View allAll Photos Tagged TESTAMENT
Leica M8.2
35mm Summicron f/2.0 1/8 sec
The question allegedly posed by Roman Procurator Pontious Pilate to Jesus during his trial, shortly before his crucifixion.
This second century fragment of papyrus is kept at the John Rylands Library on Deansgate in Manchester. it is only a few inches in width and height and it has writing on both sides (meaning it was originally part of a ‘codex’ or book rather than a scroll. The fragment of papyrus was among a group acquired on the Egyptian market in 1920 by Bernard Grenfell although the original transcription and translation of the fragment of text was not carried out until 1934, by Colin H. Roberts.
It is thought to date from around 117AD to 138AD and is the earliest fragment of the New Testament Bible in existence.
It has been suggested that the writer of this particular manuscript (P52), could have been copying from the actual Gospel of St. John, the original of which, is no longer in existence. Other people have argued that this fragment could be from the actual Gospel itself although the paleographic evidence seems to support the former school of thought rather than the latter.
Dating such a small fragment can be quite tricky however with most letters of the greek alphabet present, it is possible to compare the scribing style with other contemporary documents that exist in libraries and collections around the world. On the Papyrus there are a total of 114 legible letters which are visible on the two sides, representing 18 out of the 24 letters of the Greek Alphabet.
The full text from John 18:31-33 (pictured) would read:
ΟΙ ΙΟΥΔΑΙΟΙ ΗΜΙΝ ΟΥΚ ΕΞΕΣΤΙΝ ΑΠΟΚΤΕΙΝΑΙ
OYΔΕΝΑ ΙΝΑ Ο ΛΟΓΟΣ ΤΟΥ ΙΗΣΟΥ ΠΛΗΡΩΘΗ ΟΝ ΕΙ-
ΠΕΝ ΣHΜΑΙΝΩΝ ΠΟΙΩ ΘΑΝΑΤΩ ΗΜΕΛΛΕΝ ΑΠΟ-
ΘΝHΣΚΕΙΝ ΕΙΣΗΛΘΕΝ ΟΥΝ ΠΑΛΙΝ ΕΙΣ ΤΟ ΠΡΑΙΤΩ-
ΡΙΟΝ Ο ΠIΛΑΤΟΣ ΚΑΙ ΕΦΩΝΗΣΕΝ ΤΟΝ ΙΗΣΟΥΝ
ΚΑΙ ΕΙΠΕΝ ΑΥΤΩ ΣΥ ΕΙ O ΒΑΣΙΛΕΥΣ ΤΩΝ ΙΟΥ-
ΔAΙΩN
...
the Jews, "For us it is not permitted to kill
anyone," so that the word of Jesus might be fulfilled, which he sp-
oke signifying what kind of death he was going to
die. Entered therefore again into the Praeto-
rium Pilate and summoned Jesus
and said to him, "Thou art king of the
Jews?"
The obverse of the fragment contains verses, 37 and 38:
ΒΑΣΙΛΕΥΣ ΕΙΜΙ ΕΓΩ ΕΙΣ TOΥΤΟ ΓΕΓΕΝΝΗΜΑΙ
ΚΑΙ (ΕΙΣ ΤΟΥΤΟ) ΕΛΗΛΥΘΑ ΕΙΣ ΤΟΝ ΚΟΣΜΟΝ ΙΝΑ ΜΑΡΤY-
ΡΗΣΩ ΤΗ ΑΛΗΘΕΙΑ ΠΑΣ Ο ΩΝ EΚ ΤΗΣ ΑΛΗΘΕI-
ΑΣ ΑΚΟΥΕΙ ΜΟΥ ΤΗΣ ΦΩΝΗΣ ΛΕΓΕΙ ΑΥΤΩ
Ο ΠΙΛΑΤΟΣ ΤΙ ΕΣΤΙΝ ΑΛΗΘΕΙΑ ΚAΙ ΤΟΥΤO
ΕΙΠΩΝ ΠΑΛΙΝ ΕΞΗΛΘΕΝ ΠΡΟΣ ΤΟΥΣ ΙΟΥ-
ΔΑΙΟΥΣ ΚΑΙ ΛΕΓΕΙ ΑΥΤΟΙΣ ΕΓΩ ΟΥΔEΜΙΑΝ
ΕΥΡΙΣΚΩ ΕΝ ΑΥΤΩ ΑΙΤΙΑΝ
...
a King I am. For this I have been born
and (for this) I have come into the world so that I would
testify to the truth. Everyone who is of the truth
hears of me my voice." Said to him
Pilate, "What is truth?" and this
having said, again he went out unto the Jews
and said to them, "I find not one
fault in him."
The Rylands Manuscript Papyrus (P52) is kept on public display at the library.
The importance of this document to the history of Christianity should not be underestimated. Although little of the full codex survives, the early dating and undeniable content coupled with the geographic dispersal from the presumed site of the actual Gospels authorship (Ephesus, Turkey) means that logically, the date of authorship for the Gospel of John itself must be at least a few years prior to the date attributed to the Rylands Fragment.
Until the discovery and study of P52, Crtitics of St. Johns Gospel often argued that the work was likely to be pseudepigraphal (not actually written by St. John himself) although P52 now allows actual authorship dates for the Gospel to c.90AD. Such a date can be considered quite consistant with the existance of the proposed author and Disciple of Jesus Christ.
The hoodoos, or slim spires of eroded limestone, at Zion National Park are a bit different than those found at Bryce and elsewhere. The cap on top is volcanic rock.
Baby Talk - short film movie - outtakes - Central Park NYC - USA - November 7th 2020
************************
Baby Talk - film about a relationship change when the desire to have children is no longer shared equally.
All seems well on this autumn afternoon in Central Park NYC when Madison portrayed by Samara Riviera invites her partner Bronson portrayed by Ryan Janek Wolowski to meet for what he thinks is romantic stroll through the park, only to find out, Madison is enjoying her New York career life so much that she no longer wants to have a child, putting their eleven year relationship in jeopardy.
Film released 2021 USA
RYANISLAND Films
*****************************
Cast
Madison - Samara Riviera
Bronson - Ryan Janek Wolowski
Connie (Madison's best friend)
Terry (Bronson's sister)
Alex (Bronson's sisters partner)
**************************
Baby Talk filming locations
New York City USA
Upper West Side UWS
West 73rd Street
MTA New York City Subway Station C train to 72nd St
West 72nd Street
The Dakota Apartments
Central Park West ( Prior to the Park 8th Avenue / Frederick Douglass Boulevard )
Central Park NYC Historic District Entrance
Bridle Path
Strawberry Fields John Lennon of The Beatles memorial area
Imagine Circle
West Loop Drive
Daniel Webster Monument The Falconer bronze statue Central Park NYC area
Central Park Conservancy Central To The Park information booth
Wagner Cove Shelter
Cherry Hill Fountain Victorian stone water fountain
Bethesda Fountain Angel of the Waters statue (Biblical account of the Miraculous Pool of Bethesda in Jerusalem, Israel from the New Testament story of Jesus miraculously healing a paralyzed man, from the fifth chapter of the Gospel of John ) - Bethesda Terrace - Bethesda Arcade - Central Park Lake - Installed in 1873 - Landmarks of New York plaque
Bow Bridge
Cherry Hill Lake Walk - green park benches
******************************
I LOVE NY Fall Foliage Report
Week 9
November 4th thru 10th 2020
PEAK AUTUMN COLORS FOR NYC
*********************
Video and audio recording settings
Nikon D7500 is a 20.9-megapixel DSLR digital single-lens reflex camera
Video settings
1920 x 1080 60p
QT movie file type
Stereo audio
Nikon D7500 camera Released June 2 2017
Nikon D7500 camera sells for $1,339.05
******************************
Hashtag metadata tags
#BabyTalk
#Baby
#Talk
#BabyFever
#Babies
Twins
BabyStroller
#Mom
#Mother
#NewMom
#HavingTheTalk
#movie
#film
#ShortFilm
ShortFilms
#MovieOuttakes
#outtakes
Films
Movies
#CentralParkNYC
CentralPark
#Family
#StartingAFamily
#BecomingAParent
#BecomingParents
couple
relationship
#RelationshipGoals
Career
#CareerGirl
#IndependentWoman
#Girlfriend
#Fiance
#Madison
MadisonAve
MadisonAvenue
SamaraRiviera
SamaraElleRiviera
#Bronson
Brosnan
RyanJanekWolowski
RyanReporting
RYANISLANDFilms
actor
actors
actress
acting
#IndieFilm
#IndieMovie
#FilmFestival
LawOfAttraction
InstantManifestation
Manifestation
Autumn
AutumnInNewYork
AutumnInNY
Fall
FallInNewYork
NewYorkLovesFall
#NYLovesFall
FallFoliage
PeakFoliage
AutumnColors
AutumnMovie
AutumnFilm
FallEquinox
AutumnalEquinox
2020
2021
ILoveNY
MadeInNY
Photo
Video
Copperplate engraving from ‘The Picture Bible from Old and New Testaments’ - Biblische Geschichten des Alten und Neuen Testaments, Ausberg, Germany 1757.
100 engravings to illustrate selected Bible text, by the celebrated Klauber Brothers - Joseph Klauber ( 1710-1768) and Johann Klauber (1712-1787). The brothers operated an engraving and publishing business in Germany, with a religious focus, which they called The Catholic Fine Art Publishing Company.
The book was a distinctive and popular production of the era, as it did not attempt to reproduce the written text of the Bible, but is a picture book only - to display the engravers art.
Printed by the Klauber Brothers for their publishing company Catholic Fine Art Publishing Company in Ausberg , Germany. Rebound in black leather, 110 pages 15.5cm x 10cm.
BEMA. A bema is a raised area for a public official and was used for speeches and for hearing legal cases and rendering judgements. Most literally, bema means "step," and can even be used as a unit of measure (cf. Acts 7:5, set "foot" on it; the Hebrew word it translates has the same literal meaning, as in the Septuagent, or ancient Greek translation of the Old Testament).
Jesus, for example, was brought before Pilate's bema.
Luke records an incident that took place between some local Jewish people and the Apostle Paul when he was in Corinth "a year and six months" (Acts 18:11). Acts 18:12-17:
"But while Gallio was prconsul of Achaia, the Jews with one accord rose up against Paul and brought him before the judgment seat [bema], saying, 'This man persuades men to worhip God contrary to the law.' But when Paul was about to open his mouth, Gallio said to the Jews, 'If it were a matter of wrong or of vicious crime, O Jews, it would be reasonable for me to put up with you; but it there are questions about words and names and your own law, look after it yourselves; I am unwillingto be a judge of these matters.' And he drove them away from the judgement seat. And they all took hold of Sosthenes, the leader of the synagogue, and began beating him in front of the judgment seat. But Gallio was not concerned about any of these things."
Some think the case was heard not here at the bema but in a building very close by (Fant and Reddish, A Guide to Biblical Sites in Turkey and Greece, p. 64).
Paul uses the concept of the bema in Romans 14:10, as "the judgment seat of God." Second Corinthians 5:10 speaks of the "judgment seat of Christ." Paul taught that every person's life will one day be reviewed by God, both those who have not accepted God's free and loving forgiveness--and thus are objects of divine justice--and those who have accepted grace and become God's children (which is much more than His mere creation). Those who have accepted forgiveness have their lives reviewed (2 Corinthians 5:10 ff.) and their works tested (1 Corinthians 3:12-15), but receive divine love and rewards for service, not wrath.
See T. Mc Comiskey, "Bema," Dictionary of New Testament Theology, vol. 2, p. 370.]
ACROCORINTH.. Many ancient cities were built on or near a steep hill that could be used for defense in time of war. Visible in the backgroud of this picture is that defensive area of Corinth, one of the finest natural defenses in Europe (578 meters high). In Paul's day the road from the city to the defensive site featured temples to Greek gods and mystery cult sanctuaries. Atop was the famous temple to Aphrodite, goddess of love, who was said to be served by a thousand temple prostitutes.
Byzantines, Franks, Venetians, and Turks all built fortifications on top, but little remains today. The site has seen many conquorers, including de Villehardouin in the 4th Crusdade, Mehmet II (1458), the Knights of Malta (1612), the Venetians (1687), Turks (1715) ; and Kolokontronis (1822), who opened it up for its current control by Greece.
See the (outstanding) Blue Guide: Greece, the Mainland, 178-180.
A preview image from the new batch of four new illustrated Bible stories from the King Solomon section of The Brick Testament website.
Cartoonist Basil Wolverton was known for his grotesque drawings, fantastically odd creatures, spaghetti-like hair, smoothly sculpted caricatures and insanely detailed crosshatching. His career in the golden age of comic books lasted from 1938 until 1952, after which his illustrations and caricatures extended into such publications as Life, Pageant and MAD magazines. Stylistically, he has been regarded as one of the spiritual grandfathers of underground and alternative comix.
Less well known and understood is his work for the Worldwide Church of God, headed until 1986 by radio evangelist Herbert Armstrong. From 1953 through 1974, Wolverton, a deeply religious man, was commissioned and later employed by the church to write and illustrate a narrative of the Old Testament (including over 550 illustrations), some 20 apocalyptic illustrations inspired by the Book of Revelations, and dozens of cartoons and humorous illustrations for various Worldwide Church publications.
Compiled and edited by Wolverton’s son, Monte, the 304-page Wolverton Bible includes all of Wolverton’s artwork for the Worldwide Church of God corporation. Recording artist and noted EC authority Grant Geissman (Tales of Terror: The E.C. Companion and Foul Play!: The Art and Artists of the Notorious 1950s E.C. Comics!) provides an insightful foreword, while Monte Wolverton delivers commentary and background in the introduction and in each section. This volume is authorized and commissioned by the Worldwide Church of God and endorsed by the Wolverton family.
Many of the illustrations in this book are regarded as Basil Wolverton’s finest work. Still others have never been published, and some of the humorous drawings printed here rival Wolverton’s work in MAD magazine.
320-page black & white 8" x 10" hardcover
ISBN: 978-1-56097-964-7
In stock: February 20, 2009
In stores: Mar. 2009
Part of the outstanding scheme of Arts & Crafts glazing in the Lady Chapel at Gloucester, the largest commission ever undertaken by Christopher Whall between 1899 - c1913 (a final half window was added by Veronica Whall in 1926).
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a separate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
Thank you to the vast majority of fans last night for your excellent behaviour while watching the England game.
Although the score didn’t go our way, fans by-and-large were brilliant and watched the #WorldCup semi-final between England and Croatia in good spirits.
Nine arrests were made in total in Manchester City Centre including public order offences and being drunk and disorderly, but thankfully no serious incidents took place.
We would also like to thank all the officers who worked hard to keep everyone safe last night, with many having to give up their plans of watching the game with friends and family.
Yesterday was a testament to fans – you came together, helped look after each other and dealt with the result graciously.
Bring on Euro 2020!
To find out more about Greater Manchester Police please visit www.gmp.police.uk
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
The drawing is mounted in Volume II-TER of the John Ryland's copy of "La Sainte Bible : Ancien Testament . . . / Compositions par J.-James Tissot"; with preface by A. D. Sertillanges, introduction by M. de Brunoff and the French version of L. J. Lemaistre de Saci. (Sertillanges, Antonin Gilbert 1863-1948; Le Maistre de Sacy, Isaac-Louis, 1613-1684) 2 vols. : illus., plates : 4to. 40 plates, 360 illustrations to text, by James Tissot. Paris: M. de Brunoff & Cie, 1904.
The edition contains 360 mounted colour, b/w, and duo-tone illustrations in the text and 40 plates in three states, sepia-tone, partly hand-coloured, and finished coloured state. The plates are protected with captioned tissue-guards. The paper size is 15 3/4 x 13 ins; image size varies (c 8 1/2 x 5 1/2 ins).
Of the 561 copies printed, the John Rylands Library (Manchester) copy is an "exemplaire unique". As well as the triple set of the large plates in various states, and a series of proofs before letters of the illustrations appearing in the text, it contains a water colour drawing by Tissot ("Joseph presents his father Jacob to Pharaoh"), these original pen and ink sketches for this work, and an autograph letter by him. (John Rylands Library Special Collections R16279)
Photos by Philip De Vere: Tissot's Last Oblation
www.amazon.co.uk/clouddrive/share/rG6G4ogr0XPeNowkdqeCnQB...
Dover Castle reveals another striking difference in tower design – geometry. Originally, castle towers were predominately square. Unfortunately, this configuration leaves the castle vulnerable to areas that archers can’t cover. In the 12th century, medieval engineers begin to design circular and semicircular towers to solve this problem. Because it was built over several decades, Dover boasts square and circular towers – the former being attributed to construction under Henry II, the latter to work that’s believed to have been carried out several years later under his son John. Additionally, the castle has several polygonal towers, including the Avranches Tower, which was specifically designed to maximize the garrison’s firepower.
Battle Castle is an action documentary series starring Dan Snow that is now airing on History Television and is scheduled to premiere on Discovery Knowledge in the UK in Spring 2012 and on various BBC-affiliated channels in the near future.
For the latest air dates, Like us on Facebook (www.battlecastle.com/facebook) or follow us on Twitter (www.twitter.com/battlecastle)
This show brings to life mighty medieval fortifications and the epic sieges they resist: clashes that defy the limits of military technology, turn empires to dust, and transform mortals into legends.
Website: www.battlecastle.tv/
Twitter: www.twitter.com/battlecastle
YouTube: www.youtube.com/battlecastle
Flickr: www.flicker.com/battlecastle
Facebook: www.facebook.com/battlecastle
Castles conjure thoughts of romantic tales, but make no mistake, they are built for war.
Dover: Prince Louis' key to England. Malaga: the Granadans final stronghold. And Crac des Chevaliers: Crown Jewel of Crusader castles. Through dynamic location footage and immersive visual effects, Battle Castle reveals a bloody history of this epic medieval arms race.
As siege weapons and technology become more ruthless, the men who design and built these castles reply ... or perish. Follow host Dan Snow as he explores the military engineering behind these medieval megastructures and the legendary battles that became testaments to their might.
Each episode will climax in the ultimate test of the castle's military engineering -- a siege that will change the course of history. Which castles will be conquered and which will prevail? You'll have to watch to find out.
But the journey doesn't end there --in fact, it's just beginning. Battle Castle extends into a multi-platform quest, taking us deep into the secret world of medieval warfare and strategy. Become the ultimate 'Castle Master'. Stay tuned for more on the Battle Castle experience.
Jesus of Nazareth (c. 5 BC/BCE – c. 30 AD/CE),[3] also known as Jesus Christ or simply Jesus, is the central figure of Christianity. Christians view him as the Messiah foretold in the Old Testament and as the Son of God,[6] who provided salvation and reconciliation with God to humankind by dying for its sins.[7][8] However, not all groups that identify themselves as Christian are Trinitarian, and not all Nicene-based groups believe that Jesus is the Son of God and God incarnate who was raised from the dead. Although Jesus' teachings were first addressed to the Jewish people, Judaism gives Jesus no distinctive status and categorically rejects the claim that Jesus is the messiah.
The principal sources of information regarding Jesus' life and teachings are the four canonical gospels, especially the Synoptic Gospels,[9][10] though some scholars believe texts such as the Gospel of Thomas are also relevant.[11]
Critical Biblical scholars and historians believe that the New Testament is useful for reconstructing Jesus' life.[12][13][14] Jesus was a Jew who was regarded as a teacher and healer: it is believed that he was baptized by John the Baptist, and was crucified in Jerusalem on the orders of the Roman Prefect of Judaea, Pontius Pilate, on the charge of sedition against the Roman Empire.[15]
Academic debate continues regarding the chronology, the central message of Jesus' preaching, his social class, cultural environment, and religious orientation.[11] Critical scholars have offered competing descriptions of Jesus as a self-described messiah, as the leader of an apocalyptic movement, as an itinerant sage, as a charismatic healer, and as the founder of an independent religious movement. Most contemporary scholars of the historical Jesus consider him to have been an independent, charismatic founder of a Jewish restoration movement, anticipating an imminent apocalypse.[16][citation needed] Other prominent scholars, however, contend that Jesus' "Kingdom of God" meant radical personal and social transformation instead of a future apocalypse.[16]
Christians traditionally believe that Jesus was born of a virgin,[7]:529-532 performed miracles,[7]:358-359 founded the Church, rose from the dead, and ascended into heaven,[7]:616-620 from which he will return.[7]:1091-1109 While the doctrine of the Trinity is accepted by most Christians, a few groups reject the doctrine of the Trinity, wholly or partly, as non-scriptural.[17] Most Christian scholars today present Jesus as the awaited Messiah and as God,[18] arguing that he fulfilled many Messianic prophecies of the Old Testament.[19]
Judaism rejects assertions that Jesus was the awaited Messiah, arguing that he did not fulfill the Messianic prophecies in the Tanakh.[20] In Islam, Jesus (Arabic: عيسى, commonly transliterated as Isa) is considered one of God's important prophets,[21][22] a bringer of scripture, the product of a virgin birth, and a worker of miracles. Islam also teaches that Jesus ascended bodily to heaven without experiencing death at the crucifixion.[23] Islam and the Baha'i Faith use the title "Messiah" for Jesus,[24][25] but do not teach that he was God incarnate.
Mary Stevenson Cassatt (1844-1926)[was an American artist and printmaker. Born in Pennsylvania, she lived much of her adult life in France, where she befriended French artist Edgar Degas and exhibited with the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children. Mary Cassatt’s impressionistic painting “Children Playing on the Beach” depicts two small children playing in the sand with pails and shovels. The background features the ocean and boats, giving the piece a sense of depth.
Cassatt’s affinity for depicting the bond between mother and child is evident in this piece. It’s possible that “Children Playing on the Beach” is an idealized memory of Cassatt’s relationship with her deceased sister. The artist redirected her focus toward themes of child-rearing and women caring for children in the 1890s, showing her natural inclination for depicting these subjects.
Born into an affluent family in Pennsylvania, Cassatt studied at the Pennsylvania Academy of the Fine Arts. Overall, “Children Playing on the Beach” is a testament to Cassatt’s keen eye for detail and her ability to capture the essence of childhood innocence through her art.
Seen and photographed on exhibit at the Legion of Honor Museum of Fine Arts (FAMSF) in San Francisco, California.
Real Monasterio de Santo Tomás (Ávila)
El Real Monasterio de Santo Tomás de estilo gótico se encuentra en la ciudad de Ávila. Su fundación, en 1480, se debió al tesorero de los Reyes Católicos, Hernán Núñez de Arnalte, quien otorgó poder a favor de su esposa, María Dávila, y de fray Tomás de Torquemada para que actuasen en su nombre para la fundación de un convento de dominicos en Ávila en honor de Santo Tomás de Aquino.
Historia
En 1482, bajo la dirección de Martín de Solórzano comenzaron las obras, que duraron hasta 1493, con donativos dispuestos por Don Hernán, y otros otorgados por los Reyes Católicos, quienes eligieron el nuevo convento para residencia de verano y enterramiento del heredero de la corona, el príncipe Don Juan, en el sepulcro realizado años después (1510) por Domenico Fancelli, por encargo de Fernando el Católico.
El epitafio del sepulcro dice lo siguiente:
Juan, Príncipe de las Españas, de virtudes y ciencia lleno, verdadero cristiano, muy amado de sus padres y de su patria, en pocos años realizó muchas obras buenas con prudencia y virtud. Descansa en este túmulo mandado hacer por su óptimo y piadoso padre Fernando, rey invicto y defensor de la Iglesia. Su madre, la Reina Isabel, purísima y depósito de todas las virtudes, mandó por testamento se hiciese tal. Vivió diez y nueve años y murió en 1497.
Fue empleado como tribunal de la Inquisición. Sus estancias albergaron los últimos años de fray Tomás de Torquemada hasta su fallecimiento ocurrido el 16 de septiembre de 1498. También fue casa de estudio y posteriormente universidad.
Partes
De estilo Reyes Católicos, el Monasterio de Santo Tomás es una de las joyas de Ávila. Es un monasterio de gran tamaño, llegando a tener hasta tres claustros diferentes.
Exterior
La fachada de la iglesia se distingue por su inmensa portada dibujada por un gran arco escarzano y dos manchones. Estos forman una "H", letra inicial de Hispanidad. Las bolas que corren a lo largo de los manchones abundan en todo el edificio. Además, podemos ver diez estatuas del arte burgalés de Gil de Siloé y Diego de la Cruz, bajo doseles y pináculos. Las más cercanas a la puerta representan la Anunciación. En la mitad de la fachada se sitúa un gran rosetón que da luz al coro y la iglesia y un poco más arriba, el escudo de los Reyes Católicos sostenido por un águila.
Interio
La nave principal tiene unas medidas de 53 metros de largo por 10,50 de ancho y el crucero mide 28,80 metros de largo por 10,30 de ancho. Es pues una joya de la arquitectura flamígera. El crucero, delimitado por cuatro columnas, semejando ramas de palmera, forma un joyero para el sepulcro del Infante Don Juan.
En las ocho capillas podemos encontrar esculturas como el sepulcro de los Dávila, ayos del Príncipe Don Juan, o el grupo que representa Domingo de Guzmán y Francisco de Asís, atribuido a Luis Salvador Carmona (1709-1767). Destaca también la Capilla del Cristo de las Angustias o de la Agonía, donde se encuentra el confesionario de Santa Teresa, y donde ella tuvo una visión el 15 de agosto de 1561.
Pero el retablo mayor, realizado por Pedro Berruguete (1440-1504), es la obra más importante de la iglesia junto con el sepulcro del Infante Don Juan. Es una de las joyas de Pedro Berruguete, que realizó también una parte del retablo mayor de la Catedral de Ávila. Fue empezado en 1494, un año después del final de la construcción del monasterio.
Diecinueve pinturas están colocadas en esta magnífica obra de estilo gótico de 21 metros de alto. El retablo está estructurado en tres partes, que contienen cinco grandes tablas relativas a diversos episodios de la vida de Santo Tomás de Aquino.
En la predela podemos ver de izquierda a derecha: San Esteban, San Agustín, San Juan evangelista, San Mateo, San Jerónimo y San Sebastián
Coro
El coro sorprende por su gran tamaño y su magnífica sillería. Ésta se compone de cuarenta y cinco sillas en la parte superior y treinta y cuatro en la parte inferior. Este conjunto de sillas en nogal es de estilo gótico flamígero.
Fue realizado por Martín Sánchez de Valladolid, quién realizó también la sillería de la Cartuja de Miraflores en Burgos.
Todos los tableros de los respaldos están cubiertos de trazados geométricos y de figuras de plantas o animales fantásticos, pero con tal variedad que no hay dos iguales. El símbolo de los Reyes Católicos, el yugo y las flechas, está también muy representado, además de la granada.
Sepulcro del Infante Don Juan
l Infante Don Juan era el único hijo varón de los Reyes Católicos, pero murió prematuramente antes de llegar al trono. Su madre, Isabel, quiso dejar en su testamento un sarcófago de mármol para su hijo.
El sepulcro es obra de Doménico di Alessandro Fancelli. Fue esculpido en Génova en los años 1511-1512 y luego colocado en la iglesia del monasterio. Doménico Fancelli se inspiró en el sepulcro de los Reyes Católicos (capilla real de Granada) y en el arte italiano (bronce del Papa Sixto IV en el Vaticano, realizado por Pollaiuolo).
El príncipe, vestido de guerrero, reposa con actitud serena y muestra unos rasgos jóvenes y bellos. Los pliegues del manto son de una gran perfección. A los pies una inscripción recuerda las cualidades del príncipe y lamenta su muerte prematura. El sepulcro está adornado con virtudes, alegorías y santos. Varios de los magníficos relieves fueron mutilados durante la guerra de la independencia en 1809. Además hay unos guanteletes a los lados del infante, lo que indica que no murió en batalla. Además, desde hace años se sabe que el sepulcro está vacío. Los restos del principe desaparecieron en algún saqueo de guerra.
Claustro del Noviciado
Es el primero y más antiguo de los tres claustros del monasterio. Sus pequeñas dimensiones (12,70 x 14,40 metros) y su falta de ornamentación le da una gran sobriedad.
Este claustro es de estilo toscano. Tiene dos pisos desiguales, en granito, de 20 arcos y 20 columnas sin basamento y de sección octogonal, mientras que en el piso superior, los arcos son escarzano y de amplias circunferencias.
El detalle mas original de este claustro es el pozo, que en lugar de estar en el centro del patio, se encuentra en un la
Claustro del Silencio
Llamado también de los Difuntos porque los frailes eran antes enterrados aquí.
El claustro tiene unas medidas de 19,40 por 20,90 metros y tiene dos plantas. Consta de 18 arcos, con dos puertas de acceso en su parte interior, y de 38 arcos polilobulados en su parte superior.
Destaca abajo en primer lugar, la bóveda de crucería, claramente de estilo gótico. Los adornos que decoran la bóveda son casi en su totalidad de 1935. Los capiteles que ornamentan la parte inferior del claustro y que sostienen las pilastras son distintos. Los muros del interior permiten contemplar un total de siete puertas que comunican con distintas dependencias, todas ellas con arcos y estructuras diferentes. El claustro cuenta también con un rincón recoleto donde los religiosos de lavaban las manos antes de pasar al refectorio.
Arriba, en el exterior del claustro, los lienzos que se ven están ornamentados a base de yugos y flechas (símbolos de los Reyes Católicos), del escudo de los dominicos y de la flor de lis. Las ataduras de los yugos y las flechas, así como los ramilletes de flores, son todos distintos. Por un friso corren ramas de granadas semiabiertas.
Claustro de los Reyes
Claustro de los Reyes
Se llama así porque era la zona destinada al Palacio de Verano de los Reyes Católicos.
El claustro es muy amplio y luminoso. Lo forman 40 arcos por su parte inferior y 56 en la superior. Al lado del Claustro del Silencio, carece casi de ornamentación, a no ser las bolas que rodean los arcos inferiores, algo propio, por otra parte, de monumentos abulenses. De ahí su nombre: Perlado abulense.
Según las últimas investigaciones, el tercer claustro no habría sido construido por los Reyes Católicos, sino por Carlos V.
En el ala sur de este claustro se hallan las aulas, ya remodeladas, de la desaprecida Universidad de Santo Tomás de Ávila, establecida aquí a mediados del siglo XVI y clausurada en el siglo XIX.
This is one of twenty-six known manuscripts by the hand of Luke the Cypriot (active 1583-1625), an accomplished Greek calligrapher who worked after the Ottoman conquest of Constantinople (1453). He copied it in 1594 at his episcopal see of Buzǎu (in Wallachia, now Romania) and soon took it to Moscow, where it was richly illustrated with New Testament scenes by a team of anonymous Russian artists. The book contains passages taken from the four Gospels and arranged in the order in which they are read out loud in church in the course of the year (hence its name Lectionary, from the Latin "lectio," reading). Short intructions in Slavonic accompany some of the miniatures, offering a glimpse of the painters' working process.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
I made plans to shoot Vivid after work on a Friday night and brought my Canon 6d, my favourite 135mm f2....... and no tripod.
But as a testament to the Canon 6D performance at high ISO, you'll never believe by looking at this photo what ISO it was pushed to.
"Here lieth the earthly part of Sr Richard Saltonstall Knight whose age was blest with this honnor to bee Lo. Mayor of the Citie of London his dayes did like bright and puer incense shine in Holy Labors to God his Prince and his countrie Hee was joynt Lord of this Towne and patron of this Church when hee dyed the glass of his life rann out full to the end of fowerscore yeeres of which number hee spent fifty in the chast and holy lawes of marriage with his deere beloved wife Suzanna, the only daughter of Thomas Poyntz of North ockendon in Essex Esquier, The blessinges which God in ample measure heapt uppon him were made full with the happiness of XVI children: VII sonnes, and IX daughters: of whome God spared IIII sonnes and VII daughters to do honnor for their fathers funeral. Yorkshiere challengeth his birth, and this place his burial. The poore of both shed teeres for his ‘loss’, because the poore of both tasted comefort by his life: Hee dyed in the yeere of O redemption 1601 and now dwells there where hee shall never dye. In remembrance of whom Ladie Suzanna Saltonstall his wife erected this monument"
He m Suzanna only daughter of Thomas Poyntz of North Okendon & Ann www.flickr.com/photos/52219527@N00/11688265194/ daughter of John van Calva
She was the sister of Sir Gabriel Pointz 1607 at North Ockenden www.flickr.com/photos/52219527@N00/11687849305/
Her parents ran a lodging house for English merchants in Antwerp in which William Tyndale stayed and from where he was arrested because of his translating of the New Testament. Her father a strong supporter narrowly escaping being burnt at the stake with him, fled to England, the family were divided, suffering years of pecuniary hardship.
Children
1. Gilbert m Mary Harleston
2. Richard 1618 m1 Muriel daughter of Brampton Gurdon www.flickr.com/gp/52219527@N00/Qh18RZ m2 Jane Bernard
3. Philip
4. Peter m1 Ann Waller of Beaconsfield m2 Christian Petters / Peters
5. Edward 1582-1663
6. Samuel m Elizabeth Wye
7. Daniel d1573
1. Hester m Sir Thomas Myddelton www.flickr.com/photos/52219527@N00/7610942210/ their son Thomas is at Chirk www.flickr.com/photos/52219527@N00/7598497324/
2. Martha m John son of John Bond of Thorpe Surrey and Elizabeth Power
3. Judith m Edward Rich
4. Elizabeth m Richard Wyche a skinner and Levant Company trader
5. Elenor m ....... Harvey
6. Mary m Richard Sunderland of Halifax
7. Sarah m Thomas Wheeler
8. Anne m1 John Hardy / Harley, skinner of London m2 Richard Dingley 1609 m3 Robert Myddleton 1616 5th son of Richard Myddelton / Middleton www.flickr.com/photos/52219527@N00/2824285777/ & Jane Dryhurst www.flickr.com/photos/52219527@N00/2824285789/ of Denbigh
9. Abigail m Henry Baker
10. Susanna m William Browne
Sons Samuel, Peter, and Richard were knighted. Richard being the ancestor of the northern Earls of Guilford.
Picture by kind permission of Tudor Effigies www.tudoreffigies.co.uk/default.asp
Sir Richard was second son of Gilbert Saltonstall of Halifax,. He came to London as a young man becoming a member of the Skinners' Company rising to be master in 1589, 1593, 1595, and 1599. Alderman of Aldgate 1587 and later Tower ward. In 1586 he was one of the city parliamentary representatives, and sheriff in 1588, lord mayor in 1597 being knighted a year later. He rose to a position of great affluence as a London merchant, and was engaged in numerous financial transactions with the government, both individually and on behalf of the Merchant Adventurers' Company of which he was the governor. In his official capacity he was frequently abroad at Hamburg, Stade, Emden and other placesand was a member of various commissions to settle commercial disputes or examine state offenders. He was collector of customs for the port of London assisted as deputy by his son Samuel
Saltonstall ‘and his children’ were also among the adventurers of the East India Company in their first voyage of 1599 ,He lived in the manor of Groves here He also held Ledsham manor in Yorkshire and many other country estates.
By his 1597 will he left over £100 to the poor and hospitals of Halifax. The terms of the will were, however, disputed by his sons and by Abigail Baker, alias Saltonstall, a natural daughter
effigy monument
South Ockenden church Essex
Fossil Falls, Mojave Desert. The closer to the top of the dry falls, the more rounded the rocks, testament to the power of the glacial runoff. October 20, 2007. Photo #8 of 40.
Fossil Falls, Inyo County, California - Located roughly an hour north of Ridgecrest along Highway 395, Fossil Falls is woefully misnamed - it contains neither fossils nor waterfalls. Instead, it is an interesting geologic feature that illustrates the power that water commands over rock with the passage of time.
This corner of California is still geologically active, with nearby bubbling hot springs and hot spots - Panum Crater just to the north erupted only a few hundred years earlier. The area that surrounds Fossil Falls, in the shadows of the nearby Coso Range of mountains, is covered with lava flows ranging from a few hundred thousand years old to just a few thousand years old. One of these lava flows crossed the watershed of the (now dry) Owens River.
During the last ice age, approximately 10,000 years ago, massive amounts of meltwater from the glaciers formed massive lakes in eastern California. This water poured over the basaltic lava rocks, wearing them down, polishing them into smooth shapes, forming the present-day Fossil Falls. While the area is now usually bone-dry, Fossil Falls shows what happens when billions of tons of water need to find some place to go.
A bumpy dirt road just past Little Lake leads to a small parking area. From here, a trail leads a fraction of a mile through the sharp, jagged rocks to the top of the falls - a large U-shaped nearly vertical drop to the base of the falls below. It's 70-80 feet straight down, then there is a second dropoff further downstream. But all around the lip of the falls are all sorts of curiously curved rock-forms, holes and water-swept mini-caves, all perfectly smooth and shiny in contrast to the razor-sharp basaltic boulders just feet away. Also of note just to the north, within sight of the falls, is the nearly symmetrical Red Cinder Mountain, a recent volcano waiting for its next chance to erupt.
In addition to its unique geologic interest, Fossil Falls is also very popular with rock climbers, providing numerous opportunities for all experience levels. Many of the rocks also sport prehistoric petroglyphs dating back thousands of years.
For me, this was just a quick visit, as part of the first day on my three-day trip to Death Valley. (Earlier in the day I had stopped at Randsburg and Red Rock Canyon State Park, and later in the day I visited Darwin and Darwin Falls.) It was extremely windy, with gusts approaching fifty miles per hour, so standing close to the edge of the falls was a dubious prospect (these same winds were whipping up massive wildfires in Los Angeles on that same day). Less than an hour to visit, didn't afford me the time to climb down into base of the falls, or look for Indian petroglyphs. Down in the valley below, a small group of rock climbers were goofing around, and a bus full of college students pulled up as I left.
For more information on Fossil Falls, please visit:
- Fossil Falls at Digital Desert.
Pictures taken on October 20, 2007. For more pictures of Fossil Falls, please visit my Fossil Falls photoset.
This photograph is free for use on the internet under the 'Creative Commons Attribution-NonCommercial' license. You are free to copy, distribute, transmit and/or adapt this photograph without seeking permission first, as long as you provide attribution to the photograph (preferably by linking to this web page, or including the phrase 'Copyright Matthew Lee High'), and as long as the the photo is not used for commercial purposes. For more information about Creative Commons licenses, visit http://creativecommons.org/licenses/by-nc/2.0/deed.en.
Oud/ Lute
The Oud is a pear-shaped stringed instrument commonly used in Arabic, Hebrew/Jewish, Greek, Turkish, Byzantine, Armenian, North African (Chaabi, Classical, and Andalusian), Somali and Middle Eastern music. Construction of the Oud is similar to that of the lute. The modern Oud and the European lute both descend from a common ancestor via diverging paths. The Oud is readily distinguished by its lack of frets and smaller neck. It is considered an ancestor of the guitar.
According to Farabi, the oud was invented by Lamech, the sixth grandson of Adam. The legend tells that the grieving Lamech hung the body of his dead son from a tree. The first oud was inspired by the shape of his son's bleached skeleton.
The oldest pictorial record of a lute dates back to the Uruk period in Southern Mesopotamia (modern Nasiriyah city), over 5000 years ago on a cylinder seal acquired by Dr. Dominique Collon and currently housed at the British Museum.
The Turkic peoples had a similar instrument called the kopuz. This instrument was thought to have magical powers and was brought to wars and used in military bands. This is noted in the Göktürkmonument inscriptions, the military band was later used by other Turkic state's armies and later by Europeans.[9] According to the musicologist Çinuçen Tanrıkorur, today's oud was derived from the kopuz by Turks near Central Asia and additional strings were added by them.
The oud has a particularly long tradition in Iraq, where a saying goes that in its music lies the country’s soul. A ninth-century Baghdad jurist praised the healing powers of the instrument, and the 19th-century writer Muhammad Shihab al-Din related that it "places the temperament in equilibrium" and "calms and revives hearts." Following the invasion of Iraq and the overthrow of the secular Ba'athist regime in 2003, however, the increasing fervor of Islamic militants who consider secular music to be haraam (sinful) forced many oud players and teachers into hiding or exile
Mark Alexander Biography
Mark was born in Bayonne, NJ. An only child of Egyptian immigrants to the United States in the late 70s. His work often reflects his view of the world, the things that matter to him. Much of his work incorporates Middle Eastern culture with Western culture that has yielded a unique visualization of art. He works mainly within the landscape, still life and impressionist fields. Most of his work is using a photographic technique known as High Dynamic Range (HDR). All of his HDR work is printed on the highest quality Canvas. All his photographs are signed on the back.
if you would like to own this unique piece please click the link below
12x18 high quality luster paper
www.ebay.com/itm/161199975951?ssPageName=STRK:MESELX:IT&a...
or
16x24 high quality stretched canvas
www.ebay.com/itm/161199982079?ssPageName=STRK:MESELX:IT&a...
BÍBLIA. Inglês. The Holy Bible, containing the Old and New Testaments : newly translated out of the original tongues. Edinburg : printed by Richard Watkins, 1744.
Créditos: Eugenio Hansen, OFS
Vatican Museums
From Wikipedia, the free encyclopedia
vte
The Vatican Museums (Italian: Musei Vaticani; Latin: Musea Vaticana) are Christian and art museums located within the city boundaries of the Vatican City. They display works from the immense collection amassed by popes throughout the centuries including several of the most renowned Roman sculptures and most important masterpieces of Renaissance art in the world. The museums contain roughly 70,000 works, of which 20,000 are on display,[3] and currently employ 640 people who work in 40 different administrative, scholarly, and restoration departments.[4]
Pope Julius II founded the museums in the early 16th century.[5] The Sistine Chapel, with its ceiling decorated by Michelangelo and the Stanze di Raffaello decorated by Raphael, are on the visitor route through the Vatican Museums. In 2017, they were visited by 6 million people, which combined makes it the 4th most visited art museum in the world.[6][7]
There are 54 galleries, or sale, in total,[citation needed] with the Sistine Chapel, notably, being the very last sala within the Museum. It is one of the largest museums in the world.
In 2017, the Museum's official website and social media presence was completely redone, in accord with current standards and appearances for modern websites.[8]
History
The Vatican Museums trace their origin to one marble sculpture, purchased in the 16th century: Laocoön and His Sons was discovered on 14 January 1506, in a vineyard near the basilica of Santa Maria Maggiore in Rome. Pope Julius II sent Giuliano da Sangallo and Michelangelo Buonarroti, who were working at the Vatican, to examine the discovery. On their recommendation, the pope immediately purchased the sculpture from the vineyard owner. The pope put the sculpture, which depicts the Trojan priest Laocoön and his two sons being attacked by giant serpents, on public display at the Vatican exactly one month after its discovery.
Benedict XIV founded the Museum Christianum, and some of the Vatican collections formed the Lateran Museum, which Pius IX founded by decree in 1854.[9]
The Museums celebrated their 500th anniversary in October 2006 by permanently opening the excavations of a Vatican Hill necropolis to the public.[10]
On 1 January 2017, Barbara Jatta became the Director of the Vatican Museums, replacing Antonio Paolucci who had been director since 2007.
Pinacoteca Vaticana
The art gallery was housed in the Borgia Apartment until Pope Pius XI ordered construction of a proper building. The new building, designed by Luca Beltrami, was inaugurated on 27 October 1932.[13] The museum has paintings including:
•Giotto's Stefaneschi Triptych
•Olivuccio di Ciccarello, Opere di Misericordia
•Raphael's Madonna of Foligno, Oddi Altarpiece and Transfiguration
•Leonardo da Vinci's St. Jerome in the Wilderness
•Caravaggio's Entombment
•Perugino's Madonna and Child with Saints and San Francesco al Prato Resurrection
•Filippo Lippi's Marsuppini Coronation
•Jan Matejko's Sobieski at Vienna
Collection of Modern Religious Art
The Collection of Modern Religious Art was added in 1973 and houses paintings and sculptures from artists like Carlo Carrà, Giorgio de Chirico, Vincent van Gogh, Paul Gauguin, Marc Chagall, Paul Klee, Salvador Dalí, and Pablo Picasso.[14]
Sculpture museums
The group of museums includes several sculpture museums surrounding the Cortile del Belvedere. These are the Gregoriano Profano Museum, with classical sculpture, and others as below:
Museo Pio-Clementino
A Roman naval bireme depicted in a relief from the Temple of Fortuna Primigenia in Praeneste (Palestrina),[15] constructed c. 120 BC;[16] exhibited in the Pius-Clementine Museum (Museo Pio-Clementino) of the Vatican.
The museum takes its name from two popes; Clement XIV, who established the museum, and Pius VI, the pope who brought the museum to completion. Clement XIV came up with the idea of creating a new museum in Innocent VIII's Belvedere Palace and started the refurbishment work.[17]
Pope Clement XIV founded the Pio-Clementino museum in 1771, and originally it contained the Renaissance and antique works. The museum and collection were enlarged by Clement's successor Pius VI. Today, the museum houses works of Greek and Roman sculpture. Some notable galleries are:
•Greek Cross Gallery: (Sala a Croce Greca): with the porphyri sarcophagi of Constance and Saint Helen, daughter and mother of Constantine the Great.
•Sala Rotonda: shaped like a miniature Pantheon, the room has impressive ancient mosaics on the floors, and ancient statues lining the perimeter, including a gilded bronze statue of Hercules.
•Gallery of the Statues (Galleria delle Statue): as its name implies, holds various important statues, including Sleeping Ariadne and the bust of Menander. It also contains the Barberini Candelabra.
•Gallery of the Busts (Galleria dei Busti): Many ancient busts are displayed.
•Cabinet of the Masks (Gabinetto delle Maschere): The name comes from the mosaic on the floor of the gallery, found in Villa Adriana, which shows ancient theater masks. Statues are displayed along the walls, including the Three Graces.
•Sala delle Muse: Houses the statue group of Apollo and the nine muses, uncovered in a Roman villa near Tivoli in 1774, as well as statues by important ancient Greek or Roman sculptors. The centerpiece is the Belvedere Torso, revered by Michelangelo and other Renaissance men.[18]
•Sala degli Animali: So named because of the many ancient statues of animals.
Museo Chiaramonti
This museum was founded in the early 19th century by Pope Pius VII, whose surname before his election as pope was Chiaramonti. The museum consists of a large arched gallery in which are exhibited several statues, sarcophagi and friezes. The New Wing, Braccio Nuovo, built by Raffaele Stern, houses statues including the Augustus of Prima Porta, the Doryphoros, and The River Nile. The Galeria Lapidaria forms part of the Museo Chiaramonti, and contains over 3,000 stone tablets and inscriptions. It is accessible only with special permission, usually for the purpose of academic study.
Museo Gregoriano Etrusco[edit]
Founded by Pope Gregory XVI in 1836, this museum has eight galleries and houses important Etruscan pieces, coming from archaeological excavations.[19] The pieces include: vases, sarcophagus, bronzes and the Guglielmi Collection.
Museo Gregoriano Egiziano
This museum houses a large collection of artifacts from Ancient Egypt.[20] Such material includes papyruses, the Grassi Collection, animal mummies, and reproductions of the Book of the Dead.[21]
History
The Museo Gregoriano Egiziano was inaugurated on 2 February 1839 to commemorate the anniversary of Gregory XVI's accession to the papacy. The creation of the Museo Gregoriano Egiziano was particularly close to the pope's heart as he believed the understanding of ancient Egyptian civilisation was vital in terms of its scientific importance as well as its value in understanding the Old Testament. This feeling was expressed in a paper by the museum's first curator, the physiologist and Barnabite, Father Luigi Maria Ungarelli.[17]
Vatican Historical Museum
The Vatican Historical Museum (Italian: Museo storico vaticano) was founded in 1973 at the behest of Pope Paul VI,[22] and was initially hosted in environments under the Square Garden. In 1987, it moved to the main floor of the Apostolic Palace of the Lateran where it opened in March 1991.
The Vatican Historical Museum has a unique collection of portraits of the Popes from the 16th century to date, the memorable items of the Papal Military Corps of the 16–17th centuries and old religious paraphernalia related to rituals of the papacy. Also on display on the lower floor are the papamobili (Popemobiles); carriages and motorcars of Popes and Cardinals, including the first cars used by Popes.[23]
Armenian Orthodox Christmas mass and procession inside the Church of the Nativity in the West Bank town of Bethlehem January 18, 2011. Church services and ceremonies are conducted in the Cathedral of Nativity all night long and until the next day.
Shortly about me:
It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.
In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.
The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »
The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .
If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.
Fallen angel is a concept developed in Jewish and Christian thought from interpretation of the Book of Enoch. The actual term fallen angel is not found in either the Hebrew Bible or the New Testament. Christians adopted the concept of fallen angels mainly based on their interpretations of the Book of Revelation Chapter 12. Fallen angels are identified with the Watchers, as well as the angels who are cast down to the earth from the War in Heaven, and ha-satan.
The mention of the "sons of God" in Genesis 6:2 ("The sons of God saw that the daughters of man were attractive. And they took as their wives any they chose") has sometimes been interpreted, both in Judaism and in Christianity, as a reference to fallen angels. The pre-Christian apocryphal Book of Enoch recounts that a group of 200 rebellious angels, or Watchers, left heaven and came down to Earth to marry human women and have children with them.
In the New Testament, Revelation 12:3-4 refers to the dragon’s tail that drew a third part of the stars of heaven. In verses 7-9, The Dragon and his angels battle against Michael the Archangel in a War in Heaven. Losing the battle, they are “cast out” of heaven to the earth. Thus, amongst Christians, fallen angels have been associated with the term “cast out”.
An explicit reference is found in Luke 10:18 to a "fall" of Satan, whom the New Testament never explicitly identifies as an "angel".[6] According to Ben Witherington, the passage can be translated either as "fall from heaven, like lightning" or "fall, like lightning from heaven".
From the 5th century, Christian literature develops about Lucifer (Latin, literally meaning light-bearer, for the Morning Star) as a name attributed to the Devil. This usage stems from a particular interpretation of Isaiah 14:3-20, by Origen and others, Some see the passage as using this name to describe the king of Babylon, who, after exalting himself as if he were a deity, was cast down by God. Similar terminology is used in Ezekiel to describe the king of Tyre. The Greek word used in the Septuagint of Isaiah 14;12 is Ἑωσφόρος (Heosphoros, "dawn-bearer"), not φωσφόρος, the etymological synonym of Latin lucifer, used in 2 Peter 1:19 of the morning star, which is mentioned also elsewhere in the Bible with no reference to Satan.
19th-century Universalists such as Thomas Allin (1891) claimed that Clement of Alexandria, Origen and Gregory of Nyssa taught that even the Devil and fallen angels will eventually be saved.
The Quran mentions angels (malak ملاك) around ninety times, usually in the plural and referring to obedient angels. The Quran states that Satan was a Jinn (as in Islam, angels can not disobey Allah) though he is addressed with the angels in verses (2:34, 7:11, 15:29, 17:61, 18:50, 20:116, 38:71) prior to his fall. Satan (also called Iblis from Greek diabolos, "the devil") rebelled and was banished on earth, and he vowed to create mischief on earth after being given respite by Allah till the Day of Judgment, according to verses (80-85:38). In Islamic Aqeedah, Jinns, like humans, have the capacity to choose whether to obey Allah or disobey Him.
Harut and Marut (Arabic: هاروت وماروت) are two angels sent to test the people of Babylon. That there are fallen angels is not in the Quran and the Qur'an explicitly states angels have no free will, but are like appendages of Allah.
I machine appliqued by block using a very tiny zigzag stitch. My hat design I used 3 colors of DMC floss (all 6 strands on each color) and just criss crossed every 2.5 straight stitches to achieve the chain effect. A quick easy way to embellish!
Illustration from "La Sainte Bible : Ancien Testament . . . / Compositions par J.-James Tissot"; with preface by Antonin Gilbert Sertillanges (1863-1948), introduction by Maurice de Brunoff (1861-1937) and the translation into French of Isaac-Louis Lemaistre de Saci (1613-1684). 2 volumes. Paris: M. de Brunoff & Cie, 1904. The illustrations were originated by James Tissot (1836-1902) who sketched as he read Scripture.
The edition, of which 561 copies were printed, contains 360 mounted colour, black-and-white and duo-tone illustrations in the text and 40 plates in three states: sepia-tone, partly hand-coloured, and finished coloured state. The plates are protected with captioned tissue-guards. The paper size is 15.75 x 13 ins; image size varies (circa 8.5 x 5.5 ins).
The paintings for all 400 Illustrations were based exclusively on the complete sketches (the inspiration being entirely Tissot's). The first 200 illustrations covering the Book of Genesis through to the story of Jephthah's daughter in the Book of Judges were painted by Tissot. The last remaining 200 illustrations were painted after Tissot's death in 1902 by Henri Bellery-Desfontaines, Auguste François Gorguet, Charles Hoffbauer, Louis van Parys, Michel Simonidy and Georges Bertin Scott.
Files created by Phillip Medhurst: Tissot's Last Oblation
www.amazon.co.uk/clouddrive/share/rG6G4ogr0XPeNowkdqeCnQB...
Furniture
Central nave and altar
The oldest piece of furniture that can be found in the church today is the Classicist high altar by the Tyrolean sculptor Josef Stumpf. The altar structure consists essentially of two pillars standing on pedestals with Ionic capitals bearing a triangular pediment. Directly below the gable is an ornamental decorative frieze with floral motifs and angel heads. The gable itself carries in its center the Baroque symbol of God: a triangle with an eye in the middle, surrounded by a halo. The altar is flanked by two statues of apostles, probably by the Kufstein sculptor Kaspar Bichler (19th century). From the altar on the right, there is Peter, recognizable by the keys in his hand, and on the left, Paul, identified with the sword and gospel in his hands.
The altarpiece stems from the Tyrolean artist Josef Arnold the Elder (1788-1879) and shows the patron saint of the church (St. Vitus) as a martyr before Mary and Christ. As a martyr, besides the laurel wreath above his head, he also displays one of his attributes - the kettle of boiling hot oil. Arnold's style is a mixture of Classical and Romantic elements: the clothes, posture, facial expressions and gestures of the figures are reminiscent of Heinrich Friedrich Füger, while the coloring is reminiscent of the Nazarenes. In addition to the altarpiece, St. Vitus also houses two other paintings by Josef Arnold the Elder. On the one hand a representation of the Madonna with St. Barbara and St. Catherine of Alexandria on the left side altar, on the other a painting of St. Sebastian, whose wounds are being cared for by the widow of the martyr Kastulus, on the right side altar. All three paintings are from around 1840.
From the wall paintings of the artist Rudolf Stolz from the year 1929 in the vault were those from the first to the third yoke in the nave, two in the gallery and one below the gallery in the entrance area. The first yoke of the nave shows four Old Testament prophets: Daniel, David, Jeremiah, and Isaiah. Each of the prophets holds a banner in his hand, on it quotes from the Bible.
Daniel: "Seventy annual weeks are fixed"
David: "Let us rejoice the Lord our Savior"
Jeremiah: "O ye all ye that pass by, see if a sorrow is equal to my sorrow"
Isaiah: "Behold the maiden shall conceive and give birth to a son, his name shall be Emanuel"
The second yoke shows the four evangelists on the basis of their assigned symbols and inscriptions. In addition, there are various representations about it. In the center of this yoke, embedded in a hole, there is a Holy Spirit dove, surrounded by a golden radiant wreath. Saint John the Baptist is found above the evangelist Mark (Leo), opposite him - above the evangelist Luke (Taurus) - his father, Zacharias. About the evangelist Matthew (winged man) one recognizes Mary at the cradle of Christ, backed by the Bethlehemite star and last, opposite her, above the evangelist John (eagle) Christ with an open book in his hand, on which the Greek letters Alpha and Omega are read. The Greek letters refer to a biblical verse after Revelation 22:13: "I am the Alpha and the Omega, the first and the last, the beginning and the end".
Finally, in the vault of the third yoke of the nave, there is a ciphered representation of the Four Last Things. An emaciated figure, wrapped in a death-line, who seems to float away from a grave, stands for death. A trumpet-blowing angel refers to the Last Judgment (see Rev 8: 6-11,19). The risen Christ with the flag of victory in his hand represents heaven. The Archangel Michael, who is just overcoming the dragon, the symbol of Lucifer and all evil, refers to hell. On the shield of the archangel are written the words, "Who is like God" - the meaning of his original Hebrew name.
The vault of the organ loft also contains the depiction of a harp-playing angel playing a violin. Below the violin playing angel is in a banner "Praise the Lord you angels of the Lord" (Dan 3,59 EU) and below the harp playing angel "Glory to God in the high" (Lk, 14 EU, see also Vulgate, Luke 2:14: "Gloria in excelsis Deo"). The last mural of Rudolf Stolz can be found in the area of the main entrance of the church, below the gallery. It shows Christ surrounded by two mothers and seven children.
Otherwise, there are two medieval grave slabs within the church of St. Vitus with relief depictions of the deceased and their coats of arms on it.
Ausstattung
Mittelschiff und Altar
Das älteste Mobiliarstück, welches heute in der Kirche zu finden ist, stellt der klassizistische Hochaltar des Tiroler Bildhauers Josef Stumpf dar. Dar Altaraufbau besteht im Wesentlichen aus zwei auf Postamenten stehenden Säulen mit ionischen Kapitellen, welchen einen Dreiecksgiebel tragen. Direkt unterhalb des Giebels findet sich ein ornamentaler Zierfries mit floralen Motiven und Engelsköpfen. Der Giebel selbst trägt in seinem Zentrum das aus dem Barock stammende Symbol für Gott: ein Dreieck mit einem Auge in der Mitte, umgeben von einem Strahlenkranz. Flankiert wird der Altar von zwei Apostelstatuen, welche vermutlich vom Kufsteiner Bildhauer Kaspar Bichler (19. Jahrhundert) stammen. Vom Altar aus gesehen rechts findet sich Petrus, erkennbar an den Schlüsseln in seiner Hand, und links Paulus, zu identifizieren anhand des Schwertes und des Evangeliums in seinen Händen.
Das Altargemälde stammt vom Tiroler Künstler Josef Arnold dem Älteren (1788–1879) und zeigt den Titelheiligen der Kirche (Hl. Vitus) als Märtyrer vor Maria und Christus. Als Märtyrer weist ihn neben dem Lorbeerkranz über seinem Haupt auch eines seiner Attribute aus – der Kessel mit siedend heißem Öl. Arnolds Stil ist eine Mischung aus klassizistischen und romantischen Elementen: Kleidung, Haltung, Mimik und Gestik der Figuren erinnern an Heinrich Friedrich Füger, das Kolorit hingegen an die Nazarener. St. Vitus beherbergt neben dem Altarbild noch zwei weitere Gemälde Josef Arnolds d. Ä. Zum einen eine Darstellung der Madonna mit der Heiligen Barbara und der Heiligen Katharina von Alexandrien am linken Seitenaltar, zum anderen ein Gemälde des Heiligen Sebastian, dessen Wunden gerade von der Witwe des Märtyrers Kastulus gepflegt werden, am rechten Seitenaltar. Alle drei Gemälde stammen aus der Zeit um 1840.
Von den Wandmalereien des Künstlers Rudolf Stolz aus dem Jahr 1929 im Gewölbe erhielten sich jene vom ersten bis zum dritten Joch im Mittelschiff, zwei in der Empore und eine unterhalb der Empore im Eingangsbereich. Das erste Joch des Mittelschiffes zeigt vier alttestamentliche Propheten: Daniel, David, Jeremia und Jesaja. Jeder der Propheten hält ein Spruchband in Händen, darauf Zitate aus der Bibel.
Daniel: „Siebzig Jahreswochen sind festgesetzt“
David: „Kommet lasset uns frohlocken dem Herrn unserem Heiland“
Jeremia: „O ihr alle die ihr vorübergehet, schauet, ob ein Schmerz gleich sei meinem Schmerze“
Jesaja: „Siehe die Jungfrau wird empfangen und einen Sohn gebären, sein Name wird sein Emanuel“
Das zweite Joch zeigt die vier Evangelisten anhand den ihnen zugeordneten Symbolen und namentlicher Inschriften. Zudem finden sich darüber verschiedene Darstellungen. Im Zentrum dieses Joches, eingelassen in ein Loch, findet sich eine Heiliggeist-Taube, umgeben von einem goldenen Strahlenkranz. Über dem Evangelisten Markus (Löwe) findet sich der Heilige Johannes der Täufer, ihm gegenüber – oberhalb des Evangelisten Lukas (Stier) – sein Vater, Zacharias. Über dem Evangelisten Matthäus (geflügelter Mensch) erkennt man Maria an der Wiege Christi, hinterfangen vom bethlehemitischen Stern und als Letztes, ihr gegenüber, oberhalb des Evangelisten Johannes (Adler) Christus mit einem offenen Buch in der Hand, auf welchem die griechischen Buchstaben Alpha und Omega zu lesen sind. Die griechischen Buchstaben beziehen sich auf einen biblischen Vers nach Off. 22,13: „Ich bin das Alpha und das Omega, der Erste und der Letzte, der Anfang und das Ende“.
Im Gewölbe des dritten Joches des Mittelschiffes schließlich findet sich eine chiffrierte Darstellung der Vier letzten Dinge. Eine ausgemergelte, in ein Totenlinnen gehüllte Gestalt, die einem Grab zu entschweben scheint, steht für den Tod. Ein Posaune blasender Engel verweist auf das Jüngste Gericht (s. Off. 8,6–11,19). Der auferstande Christus mit der Siegesflagge in der Hand repräsentiert den Himmel. Der Erzengel Michael, welcher gerade den Drachen, Sinnbild Luzifers und alles Bösen, überwindet, verweist auf die Hölle. Auf dem Schild des Erzengels stehen die Worte „Wer ist wie Gott“ geschrieben – die Bedeutung seines ursprünglich hebräischen Namens.
Im Gewölbe der Orgelempore finden sich weiters die Darstellung eines Harfe spielenden und eines Geige spielenden Engels. Unterhalb des Geige spielenden Engels steht in einem Spruchband „Preiset den Herrn ihr Engel des Herrn“ (Dan 3,59 EU) und unterhalb des Harfe spielenden Engels „Ehre sei Gott in der Höhe“ (Lk ,14 EU; s. auch Vulgata, Lk 2,14: „Gloria in excelsis Deo“). Das letzte Wandgemälde des Rudolf Stolz findet sich im Bereich des Haupteingangs der Kirche, unterhalb der Empore. Es zeigt Christus umgeben von zwei Müttern und sieben Kindern.
Ansonsten finden sich innerhalb der Kirche St. Vitus noch zwei mittelalterliche Grabplatten mit Reliefdarstellungen der Verstorbenen und ihrer Wappen darauf.
Ely Cathedral, Ely, Cambridgeshire
A detail of the east window by William Wailes, 1857, the Blessed Virgin and St Elizabeth at the Visitation, while Zechariah sleeps in the house (south light, panel 2).
The nave windows at Ely contain a cavalcade of 19th Century glass from no less than 14 different workshops. Some of it, in the south aisle in particular, was donated by the workshops themselves, in the hope of receiving the commission for the great east end window. As such, this can be seen as a kind of Great Exhibition of 1850s workshops putting on their best show. In the end, William Wailes won the top prize.
Wailes's east window is organised in three enormous lights. The central light depicts roundels of scenes from the Passion from the Last Supper at the bottom up to the Crucifixion at the top. These are interspersed with smaller roundels of related Old Testament scenes, which in turn are flanked by scenes from the continuing Passion story between the subjects of the roundels.
The south light contains the story of the birth of Christ from the Annunciation at the bottom up to the Massacre of the Holy Innocents at the top. The north light continues the story from the finding of Christ in the Temple up to Mary Magdalene anointing Christ with oil. The Gospel subjects in the south light are interspersed with images of figures forming a Jesse Tree, while in the north light they are interspersed with images of Old Testament prophets.
The upper central light depicts post-Resurrection scenes from the angel at the empty tomb up to Christ in Majesty at the top, with two lights either side of it depicting the disciples.
'Portraits' celebrates Heavy Music Artwork five years in operation and we decided to release a book on metal portrait photography. All photos have been taken by our photographers over the last five years. To accompany the book we have also included critiques and insights by The National Portrait Gallery of Canada The Swedish National Portrait Gallery and The Scottish National Portrait Gallery exclusively to accompany the book. Plus high profile guests.
Available from heavymusicartwork.bigcartel.com/product/portraits
Some of the artists included in the book are Ghost, Lamb of God, Alice Cooper, Arch Enemy, Anthrax, Deez Nuts, Opeth, Wardruna, Neurosis, Steel Panther, Devilment (Dani Filth), Belphegor, Possessed, Orange Goblin, Alter Bridge, Napalm Death, Obituary, Carcass, Prong, Lordi, Corrosion of Conformity, Doyle, Epica, Powerwolf, Fleshgod Apocalypse, Insomnium, Kreator, Nashville Pussy, Abbath, Primordial, Soulfly, King Parrot, Behemoth, Abbath, Baroness, Overkill, Butcher Babies, King Diamond, Testament and more.
Finished size 260mm deep x 210mm wide portrait
Printed on 200 full colour and black & white silk pages
Beautifully designed and curated
Soft velvet feel hardback cover
A friend of mine who was an extra in Testament of Youth.
Nikon FM2
85/1.8D
Eastman Double X
ISO 240
Processed in Kodak HC110 1+31 for 6 mins.
An illustration from "La Sainte Bible, contenant l'Ancien et le Nouveau Testament, traduite en français sur la vulgate, par M. Le Maistre de Saci. Nouvelle édition, ornée de 300 Figures, Gravées (par les plus habiles artistes, sous la direction du C. Ponce), d'après les Dessins de M. Marillier" - featuring also designs by Nicolas-André Monsiau (see Cohen below).
Publication of this twelve-volume French Bible was initiated in 1789. It was completed fifteen years later with a luxurious program of 300 illustrations in the neoclassical style. These were engraved under the direction of Nicolas Ponce (1746–1831) after designs by Clément Pierre Marillier (1740–1808) and Nicolas-André Monsiau (1754–1837). Cohen, in his "Guide de l'Amateur de Livres à Gravures du XVIIIe siècle", adds: "En tout 300 figures (204 pour l'Ancien et 96 pour le Nouveau Testament), par Marillier et Monsiau, gravées par Dambrun, de Launay jeune, Delignon, Dupréel, de Ghendt, Giraud jeune, Halbou, Hubert, Lebeau, Patas, Petit, Ponce, Trière, Varin et Viguet, et 1 carte repliée."
A print from the Phillip Medhurst Collection at St. George's Court, Kidderminster.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.