which separates the one from the other, and yet offers them no resistance. The solidity which they possess causes them, while knocking against each other, to react the one upon the other, Finally, the repeated impacts bring on the dissolution of the composite body. For all this there is no external cause, the atoms and the vacuum being the only causes". Epicurus. Letter To Herodotus
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
"The atoms are in a continual state of motion. Among the atoms, some are separated by great distances, others come very near to each other in the formation of composite bodies, or at times are enveloped by others which are combining. But in this latter case they, nevertheless, preserve their own unique motion, thanks to the nature of the vacuum, which separates the one from the other, and yet offers them no resistance. The solidity which they possess causes them, while knocking against each other, to react the one upon the other, Finally, the repeated impacts bring on the dissolution of the composite body. For all this there is no external cause, the atoms and the vacuum being the only causes". Epicurus. Letter To Herodotus