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Jewish exiles from the Kingdom of Judah who had been living in the Babylonian captivity (6th Century BCE) found themselves under Persian rul . According to the Book of Esther, Haman, royal vizier to King Ahasuerus (possibly Xerxes) planned to annihilate all the Jews and a lot (pur) was casted, but his plans were foiled by Esther (then queen). The Jews were delivered from being the victims of an evil decree against them and were instead allowed by the King to destroy their enemies, and the day after the battle was designated as a day of feasting and rejoicing.

The roots of Purim, however, lie beyond the Book of Esther. It is likely that the Jews who returned to Israel from Babylonia in the fifth century B.C. brought with them an ancient Babylonian springtime festival which became transmuted, in Jewish folklore, into the story of Esther.

Photo from "Attracted to Light", a work by Anna Smith. From the VCA Dance production of "Transmutation" , Gasworks Theatre November 2008. Photo by Geordie Barker www.geordiebarker.com Photo from "Attracted to Light", a work by Anna Smith. From the VCA Dance production of "Transmutation" , Gasworks Theatre November 2008. Photo by Geordie Barker www.geordiebarker.com

MARLENE DIETRICH retratos de CARMEN LUNA

“ Quise atrapar su gesto, su mirada absorta, su ronca voz insultando la noche, su transmutación generosa, sus pómulos que contemplan paralizando, soledad...cómplice en descifrar su alma y así, transcurrieron años de investigación y creatividad “ (Carmen Luna)

www.carmen-luna.com

"I wanted to catch his gesture, his gaze absorbed, his voice hoarse insulting night, their transmutation generous cheekbones contemplating paralyzing loneliness ... complicit in deciphering his soul and so, it took years of research and creativity" (Carmen Luna)

 

Birth of the mysterious Alchemical Sentinels

 

3 months working day and night with an exceptional “dream team"… a big thank you to ACS, Luc, my trusty Giant who could lift a juggernaut onto a balcony (QED Thierry Loir) Thomas Cart'1, Goin, and of course Marc for the paints.

 

I have managed to set up my installation of 99 raw steel sculptures with an incredibly demanding specification: none of the 3600 work on the DDC site were to be hidden… we had to think about power sources, water crossings, access for construction machinery including the telescopic booms (3m wide)… public safety, ERP museum standards, etc, ... constantly alternating between the visible and the invisible...

 

Are they inhabited? I don’t know. One thing is certain: each sentinel stands as a unique sculpture in terms of its alchemical elements and paintwork (either with anti-rust paint or voluntarily with paints that do not resist rust). This autumn, each sentinel will reveal – with the acid rain – different interpretations, depending on the paints and solvents used, making each one different, with stratifications that future archaeologists will decipher.

 

But my most perilous challenge was to create a giant (9000 m²) installation that envelops the Abode of Chaos with dozens of tons of steel, so that my visitors, from any angle, enter a dreamlike fantasy and where the world of the Abode of Chaos on the one hand and that of the 99 monumental sculptures (named "Alchemical Sentinels" during an extremely busy night ) intersect like the Inframince defined by Marcel Duchamp (or, how to build intensities by subtraction).

 

These 99 Alchemical Sentinels are now the guardians of the Sanctuary that the Abode of Chaos has become. I designed them as veritable quantum energy wells that we placed with patience and wisdom at different spots all over the Abode of Chaos.

 

There are 99 in total, made of 10mm rough steel (50 tons), welded to form perfect equilateral triangles. Each of the three sides constituting an Alchemical Sentinel is itself cut to reveal a meurtrière, again in the shape of an equilateral triangle, presenting a superb Euclidean geometry to the visitor.

 

These 99 Alchemical Sentinels are each placed at specific energy points on the 9000 m² of the Abode of Chaos. Some are hidden by vegetation or natural landforms or are placed in relation to existing works. Others are located in our private and professionals spaces.

 

In my alchemical work that began on 9 December 1999, the three gates arranged in an equilateral triangle with one vertex pointing upwards, form the luminous delta. They represent the three elements that alchemists work with. These three elements are sulphur, mercury and salt.

 

Note that the three elements found in the Prima Materia (or Alchemical Chaos) are very closely related. The point triangle is also the symbol of the fire philosophers.

 

The equilateral triangle resting on its base – like the three points – is the symbol of the fire element, one of the four elements that the alchemist works with in the laboratory.

 

The geometric properties of the equilateral triangle evoke absolute perfection by their spiritual strength and their age-old symbolism going back to ancient Egypt… strength, beauty and harmony.

 

They will remain for a thousand years as witnesses to a civilization lost through the folly of men.

 

thierry Ehrmann

 

-------------------------------------------------

   

3 mois de travail jour et nuit, une "dream team" hors du commun, un grand merci à ACS, Luc, mon fidèle Géant qui poserait un 38 T. sur un balcon (cqfd Thierry Loir) Thomas, Cart'1, Goin et bien sûr Marc pour les peintures.

 

Je suis arrivé à poser mon installation de 99 sculptures d'acier brut avec un cahier des charges de ouf, aucune des 3600 œuvres de la DDC ne devaient être occultées, penser aux sources électriques, les passages d'eau, les voies de transport pour engin de chantier, les nacelles télescopiques (3m de large), protéger le grand public, respecter les normes ERP muséales, etc… Alterner en permanence monstration et effacement…

 

Sont-elles habitées ? Je l'ignore. Une chose certaine est que chacune, par les éléments alchimiques et les codes peints soit à l'antirouille soit volontairement avec des peintures dégradables par la rouille avec le temps, rend chaque sentinelle comme une sculpture unique. Cet automne chaque sentinelle va laisser apparaître, avec les pluies acides, différents niveaux de lecture, selon les peintures et solvants utilisés, les rendant singulières avec des stratifications que les archéologues des temps futurs décrypteront...

 

Mais mon défi le plus périlleux, était de créer une installation géante de 9000 m2 qui enveloppe, par des dizaines de tonnes d'acier, la Demeure du Chaos pour que mes visiteurs sur 360 degrés, plongent dans un univers onirique et fantasmagorique où les deux univers que sont la Demeure du Chaos d'une part et d'autre part l'installation des 99 sculptures monumentales (baptisées par une nuit très agitée "Sentinelles Alchimiques") s'entrecroisent selon l'Inframince définit par Marcel Duchamp (ou comment construire des intensités par soustraction).

 

Ces 99 Sentinelles Alchimiques sont désormais les gardiennes du Sanctuaire que représente la Demeure du Chaos. Je les ai conçus comme de véritable puits d’énergie quantique que je pose avec patience et sagesse sur l’ensemble de la Demeure du Chaos.

 

Elles sont au nombre de 99, faites d’acier brut de 10 mm (50 tonnes) soudées pour former un triangle équilatéral parfait. Chacun des 3 pans constituant une Sentinelle Alchimique, est lui même découpé pour laisser entrevoir une mystérieuse meurtrière, elle même en forme de triangle équilatéral, donnant ainsi une géométrie Euclidienne au regard du visiteur.

 

Ces 99 Sentinelles Alchimiques sont chacune à des points d’énergie particuliers de la Demeure du Chaos sur 9000 m2. Certaines se dissimulent par la végétation ou les reliefs naturels ou bien en écho aux autres œuvres, d’autres sont dans les espaces privatifs ou professionnels.

 

Dans mon travail alchimique démarré le 9 décembre 1999, les trois portes disposées en triangle équilatéral, dont un sommet est dirigé vers le haut, forment le delta lumineux. Elle sont les trois corps sur lesquels l’alchimiste va œuvrer. Ces trois corps sont le soufre, le mercure et le sel.

 

Soulignons que les trois corps présents dans la Materia Prima ou Chaos alchimique sont étroitement mélangés. Le triangle de point est aussi la marque des philosophes par le feu.

 

Le triangle équilatéral reposant sur sa base, à la manière des trois points, est le symbole de l’élément feu, l’un des quatre éléments avec lequel l’alchimiste travaille au laboratoire.

 

Les propriétés géométriques du triangle équilatéral relèvent de la perfection absolue par sa force spirituelle, son symbolisme de la nuit des temps notamment dans l’ancienne Egypte, il est force, beauté et harmonie.

 

Elles resteront durant mille ans comme les témoins d’une civilisation disparue par la folie des hommes

 

thierry Ehrmann

A favourite ring...

 

"Smokey Quartz is a grounding stone that transmutes negative energies and facilitates your ability to get things done in the practical world. It enhances organizational skills and is good to have around in the workplace or home office. Smokey Quartz is also connected with the sounds of the universe. It makes you more aware of sounds including telepathic sounds. Smokey Quartz helps relieve depression."

  

'Amikejo: Uqbar (Irene Kopelman & Mariana Castillo Deball)', Laboratorio 987, MUSAC, 25 June–11 September

 

Uqbar (Irene Kopelman and Mariana Castillo Deball explore the “interchanges, mutations, transmutations, metamorphosis and contaminations that working together entails... the not belonging to one or the other but rather creating an in between zone”, as the artists have described. The artists investigate the principal of chirality or ‘handedness’ – the property of an object that is not superimposable on its mirror image (human hands being the most recognizable example: the left hand is a non-superimposable mirror image of the right hand). Uqbar take this phenomenon as a metaphor of two organisms working together, mirroring each other; and at the same time being completely different and alien to each other. The exhibition is dominated by a spiral staircase, which serves as a viewpoint for other artifacts and objects. Uqbar create a psychedelic chiral ecosystem, featuring hanging papier-mâché epiphyte sculptures and enlarged stone microfossils, as well as “Banyan tree drawings, a video of a chemical reaction, fables among non-humans and drawings of hybrid creatures”.

 

Photo: Imagen Mas. Courtesy of the artists and MUSAC, León.

"No one is less lenient towards romantic longings than he who has suffered disappointment in them, who has failed to transmute them into reality"

~ Maurice Guest, Henry Handel Richardson

Fresh Paint Gallery, 25 février

 

crédit photo : Frédérique Ménard-Aubin

Jewish exiles from the Kingdom of Judah who had been living in the Babylonian captivity (6th Century BCE) found themselves under Persian rul . According to the Book of Esther, Haman, royal vizier to King Ahasuerus (possibly Xerxes) planned to annihilate all the Jews and a lot (pur) was casted, but his plans were foiled by Esther (then queen). The Jews were delivered from being the victims of an evil decree against them and were instead allowed by the King to destroy their enemies, and the day after the battle was designated as a day of feasting and rejoicing.

The roots of Purim, however, lie beyond the Book of Esther. It is likely that the Jews who returned to Israel from Babylonia in the fifth century B.C. brought with them an ancient Babylonian springtime festival which became transmuted, in Jewish folklore, into the story of Esther.

 

Michka Seeliger-Chatelain, auteure de "De la main gauche, Livres 1, 2 & 3" :

 

www.mamaeditions.net/catalogue.html#9782845941133

 

Agnès Stevenin, auteure de "De la douleur à la douceur, Transmutation" :

 

www.mamaeditions.net/catalogue.html#9782845940970

St Lawrence Jewry, Gresham Street, London

 

If a Martian came down to the City and was shown around the churches of the Square Mile, there is no doubt that he would think St Lawrence Jewry quite the most important. This wouldn't be just because of its perfect setting facing down Gresham Street across the square from the Guildhall, although of course that would contribute. And it certainly isn't the biggest of the City churches. But you step into an interior which is without parallel in the City for dark-wooded, serious-windowed gravitas. There is a palpable sense of patronage, of the power of conservative institutions transformed and transmuted into brass and banners, into solemn words and ethereal music. This is a place where the Church of England knows its friends, draws a line, and stands firm.

 

And yet, it is all an illusion, for on the night of 29th December 1940 St Lawrence was comletely gutted by German incendiaries and high explosive bombs. Nothing survived except for the lower part of the tower and walls. It was, in its way, the perfect firestorm. It was a Sunday evening. The churches had been locked after the services that morning in direct contravention of the request of the City authorities for buildings to be left accessible to firefighters. Because it was Christmas week there were hardly any firewatchers on duty in the area north of Cheapside. There was a strong wind blowing, to fan the flames. And as the fires joined together covering an area of almost fifty acres, the rising heat began to draw in air from below the flames from all sides. The air drawn into the furnace was running at more than fifty miles an hour, and the result was the largest bomb site in the whole of the British Isles - although nothing to compare with anything in almost any large German city, of course.

 

The medieval church had been gutted in the Great Fire, and the rebuilding was one of the most expensive of all the Wren churches. As Simon Bradley points out, St Lawrence was unusual in that its walls were exposed on all sides, it wasn't jammed in among other buildings, and so attention had to be paid to the exterior. The facing in Portland stone added to its grandeur.

 

The architect chosen for the post-war rebuilding was Cecil Brown, with a brief to provide a church fitting for pomp and circumstance, for ceremony and seriousness. St Lawrence therefore has none of the light-wooded Festival of Britain jollity you find at Lawrence King's St Mary le Bow, or the quiet candle-lit introspection of Dykes Bowers' St Vedast. This is church as theatre. Instead of the uplifting thrill of the John Hayward and Brian Thomas glass at St Mary le Bow and St Vedast, here Christopher Webb contributed a scheme which Simon Bradley rightly describes as unobtrusive. But it all works. There is a great harmony, and a sense of a church much greater than its individual parts.

 

Have I made this church sound unwelcoming? It isn't. Almost every time I've been here I've found stewards inside, and they are always pleased to see visitors. And, of course, they have a lot to be pleased about.

 

(c) Simon Knott, December 2015

From my first double exposure series, Une Fleur Étudier (a flower study). Taken with a Canon 5D Mark III.

 

www.codyslr.com

Birth of the mysterious Alchemical Sentinels

 

3 months working day and night with an exceptional “dream team"… a big thank you to ACS, Luc, my trusty Giant who could lift a juggernaut onto a balcony (QED Thierry Loir) Thomas Cart'1, Goin, and of course Marc for the paints.

 

I have managed to set up my installation of 99 raw steel sculptures with an incredibly demanding specification: none of the 3600 work on the DDC site were to be hidden… we had to think about power sources, water crossings, access for construction machinery including the telescopic booms (3m wide)… public safety, ERP museum standards, etc, ... constantly alternating between the visible and the invisible...

 

Are they inhabited? I don’t know. One thing is certain: each sentinel stands as a unique sculpture in terms of its alchemical elements and paintwork (either with anti-rust paint or voluntarily with paints that do not resist rust). This autumn, each sentinel will reveal – with the acid rain – different interpretations, depending on the paints and solvents used, making each one different, with stratifications that future archaeologists will decipher.

 

But my most perilous challenge was to create a giant (9000 m²) installation that envelops the Abode of Chaos with dozens of tons of steel, so that my visitors, from any angle, enter a dreamlike fantasy and where the world of the Abode of Chaos on the one hand and that of the 99 monumental sculptures (named "Alchemical Sentinels" during an extremely busy night ) intersect like the Inframince defined by Marcel Duchamp (or, how to build intensities by subtraction).

 

These 99 Alchemical Sentinels are now the guardians of the Sanctuary that the Abode of Chaos has become. I designed them as veritable quantum energy wells that we placed with patience and wisdom at different spots all over the Abode of Chaos.

 

There are 99 in total, made of 10mm rough steel (50 tons), welded to form perfect equilateral triangles. Each of the three sides constituting an Alchemical Sentinel is itself cut to reveal a meurtrière, again in the shape of an equilateral triangle, presenting a superb Euclidean geometry to the visitor.

 

These 99 Alchemical Sentinels are each placed at specific energy points on the 9000 m² of the Abode of Chaos. Some are hidden by vegetation or natural landforms or are placed in relation to existing works. Others are located in our private and professionals spaces.

 

In my alchemical work that began on 9 December 1999, the three gates arranged in an equilateral triangle with one vertex pointing upwards, form the luminous delta. They represent the three elements that alchemists work with. These three elements are sulphur, mercury and salt.

 

Note that the three elements found in the Prima Materia (or Alchemical Chaos) are very closely related. The point triangle is also the symbol of the fire philosophers.

 

The equilateral triangle resting on its base – like the three points – is the symbol of the fire element, one of the four elements that the alchemist works with in the laboratory.

 

The geometric properties of the equilateral triangle evoke absolute perfection by their spiritual strength and their age-old symbolism going back to ancient Egypt… strength, beauty and harmony.

 

They will remain for a thousand years as witnesses to a civilization lost through the folly of men.

 

thierry Ehrmann

 

-------------------------------------------------

   

3 mois de travail jour et nuit, une "dream team" hors du commun, un grand merci à ACS, Luc, mon fidèle Géant qui poserait un 38 T. sur un balcon (cqfd Thierry Loir) Thomas, Cart'1, Goin et bien sûr Marc pour les peintures.

 

Je suis arrivé à poser mon installation de 99 sculptures d'acier brut avec un cahier des charges de ouf, aucune des 3600 œuvres de la DDC ne devaient être occultées, penser aux sources électriques, les passages d'eau, les voies de transport pour engin de chantier, les nacelles télescopiques (3m de large), protéger le grand public, respecter les normes ERP muséales, etc… Alterner en permanence monstration et effacement…

 

Sont-elles habitées ? Je l'ignore. Une chose certaine est que chacune, par les éléments alchimiques et les codes peints soit à l'antirouille soit volontairement avec des peintures dégradables par la rouille avec le temps, rend chaque sentinelle comme une sculpture unique. Cet automne chaque sentinelle va laisser apparaître, avec les pluies acides, différents niveaux de lecture, selon les peintures et solvants utilisés, les rendant singulières avec des stratifications que les archéologues des temps futurs décrypteront...

 

Mais mon défi le plus périlleux, était de créer une installation géante de 9000 m2 qui enveloppe, par des dizaines de tonnes d'acier, la Demeure du Chaos pour que mes visiteurs sur 360 degrés, plongent dans un univers onirique et fantasmagorique où les deux univers que sont la Demeure du Chaos d'une part et d'autre part l'installation des 99 sculptures monumentales (baptisées par une nuit très agitée "Sentinelles Alchimiques") s'entrecroisent selon l'Inframince définit par Marcel Duchamp (ou comment construire des intensités par soustraction).

 

Ces 99 Sentinelles Alchimiques sont désormais les gardiennes du Sanctuaire que représente la Demeure du Chaos. Je les ai conçus comme de véritable puits d’énergie quantique que je pose avec patience et sagesse sur l’ensemble de la Demeure du Chaos.

 

Elles sont au nombre de 99, faites d’acier brut de 10 mm (50 tonnes) soudées pour former un triangle équilatéral parfait. Chacun des 3 pans constituant une Sentinelle Alchimique, est lui même découpé pour laisser entrevoir une mystérieuse meurtrière, elle même en forme de triangle équilatéral, donnant ainsi une géométrie Euclidienne au regard du visiteur.

 

Ces 99 Sentinelles Alchimiques sont chacune à des points d’énergie particuliers de la Demeure du Chaos sur 9000 m2. Certaines se dissimulent par la végétation ou les reliefs naturels ou bien en écho aux autres œuvres, d’autres sont dans les espaces privatifs ou professionnels.

 

Dans mon travail alchimique démarré le 9 décembre 1999, les trois portes disposées en triangle équilatéral, dont un sommet est dirigé vers le haut, forment le delta lumineux. Elle sont les trois corps sur lesquels l’alchimiste va œuvrer. Ces trois corps sont le soufre, le mercure et le sel.

 

Soulignons que les trois corps présents dans la Materia Prima ou Chaos alchimique sont étroitement mélangés. Le triangle de point est aussi la marque des philosophes par le feu.

 

Le triangle équilatéral reposant sur sa base, à la manière des trois points, est le symbole de l’élément feu, l’un des quatre éléments avec lequel l’alchimiste travaille au laboratoire.

 

Les propriétés géométriques du triangle équilatéral relèvent de la perfection absolue par sa force spirituelle, son symbolisme de la nuit des temps notamment dans l’ancienne Egypte, il est force, beauté et harmonie.

 

Elles resteront durant mille ans comme les témoins d’une civilisation disparue par la folie des hommes

 

thierry Ehrmann

Photo from "Attracted to Light", a work by Anna Smith. From the VCA Dance production of "Transmutation" , Gasworks Theatre November 2008. Photo and Lighting Design by Geordie Barker www.geordiebarker.com

Like the early photographers who first dodged and burned their mediocre photos into great shots, I'm addicted to the tools available in digital manipulation. Here, the ACDSee software that came with my camera has allowed me the alchemy to transmute a rack of metal pitchers into wood, water, and light.

Newest tattoo (May 22, 2006) - Done by Adam at Adrenaline. Location: Sternum

 

From www.azteccalendar.com :

Ollin is a day of the purified heart, signifying those moments where human beings may perceive what they are becoming. A good day for transmutation, which arrives like an earthquake that leaves in its wake the ruins of rationality, order and the preconceived.

 

I was born on the day of Ollin, according to the Aztec calendar. The protector of this day is the god Xolotl (The Double, the Shapeshifter, Th Evening Star, the Lord of the West).

  

Many centuries ago by a sparkling lake, in a valley surrounded by majestic mountains, the temple of Lao-Tsun was guarded by 100 yellow-eyed white cats with long silken hair. The temple housed a beautiful golden goddess with sapphire blue eyes who watched over the transmutation of souls. The head monk, Mun-ha, whose beard had been braided with gold by the enlighten one, often knelt in meditation before the golden goddess,Tsun-Kyan-Kse. At his side was his faithful and beloved companion, a beautiful temple cat named Sinh. Sinh would always shared in his master's meditation. As the monk meditated, Sinh would gaze steadily at the golden goddess beautiful sapphire blue eyes.

 

One night as the moon rose, Mun-ha was in communion with the sacred goddess, Tsun-Kyan-Kse. He was deep in a transcendental state. So deep was his devotion, that he suffered no pain when the temple was attacked by marauders and Mun-ha was killed. At the moment of his masters death, Sinh placed his paws upon the monk's flowing robes and faced the golden goddess. Instantly, an amazing transformation took place. The hairs of Sinh's white fur were as though misted with a golden glow which radiated from the beautiful golden goddess. Her deep sapphire blue eyes became Sinh very own. His face, ears, legs and tail became the velvety brown color of rich earth, but his four paws resting gently on his master, remained perfect white, a symbol of purity. The next morning the temple radiated with the transformation of the remaining ninety-nine white cats which with Sinh reflected the golden hue of a hundred brilliant sunrises. Sinh did not move from his place He stayed on the spot of his masters death, and gazed fervently into the sapphire eyes of the goddess. Exactly seven days later Sinh died carrying with him into Nirvana the soul of his beloved master,the monk Mun-ha.

 

A veil of mystery surrounding this initial background of the Birmans. According to the explorer, Auguste Pavie who made a study of this subject stated the pointed cats of all colors, some mitted and some not, can be seen in todays temples. He believes that because the numerous wars waged in Northern Burma by the Siamese and the Annamites through out history, that it is very likely that the origin of the Birman evolved from a cross between the Siamese cat and the Annamites cats. But as with all legends there is am element of truth. How much truth only the Birman knows and that is a secret that will be eternally theirs. ... BIRMAN

   

Photo from "Attracted to Light", a work by Anna Smith. From the VCA Dance production of "Transmutation" , Gasworks Theatre November 2008. Photo by Geordie Barker www.geordiebarker.com Photo from "Attracted to Light", a work by Anna Smith. From the VCA Dance production of "Transmutation" , Gasworks Theatre November 2008. Photo by Geordie Barker www.geordiebarker.com duplicate (4984)

A binding spell is a magic ritual purported to empower the caster with the ability to control an object, person or occurrence to prevent harm or to contain.

 

Citrine is believed to be a powerful cleanser and regenerator by absorbing, transmuting, dissipating and grounding negative energy.

It attracts wealth and prosperity, success and all good things. Raises self-esteem and self-confidence, enhances concentration and promotes inner calm and imparts joy and releases negativity.

 

Given the legend of the power of citrine, a spell of binding to contain this power is, perhaps the real magic of this necklace.

St Lawrence Jewry, Gresham Street, London

 

If a Martian came down to the City and was shown around the churches of the Square Mile, there is no doubt that he would think St Lawrence Jewry quite the most important. This wouldn't be just because of its perfect setting facing down Gresham Street across the square from the Guildhall, although of course that would contribute. And it certainly isn't the biggest of the City churches. But you step into an interior which is without parallel in the City for dark-wooded, serious-windowed gravitas. There is a palpable sense of patronage, of the power of conservative institutions transformed and transmuted into brass and banners, into solemn words and ethereal music. This is a place where the Church of England knows its friends, draws a line, and stands firm.

 

And yet, it is all an illusion, for on the night of 29th December 1940 St Lawrence was comletely gutted by German incendiaries and high explosive bombs. Nothing survived except for the lower part of the tower and walls. It was, in its way, the perfect firestorm. It was a Sunday evening. The churches had been locked after the services that morning in direct contravention of the request of the City authorities for buildings to be left accessible to firefighters. Because it was Christmas week there were hardly any firewatchers on duty in the area north of Cheapside. There was a strong wind blowing, to fan the flames. And as the fires joined together covering an area of almost fifty acres, the rising heat began to draw in air from below the flames from all sides. The air drawn into the furnace was running at more than fifty miles an hour, and the result was the largest bomb site in the whole of the British Isles - although nothing to compare with anything in almost any large German city, of course.

 

The medieval church had been gutted in the Great Fire, and the rebuilding was one of the most expensive of all the Wren churches. As Simon Bradley points out, St Lawrence was unusual in that its walls were exposed on all sides, it wasn't jammed in among other buildings, and so attention had to be paid to the exterior. The facing in Portland stone added to its grandeur.

 

The architect chosen for the post-war rebuilding was Cecil Brown, with a brief to provide a church fitting for pomp and circumstance, for ceremony and seriousness. St Lawrence therefore has none of the light-wooded Festival of Britain jollity you find at Lawrence King's St Mary le Bow, or the quiet candle-lit introspection of Dykes Bowers' St Vedast. This is church as theatre. Instead of the uplifting thrill of the John Hayward and Brian Thomas glass at St Mary le Bow and St Vedast, here Christopher Webb contributed a scheme which Simon Bradley rightly describes as unobtrusive. But it all works. There is a great harmony, and a sense of a church much greater than its individual parts.

 

Have I made this church sound unwelcoming? It isn't. Almost every time I've been here I've found stewards inside, and they are always pleased to see visitors. And, of course, they have a lot to be pleased about.

 

(c) Simon Knott, December 2015

I was feeling the need to spread a little cleansing positive energy. Beautiful White Holy Sage smoldering in my pinch pot made in H.S. Transmuting the negative to the positive...

The dazzling Acer

Sheds its leaves with a passion

Of Autumnal fire

Transmuting green to pure gold

In the sylvan crucible

 

Like molten copper

Your luminous leaves pour down

Forged in Autumn fire

Could this be the ‘burning bush’

That fired the mind of Moses ?

 

Arboreal firework

Silver Birch drops golden rain

On last year’s leaf-mould

Now a silver skeleton

Stands bereft in golden pond

 

Gone the April green

Of new Spring leaves unfurling

Beech trunks gaunt and grey

Yellow gold and chocolate brown

The leaves that now are falling

 

The smell of Autumn

Damp decay but somehow fresh

Moldering leaves new earth

Grey green lichened twigs snapping

Beech mast crackling underfoot

 

Mike Jones

  

The Palm Court was once the main lobby for the hotel. Egyptian, French, and Greek influences abound and are transmuted into an eclectic vision of Art Deco design. At the far end of the Palm Court is a ram’s-head fountain with a breche marble ziggurat-shaped surround, guarded by two strikingly handsome seahorses, crowned with lotus-shaped lights.

 

George Unger, a talented theatre designer during the 1920s and 1930s, is credited with the majority of the interior design work. Although myriad mythological figures are found throughout the hotel—the ram, dolphin, seahorse, and mermaid represent protection for travelers—the variety of Art Deco images and forms were adopted not so much for their for their symbolic attributes, but for their dramatic visual effect.

I.Overview

 

Name: Roy Mustang

Nickname: Flame Alchemist, Hero of Ishval, Roy-Boy, Chief

Age: 28

Gender: Male

Birthdate: January 18th 1885

Race: Human

Marital Status: Single

Origin: Amestrian

Rank: Brigadier-General

Religion: N/A

Occupation: Flame Alchemist of the Amestrian State Military

Weapon of Choice: Flame Alchemy, Gun

Weapon Appearance: Wears Ignition Cloth Gloves

Preferred Method of Combat: Flame Alchemy

 

II. Family/Lineage

 

Mother: Chris Mustang (Aunt/Foster Mother)

Father: Unknown

Brother(s): N/A

Sister(s): N/A

Name of Spouse: N/A

Children: N/A

Extended Family: Iris Ishada

 

III. Physical Appearance

 

Hair Color: Black

Eye Color: Grey

Skin Tone: Tan

Height: 5’1

Weight: 120 lbs.

Identifying Marks: faint scars of the transmutation circle on top of both of his hands.

 

VIII. Misc. Information

 

Pets/Familiars: N/A

Favorite Color: Forest Green

Favorite Flower: he likes all types of flowers

Hobbies: reading and a good game of chess.

Guild Affiliations: Amestrian State Military, Berthold Hawkeye

Personality Traits: he is very kind despite being a pervert at times.

Fears/ Phobias: that his cousin Iris will be harmed

Favorite Dish: Stew

Preferred Sport/Activity: likes to play chess

Artistic Abilities: N/A

Musical Skills: N/A

Likes: good friends

Dislikes: Stupid People

 

IX. History Up To Current:

On the surface, Roy seems to be a shallow and self-absorbed man, infamous among many of his colleagues and subordinates alike for the selfish and narcissistic aura he gives off. Easily as arrogant as his young protégé Edward. Roy is expertly manipulative and prone to think several steps ahead of those around him, giving him a remarkable talent for making subordinates act exactly as he wishes despite appearing not to have had a hand in their decisions - all traits which make the fact that he has managed to attain the lofty rank of colonel at such a young age a matter of public gossip.

At the core, he is a remarkably devoted commander whose primary focus and personal duty is to his friends and subordinates. He considers himself a protector to those without and acts accordingly, earning the staunch loyalty of his most trusted compatriots.

Unfortunately, his self-imposed position as protector has caused him to display a penchant toward stubbornness in regards to his pride on the field and a fiery temper, both of which have been shown to cloud his judgment in certain situations especially when it comes to his cousin Iris, who he sees more of a sister then a cousin since she had lived with his family ever since they were little kids. He is worried with the strange alchemy she controls that she could be the subject of many attempts of kidnapping by people who wish to control it.

   

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