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This is an illuminated and illustrated copy of the famous story of Joseph and the Potiphar's wife (Yūsuf va Zulaykhā) by Jāmī (d. 898 AH / 1492 CE). The manuscript was written in India in the late twelfth century AH / eighteenth CE in black nastaʿlīq script. There are forty-seven paintings illustrating the text. The lacquer binding with floral decoration is attributable to the thirteenth century AH / nineteenth CE.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
CODEX V (Dialogue avec mon ombre / Dialogue with my shadow)
Série complète / Complete series : www.flickr.com/photos/doubles-v/sets/72157643577354143/
youtu.be/LrpM4_fPIT4?t=1s Trailer
youtu.be/t5UmxJyV_bI?t=2s Theme Song.
Starring Walter Pidgeon, Joan Fontaine, Barbara Eden, Peter Lorre, Robert Sterling, Michael Ansara, Frankie Avalon, Regis Toomey, John Litel, and Henry Daniell. Directed by Irwin Allen.
Irwin Allen did not let disappointment over Lost World get him down. Voyage to the Bottom of the Sea (VBS) was a hit. It spawned a TV series that brought sci-fi adventure in "inner space" into millions of mid-60s living rooms. Allen provided a mix of classic Jules Verne style travel adventures with techno-gadget appeal. The story turns out to be more of a human drama than sci-fi, but the sci-fi element at least still fairly visible. There is a visual slickness to the production which heralds the coming flavor of second-generation sci-fi. VBS was also the American edition of a world cast into sudden global warming. The first was the British film The Day the Earth Caught Fire.
Synopsis
The new atomic submarine USOS Seaview has completed it's trial voyages. A congressman and Dr. Hiller, a psychiatrist, come aboard for a demonstration voyage under the polar ice cap. The ensuing tour of the ship is as much for their benefit as for the viewers to marvel at Seaview's coolness. After a couple of days, Seaview is being gently bombarded by falling chunks of sea ice. Seaview surfaces. The crew see that the sky is on fire. Meteorites have somehow ignited the Van Allen Belts. The earth is being scorched. Top scientists are convening at the UN to find a solution. Admiral Nelson is ordered to attend. Before they leave, they find a lone man on the ice. They take Alvarez aboard. At the UN, Nelson proposes firing a nuclear missile at the belts to "pop" them. A rival scientist says the belts will burn themselves out. The UN body likes the do-nothing plan, so Nelson storms out. They rush aboard the Seaview and speed off. Nelson plans to fire the missile anyway. The trip around South America is long enough to build some sub plots. The men are growing restive with worry about loved ones. Alvarez talks of accepting doom if that's God's will. Captain Crane is often at odds with Nelson over the men. Nelson gets death threats. Dr.Hiller suggests that Nelson is delusional and faked the threats. Crane is conflicted. A UN sub tries to sink them, but blows up trying to match Seaview's diving ability. It turns out that Dr. Hiller is actually the saboteur, but she is eaten by a shark and her damage repaired. Just as the savior missile is about to be launched, Alvarez holds everyone hostage with a bomb. Crane dons scuba gear and triggers the missile manually. In the jolt of launch, Alvarez is overpowered. All are safe. The missile does the job. The fires are poofed out. Everyone reconciles their differences and sail happily for home. The End.
There is ample action and no shortage of subplots. Walter Pigeon (Morbius of Forbidden Planet ('56) ) gives a good show as the misunderstood champion. Barbara Eden (I Dream of Jeanie) does surprisingly well as more than just eye candy.
While commies aren't present, there is the metaphor of the burning radiation belts which will soon destroy the earth. The solution is a well-placed atomic warhead. Add in some spy story sabotage, and the Cold War is well represented.
Allen positions VBS as the modern replacement for the 19th century's 20,000 Leagues Under the Sea. Like Nemo, Admiral Nelson is lauded as the brilliant (one man) inventor/scientist and builder of the amazing submarine. Like Nemo, Nelson pursues his own inner vision of what must be done to save the world. Like Nemo, the world is out to stop him. Having Peter Lorrie among the cast makes for an unmistakable tie to Disney's 1954 film version of the Nemo story. In VBS, his role is peripheral, but the connection works. In the TV series, Nelson's adventures in Seaview become a modern Nemo & Nautilus for the 20th century.
Just two years after Atomic Submarine, the notion of a high-tech nuclear submarine, on adventures to save the earth, still had legs. What a difference two years made too. Where 50s films were rife with war surplus equipment, Allen's Seaview represented more of a forward looking design.
A few movies before have suggested climate upheavals due to space phenomena. When Worlds Collide had this in 1951. The Lost Missile ('58) had a rogue missile burning up swaths of earth as it orbited. This was more of moving a local problem than global, but still... Also from 1958 was an Italo-French production, "La Morte viente dallo spazio" (Death comes from space) which had a mass of asteroids raising global temperatures. In an interesting coincidence, the english dubbed version, entitled The Day the Sky Exploded will be released only a few months after VBS. Then, there is The Day the Earth Caught Fire (' ) which also features a scorched earth. A cooked earth was becoming, (dare I say it?) a hot topic. (sorry) These early looks at extreme global warming have an intriguing relevance again.
The television series based upon VBS would buck the trend. Often enough, TV series based on a movie would not live up the film's magic. Not so with VBS-TV. The series was, in many ways, better. For gadet-crazed young boys, the Flying Sub was too cool for words. The crew of Seaview, much like Roddenberry's Enterprise crew a few years later, would take their wonderful ship on many amazing adventures. After all that, the original movie seems tame.
Note the wall of blinking square "computer" lights in the control room of Seaview. It was not new, but recycled. In the age before personal computers, someone had gone to a lot of trouble make the light-bank blink its lights in such an artful, almost thoughtful, way. It was too cool of a prop to leave in storage. It was part of the evil super computer set in Invisible Boy ('57). The light-bank appeared again in Return of the Fly ('59).
Bottom line? VBS is well worth the time. It may be a bit light on the science (or just plain wrong, such as sinking ice), but it is briskly told story that avoids predictable traps.
Piece from my solo exhibition Stuff I've Seen @ Land Gallery. Original charcoal drawing on black paper.
Available here
...
slick photo by Pat Castaldo
Grandvey - Viadukt - Grandveyviadukt an der Bahnlinie B.ern => Freiburg bei Freiburg /
Fribourg in der Schweiz
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Grandfey - Viadukt der SBB an der Linie B.ern - F.ribourg
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Der Grandfey - Viadukt an der Bahnlinie von B.ern nach Freiburg gehört zu den grössten
Brücken der Schweiz.
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Bei Grandfey rund 4 Kilometer östlich des Bahnhofs von Freiburg überquert die Bahn das
tief in den M.olassefelsen eingeschnittene und breite Tal der S.aane. Die Bahngesellschaft
Chemins de fer fribourgeois beauftragte 1856 den Ingenieur Leopold Blotnicki mit Studien
für diese aufwändigste Bauaufgabe in ihrem Streckennetz.
Von 1858 bis 1862 wurde die 334 m lange und 82 m hohe Brücke von der Baufirma Schneider
& Cie. in Le Creusot als Stahlfachwerkkonstruktion ausgeführt. Sechs auf mächtigen Stein-
fundamenten stehende Gitterpfeiler trugen einen starken Fachwerkbalken, auf den der Ober-
bau der Schienen zu liegen kam.
Im Innern des Fachwerkträgers gab es eine Passage für Fussgänger und kleine K.arren.
Damit erschloss der Grandfeyviadukt für den leichten Landverkehr eine neue Passage über
die lang gestreckte und sehr unwegsame S.chlucht der S.aane.
Mit der Elektrifizierung des Schienennetzes der Schweizerischen Bundesbahnen musste
die Brücke verstärkt werden, um die schwereren und schneller fahrenden Lokomotiven
und Zugskompositionen tragen zu können.
Nach einem Konzept des Pioniers grosser Betonbauten in der Schweiz Robert Maillart erhielt
der Grandfey - Viadukt von 1925 bis 1927 seine neue Gestalt. Zwischen den sechs vollständig
einbetonierten Stahlfachwerkstützen liegen weite Betonbögen, über deren Scheitel der er-
neuerte Fussgängerweg verläuft.
Die sieben Bögen weisen lichte Weiten von 42 m auf. Auf den mächtigen Hauptbögen ruht
eine lange Reihe schlanker Arkaden, die das Bett der Geleiseanlagen tragen. Mit der
doppelten Bogenreihe gewinnt das grosse Bauwerk eine monumentale klassizistische Form.
Durch den Bau der S.taumauer S.chiffenen, welche 1964 beendet wurde, steht der untere Teil
nun im Wasser des S.chiffenensees.
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Passage und Skulptur von Richard Serra
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Die Passage durch den Grandfey - Viadukt gehört zu den schönsten Punkten im Strecken-
netz der Wanderwege und der Radwege des Kantons Freiburg. Bei dieser Passage befindet
sich eine moderne Skulptur des amerikanischen Künstlers Richard Serra.
Das Kunstwerk stellt einen L - förmigen Stahlträger dar und wurde im Jahr 1987 erstellt. Im
August 2007 wurde das Objekt durch die Montierung eines Handlaufes durch die SBB ge-
schädigt. Bei der Bevölkerung ist die Skulptur umstritten, da sie vor allem für die Radfahrer
störend und gefährlich ist.
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Will man das Grandfey - Viadukt besuchen reist man am besten mit dem Zug nach Friburg /
Freiburg und anschliessend mit dem Buslinie 1 der TPF bis Poya. Von hier aus läuft man
noch etwa 10 Minuten auf der rechten Seite der Bahnstrecke Richtung B.ern.
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( BeschriebGrandveyviadukt BeschriebGrandvey-Viadukt KantonFreiburg KantonFribourg
Brücke Bridge bro bridge silta pont droichead ponte 橋 brug puente Viaduct viaduct maasilta
viaduc tarbhealach viadotto 高架橋 wiadukt viaduto viaducto )
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Ausflug nach V.als.ainte mit den E.ltern am Sonntag den 11. August 2013
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Mit dem A.uto S.chwarzenb.urg - P,laffeien nach V.als.ainte.
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Über den A.ussichtst.urm der S.endes.tation M.ont - G.ibloux - R.uine I.llens wieder zurück nach B.ern
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Hurni130811 KantonFreiburg KantonFribourg
E - Mail : chrigu.hurni@bluemail.ch
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Letzte Aktualisierung - Ergänzung des Textes : 180421
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NIF
This is a couple of pages from the first 300 pages of an illuminated manuscript of Chaucer’s Canterbury Tales which was probably written sometime between 1420 and 1440. Scholars disagree on a specific date of publication. The Chaucer was written in England in one hand and the dialect and spelling include a significant of West Midland and North Midland forms. This copy is believed to have been held at Petworth for at least 400 hundred years.
The historic document is displayed in a sealed glass case. Each day the page is turned to reduce any light damage. Some pages have beautiful decoration as well as the amazing hand-written script. Sadly on this day there was little decoration on view. Never-the-less is is a beautiful piece of work.
click on image to enlarge and see the lovely script.
Linogravura sobre página de livro velho
Woodcut on old paper
Passei o último fim de semana no sítio fazendo novas matrizes para xilo. E imprimir elas ao ar livro foi uma das coisas mais prazerosas, arrumei uma mesa debaixo da mangueira e comecei tirar as provas e pendurar no varal, os gatos e a cadela vinham cheiras as provas que colocava no chão próximo a mim para ver o quer era que acontecia ali.
Ultimamente tenho despertado um interesse e prazer muito grande por gravuras, e principalmente por Xilo. Levei para ser de suporte para algumas tiragens um livro que tinha comprado tempos atrás, "Casa Nova", de Stefan Zweiig, o livro era da década de 50, achei que seria muito doida a leitura por causa da história do sujeito, poderia ser uma biografia interessante do Casa Nova, mas não passava de puxação de saco. Então acabei por decidir arrancar as páginas e aproveitar a textura. Gostei muito do resultado.
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Artist Page on Facebook
The Winter Garden Theatre is a Broadway theatre located at 1634 Broadway in midtown-Manhattan.
It was built by William Kissam Vanderbilt in 1896 to the be the American Horse Exchange.
In 1911 the Shuberts leased the building and Architect William Albert Swasey redesigned the building as a theatre. It is the fourth New York City venue to be christened the Winter Garden, it opened on March 10, 1911 with the early Jerome Kern musical La Belle Paree.
It was completely remodeled in 1922 by Herbert J. Krapp. The large stage is wider than those in most Broadway houses, and the proscenium arch is relatively low. The building is situated uniquely on its lot, with the main entrance and marquee, located on Broadway, connected to the 1530-seat Seventh Avenue auditorium via a long hallway, and the rear wall of the stage abutting 50th Street.
The theatre's longest tenant was Cats, which opened on October 7, 1982 and ran 7,485 performances spanning nearly nineteen years. The auditorium had been gutted to accommodate the show's junkyard setting, and after its closing architect Francesca Russo supervised its restoration, returning it to its 1920s appearance.
From Wikipedia, the free encyclopedia
'Cats,'
Broadway's Longevity Champ, to Close
After almost 18 years, $380 million in sales and untold gallons of makeup, ''Cats,'' the longest-running production in Broadway history, will close on June 25.
The musical, at the Winter Garden Theater, will end its run after 7,397 performances, a streak that began while much of the show's current cast was in grade school.
The closing, which has been rumored for several months, was confirmed yesterday.
An audience pleaser with seemingly endless appeal for children and tourists, ''Cats'' will have been seen by more than 10 million people in New York by the time its final curtain falls. Since opening in 1982 it often ranked near the top shows on Broadway in gross sales. It outlasted hundreds of other musicals, and will have come close to outlasting three presidential administrations.
In recent years, however, the well of audiences has slowly run dry, leaving the theater half full on some nights, with the show's producers taking losses during the winter with hopes of making a profit during the tourist-packed summers.
Reached in London yesterday, Lord Lloyd Webber said the closing was bittersweet. ''Obviously, I am sad that 'Cats' has to close on Broadway at the end of June, but it is also a day of great celebration,'' he said. ''Eighteen is a great age for a cat.''
In the end, ''Cats'' may have been simply done in by its own success. The musical has been produced in 30 countries worldwide and seen by an estimated 50 million people, or roughly the population of California and New York combined.
Financially, ''Cats'' ranks as one of the most successful musical of all time, churning millions into the pockets of its investors and making international stars and multimillionaires out of Lord Lloyd Webber and the show's lead producer, Sir Cameron Mackintosh. It also acted as an economic engine for the city of New York; a 1997 study by Audience Research and Analysis said ''Cats'' had contributed more than $3.12 billion to the city's economy and more than $195 million in state and local taxes.
But more than a financial juggernaut, ''Cats'' fundamentally reshaped the Broadway landscape by ushering in the era of the megamusicals: big, flashy spectacles that required little theatrical sophistication or knowledge of the English language to appreciate. As such, ''Cats''' proved that tourist audiences could drive a show's sales. Tourists filled the Winter Garden long after ''Cats'' had become passe among New York theatergoers.
But ''Cats,'' with its lavish design and elaborate special effects, also whetted audiences' appetites for increasingly complex stagecraft. Soon Broadway was witness to all variety of expensive stage magic, from falling chandeliers (in Lord Lloyd Webber's 1988 musical, ''The Phantom of the Opera'') to helicopters landing onstage (in Sir Cameron's 1991 production, ''Miss Saigon'') to the foundering of the Titanic (in the 1997 musical of the same name).
While visually arresting, these effects raised the cost of producing musicals, making producers' prospect of turning a profit -- always slim -- even more forbidding. Higher production costs led to higher ticket prices.
As the run of ''Cats'' continued, the musical also became a cultural touchstone, becoming synonymous with longevity -- and, eventually, longueur -- in comedians' routines and among theater gossips. Even its advertising slogan, ''Now and Forever,'' suggested a certain eerie, inevitable immortality.
And in an industry populated by old-time showmen, ''Cats'' also made its mark in marketing, adopting a text-free and thus internationally recognizable logo. The production also saturated the airwaves with television commercials and made its posters a permanent fixture in New York City subway stations.
It prompted a cottage industry in show-related trivia. More than 1.8 million pounds of dry ice have been used during the show's run to create fog onstage. The sheer poundage of yak hair used for wigs, 3,247 pounds during the run, outweighs a Volkswagen Beetle. One of the musical's most popular songs, ''Memory,'' has been recorded 180 times by different artists around the world. ''Cats'' has employed 284 actors, 19 of whom have died. One, Marlene Danielle, has been with the show since the beginning of its Broadway run.
''Cats'' opened in New York on Oct. 7, 1982, after months of pre-show hype and a sold-old run in the West End of London. (The London production is still running; ''Cats'' is now the longest-running show in the history of the British theater.)
Based on ''Old Possum's Book of Practical Cats,'' a slim volume of poems by T. S. Eliot, ''Cats'' follows the tale of a group of alley cats, one of whom, Grizabella, ascends to kitty heaven, known as the heaviside layer, by show's end.
But story was really never the appeal of ''Cats.'' The musical, with a catchy, melodic pop score by Lord Lloyd Webber, had no book and little plot.
Instead, the production's focus was on theatrical spectacle. The actors, directed by Trevor Nunn, are outfitted in feline body suits, foot-long whiskers and swirling face makeup and prowl the theater's aisles, stealing popcorn from children's hands and purring into people's faces. Aiding the illusion is a series of ingenious effects by the designer John Napier, who transformed the interior of the Winter Garden into a overrun junkyard seen from a cat's-eye perspective. At the musical's finale, a giant hydraulically powered tire lifts Grizabella into the sky.
Frank Rich wrote in The New York Times: ''Whatever the other failings and excesses, even banalities, of 'Cats,' it believes in purely theatrical magic, and on that faith it unquestionably delivers.'' He also predicted that ''Cats'' was ''likely to lurk around Broadway for a long time.''
His words proved prophetic. ''Cats'' won seven Tony Awards in 1983, including best musical, and in June 1997 it surpassed ''A Chorus Line'' as the longest-running production in Broadway history. The occasion was celebrated with a reunion of former cast members and a block party in front of the Winter Garden.
By JESSE MCKINLEY
Published: February 20, 2000
Leer entrevista completa:
www.elmostrador.cl/cultura/2014/06/12/leon-calquin-el-alb...
por: Marco Fajardo
Straßenschild: 'Steiniger Weg'
Fotographiert von: Christian Kanzian
Rechtestatus: Alle Rechte vorhanden / Eigenproduktion
Barr paving bricks, made by the Barr Clay Company, Streator, Illinois. The company disappeared during the 1920's.
During the early 1900's, many communities had streets paved with bricks like these.
He wasn't aware, but someone up there was sending good vibes upon him and that text he was about to send...
Could it be that he had his back against the entrance of a church?
7th Avenue,
New York.
January 2011.
© Sion Fullana
All rights reserved
On the Eve of New Year holidays, the company Louis Vuitton ( www.louisvuitton.com/ ) has made a gift to their customers. Right in the store customers could sign a greeting cards.
Each customer himself thought the text of wishes, and I wrote this text on cards. A calligraphical composition – pure improvisation. Postcards with warm wishes was a touching sincere complements to the magnificent gifts, bought at the store.
В канун Новогодних праздников компания Луи Виттон ( www.louisvuitton.com/ ) сделала подарок своим покупателям, предоставив эксклюзивную услугу, – возможность подписать поздравительную открытку. Каждый покупатель сам сочинял текст пожелания, а я писала этот текст на открытке. Каллиграфическая композиция была чистой импровизацией и делалась в присутствии клиента. Фирменная открытка с тёплыми и искренними словами – прекрасный и трогательный сюрприз, дополняющий великолепие подарка, купленного в Луи Виттон.
For me I like this shot better. :] But I want to rub this message into the person's face, so I chose that shot. xD I know, it's mean... Hahahaha. But whatever. ;))
I also forgot to thank Alesha for the testimonial. :D
My last upload for the week. Going off in a few to my province because it's my uncle's death anniversary. See you on Monday or Sunday. :D <3
Also, there are a few of these still available at Ink_d Gallery, Brighton: www.ink-d.co.uk/artists/hutch/editions-prints/ready-in-a-...
All Saints, Hilgay, Norfolk
Ludovicus Eduardus Iosephus Maude inter gallos pro occubuit kal: Iul:MCMXCI ann: nat: XXV Requiem aeternam dona ei Domine
('Louis Edward Joseph Maude, who died in the war for freedom, first day of July 1916 aged 25. Grant him eternal rest Lord.')
Hilgay is one of those large, independent south-west Norfolk fen villages that feel as if they really ought to be in Cambridgeshire. The church is set away from the village centre, and you'd be unlikely to find it without a map if it wasn't for the handily named Church Street. All Saints is set about a hundred metres back from the road, and the avenue of limes that lead up to it are undoubtedly the longest in East Anglia. A local once told me it was the longest lime avenue in the world, which may also be true, although I don't suppose there are hundreds of lime avenues in Africa, Latin America and South-East Asia queuing up to compete with it.
The church appears long and apparently low, although this is in fact an illusion caused by the squatness of the tower. It appears very un-East Anglian, the nave and chancel in layered carstone and the tower in white brick. The carstone of the south aisle is not layered but ragged, and this creates a very primitive, rugged effect, like a marbled gingerbread cake. The ramshackle appearance of the tower contributes a bit as well
The large gravestone with an anchor, cross and heart on this side of the graveyard is striking, and you might think at first it is the memorial to Hilgay's most famous son, Captain Thomas Manby. Manby was the inventor of the Manby cradle, a device for rescuing sailors from stranded ships at sea (I hope you're taking notes, there will be a test at the end) but in fact it isn't. His memorial is inside the church. When I came here in 2005, this large memorial, which actually depicts the Christian virtues of Faith, Hope and Charity, still had a heart-shaped lead-plate with the name and details of the grave's inhabitant, but it won't surprise you to learn that this has long since been stripped away. The best memorial on this side of the church is a deeply cut relief of a windmill, the workers busy unloading sacks of grain.
George Street undertook the considerable restoration of All Saints in the 1860s, although the tower predates this by about seventy years, replacing one which collapsed in the 1790s. The interior is wide and open, and at first appears almost entirely 19th century. The aisle is as wide as the nave, and the aisle chapel altar is as grand and dressed as the main altar. It feels a little like two churches side by side. Just inside the door is a very rare beast, a glass-walled funeral bier. The font is a grand Victorian marble job, and matches the not quite so successful pulpit. They do seem a little out of place here, a reminder that Street's urban, sophisiticated style is sometimes a little uncomfortable in East Anglia.
There is a good set of 15th century benches with animals on some of the ends, including a rather disturbing anthropomorphic creature that I suppose must be something from a bestiary. From a century or so later comes the memorial to Henry and Ursula Hawe in the south aisle chapel.
All Saints is at first sight not the most exciting of churches, but it is full of little details and has a lovely harmonious feel, from the stations of the cross to the good late 19th century glass by Ward and Hughes, from the screen brought from the redundant St Mary Beswick in Manchester to the jaunty little gallery shoehorned under the tower which Pevsner, unaccountably, thought dull.
Captain Danby's memorial is in the south aisle chapel, and records that his is a name to be remembered as long as there is a stranded ship. Poignantly, the memorial also remembers four of his eight brothers and sisters who died in infancy. It is a fairly typical sentimental memorial of the mid-19th century, but has a striking addition that you only notice after a moment. In another hand along the bottom, someone has inscribed carefully The public should have paid this tribute. How curious! There must be a story there somewhere.
This church has a long-standing Anglo-catholic tradition, and as part of that it used to be open every day. I am afraid that this is no longer the case, and there is not even a keyholder notice now.
Descripción bibliográfica: Biblia Latina. - [Moguntiae : Tip. epónima (=Johannes Gutenberg),(c. 1454- agosto, 1456]) . - 128 h.; fol. - Sin sign. ni fol. - L. gót. --2 col. --42 lín. --Esp. p. inic. --Tinta roja y negra.
Impresor: Gutenberg, Johannes, imp.
Lugar de impresión: Alemania. Mainz
Procedencia: Jesuitas. Casa Profesa de Sevilla.
Otro título: Biblia de las 42 líneas
Otro título: Biblia de Gutenberg
Localización: http://fama.us.es/record=b1523605~S5*spi
Libro completo: fondosdigitales.us.es/fondos/libros/9070/