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There where few outdoor structures, which included this one! Long grass roots where growing from every crack in the concrete surface!
This time no 'multiple exposures' (see 2 shots earlier, taken nearby). Similar effect simply from natural shadows and reflections.
Over a 106 years old, the Egmore Railway Station in Chennai, remains one of the cities centrally located, renowned landmarks. Its bright red and white colors, and vaulted metal ceiling on the interiors are what make it striking. With typical Victorian wrought iron beams,
This is the Assistant Queen's Harbourmaster's Office, overlooking the River Medway. It sits adjacent to the Queen's Stairs (the main entry point to the Chatham Dockyard from the river during the age of sail).
This rather quaint structure was built in c.1770 as an office for the dockyard's two Master Attendants. Generally ex-naval Captains or Masters, they were the Principal Officers of the dockyard and were responsible for the ships moored in the river, either in Ordinary (or reserve), or awaiting repair.
In the 19th century, some of their duties were taken over by the King or Queen's Harbourmaster. This post was normally held by a senior officer of the yard, with the duties performed by an assistant who worked from this building.
In 1865 the whole of the tidal part of the River Medway (from Allington Lock near Maidstone to the sea at Sheerness) was designated as a Dockyard Port and the Assistant Queen's Harbourmaster became responsible for all moorings and ship movements that affected the Navy's use of the river.
This rectagular frame the only structure still standing in this part of Northrup Canyon in Steamboat Rock State Park. It may have been part of a mill or perhaps a mine in the canyon.
Just a structure, somewhere in Kangar, Perlis! ;-D
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Art section, Kunsthistorisches Museum in Vienna, Austria. 1010 Vienna,
Maria Theresien-Platz
The monumental structure, built at the behest of Emperor Franz Joseph I as part of his expansion of the city in 1858, was intended to both unite and appropriately represent the artistic treasures that had been collected by the Habsburgs over the centuries.Construction work lasted 20 years, from when ground was first broken in 1871 to the museum building’s completion in the year 1891.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
Monika Ostermann © , All Rights Reserved 2008
This work may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my written permission.
---- the "living float" of city of Randazzo (Sicily), that evokes the mystery of the Assumption of Mary into Heaven ----
---- la “vara vivente” della città di Randazzo (Sicilia), che rievoca il mistero dell’Assunzione di Maria in Cielo ----
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in the Sicilian city of Randazzo, is Celebrated in mid-August day, hits principal feast of the "living float" that evokes the mystery of the faith of the Assumption of Mary into Heaven with soul and body, for this reference She is call Mary Assumption; the feast may be originated around the sixteenth century; the "vara" (Sicilian name Refers to "float"), it's a "votive machine" about 20 meters high, made of a structure in iron and wood, decorated with gilding, mirrors, colored coatings, Whose allegorical meaning Seems To have inspirations from the figures reproduced in a painting by John Caniglia of 1548 (you can admire it inside the Crucifix chapel of the Basilica of St. Mary in Randazzo), machine consisting about several plans and rotating, with hand-operated mechanisms, and making reference to the rotation of the heavens of the medieval conception. The first low part of the "machine-float" is the Tomb of Mary, full of flowers, but as She got to the Sky also with Her Body, it's an empty tomb, a bit higher up we find St. Thomas in prayer, still more on we find St. Michael the Archangel with a sword, surrounded by singing Angels; on the highest level it finally takes place the Virgin Mary. Various "young actors", present on float are children of various age, which intone chants turned to Virgin Mary, each with its own role, each surrounded by a iron structures for own security. Up to 1960 different "human figures" were all male, included Maria Assunta; in ancient times the fast of the children was strictly Observed (even now, more for practical reasons to stay on the float, Which for devotional Reasons); in ancient times the float at the end of the procession was always assaulted from the faithful, taking with them the precious souvenirs of the event, considering That like relics; to the end of the 18th century the traditional feast He had a decline, abolished in 1795, then restored in the Second Half of 1800, again suppressed the first in 1911 for the raging cholera, then to the events linked to the First and Second World War, than the feast started again in 1952, at first once every 5 years, then every three years finally annually since 1973. During the trip the children receive from Inhabitants leaning out of windows and balconies, candies, biscuits, sweets of various genre, so this "rain of sweets" shows a more happy and picturesque manifestation, but so the children "are distracted" being from "hanging" in several meters from the soil (likeably who is finding down, he may be "bombarded" by a shower of candies and chocolates).
P.S. This last 2018 edition was not held on August 15th due to bad weather; the event was postponed to 25 August 2018, started regularly, was subsequently interrupted, as one of the four wheels of the vara was blocked right at the end of the path, causing a considerable effort by the devotees, to be able to bring it back. The photographs were organized and posted without taking into account the temporal chronology of what happened during the event.
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nella città siciliana di Randazzo, si celebra il 15 agosto, la sua principale festa, della "vara vivente" che rievoca il mistero di fede dell'Assunzione di Maria in Cielo sia in anima che in corpo, per questo riferimento viene chiamata Maria Assunta, festa che sembra abbia avuto origine attorno al XVI secolo; la "vara" (nome siciliano riferito al fercolo), è una “macchina votiva” alta circa 20 metri (in passato era ancora più alta) composta da una struttura in ferro e legno, abbellita da dorature, specchi, rivestimenti colorati, il cui significato allegorico sembra ricalcare i motivi ascensionali riprodotti in un quadro di Giovanni Caniglia del 1548 (dipinto che si può ammirare nella cappella del Crocifisso della basilica di Santa Maria, in Randazzo), macchina costituita da diversi piani sovrapposti ruotanti, con meccanismi azionati a mano, che fanno riferimento alla rotazione dei cieli di concezione medioevale. Alla base della “macchina-vara” c’è il sepolcro di Maria, pieno di fiori ma, poiché Ella è salita in cielo anche col suo corpo, tale sepolcro è vuoto; un po’ più in alto troviamo S.Tommaso in preghiera, ancora più su troviamo S.Michele Arcangelo con in pugno la sua spada, attorniato da Angeli, sul livello più alto infine prende posto la Vergine Maria. Le varie figure, presenti sulla vara sono bimbi di varie età, dai più piccoli ai più grandicelli, che intonano canti rivolti alla Madonna, ognuno col proprio ruolo di figurante, ognuno cinto da una struttura in ferro che lo assicura alla macchina votiva: fino agli anni ’60 i vari personaggi erano tutti di sesso maschile, inclusa Maria Assunta, il digiuno dei bimbi era rigorosamente osservato (anche adesso, più per motivi pratici di permanenza sulla vara, che per motivi devozionali); in passato la vara alla fine della processione veniva presa d’assalto dai fedeli, che letteralmente la spogliavano, portando con se un prezioso ricordo della manifestazione, considerandola al pari di una reliquia; alla fine del 18° secolo la tradizionale festa ebbe un declino, soppressa nel 1795, poi ripristinata nella seconda metà del 1800, nuovamente soppressa prima nel 1911 per l’imperversare del colera, successivamente per le vicende legate alla prima ed alla seconda Guerra Mondiale, la festa riprese vita solamente nel 1952, dapprima una volta ogni 5 anni, poi ogni tre anni, infine annualmente dal 1973. Durante il tragitto i bimbi ricevono dagli abitanti affacciati alle finestre ed ai balconi, caramelle, biscotti, dolciumi di vario genere, che ripongono a mò di bottino dentro delle sacche di tela, delle quali ognuno è fornito: questo da un lato rende ancora più gaia e pittoresca la manifestazione, dall’altro lato i bimbi “vengono distratti” dal trovarsi “appesi” a svariati metri dal suolo (simpaticamente chi si trova sotto, può venire “bombardato” da una pioggia di caramelle e cioccolatini, e parlo per esperienza personale :o)) …).
P.S. Questa ultima edizione 2018, non si è svolta il 15 di Agosto a causa del maltempo; la manifestazione è stata così rinviata al 25 Agosto 2018, iniziata regolarmente, è stata successivamente interrotta, poichè una delle quattro ruote della vara si è bloccata proprio sul finire del percorso, causando un notevole impegno da parte dei devoti, per poterla riportare-trascinare indietro. Le fotografie sono state organizzate e postate senza tenere conto della cronologia temporale di quanto avvenuto durante la manifestazione.
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Earlier structures on the site of the castle are featured in the Ulster Cycle of Irish mythology as the stronghold and school of Scáthach the Shadow. This legendary Scottish warrior woman, sometimes referred to in recent times as a Druid and Priestess was renowned for her fighting skills and as a martial arts teacher. Scáthach trained the hero Cú Chulainn in the arts of combat giving him skills beyond all others including specialist moves and the secret of the Gáe Bulg, Gáe Bulga, Gáe Bolg, or Gáe Bolga. This is stated to be titled such meaning spear of mortal pain, or death, and also gapped, or notched spear, and further belly spear. The use of this weapon thrown from between the toes was a was believed to kill any opponent. Scáthach had the skill herself and could only pass on the technique to those of amazing skill and Cú Chulainn being the son and to some the incarnation of the God Lugh and Princess Deichtine.
The spear, or barb that Scáthach taught use of to Cú Chulainn is said to be a bone of a sea monster the Curruid. It is said that the Curruid died while fighting another sea monster the Coinchenn leading some to wonder if the spear could be made from parts of a Stingray, or be based on the Ray’s poisoned barbs. The Gáe Bulg spear is noted as being invariably fatal in use and maybe the spear was more than just a barbed weapon cast from between the toes and so launched off the feet from below to deliver a fatal injury from an unguarded angle. Scáthach prophesies about the fame and glory that await Cú Chulainn on his return to Ireland, but along with his charmed and enchanted life there will be many dangers in store from his demigod existence and his mortal life though famed is fated to be be short lived. From this moment on the bright life of Lugh that is evident in Cú Chulainn is seen as curse and charm that cannot be avoided and his triumph is set to be full of torment. The fort, or dun features as the place that the Irish Prince seeks out to improve his battle skills in the longest and most important tale in the Ulster Cycle of Irish mythology the epic Táin Bó Cúailnge, Cattle Raid of Cooley. The place name in Irish Dun Scathiag, is derived from Scáthach’s name.
The castle was the principal seat of the Clan MacDonald of Sleat, a branch of the Clan Donald, or MacDonald in the 15th century. Eventually after losing and regaining the castle the MacDonalds abandoned Dunscaith Castle in the early 17th century leaving the fortress to decline and fall into the ruins we now have today. The site is starkly beautiful with long stretched horizons around it that leave the ruin isolated bringing a sense of how vital this beacon once was in this landscape.
I cannot separate the physical place of Dun Scathiag from the site of legend spun stories that I have heard of Scáthach, her daughters and of Cú Chulainn the son and incarnation of Lugh. Somehow Dun Scathiag stands and Scáthach stays ready, yet Dunscaith Castle is also stood there and this one place is full of history and mystery all woven upon the proud rock that stands free of the cliffs and offers itself up as a place to defend and also a site to dwell on and so the tattered pages of legend lie upon the rocks and are cast off to the beach to be taken by tides, even as others are wonderfully wind embraced to carry on and on the red headed rubric into poem and in song, whilst others still are rooted in foundations and also created into walls and arches that show prosperity and hardship in the style of the stones still here and of the scope of the long gone wall tops and briefly built bold tall now much shortened fallen towers that held brilliant bright banners high into this balefully beautifully brooding stretched open sky.
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