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IN ENGLISH BELOW THE LINE
Sumeu un gegantí objectiu militar de reconeixement aeri de la Segona Guerra Mundial a la càmera de premsa de gran format més famosa de la historia i teniu això: la Speed Graphic + Kodak Aero-Ektar; també conegut com el combo David Burnett, pel seu creador.
La Graflex Pacemaker Speed Graphic de 4x5 polzades és el summum de la càmera de premsa de gran format des de els anys 40 fins a inicis dels 60. Ja les Speed Graphic anteriors (Pre-Anniversary, Anniversary) havien dominat en bona mesura els anys 30 i 40, sobretot als Estats Units. La versió Pacemaker del 1947 millora les qualitats del model Anniversary, sobretot en fermesa: es substitueix l'estructura de fusta per una de totalment metal·lica. És l'equivalent a un tanc en el món de la fotografía. Igualment millorà en certa mesura els moviments del objectiu, i es simplificà l'obturador de pla focal sense perdre capacitats. Amés, aviat si incorporà el sistema Graflok per a carregar portaplaques, magatzems de plaques o adaptadors de filmpacks i pel·licula format 120. Una càmera realment tot terreny.
El Aero Ektar fou fabricat durant la Segona Guerra Mundial, en diverses distancies focals fins a 12 polzades, essent la de 7 polzades (aquesta) la més usual. Fou encarregada i emprada gairebé en exclusiva per la USAAF durant la guerra mundial, tant en reconeixement aeri en avions com el Mustang o Spitfire com per a documentar els bombardejos amb el B-17, B-24 o B-29. Es tracta d'un objectiu de gran complexitat i molt car. Sembla que costava tant en dolars del 1944 com un cotxe! Posteriorment es varen vendre a preu de saldo, com acostumen a fer els exèrcits un cop acabada la guerra (però ara han tornat a pujar de preu, eh!!).
La gracia per al gran format és montar aquesta bestia (pesa molt!!) en una càmera Graflex Speed Graphic de 4x5 polzades, Què aporta? Be, el Aero Ektar proporciona uns desenfocs, un bokeh, sensacional ben obert a f2.5 o similar (tancat a f16 proporciona imatges correctes però avorrides. Fou el periodista David Burnett qui descobrí la fantàstica combinació entre el Aero Ektar i la Graflex Speed Graphic (que gracies al seu obturador de pla focal pot emprar lents sense obturador propi).
Aquest Aero Ektar el vaig comprar complet amb la seva càmera Kodak K24, del qual el vaig desmontar. Fou fabricat el 1944, com demostra el nº de serie començant en EE (44).
petapixel.com/2013/02/08/david-burnetts-speed-graphic-pho...
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Add a gigantic military recognition lens used in World War II to the most famous large format press camera in history and you have this: the Speed Graphic + Kodak Aero-Ektar; also known as the "David Burnett combo", by its creator.
The 4x5" Graflex Pacemaker Speed Graphic is the summum of the large-format press camera from the 40's to the beginning of the 60's. Previous Speed Graphic models (Pre-Anniversary, Anniversary) had already dominated the 30's and 40, especially in the United States. The Pacemaker version of 1947 improves the qualities of the Anniversary model, especially in solidity: the wood structure is replaced by a completely metallic one. It is the equivalent of a tank in the world of photography. It also improved to a certain extent the lens movements, and the focal plane shutter was simplified without losing capacities. Plus, soon it incorporated the Graflok back system to load plate holders, film magazines (Grafmatic) or filmpack and rollfilm adapters.
The Aero Ektar was manufactured during World War II, in several focal distances up to 12", being the 7" (this one) the most usual one. It was commissioned and used almost exclusively by the USAAF during World War II, both in airline reconnaissance roles on board the Mustang or Spitfire and to document bombings with the B-17, B-24 or B-29. It is a very complex and very expensive lens. It seems that it was as expenseive as a car in 1944 US dollars! Subsequently, they were sold at a bargain price, as the armies usually do after the war (but now prices have risen again!).
The notable point for large format photography is to mount this beast (it weighs a lot!) into a 4x5 Graflex Speed Graphic camera. What does it bring? Well, the Aero Ektar provides , a gorgeous bokeh, well open at f2.5 or similar (at f16 it just provides correct but boring images). David Burnett was the one who discovered the fantastic combination between an Aero Ektar and a Graflex Speed Graphic (Thanks to its focal plane shutter it can use lenses without its own shutter).
This particular Aero Ektar was bought assembled in its Kodak K24 camera. It was manufactured in 1944, as shown by the serial number code EE (44).
petapixel.com/2013/02/08/david-burnetts-speed-graphic-pho...
www.johndesq.nl/graflex/aeromemorandum.htm
emulsive.org/reviews/lens-love-shooting-the-kodak-aero-ek...
www.youtube.com/watch?v=i-J4lvQOHCo
www.flickr.com/photos/tags/kodak%20aero-ektar%20178mm%202.5/
In creating this image, I sought to capture the very essence of a lighthouse in its most stripped-down environment. Using a long exposure technique allowed me to transform the water into a misty, almost surreal veil, creating a striking contrast with the unwavering solidity of the rocky jetty and lighthouse. This technical approach translates my philosophical vision of time: how certain structures stand resolute against the constant fluidity of the elements surrounding them. My deliberately minimalist composition, with its vast negative spaces and restricted color palette, expresses my need to create moments of visual silence in a world saturated with images. I waited for weather conditions where the boundary between sky and sea would become indistinct, reinforcing this impression of the lighthouse's isolation in an almost abstract environment. The green touch crowning the structure becomes the only vibrant point in the image, embodying the lighthouse's very purpose: to guide and orient in the grey immensity. Through this photograph, I invite the viewer into silent contemplation, to feel the tension between isolation and connection that these maritime structures symbolize. This work is part of my ongoing exploration of the dialogue between human architecture and natural environment, and how photography can reveal a temporal dimension imperceptible to the naked eye.
Post #054
CRAVIN Outfit
Head: Genus - Classic Face W001 @Mainstore
Body: Legacy Mesh Body @Mainstore
Outfit:
Bodysuit - *New* Cravin - Tommy Bodysuit @Tres Chic
Harness - *New* Cravin - Tommy Harness @Tres Chic
Hair:
Ponytail - *New* Punklist/Glamocracy - Trisha Hairstyle @Mainstore
Accessories:
Nails - Rosary - Solidity Nails @Mainstore
Glasses - *New* LIFONTI - Alya Shades @Dubai
My dear friends,
Today, 22nd September, is WORLD RHINO DAY. It is an opportunity for people all over the world to take a stand against rhino poaching and the illegal trade in rhino horn. It is all about spreading the word: Rhino horn has no medicinal value, despite the long held belief to the contrary, and is not a cure for cancer. However rhino horn is still sought after and mainly in the East. Rhinos are dying for nobody’s benefit – except that of the criminals involved in the poaching rings.
South Africa is custodian to over 80% of the world’s rhino. From 2000-2007 about 12 rhinos were poached each year in South Africa. Last year 333 were slaughtered. So far in 2011, about 300 rhinos have already been poached. Rhino poaching sees also sharp rise in other countries.
Extinction is not an option: Help Save Our Rhino!
Rhinos belong to all of us. Their survival is more threatened than ever before.
We need to raise awareness to fight the battle against their extinction.
Make your voice heard if you think that they are worth saving.
Some ideas to get involved:
1. Join one of the events today, e.g.
www.facebook.com/event.php?eid=224095080972284
www.facebook.com/event.php?eid=266471793371719
www.facebook.com/event.php?eid=163128317103866
2. Spare a thought for the almost 300 rhinos that have been viciously slaughtered for their horns in South Africa this year.
3. Make a poster (or several) and display today (or even longer). Put them up in your car windows, shop windows, schools, business - wherever they will be seen.
4. Communicate (e-mail, Facebook, twitter, blog, sms etc.) your objections to rhino being poached and spread the word that rhino horn has no medicinal value at all! The rhinos are dying for no good reason. Speak about it where- & whenever you contact people, again & again. People do not know (much) about it, particularly outside of Southern Africa.
5. There are lots of petitions online. Please sign & share them, at least the most important ones:
apps.facebook.com/petitions/6/moratorium-on-rhino-hunt-2011/
www.wildernessfoundation.co.za/index.php?option=com_proje... (PLEASE WATCH THE VIDEO ON THIS SITE & SIGN THE PETITION)
www.thepetitionsite.com/2/stop-legal-hunting-of-rhinos/
www.thepetitionsite.com/1/africa-geographics-stop-killing...
action.humanesociety.org/site/MessageViewer?em_id=24931.0...
6. Circulate this e-mail as widely as possible
7. If you are in South Africa:
Buy a “rhino” bag at your nearest Woolworths store. 10 Rand from the sale of every bag will go to the WWF for rhino conservation.
Get a MyPlanet card at any Woolworths store or online at www.myschool.co.za/schools/myvillage-myplanet .Choose EWT MyPlanet Rhino fund as your beneficiary. Every time you shop at Woolworths, or any of the partners, a percentage of your purchase will be donated to the fund at no cost to you.
8. Particularly if you are not in South Africa:
Inform your newspaper, radio station, local zoo, museum etc. – ask them to cover the rhino poaching crisis and to keep up with this issue
9. Take the rhino poaching crisis in the school. Here you find information resources for use by teacher/youth leaders: www.rhinos-irf.org/teachers/
10. Organise a fundraising event for rhino anti poaching. Some ideas: sponsored walk, bridge party, golf day, raffle, auction
11. If you want to donate money: Please be wary of potentially fraudulent fundraisers. Always look for a Non Profit Organisation (NPO) and Public Benefit Organisation (PBO) number, ask questions about how donations will be spent and what percentage of the donation goes towards actual conservation work.
Here you can find a selection of good organizations: www.facebook.com/notes/5050-community/these-are-a-selecti...
12. Stay informed, e.g. by checking the following websites:
and/or the different rhino pages on Facebook
13. If you want to help the rhinos on a spiritual level, here is a prayer by my wonderful friend Anna Breytenbach that humans can say and intentions we can hold:
“Rhinos are ancient and wise, and have a rightful place on earth. They survive in the wild through patience, silence and solidity. They are invisible to those who would harm them. Rhinos and their young have the space and human understanding they need to thrive. They are held in peace and love. May it be so.”
Please do not stop getting involved before the rhino poaching has been brought to a permanent end and a sustainable population of rhinos is established for the benefit of current & future generations.
THANK YOU. For the Love of Rhinos!
Christin
CHRISTIN KOTTHOFF
Diplom-Kauffrau
PR-Consultant|Conservationist
South Africa
e-mail: ckotthoff@gmail.com
Our lives begin to end the day we become silent about things that matter. Martin Luther King, Jr.
Please don't use any of my images on websites, blogs or other media without my explicit written permission. © All rights reserved
Terence Woodgate and John Barnard
Two Royal Designers for Industry, one from the world of furniture design, and one from the world of Formula 1 racing car design, collaborated to create the Surface Table, a super-slim composite table. A true engineering accomplishment, the incredible Surface Table uses state-of-the-art auto-sport technology to exploit the inherent rigidity and strength of carbon fibre. The 2mm thick edge and long span de es the eye with its improbable lightness and solidity. Radius corners, round legs, domed feet and rounded edges accentuate the slimness and seamlessness of the design.
Hollenderen - Halden - Norway
In memory of John Bauer 1882 - 1918
Swedish artist, painter and illustrator
The Art of Myth and Fairy Tale: John Bauer Art
-
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
•*¨♪ღ♪ ¨*•
Texture: Kerstin Frank
Thanks to everyone who takes the time to view,
comment, fave and invite my photo, much appreciated :o)
Bikini Top & Bottom: MAJESTY X COLD - '23 bron ' Vintage Bikini Bottom
Shorts: MAJESTY X COLD '23 bron' Vintage Shorts
Sizes:Freya,Hourglass, Legacy & Maitreya
maps.secondlife.com/secondlife/CAKE%20VALLEY/136/166/24
Sneakers: [Shoeminati] x3 Remaster - Kobe
Sizes:Belleza F,Maitreya ,Signature,Slink F, & Slink M
maps.secondlife.com/secondlife/Whispers/12/87/24
Hairbase: F.Q. Yummy Base Black
maps.secondlife.com/secondlife/Kangean%20Star/159/143/27
Hair Bun: Buddah bun
marketplace.secondlife.com/p/Buddah-bun/18011279
Nails:Rosary. Solidity
Sizes:Belleza,Legacy,Slink & Maitreya
A redux of my 911 Turbo build, which always had a whiff of 964 about it and was also somehow not as satisfying as I'd hoped.
I've always had a real soft spot for the 964, such a significant modernisation of a 1960s design should never have worked, but for me the solidity of the better integrated bumpers, combined with the much less dished wheels was perfect.
So, echoing the substantial re-engineering of the 964 over the impact-bumper 911, I took the opportunity to abandon the hard to realise curved side panels and a rear-end build whose awkwardness was always well masked by the whale tail. Plus I always hated the whale-tail.....
Follow me on Instagram www.instagram.com/jon3lliott/
© 2019 Thousand Word Images by Dustin Abbott
I really enjoyed my time with the Sigma 28mm F1.4 ART and consider it one of Sigma's best lenses thus far. It proved a great companion for a lot of different shooting situations, including this long exposure over a bloated and raging river. I used a 12 stop ND4000 to introduct time into the equation on this sunny afternoon, and the end result really emphasizes the stillness and solidity of the bridge in the midst of a dynamically moving scene. The bridge hangs, suspended, in both time and space. A monochrome conversion helped simplify the image. Here's my completed review coverage of the Sigma 28mm F1.4 ART:
Text Review: bit.ly/28mmARTDA
Video Review: bit.ly/28mmARTYT
Image Galleries: bit.ly/28mmARTig
#photodujour #dustinabbott #dustinabbott.net #photography #2019 #sony #sonyalpha #a7RIII #sigma #1428ART #28mmART #longexposure #ND4000 #petawawariver #springmelt #B&W #bridge
Technical Info | Sony a7RIII + Sigma 28mm F1.8 ART (MC-11) | Check me out on: My Patreon | Dustin's Website | Instagram | YouTube Channel
a relic of the cold war. i can identify.
it seems trite now but my generation grew up completely assuming that one day we or the world would die in a nuclear firefight. It wasnt a guess. It had the solidity of certainty. One day, either by horrifying accident or unflinching escalation, the missiles would be unleashed and pour over the artic circle, raining an apocalyptic destruction on us. i never bothered with the idea of fallout shelters and surviving - who would want to survive in that world? bodies addled with gamma-radiation, society shattered, the return of darwinian savagery, food and water poisoned, the healthy survivors shunning the refugees to protect the little they held on to.
the cold war seems so long ago and the geopolitical dynamics so irrelevent now, but at one time we lived with the reality of the world dying in the time it takes to sit down and eat a meal...
Palacio de Revillagigedo, Gijón, Principado de Asturias.
El Palacio de Revillagigedo o del Marqués de San Esteban del Mar está situado en la localidad asturiana de Gijón, en el barrio de Cimadevilla y plaza del Marqués de San Esteban, junto a la Colegiata de San Juan. Es una muestra notable de la arquitectura palaciega asturiana del siglo XVIII. En 1974 se declaró Bien de Interés Cultural y hoy en día, tras su rehabilitación, alberga junto con la capilla aneja el Centro Cultural Cajastur Palacio Revillagigedo.
La fundación del edificio se debe a Carlos Miguel Ramírez de Jove, primer marqués de San Esteban del Mar de Natahoyo (título nobiliario otorgado por Felipe V el 20 de marzo de 1708), quien lo mandó construir en 1704 aprovechando la torre medieval de estilo gótico (siglo XV) preexistente. Es conocido como Palacio de Revillagigedo porque en la misma familia que lo construyó recayó posteriormente el título de Condes de Revillagigedo. La obra finalizó en 1721, y estuvo bajo la dirección de Francisco Menéndez Camina, quien también proyectó el Palacio de Camposagrado de Avilés.
El edificio, de estilo barroco, está compuesto por dos torres almenadas de cuatro alturas, una más antigua (derecha según se mira la fachada) y la otra construida para mantener la simetría, y un cuerpo central de tres alturas que une las torres y que realza la fachada. Contrasta en el palacio la austeridad y solidez de las torres con la abundancia decorativa del centro. Esta parte está dividida en cinco calles, partiendo de la planta baja. En ella se encuentran los cinco arcos que conforman una galería porticada, cuyas columnas exteriores se prolongan por la fachada del edificio hacia el tejado y separan las calles. La central es ligeramente más ancha, y se articula con columnas jónicas en la planta baja, de orden compuesto en el primer piso y de tipo toscano en el segundo. Entre estas últimas se dispone el escudo, bajo una cornisa ligeramente curvada. El primer piso constituye la parte noble, con cinco ventanas con balconada. En el interior se abre un patio central de planta cuadrangular, organizado en torno a ocho columnas toscanas.
English
Revillagigedo Palace.
Revillagigedo Palace or the Marqués de San Esteban del Mar is located in the Asturian city of Gijón , in the quarter and an Marquês de San Esteban , near the church of San Juan. It is a remarkable example of the Asturian palace architecture of the eighteenth century. In 1974 was declared of Cultural Interest and today , after rehabilitation , he hosts along with the annexed chapel Cajastur Revillagigedo Palace Cultural Center .
The foundation of the building is due to Carlos Miguel Ramirez Jove, first Marquis of San Esteban del Mar Natahoyo ( noble title granted by Felipe V on March 20, 1708 ), who had it built in 1704 taking advantage of the medieval Gothic tower (XV century) preexisting . It is known as Palacio de Revillagigedo because in the same family that built it went later the title of Count of Revillagigedo . The work was completed in 1721, and was under the direction of Francisco Menéndez Walk, who also designed the Palace of Camposagrado Aviles .
The building in baroque style, is composed of two crenellated towers of four storeys , an older ( right as the facade looks ) and the other built to maintain symmetry , and a central body of three heights connecting the towers and enhances the facade . Contrasts in the palace austerity and solidity of the towers with decorative center abundance . This part is divided into five blocks , starting from the ground floor. It contains five arches that form a portico , the exterior columns extend along the facade of the building to the roof and separate streets. The center is slightly wider , and articulates with Ionic columns on the ground floor , composed of order on the first floor and Tuscan type in the second. The latter has the shield under a slightly curved cornice. The first floor is the noble part , with five windows with balconies . Inside a central quadrangular courtyard , organized around eight Tuscan columns opens .
www.youtube.com/watch?v=mSCNCUc9pw8
"Nostalgia, the comforting solidity of the past preferred to the alarming fluidity of the present"
Early bronze age - 3,900-3,600 ybp
From the end of the Beaker culture period - a 'proto Celtic' known for the expansion of Stonehenge and development of early metal-working skills : copper, tin, silver and gold, with their alloys of bronze and electrum.
The full size cape was found inside a tumuli in the Welsh boader town of Mold in Flintshire - south west of Liverpool. Flintshire may be the best named region on the British Isles for fans of prehistory, and shares with the Burgos region in Spain a significant 'esclaves'. The area became known for the Deceangli Celtic peoples. Most of the cape is of origin, with only a small darker section added as part of an incredible British museum restoration.
Recorded as one of 'the finest example of prehistoric sheet gold work" and worked out from a single nugget before being riveted onto bronze sheeting for solidity. proof that the aspect of gold was valued above bronze. There is also some evidence of a thick inner cloth to help buffer a comfort, and, possibly, an associated amber necklace.
The work seems to be a gold version of a refined and highest quality woven, beaded and stitched garment, and it may be interesting to create a couple of visualizations of a similar cape in the projected textile colours of the beaker culture.
The Welsh language of the site is :
Yr (the), Gwydd (sepulchre) Crug (mound).
The tumulus is known as :
Bryn (fairies/goblins) yr (the) Ellyllon (hill).
(Read the comments below for further precision).
The photo was taken behind glass in the British museum and I placed it into a simple drawing that aims to evoke movement.
AJ
Spring City, Utah. The chapel was conceived in 1882 by LDS bishop James Anderson Allred (1819-1904), who appointed a committee of twenty men to plan the project. It eventually was built at a cost of $40,000, with $6,000 received from church funds, and the remainder being donated by the men and women of Spring City ward. A masterpiece of LDS Church architecture, this chapel was dedicated in March 1914 by Anthon F. Lund, counselor to Mormon Church President Joseph F. Smith. During construction, a classroom annex was added to the rear. A compatible addition was made on the north in 1978, using rock from the same quarry to carefully match the design elements.
This Gothic Revival/Romanesque-influenced stone LDS Chapel was constructed between 1898 and 1914, although an inscription stone bears the date”1902.” Richard C. Watkins was the architect of this spectacular edifice. Scandinavian masons John F. Bohlin (1844-1924), Jens J. Carlson (1848-1927), Lars Larsen (1852-1924) and Jens ‘Rock’ Sorensen did the stone work. The carpenter’s name was Emil Erickson. The building has an elegant, horseshoe-shaped gallery accessible by a stairway in the tower. The chapel features a sloping floor and an ornamental oak pulpit at the west end. Behind the pulpit, hand-grained sliding doors opened into the annex. From the original exposed flooring to the vaulted and beamed ceiling, the interior is replete with beautifully detailed woodworking, all following the Gothic theme. The pulpit and the handmade rostrum chairs for the ward leadership are skillfully carved. The pew ends are decoratively milled, as is the sacrament table. The exterior is equally impressive with its tall, Gothic windows, tall stone tower and buttress and overall massiveness and solidity.
-- Sanpete County, via Jacob Barlow
Wenn ein Fahrer in den1960er-Jahren voller Stolz behauptete: „Ich fahre einen Mercedes!“, gehört die „große Flosse“ zu den Meilensteinen in der Firmengeschichte, die den legendären Mercedes-Ruf von Solidität, Sicherheit und Komfort verfestigten.
When a driver proudly claimed in the 1960s: “I drive a Mercedes!”, The “big fin” is one of the milestones in the company's history that cemented the legendary Mercedes reputation for solidity, safety and comfort.
Summer Painting Project 2021.
Acrylic on Canvas. 12" x 12".
The very best thing that came out of Lockdown for me was returning to painting after a 15 year hiatus. I started back at it in the Summer of 2020 and continued on with it in '21. I can only paint outdoors for a variety of reasons so this work is my "summer project". With a lot more time on my hands it was easy to jump outside on my balcony "studio", fitted with a giant drop sheet, some newspaper and plastic covered patio tables, and get right to it.
Most of the paintings shown here were done with at least one form of metallic paint - gold, silver and copper. Metallic greens, blues and purples also made their presences felt as well. These paints are ridiculously difficult to photograph. Silver goes white, gold just looks like flat yellow and copper comes out on camera as either orange or brown, depending what colour it's next to on the canvas. So these photographs are proxies, at best, representatives of the original source. They're close, but not the same as seeing the pieces in person.
Using metallic paints give the paintings an extra jolt and delight that sends them out of the realm of 'paint' in a sense - a definite goal I have in mind for these pieces. Another way of undermining 'safe' readings is to fashion them all on either perfect circles or on squares tilted "on the diamond", as I call it. Both undermine the traditional sense of solidity, gravity and earth-bound familiarity of rectilinear formats. While being unavoidable 'windows' into an imaginary world, they are also distinct objects existing in 3 dimensions as well. So the mind can toggle between object and metaphor, hopefully sometimes so quickly that they take on both aspects simultaneously.
This is another way of achieving my underlying artistic intent to provide each piece with more than one way of viewing it. Literally as you move around these pieces, because of the metallic paint sometimes reflecting fully and other times 'falling back' into the rest of the paints, you get different views appearing and disappearing. Hanging on a wall, as the daylight and evening lights change, slowly, so do the paintings. This gives voice, again, to my conviction that there is no single way to view anything. Nothing is singularly aspected.
So these paintings are morphing organisms that respond to what's happening in their light-universe and to how they're viewed by human eyes.
It's too bad none of these can be relayed in photographic form. Some come close. But these photographs, then, are petrified representatives of the living variations of their 'in-person' nature.
***** I want to thank Paul Ewing, Bramdass, Miranda Murray, Tim Noonan and Bill Smith for their continuous support and encouragement to get these things posted to Flickr.
- RSW
___________________________________________________
© 2021, Richard S Warner. All Rights Reserved. This image may not be used or copied or posted to another website in any form whatsoever without express permission of the creator of this work.
From Historicplaces.ca
Haultain School is a late nineteenth century, one and one half-storey building situated on 30 lots comprising roughly 0.98 hectares of land in Calgary's Beltline community. The school embodies the Richardsonian Romanesque style and features a rough-faced sandstone exterior with sandstone lintels, sills, and arches, a medium-pitched hip roof with pronounced overhangs, and a sandstone entabliture above the front entrance inscribed with "HAULTAIN SCHOOL 1892 1922".
Haultain School is a remarkable architectural statement - an early and small-scale adaptation of the Richardson Romanesque style. This style, made popular in the United States in the late nineteenth century, was typically employed on large-scale civic and religious buildings. The appearance of this style in western Canada in 1894 - only four years after its embodiment in Toronto's City Hall - is surprising, as is its expression in a building of such modest scale. The Richardson Romanesque style derives from, but also expands, the Romanesque Revival architectural vision that was commonly used for western Canadian schools of this period. Elements of the Richardson Romanesque style include the rock-faced sandstone exterior and contrasting elements, the round arched windows, and the horizontal stringcourse at the base of the building. Combined, these features create a sense of weightiness and solidity that is reinforced by the low-pitched roof with wide eave overhangs that imparts the building with a robust horizontality. Calgary's first sandstone school, first school with electricity and running water, and first school embodying Richardson Romanesque architecture, the building was a pioneering construction in the late nineteenth century.
Fraisthorpe beach again. I've hardly done any light graffiti this year, and only been to the beach a couple of times earlier in Spring. But I've got ideas I'd like to try out, so need to get back there before the weather turns too cold and nasty to paddle about in the surf at 3 am.
Most of this is your basic light graffiti tools - ie small LED torches with filters, some EL wire, and a small amount of halogen spot light here and there.
The "creature" didn't work as planned. I should've practiced more at home first, and added a nose and/or mouth feature to give it more solidity. On the other hand, I did get the eyes to align well. Really should've just done another plant/flower feature in its place.
Post production work is mainly colour balancing, levels/contrast, saturation, touching out a dozen or so noise hot spots, and some localised colour balance and a little dodge/burn to balance things up a bit. Some purists may think this is against the SOOC ethos of light graffiti, but it's mild retouching, and nothing beyond what could be done in a traditional hand printing colour darkroom (and therefore thought of as normal and not altering the image, but enhancing it).
I'm already hoping the next full moon is as good. This one was so bright that I was having overexposure problems! Took a few shots to nail it. Even this one at 17 mins 15 sec, ISO 100, f/8 was a little overexposed.
Las estaciones de la inconclusa línea ferroviaria Teruel-Alcañiz se construyeron entre 1927 y 1935 con una gran solidez estructural, a base de bloques de hormigón ornamentados por sillería de piedra artificial, con ladrillo caravista en los pisos superiores de algunas de ellas, y tejados apoyados en forjado de vigas metálicas.
Solo once de ellas, la mitad de las proyectadas, han llegado hasta nuestros días, la mayoría en relativas buenas condiciones. Otras han desaparecido para siempre. Especialmente absurda fue la demolición total de la Estación de Calanda ya mediados los años 80, supuestamente tras el accidente sufrido por unos jóvenes en la estación.
El Apartadero de Castelserás, cuyas ruinas vemos aquí, es un caso aparte. No acertamos a adivinar qué fuerza malvada destruyó el edificio de viajeros con tanta virulencia (¿quizá la Guerra Civil Española?), pero su fachada permanece obstinadamente en pie. Ignorada, mutilada y dolorosamente bella, no por mucho tiempo.
A su izquierda, la lampistería.
CASTELSERÁS
Continuing the Baeza-Utiel train line in its ascent course towards France, the stations of the unfinished railway line Teruel-Alcañiz were built between 1927 and 1935 with a great structural solidity, based on concrete blocks ornamented by artificial stone masonry, with exposed brick on the upper floors of some of them, and roofs supported in wrought metal.
However, only eleven of them, half of those projected ones, have reached our days, most of them in relatively good conditions. Some others have disappeared forever. Especially negligent was the total demolition of the Calanda Station and in the mid-80s, supposedly after a teenagers' accident at the station.
Castelserás sidings (Teruel, Spain), whose ruins we see here, mean a case apart. We can not guess what evil force destroyed the passenger building with such virulence (perhaps the Spanish Civil War?), but its facade remains stubbornly standing. Ignored, mutilated and painfully beautiful.
On the left, the toilette building.
More of this railway line: flic.kr/s/aHsmt4vFrK
transitory
www.merriam-webster.com/dictionary/transitory
www.marcusbain.art | linkedin | IMDB | vimeo
Francesco Bonsignori (Fucecchio, circa 1460 - Caldiero, July 2, 1519) - half-length figure of a saint (1500-1510) - tempera on canvas 39.1 x 33 cm - Poldi Pezzoli Museum, Milan
Parte di una composizione più ampia, la tela raffigura una santa ripresa di tre quarti a mezzo busto, stagliata sullo sfondo di un cielo azzurro. I lunghi capelli biondi che scendono delicatamente sulle spalle incorniciano il volto, sottolineandone la gentilezza dei tratti, che emerge in particolare nello sguardo pacato e profondo che la figura rivolge allo spettatore. Il capo è cinto da una fascia di perle intrecciate. Non è possibile identificare con precisione il soggetto dipinto, ma l’acconciatura con i lunghi capelli sciolti indurrebbe a ipotizzare che si tratti forse di un’immagine di Maria Maddalena, che potrebbe essere stata raffigurata originariamente all'interno di una più ampia composizione raffigurante la Madonna col Bambino e santi. L’opera, restaurata una prima volta in una data imprecisata tra il 1853 e il 1865 da Giuseppe Molteni e quindi da Luigi Cavenaghi all’inizio del XX secolo, rivela alcune mancanze in alto al centro, sullo sfondo del cielo, e minuti e abili ritocchi sulla nuca della figura. Dopo varie proposte attributive, che hanno voluto vedere nel dipinto anche influssi della scuola raffaellesca, gli studiosi hanno collocato l’opera nell'ambito della cultura veneta fra la fine del XV e l’inizio del XVI secolo, con riferimenti alla lezione di Alvise Vivarini, Antonello da Messina e Giovanni Bellini, e l’hanno infine attribuita al veronese Francesco Bonsignori. Bonsignori, nato nel 1460 circa e formatosi nella bottega di Francesco Benaglio, l’artista più attivo a quel tempo a Verona, si spostò soltanto poco dopo il 1480 a Venezia. Iniziò allora il decennio più continuativamente documentato della sua attività: in quegli anni erano state già rese pubbliche le prime opere di Alvise Vivarini, del quale il Bonsignori risentì l’influsso nei suoi lavori giovanili. Nella città lagunare il Bonsignori rimase fino al 1487, anno in cui si spostò a Mantova, dove lavorò come pittore di corte presso i Gonzaga, insieme al celebre Andrea Mantegna. È proprio stando a stretto contatto con il grande maestro che egli definì i tratti salienti della sua pittura: compresenza di monumentalità e plasticismo, visibile in particolare nelle opere della maturità, e una spiccata sensibilità luministica, che conferma una conoscenza profonda dei maestri veneti. In questa tela infatti ciò che emerge chiaramente è la capacità dell’artista di rendere la volumetria della figura con delicatissimi passaggi chiaroscurali, dando solidità e al contempo eleganza alla santa ritratta. L’uso di un tratto così addolcito e la delicata morbidezza del modellato, sembrano derivare dalla lezione leonardesca, appresa probabilmente all'inizio del XVI secolo, durante il passaggio mantovano di Leonardo da Vinci. L’opera fu probabilmente eseguita durante il periodo mantovano del Bonsignori, in una forbice cronologica compresa tra il 1500 e il 1510, come suggeriscono i confronti con la Madonna con il Bambino e quattro santi della National Gallery di Londra e con l’Andata al Calvario di Palazzo Ducale a Mantova. La ricerca di equilibrio tra effetti luministici e volumetria della figura permettono inoltre di accomunare la pittura del Bonsignori a quella del contemporaneo Bartolomeo Montagna, altro protagonista della pittura veneta della fine del Quattrocento.
Part of a larger composition, the canvas depicts a saint in a three-quarter-length half-length view, silhouetted against the background of a blue sky. The long blond hair that falls delicately over her shoulders frames her face, emphasizing the gentleness of her features, which emerges in particular in the calm and deep gaze that the figure turns to the viewer. The head is encircled by a band of braided pearls. It is not possible to precisely identify the subject of the painting, but the hairstyle with the long, loose hair would lead one to hypothesize that it is perhaps an image of Mary Magdalene, which may have originally been depicted within a larger composition depicting the Madonna and Child with Saints. The work, restored for the first time at an unspecified date between 1853 and 1865 by Giuseppe Molteni and then by Luigi Cavenaghi at the beginning of the 20th century, reveals some lacks at the top center, on the background of the sky, and some minute and skilful retouches on the nape of the figure. After various attributive proposals, that have wanted to see in the painting also influences of Raphael's school, the scholars have placed the work in the Venetian culture between the end of the 15th and the beginning of the 16th century, with references to the lesson of Alvise Vivarini, Antonello da Messina and Giovanni Bellini, and have finally attributed it to the Veronese Francesco Bonsignori. Bonsignori, born around 1460 and trained in the workshop of Francesco Benaglio, the most active artist in Verona at that time, moved only shortly after 1480 to Venice. Then began the most continuously documented decade of his activity: in those years had already been made public the first works of Alvise Vivarini, of which Bonsignori felt the influence in his early works. In the lagoon city Bonsignori remained until 1487, the year in which he moved to Mantua, where he worked as a court painter at the Gonzaga, together with the famous Andrea Mantegna. It is precisely by being in close contact with the great master that he defined the salient features of his painting: the coexistence of monumentality and plasticism, visible particularly in the works of his maturity, and a marked sensitivity to light, which confirms a deep knowledge of the Venetian masters. In this canvas, in fact, what clearly emerges is the artist's ability to render the volume of the figure with delicate chiaroscuro passages, giving solidity and at the same time elegance to the saint portrayed. The use of such a soft stroke and the delicate softness of the modeling, seem to derive from Leonardo's lesson, probably learned at the beginning of the sixteenth century, during the passage of Leonardo da Vinci in Mantua. The work was probably executed during Bonsignori's period in Mantua, in a chronological range between 1500 and 1510, as suggested by comparisons with the Madonna with Child and Four Saints in the National Gallery in London and with the Andata al Calvario in the Ducal Palace in Mantua. The search for balance between luministic effects and the volumetry of the figure also allow us to compare Bonsignori's painting with that of his contemporary Bartolomeo Montagna, another protagonist of Venetian painting at the end of the 15th century.
The first Murfreesboro courthouse was erected on the present site on the public square in 1812. Although no description of the building is available, it evidently was not very substantial, as in March, 1818, the court appointed commissioners to have it repaired or improved. In 1822, while Murfreesboro was the Capital of Tennessee, the courthouse burned. A commission was appointed by the legislature to supervise the erection of a new courthouse which was of brick and constructed at a cost of approximately $6,000. In January, 1859, a committee was appointed to investigate the necessity of building a new courthouse. After careful investigation, the committee reported that a new building was an absolute necessity and the present building (seen in part above) was constructed in 1859 at a cost of $50,000. This is the octagonal dome/clock tower crowning the cupola on the top of this version of the Rutherford County Courthouse.
Probably the most exciting day which the building has witnessed was July 13, 1862, when the Confederate Cavalry leader, General Nathan Bedford Forrest, recaptured the courthouse from Federal occupation and rescued several Confederate prisoners who had been sentenced to hang. Evidences of the impact of mini-balls may still be seen in some of the brick of the courthouse walls.
The significance of the courthouse that results in its listing on the National Register of Historic Places (NRHP) lies more in its site than the quality of its architecture. Murfreesboro was originally designed as a courthouse town. On a regular grid, a smaller central square was imposed to accommodate the administrative structure. This isolated island became the heart of the new town from the time of the construction of the first.courthouse. The current building, by its imposing height and great solidity, provides a very real visual focus to the older central section of Murfreesboro, as the original town planners & the designers of the current structure intended. It is as symbolic as it is functional. It dignifies & marks the town as the regional center of justice & administration. It is an integral part of the fabric of Murfreesboro and no twentieth century structure could fill the shoes of this somewhat battered nineteenth century monument on its intended nineteenth century site.
This courthouse was added to the NRHP on July 16, 1973. All the information above can be found on the original documents submitted for listing consideration found here:
npgallery.nps.gov/NRHP/AssetDetail/41279b06-37d1-4c63-b1c...
This photo was taken in 2013 during my previous Project 365…please visit my album for this “REMASTERED” Project 365 as I revisit each day of 2013 for additional photos to share!!
Three bracketed photos were taken with a handheld Nikon D5200 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/
Shanar paar, Narayanganj, Bangladesh.
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Last weekend at Stanage Edge, with a light mist and haze over the landscape. I've tried to capture the roughness and solidity of the rocks here against the softness of the landscape in the distance.
Located in Riviere du Loup, Quebec, Canada.
Gaetan Blanchet was born in the Lower St. Lawrence region, where he still lives. Using his sensitivity to the textures of wood, metal and stone, Blanchet explores the ideas of movement and shape in space. Solstice comprises 39 stripped cedar logs, curved in shaped and linked by a system of steel cables. Like a giant lotus flower, the structure is moved by an electric mechanism, and each hour it completes a full cycle by opening and closing like a corolla. A hybrid of mechanical and organic components, Solstice, despite the solidity of its materials and its large dimensions, is light and graceful.
IN ENGLISH BELOW THE LINE
La Graflex Pacemaker Speed Graphic de 4x5 polzades és el summum de la càmera de premsa de gran format des de els anys 40 fins a inicis dels 60. Ja les Speed Graphic anteriors (Pre-Anniversary, Anniversary) havien dominat en bona mesura els anys 30 i 40, sobretot als Estats Units. La versió Pacemaker del 1947 millora les qualitats del model Anniversary, sobretot en fermesa: es substitueix l'estructura de fusta per una de totalment metal·lica. És l'equivalent a un tanc en el món de la fotografía. Igualment millorà en certa mesura els moviments del objectiu, i es simplificà l'obturador de pla focal sense perdre capacitats. Amés, aviat si incorporà el sistema Graflok per a carregar portaplaques, magatzems de plaques o adaptadors de filmpacks i pel·licula format 120. Una càmera realment tot terreny.
Aquesta en concret fou fabricada el 1949, incorpora el "Graflok back" i l'objectiu que venia amb ella és un Kodak Anastigmat f4.5 de 6 3/9 polzades, montat en un obturador No.3 Kodak Supermatic. Per desgràcia el visor es va mig trencar en el transport, però és facilment substituible.
Ah, i el motiu esencial per sumar aquesta càmera a la Crown Graphic i la Anniversary Speed Graphic que ja tenia és que aquesta és la millor opció per poder montar-hi un inmens objectiu Kodak Aero Ektar de la Segona Guerra Mundial.
en.wikipedia.org/wiki/Speed_Graphic
www.graflex.org/speed-graphic/pacemaker-speed-graphic.html
camera-wiki.org/wiki/Graflex_Speed_Graphic
lommen9.home.xs4all.nl/Pacemaker%20Versus%20Anniversary/i...
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The 4x5" Graflex Pacemaker Speed Graphic is the summum of the large-format press camera from the 40's to the beginning of the 60's. Previous Speed Graphic models (Pre-Anniversary, Anniversary) had already dominated the 30's and 40, especially in the United States. The Pacemaker version of 1947 improves the qualities of the Anniversary model, especially in solidity: the wood structure is replaced by a completely metallic one. It is the equivalent of a tank in the world of photography. It also improved to a certain extent the lens movements, and the focal plane shutter was simplified without losing capacities. Plus, soon it incorporated the Graflok back system to load plate holders, film magazines (Grafmatic) or filmpack and rollfilm adapters.
This one in particular was manufactured in 1949, and incorporates the "Graflok back"; the lens that came with it is a Kodak Anastigmat f4.5 in 6 3/9", mounted on a No.3 Kodak Supermatic leaf shutter. Unfortunately, the viewfinder was broken during shipping, but it is easily replaceable.
Oh, and the essential reason to add this camera to the Crown Graphic and the Anniversary Speed Graphic that I already had is that this is the best option to mount an immense WW2 Kodak Aero Ektar recon lens.
www.graflex.org/speed-graphic/pacemaker-speed-graphic.html
camera-wiki.org/wiki/Graflex_Speed_Graphic
lommen9.home.xs4all.nl/Pacemaker%20Versus%20Anniversary/i...
For the lover of old stones and anyone interested in their rich, multi-secular history, wonderful discoveries sometimes come under the most mundane appearances...
This is the Carolingian crypt of Saint-Andoche. It is not a place open to the public, as it is enclosed within the confines of a catholic teaching institution, but I managed to get access through my contacts. Even through the place is quite dirty and used as a repository for old school furniture and similar junk, the pillars and vaults from the 800s are splendid in their purity, lightness and immovable solidity. They have been standing and supporting the hundred of tons above since the 800s.
“These 'forms' were the subject of much banter between them. The one which Augusta called 'the bust' stood in the darkest corner of the room, upon a high wooden chest in which blankets and winter wraps were yearly stored. It was a headless, armless female torso, covered with strong black cotton, and so richly developed in the part for which it was named that the Professor once explained to Augusta how, in calling it so, she followed a natural law of language, termed, for convenience, metonymy. Augusta enjoyed the Professor when he was risque since she was sure of his ultimate delicacy. Though this figure looked so ample and billowy (as if you might lay your head upon its deep-breathing softness and rest safe forever), if you touched it you suffered a severe shock, no matter how many times you had touched it before. It presented the most unsympathetic surface imaginable. Its hardness was not that of wood, which responds to concussion with living vibration and is stimulating to the hand, nor that of felt, which drinks something from the fingers. It was a dead, opaque, lumpy solidity, like chunks of putty, or tightly packed sawdust — very disappointing to the tactile sense, yet somehow always fooling you again. For no matter how often you had bumped up against that torso, you could never believe that contact with it would be as bad as it was.”
(The Professor's House, Willa Cather)
Some really old shots from the Yorkshire Sculpture Park that have been hanging around since 2008.
Invasion by Michael Zwingmann consists of five cylindrical forms sited on a former football field, which from a distance resemble giant black hay bales. Closer inspection, however, reveals the solidity and potential menace of the material and the work demonstrates a collision between the man-made and natural worlds.
Giotto's bell tower is one of the four principal monuments on the Piazza del Duomo.. 84.7 metres tall and approximately 15 metres in breadth, it is the most eloquent example of 14 th century Gothic architecture in Florence, combining a strong vertical thrust with the principle of sound solidity, its corner buttresses rising the full length of the tower to the projecting terrace at the top. ][Duomo]
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
See Daruma's "Confluence" on control of information and privacy!.
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There is no provision for solidity, weight….and continual lines …No room for uncertainty and ambiguity. We can no longer see less, but more ; we should no longer reduce and simplify but grow inordinately in an infinite number of directions…..
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Press L to view in Lightbox
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NO GIFS AND ANIMATED ICONS, PLEASE!
Thin ice is dangerous because it offers the illusion of solidity. It looks as if you could just step out and glide forever. This week, Wall Street demonstrated (once again) that the idea that we're anywhere near a stable floor in the stock market is just as illusory, and that relying on the recent past in today's market can be as treacherous as skating on thin ice.
Built in the Chateau style to reflect the dominant Chateau Frontenac on the old town above the station, and adjacent to the railways station in a similar though less successful a treatment. The warm mellow tones of the brick contrast with the large expanse of steep copper roof while the stone accents around windows and doors provides solidity. Originally built to contain the Bureau de Poste and other federal functions.
Monument to the King's Liverpool Regiment. 1905. Sir W. Goscombe John. White stone with central bronze wreath, helmet, flag, sword etc, a standing soldier at each side, and figure of Britannia on central pedestal. Drummer boy at rear. Commemorates the service of the regiment in the South African War.
The King’s Liverpool Regiment monument is the centrepiece of the Gardens. The main frontage of the large Portland stone construction, facing outwards from St George’s Hall, has a bronze statue of Britannia on a plinth, flanking figures of two soldiers representing the Regiment at different periods, and is inscribed on the wall between them with the names of their most recent exploits: Afghanistan (1878-80) and Burma (1885-87), and South Africa (1899-1902). Between them, also in bronze, is a heap of weaponry, flag and a palm leaf, above the several steps to the ground; a wreath is just in front of this, two steps down.
The sculptor was William Goscombe John, and the statue of Britannia is an excellent example of his work at its best. Britannia stands facing slightly downwards, heavily draped over her armour – we see a solid breastplate and chainmail arms emerging form wide sleeves – and wearing a helmet, with tiny boat-wings and a prow at the front, and a crest in the form of a seahorse, all this to recall Britannia’s maritime associations. Little inscribed waves run round this helm, and more swirly waves are on the base of the statue. Her shield on her left arm faces backwards, and she carries an olive branch in her shield hand. Her other hand, rather than holding a sword, is empty, raised, and palm outwards, for this is a Britannia of Peace. There is a tremendous solidity and mass to this statue, so that with the armour, even a peaceful Britannia is rather warlike.
The soldier to our left as we view the monument represents the typical soldier of the Regiment in 1685, with long gun and some sort of narrow sword behind him, and standing in a lively pose, one foot forward, one hand on the low wall. The other soldier, of 1902, has a rifle and a band of bullets over his chest; he stands more at ease, in what is almost a swaggering lounge. Both rest the butts of their guns on the ground, indicative that the battle is won and peace has been achieved.
But this is a three-dimensional memorial, and completely hidden from this side, round the back is one of the most famous Liverpool statues, and a figure which alone would give Goscombe John a claim to greatness as a sculptor. It is the Drummer Boy; a youth seated on a cannon and trophy of flags and so forth, his drum sticks active in his hands, his figure twisted to one side and face serious: a work of immediacy and urgency contrasting with the peacefulness of the other side. The full sized model for this work is on display in the Walker Art Gallery nearby.
If, as we have seen, the Atlantic province of Saintonge has a wealth of Romanesque churches from the 1100s, Burgundy is every bit as wealthy, or almost, and its Romanesque churches are often older by a good 100 years, if not more.
Even though Burgundy is far closer to home for me, I still haven’t been to all the churches I would like to see. Those visits take time to be enjoyed properly, and this kind of photography is slow and deliberate, which means restaurants and hotel nights, and these are activities whose desirability has been seriously curtailed by the pandemic over the past two years. Nevertheless, I have recently been photographing a couple of those old churches during day trips, and I will begin uploading the results, beginning today. I hope you will enjoy them.
Dedicated to Saint Marcel, the church we are visiting today is located in the village of Iguerande, in the Brionnais part of southern Burgundy.
Built in the golden sandstone that’s typical of the area (it’s the concentration of iron oxide in the ground that colors the stone), it is a large but squat church with three naves, a short transept and a harmonious and well-proportioned bell tower.
The sides were reinforced by truly massive, large-apparel buttresses.
It was built around 1050 with the typical exaggerated care of the architects and masons of the early Romanesque age, unsure about the resistance of materials and worried about the ability of their constructions to withstand the test of time.
Compare the careful, low-arching vaults of Iguerande to the slender audacity of the Vienne basilica I uploaded a few days ago: twice as high and three times thinner, even though it was built 600 years before! Then you can truly measure how much knowledge had been lost in-between...
This lovely church is the only building that remains of a Benedictine priory that was once a dependence of the abbeys of Cluny, then Marcigny.
The northern arm of the transept and the nave, seen from the apse. Notice the general harmony of this architecture that says “peaceful” to me, the purity of the lines, the few decorated capitals, and the low-hanging barrel vaults for greater solidity.
2 ième prix
111e Exposition de la SPAQ
Noir et blanc - Nature
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Une échelle dont la solidité semble toute relative paraît toute chétive en comparaison de l'arbre massif contre lequel elle s'appuie. Cette image a été captée sur l'île du nord en Nouvelle-Zélande.
TO PLAY SHORT SCALE
2nd prize
111th SPAQ Exhibition
Black and White - Nature
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A ladder, the solidity of which appears to be quite relative, seems scanty in comparison with the massive tree against which it rests. This image was captured on the northern island of New Zealand.
When Strasbourg was first mentioned in 12BC, it was the Roman camp Argentoratum. Strasbourg was probably a bishop's seat from the 4th century. Alemanni, Huns, and Franks conquered the city in the 5th century. Strasbourg was then ruled by the Strasbourg bishops until 1262 when the citizens violently rebelled against the bishopric and Strasbourg became a free imperial city and so belonged to the Holy Roman Empire. Led by two rival patrician families (Müllheim and Zorn), the city prospered, although the town hall required two separate entrances for the two families.
On February 14, 1349, one of the first and largest pogroms of persecution of Jews in connection with the plague in the German area took place here. In the course of the St. Valentine's Day massacre, several hundred (some say up to 3000) Jews were publicly burned, and the survivors were expelled from the city. Until the end of the 18th century, Jews were forbidden to stay within the city walls after 10 pm.
Strasbourg came under French rule in 1681, after the conquest of Alsace by the armies of Louis XIV. However, the revocation of the Edict of Toleration of Nantes in 1685, which legalized the suppression of Protestantism in France, did not apply in Alsace, and religious freedom prevailed, even if the French authorities endeavored to favor Catholicism wherever possible.
Strasbourg's Lutheran, German-influenced university continued to exist. Moreover, until 1789, Alsace was a de facto foreign province, separated from the rest of France by a customs border running along the Vosges Mountains. Therefore, the city and its surrounding area remained German-speaking. In the period of the French Revolution, the city became attractive for republicans from Germany and later an exile for German oppositionists.
Around 600, a monastery with a church dedicated to the Apostle Thomas was founded at the current location. In the 9th century, a new church was built with an adjoining school. Both burned down in 1007 by lightning. After reconstruction, the monastery was converted into a collegiate monastery in 1031. Lightning struck again in 1144. The construction of a new building began in 1196, which combines Romanesque solidity with early Gothic details. The construction work ended in 1521 with side chapels in the late Gothic style.
It is the main Lutheran church of the city since its cathedral became Catholic again after the annexation of the town by France in 1681. So it is nicknamed "la cathédrale du Protestantisme alsacien". It is the only hall church in the Alsace region. In the church, there are many tombs and monuments. This is the decorated sarcophagus of Bishop Adelochus (+823). It is a work of the "Master of Eschau", created around 1130. Here are some details.
Here are many more photos taken in
Strasbourg, Selestat and the Bas Rhin area.
Monument to the King's Liverpool Regiment. 1905. Sir W. Goscombe John. White stone with central bronze wreath, helmet, flag, sword etc, a standing soldier at each side, and figure of Britannia on central pedestal. Drummer boy at rear. Commemorates the service of the regiment in the South African War.
The King’s Liverpool Regiment monument is the centrepiece of the Gardens. The main frontage of the large Portland stone construction, facing outwards from St George’s Hall, has a bronze statue of Britannia on a plinth, flanking figures of two soldiers representing the Regiment at different periods, and is inscribed on the wall between them with the names of their most recent exploits: Afghanistan (1878-80) and Burma (1885-87), and South Africa (1899-1902). Between them, also in bronze, is a heap of weaponry, flag and a palm leaf, above the several steps to the ground; a wreath is just in front of this, two steps down.
The sculptor was William Goscombe John, and the statue of Britannia is an excellent example of his work at its best. Britannia stands facing slightly downwards, heavily draped over her armour – we see a solid breastplate and chainmail arms emerging form wide sleeves – and wearing a helmet, with tiny boat-wings and a prow at the front, and a crest in the form of a seahorse, all this to recall Britannia’s maritime associations. Little inscribed waves run round this helm, and more swirly waves are on the base of the statue. Her shield on her left arm faces backwards, and she carries an olive branch in her shield hand. Her other hand, rather than holding a sword, is empty, raised, and palm outwards, for this is a Britannia of Peace. There is a tremendous solidity and mass to this statue, so that with the armour, even a peaceful Britannia is rather warlike.
The soldier to our left as we view the monument represents the typical soldier of the Regiment in 1685, with long gun and some sort of narrow sword behind him, and standing in a lively pose, one foot forward, one hand on the low wall. The other soldier, of 1902, has a rifle and a band of bullets over his chest; he stands more at ease, in what is almost a swaggering lounge. Both rest the butts of their guns on the ground, indicative that the battle is won and peace has been achieved.
But this is a three-dimensional memorial, and completely hidden from this side, round the back is one of the most famous Liverpool statues, and a figure which alone would give Goscombe John a claim to greatness as a sculptor. It is the Drummer Boy; a youth seated on a cannon and trophy of flags and so forth, his drum sticks active in his hands, his figure twisted to one side and face serious: a work of immediacy and urgency contrasting with the peacefulness of the other side. The full sized model for this work is on display in the Walker Art Gallery nearby.
Monument to the King's Liverpool Regiment. 1905. Sir W. Goscombe John. White stone with central bronze wreath, helmet, flag, sword etc, a standing soldier at each side, and figure of Britannia on central pedestal. Drummer boy at rear. Commemorates the service of the regiment in the South African War.
The King’s Liverpool Regiment monument is the centrepiece of the Gardens. The main frontage of the large Portland stone construction, facing outwards from St George’s Hall, has a bronze statue of Britannia on a plinth, flanking figures of two soldiers representing the Regiment at different periods, and is inscribed on the wall between them with the names of their most recent exploits: Afghanistan (1878-80) and Burma (1885-87), and South Africa (1899-1902). Between them, also in bronze, is a heap of weaponry, flag and a palm leaf, above the several steps to the ground; a wreath is just in front of this, two steps down.
The sculptor was William Goscombe John, and the statue of Britannia is an excellent example of his work at its best. Britannia stands facing slightly downwards, heavily draped over her armour – we see a solid breastplate and chainmail arms emerging form wide sleeves – and wearing a helmet, with tiny boat-wings and a prow at the front, and a crest in the form of a seahorse, all this to recall Britannia’s maritime associations. Little inscribed waves run round this helm, and more swirly waves are on the base of the statue. Her shield on her left arm faces backwards, and she carries an olive branch in her shield hand. Her other hand, rather than holding a sword, is empty, raised, and palm outwards, for this is a Britannia of Peace. There is a tremendous solidity and mass to this statue, so that with the armour, even a peaceful Britannia is rather warlike.
The soldier to our left as we view the monument represents the typical soldier of the Regiment in 1685, with long gun and some sort of narrow sword behind him, and standing in a lively pose, one foot forward, one hand on the low wall. The other soldier, of 1902, has a rifle and a band of bullets over his chest; he stands more at ease, in what is almost a swaggering lounge. Both rest the butts of their guns on the ground, indicative that the battle is won and peace has been achieved.
But this is a three-dimensional memorial, and completely hidden from this side, round the back is one of the most famous Liverpool statues, and a figure which alone would give Goscombe John a claim to greatness as a sculptor. It is the Drummer Boy; a youth seated on a cannon and trophy of flags and so forth, his drum sticks active in his hands, his figure twisted to one side and face serious: a work of immediacy and urgency contrasting with the peacefulness of the other side. The full sized model for this work is on display in the Walker Art Gallery nearby.
"To every hour, its mystery. At dawn, the riddles of life and light. At noon, the conundrums of solidity. At three, in the hum and heat of the day, a phantom moon, already high. At dusk, memory. And at midnight? Oh, then the enigma of time itself; of a day that will never come again passing into history while we sleep.”—Clive Barker
seen from Castelvecchio
gesehen vom Castelvecchio
The Castel Vecchio Bridge (Italian: Ponte di Castel Vecchio) or Scaliger Bridge (Italian: Ponte Scaligero) is a fortified bridge in Verona, northern Italy, over the Adige River. The segmental arch bridge featured the world's largest span at the time of its construction (48.70 m).
History
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. The bridge's reconstruction by architect Libero Cecchini began in 1949 and completed in 1951, with the exception of the left tower.
Architecture
The bridge is in red brick in the upper part, as are 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.
Legends
According to a legend, Cangrande awarded the designer of the bridge, Guglielmo Bevilacqua, with a sword which had belonged to Saint Martin.
Another legend tells that the designer presented himself at the inauguration riding a horse, ready to flee away in case the bridge had crumbled down.
(Wikipedia)
Castelvecchio (Italian: "Old Castle") is a castle in Verona, northern Italy. It is the most important military construction of the Scaliger dynasty that ruled the city in the Middle Ages.
The castle is powerful and compact in its size with very little decoration - one square compound built in red bricks, one of the most prominent examples of Gothic architecture of the age, with imposing M-shaped merlons running along the castle and bridge walls. It has seven towers, a superelevated keep (maschio) with four main buildings inside. The castle is surrounded by a ditch, now dry, which was once filled with waters from the nearby Adige.
Castelvecchio is now home to the Castelvecchio Museum and the local officer's club which can be accessed through the left door on Corso Cavour.
History
The castle stands on the probable location of a Roman fortress outside the Roman city. Lord Cangrande II della Scala had it built along with its bridge across the Adige River as a deterrent to his powerful neighbors such as Venice, the Gonzaga and the Sforza families. Construction was carried out between 1354 and 1376 (Cangrande died in 1359). The fortified bridge was intended to allow the seigniors to escape safely northwards to the Tyrol in the event of a rebellion or a coup d'état (the Scaligeri were allies of the Holy Roman Empire) and when they eventually lost their hold on Verona, its surviving members left Italy to found a German branch of the family.
Later, during the Venetian domination, the bridge was further fortified to defend it with cannons. The castle was damaged by French troops during the Napoleonic Wars (1796-7), in retaliation to the Pasque Veronesi, when the local population staged a violent anti-French revolt. Napoleon had chosen to stay in Castelvecchio on his trips to Verona, but his widespread and arbitrary requisitions of citizens' and churches' property, the massive draft of male workers into the French army prompted the resistance that eventually drove out the invaders.
The bridge was destroyed by the retreating German army in 1945 and rebuilt in 1949.
Under the Austrians, Castelvecchio was turned into barracks. In 1923 the castle was restored, as well as in 1963-1965.
(Wikipedia)
Die Ponte Scaligero oder Ponte di Castelvecchio (deutsch Skaligerbrücke) ist eine mittelalterliche Brücke in Verona über die Etsch.
Geschichte
Die Brücke wurde ab 1355 unter Cangrande II. della Scala als Fluchtweg aus seiner Burg San Martino in Aquaro, besser bekannt als Castelvecchio, errichtet. Als Anlass diente ein gescheiterter Putschversuch durch seinen Halbbruder Fregnano della Scala im Jahr zuvor. Burg und Brücke waren damit Zweckbauten, die nicht zum Wohle der Stadt entstanden, sondern ausschließlichen dem Scaliger-Herrscher dienen sollten.
Fertiggestellt wurde sie innerhalb von drei Jahren 1357 unter Cansignorio della Scala. Der auch als Brückenturm genutzte Bergfried des Castelvecchio wurde während der Signoria von Bartolomeo II. und seinem jüngeren Bruder Antonio della Scala 1375 errichtet.
Die Pläne für den Brückenbau wurden lange Zeit einem Giovanni Bevilacqua zugeschrieben, der allerdings bei Arbeitsbeginn im Mai 1355 nur die Aufsicht über die Arbeiten führte. Als Planer gelten die beiden Ingenieure Giovanni da Ferrara und Giacomo da Gozo, die zwar nicht dokumentarisch belegt sind, die aber für den Bau der flussabwärts gelegenen bauähnliche Ponte dei Navi nachgewiesen sind.
Die Konstruktion war so robust, dass sie fünf Jahrhunderte trotz einer schweren Flut unbeschädigt blieb, bis französische Truppen 1802 nach dem Frieden von Lunéville den Turm auf der linken Uferseite zerstörten und die meisten der Zinnen entfernten oder zumauerten. 1824 wurde der beschädigte Hauptpfeiler restauriert, zehn Jahre später wurden die Mauern wiederaufgebaut und der Brückengang wiedereröffnet.
Die Brücke wurde ebenso wie die Ponte Pietra während des Rückzugs der deutschen Truppen am 24. April 1945 weitgehend zerstört. Eine originalgetreue Wiederherstellung begann 1949 und wurde 1951 vollendet, mit Ausnahme des linken Turms.
Beschreibung
Sie ruht auf drei Segmentbögen von 24 m, 29,15 m und 48,69 m Spannweite; letzterer war zum Zeitpunkt seiner Fertigstellung der größte Brückenbogen in Europa. Insgesamt ist die Brücke 120 m lang und 6 m breit.
(Wikipedia)
Castelvecchio war die Kastellburg der Scaliger in Verona. Seit 1923 beherbergt das Gebäude ein Museum.
Name
Der Name Castelvecchio (deutsch Alte Burg) entstand erst Jahrzehnte nach der Errichtung der Burg, um sie von den neueren von den Viscontis erbauten Burgen, dem Castello San Felice und dem Castel San Pietro, leichter zu unterscheiden.
Ursprünglich wurde die Scaligerburg als Castello di San Martino in Aquaro bezeichnet, in Anlehnung an eine gleichnamige Kirche, von der nur noch einige Mauerreste im Innenhof der Burg erhalten geblieben sind.
Geschichte
Cangrande II. della Scala ließ das Castelvecchio zwischen 1354 und 1356 errichten. Die Randlage am Etschufer wurde dabei bewusst gewählt. So sollte die Burg nicht nur Schutz vor äußeren Feinden bieten, sondern auch als Zufluchtsort vor Übergriffen aus der Bevölkerung oder der eigenen Verwandtschaft dienen. Als Fluchtweg wurde 1355 die Scaligerbrücke über die Etsch erbaut, die ursprünglich nur von der Burg aus erreichbar war und deren Begehung allein den Burginsassen vorbehalten war. Unter der Signoria von Bartolomeo II. della Scala und seinem jüngeren Bruder Antonio della Scala wurde 1375 der Bergfried, der auch als Brückenturm diente, fertiggestellt, woran ein Gedenkstein im Bergfried erinnert. Nur wenige Jahre darauf war das Ende der Scaligerherrschaft gekommen, als Antonio della Scala im Oktober 1387 in der Burg vergeblich Zuflucht vor den angreifenden Truppen Gian Galeazzo Viscontis suchte, und Burg und Stadt schließlich übergeben musste.
In den folgenden Jahrhunderten wurde das Gebäude mehrfach verändert. Die Venezianer nutzten das Castel als Festung und als Lagerhaus; den französischen und österreichischen Besatzern diente es als Kaserne. 1923 trat der Staat das Nutzungsrecht an die Stadt Verona ab. Von 1924 bis 26 fanden Umbauarbeiten statt, um das Gebäude als Museum zu nutzen. Bei diesen Arbeiten wurde massiv in die Bausubstanz und -struktur eingegriffen. Im Sinne des Historismus orientierte man sich an Bauformen der Renaissance; dabei verwendete man Material von Überresten der im Krieg in Verona zerstörten Paläste.
Am 14. und 15. November 1943 fand im Castelvecchio der erste Parteitag der neugegründeten Republikanischen Faschistischen Partei statt, die nach dem Sturz Mussolinis im Juli 1943 und dem Verbot der Faschistischen Partei im September des gleichen Jahres gegründet worden war. Auf dem Parteitag wurde unter Mitarbeit des deutschen Generalbevollmächtigten in Italien Rudolf Rahn das sogenannte Manifest von Verona verabschiedet, mit dem die Eckpunkte des Regierungsprogramms der Italienischen Sozialrepublik festgelegt wurden.
Wenige Wochen nach dem Parteikongress fand vom 8. bis 10. Januar 1944 wiederum im großen Saal der Burg der sogenannte Prozess von Verona statt. In dem Schauprozess wurden sieben ehemalige Mitglieder des Großen Faschistischen Rats, die in der Sitzung vom 24./25. Juli 1943 im Rom im Palazzo Venezia für die Absetzung von Benito Mussolinis als Oberbefehlshaber der italienischen Streitkräfte gestimmt hatten, wegen Hochverrats zum Tode verurteilt, darunter Galeazzo Ciano der Schwiegersohn Mussolinis.
Kurz vor der Befreiung Veronas durch die Alliierten in der Nacht vom 25. auf den 26. April 1945 wurden die beiden Etschbrücken Ponte Scaligero und Ponte Pietra am 24. April von der Wehrmacht gesprengt. Erstere wurde zwischen 1949 und 1951 wiederaufgebaut, letztere 1957.
Zwischen 1958 und 1964 wurde das Museum vom italienischen Architekten Carlo Scarpa umgebaut.
Das Museum
Gezeigt werden Werke der Veroneser Malerei von der Gotik bis ins 17. Jahrhundert, mit einem besonderen Schwerpunkt auf der Kunst der Renaissance. Darunter sind Werke von Stefano da Verona, Pisanello, Giovanni Francesco und Giovanni Caroto oder Liberale da Verona. Außerdem besitzt das Museum mehrere bedeutende Werke der venezianischen Malerei, darunter Werke von Andrea Mantegna, Jacopo, Giovanni und Gentile Bellini, Carlo Crivelli, Jacopo Tintoretto, Tizian, Paolo Veronese sowie Giambattista und Giandomenico Tiepolo.
Kunstraub
Am 19. November 2015 wurden aus dem Museum 17 Gemälde im Wert von ca. 15 Millionen Euro gestohlen. Die Räuber kannten offenbar das Museum bestens und gingen äußerst professionell vor und es wird vermutet, dass sie auf Bestellung gehandelt haben. Die gestohlenen Werke, darunter „Die Wachtel-Madonna“ von Antonio Pisanello (1420), „Die Heilige Familie mit der Heiligen“ von Andrea Mantegna (um 1500) und „Die Dame von Licnidi“ von Peter Paul Rubens, gelten als unverkäuflich.
(Wikipedia)
.L'area degli Acquedotti, posta tra i quartieri di Cinecittà e Quarto Miglio, l'Appia Nuova e la Tuscolana, prende il nome dagli imponenti resti del sistema di acquedotti che rese celebre Roma.
Dalla costruzione del primo acquedotto e per 850 anni fino all'invasione dei Goti, la città di Roma potè servirsi di un approvvigionamento idrico che non ebbe eguali, per abbondanza e qualità, in nessuna città del mondo antico.
Insieme a strade e fognature gli acquedotti erano opere di ingegneria civile la cui realizzazione veniva curata nei minimi dettagli, sia per venire incontro alle necessità igieniche degli aitanti della grande città sia per affermare la cultura:
dovevano infatti rispondere alle esigenze di Firmitas, venustas, utilitas, cioè solidità, bellezza e utilità.
(continua)
The Acqueduct area, located between the districts of Cinecittà and Quarto Miglio, the Appia Nuova and Tuscolana, takes its name from the impressive remains of the aqueduct system that made Rome famous.
From the construction of the first aqueduct and for 850 years to the invasion of the Goths, the city of Rome could use a water supply that was not equal, in abundance and quality, in any city of the ancient world.
Along with roads and sewers, aqueducts were civil engineering works whose construction was carried out in the slightest detail, both to meet the hygienic needs of the great cities of the great city and to affirm the culture:
They had to respond to the needs of Firmitas, Venustas, Utilitas, that is solidity, beauty and usefulness.
The low afternoon sun dances across the tops of Clach Leathad, Creag an Fhirich and Meall a’ Bhuiridh while the iced surface of the waters of Lochan na h-Achlaise lend weight and solidity to the bottom of the image.
I remember first coming across an article in a magazine on mono, ultra long exposures by the talented Lee Frost a couple of years or so ago. I studied each of the images shown with admiration, and devoured the text relinquishing the technique and equipment used - here was something unexpectedly innovative, fresh and genuinely exciting! The photographs shown had remarkably fluid characteristics; gaseous and liquid elements took on wild, surreal and hitherto unrealised shapes and forms, whilst the solidity of various anchor points grounded each shot in this world despite outward appearance.
I couldn't wait to try and emulate (yes - we all want to be original, but we all begin by emulation surely?) the work I'd seen, and so embarked on searching out and capturing suitable subjects that might lend themselves well to this type of study. I think it's good to be your own critic, and whilst I now despise some of what I've done, I have perhaps five or six images in this vein that I'm truly happy with - although it frustrates me hugely that I'm not as competent, skilled or accomplished as I would hope to be given time, experience and learning. I don't consider this a bad hit rate, and although it's possible to produce a slew of 'ok' photographs, I like to think that in years to come I might create something that I can be justifiably proud of.
Recently it has occurred to me that this increasingly popular strand of photography is suffering the detrimental side effects of many others - that is, repetition desensitises the viewer to the medium itself. I note with interest that this has been a theme picked up also by several of you whose work I admire greatly. There is a continuing expectation to strive for originality, to break new ground with imaginative subjects, conditions and so forth. I am as guilty as anyone of the obligatory 'sticks adrift in a misted sea' shot, and sometimes I rebuke myself for this and try harder to invigorate my work.
However, I do think there is a lot to be said for striving to do something well - better than it's been done before despite it being done many times. I will continue to try and develop myself as a long exposure landscape photographer, and this shot is the result of my wanting to achieve something subtly different. Mind you, the next time I see potential for some sticks adrift in a misted sea I will probably take a picture of the scene. But I will do my best to do it better than it's been done before. I will undoubtedly fail, but perhaps at least I'll come up with an improved end result over those I myself have captured previously...