View allAll Photos Tagged affirmation
I suppose I post these kind of images to get some kind of affirmation be it people liking them or comments. Not that I am actively after either.
As confident as i am I still have the odd self doubt demon on my shoulder saying "what do you look like"
"You are just a MAN in a dress" Or not a dress in this case lol
No matter how much i know i look darn good (sorry about that big headedness) I still think other wise at times.
Anyway I also enjoy doing this look at times its rather liberating I think. right early night tonight Ive just remembered i am meant to be going out tomorrow night,
Ajstd - Affirmations Poses
Available at main store an marketplace
Links:
Night shop.
« Les publicains et les prostituées vous précèdent dans le royaume de Dieu. » (Mt 21, 31)
J’avais en tête cette affirmation de Jésus, jeudi soir, en allant à la rencontre des prostituées en compagnie d’Hélène, mère de cinq enfants et pleine d’affection pour nos sœurs de la rue, nos frères travestis ou nos frères-sœurs transgenres.
Jésus n'est pas venu bénir le commerce du sexe dans l'Évangile; il constate seulement que les prostituées et les pécheurs notoires ont écouté Jean-Baptiste et veulent se purifier tandis que les grands-prêtres et les chefs du peuple n'ont voulu ni écouter le baptiste ni même "se repentir plus tard" (Mt 21, 32) quand la réputation du fils du prêtre Zacharie en a fait l'homme le plus écouté en Israël, reconnu comme un prophète aussi grand qu'Élie.
Jésus n'approuve pas cette caricature, cette perversion de l'amour qu'est l'amour tarifé mais il constate la capacité réelle d'aimer chez une vendeuse du sexe frelaté.
En effet, de cette "femme pécheresse" qui a couvert les pieds de Jésus de baisers après les avoir baigné de ses larmes et oint de parfum, il dit: "ils sont pardonnés ses péchés, oh oui beaucoup de péchés, parce qu’elle a beaucoup aimé." (Lc 7, 47)
(Contrairement aux traductions habituelles, j'ai gardé dans ma tentative de traduction le même "beaucoup" que Jésus utilise à la fois pour désigner les nombreux péchés, de faux amour, de la pécheresse et la quantité d'amour, les nombreuses fois où elle a fait preuve d'un véritable amour.)
Jésus est donc capable de voir les preuves d'un véritable amour dans le cœur de celle qui transpire le faux amour.
Et jeudi, comme elles résonnaient ses paroles d'Évangile lorsque Sophia (prénom changé) nous disait qu'elle a hâte de rentrer dans son pays où, après s'être purifiée, elle pourra enfin entrer dans les églises pour prier. "Il y a beaucoup d'églises dans ma ville, vous savez?"
Association Magdalena 31
Toulouse 2025
IMG_2256 Fondeyre Magdalena EscarpinsJaune Co++
Excerpt from aht.ca/who-we-are/our-history/:
Anishnawbe Health Toronto (AHT) is a vision of the late Elder, Joe Sylvester.
Initial efforts began with a diabetes research project, which realized that a more comprehensive approach to health care was needed by the Aboriginal community.
In response, Anishnawbe Health Resources was incorporated in 1984. One of its objectives stated, “To recover, record and promote Traditional Aboriginal practices where possible and appropriate.”
In 1989, having successfully secured resources from the Ministry of Health, Anishnawbe Health Toronto became recognized and funded as a community health centre.
Since then, AHT has and continues to grow to meet the needs of the community it serves. As a fully accredited community health centre, AHT offers access to health care practitioners from many disciplines including Traditional Healers, Elders and Medicine People. Ancient ceremonies and traditions, intrinsic to our health care model are available. Our work with the homeless has evolved from early directions of crisis intervention to our current efforts of working with those who seek to escape homelessness. Training programs offer community members the opportunity to learn and grow in a culture-based setting.
Today, AHT not only promotes Traditional Aboriginal practices but has affirmed and placed them at its core. Its model of health care is based on Traditional practices and approaches and is reflected in the design of its programs and services.
Excerpt from secure.toronto.ca/nm/api/individual/notice/2413.do:
Description
Take notice that Toronto City Council intends to designate the lands and building known municipally as 425 Cherry Street under Part IV, Section 29 of the Ontario Heritage Act.
Reasons for Designation
The property at 425 Cherry Street is worthy of designation under Part IV, Section 29 of the Ontario Heritage Act for its cultural heritage value, and meets Ontario Regulation 9/06, the provincial criteria prescribed for municipal designation under 5 criteria of design and physical, historical and associative, and contextual values.
Description
The property at 425 Cherry Street is located at the southeast corner of Front Street East and Cherry Street. The building is comprised of a three-storey structure fronting on Cherry Street, with a three-storey warehouse addition behind, extending along Front Street East. The building was constructed in three major stages - the two-storey Palace Street School, constructed in 1859 and designed by architect Joseph Sheard in the Jacobean style with an addition in 1869 by architect William Irving; the three-storey Cherry Street Hotel, constructed in 1890 incorporating the former school and designed by architect David Roberts Jr. in the Queen Anne Revival style; and the three-storey warehouse, constructed in c.1920.
Statement of Cultural Heritage Value
Design and Physical Value
The property at 425 Cherry Street is valued as a representative example of an evolved building type and style, reflecting the evolution of the property from its early use as one of the city's early "free" schools, to a hotel, a warehouse, and a restaurant. The building contains representative elements of the Jacobean and Queen Anne Revival styles, the former being used for many of the first schools constructed by the Toronto Board of Education, and the latter a popular style in Toronto for house form and hotel buildings between 1880 and 1910. While altered through later additions, elements of the Jacobean style can be seen on the first two floors of the former school's west and south facades, including the use of brick cladding (buff and red), brick quoins at the window surrounds and at the building's corners, the symmetrical organization of the facades featuring central projecting frontispieces bound by large rectangular window openings; and the stone drip moulds over the south entrance and the second storey window above. The building's Queen Anne Revival style is evidenced in the portion of the building constructed as the hotel (at the corner of Front and Cherry Streets) and in the third floor addition above the former school, and include the mansard roof with dormer windows; the arched window openings on the second storey; the elaborate use of brick ornamentation at the second storey cornice; the large plate-glass storefront windows with sandstone details; and the Dutch gable with inset Palladian window opening. The three-storey warehouse addition features elements indicative of the warehouse building type, including large rectangular window openings with cast stone lintels and brick sills; a flat roof with brick parapet; and minimal architectural ornamentation.
Historical and Associative Value
The historical and associative value of the property at 425 Cherry Street resides in its construction as the Palace Street School (1859), its subsequent adaptive reuse as the Cherry Street Hotel (1890) it's later conversion for use as a warehouse for various manufacturing and transportation-related businesses (1920), and its having been the location of the Canary Grill, from 1965 to 2007. Originally constructed in 1859 as one of the early "free" schools built in Toronto by the Toronto Board of Education and the first free school to serve St. Lawrence Ward, the one-storey schoolhouse was designed by architect, alderman and future Mayor of Toronto, Joseph Sheard. In 1869 the structure was expanded to the designs of architect William Irving, a former apprentice in Sheard's office and a prolific architect in Toronto through the second half of the 19th century. The Palace Street School is also associated with Georgina Stanley Reid, an educator with the Toronto Board of Education who served as principal of the school from 1882 until its closure in 1887, and who continued to serve as principal of its replacement school, Sackville Street Public School (now Inglenook Community School), until her retirement in 1912.
Following construction of the larger Sackville Street Public School in 1887, the Toronto Board of Education sold the property to brewer, businessman, and real estate developer Robert Thomas Davies, who had the building converted into a hotel to the designs of architect David Roberts Jr. in 1890. David Roberts Jr. had previously designed much of the nearby Gooderham and Worts Distillery, as well as a number of hotels, including the nearby Dominion Hotel on Queen Street East, which was also owned by Davies. Robert Davies was an influential industrialist in late Victorian Toronto who owned a concentration of businesses along the Don River; he was the founder of the Dominion Brewery, and later owned the Don Valley Brick Works and Don Valley Paper Company Limited. The hotel which at various times was called the Iverson Hotel, Darcy's Hotel/Hall, Eastern Star Hotel, and Cherry Street Hotel, was a fixture within the Corktown community from 1890 to 1910, however its role within the neighbourhood diminished alongside the demolition of the surrounding area's residential character, the displacement of the neighbourhood's working-class residents, the relocation of the nearby Don Station, and the expansion of railway lines and supporting industries. The property was subsequently converted for warehouse and manufacturing use, and the three storey warehouse addition was constructed on the east façade of the building c.1920.
In 1965 the Canary Grill moved into the first floor, and became a well-known establishment within the area catering to those employed in transportation and manufacturing-related industries, as well as commuters. Through the latter half of the 20th century studio spaces within the building were leased to a wide range of creative and cultural tenants, including musicians, artists, manufacturers and cultural sector workers. In the late 1980s, the property was expropriated as part of the joint municipal and provincial governments' plans to redevelop the West Don Lands into a new neighbourhood, called "Ataratiri". The expropriation resulted in the eviction of many of the building's tenants, however the Canary Grill remained open until 2007, after which the building was fully vacated.
Contextual Value
Contextually, the Palace Street School / Cherry Street Hotel is significant in its relation to the former Canadian National Railways Office Building, located on the northeast corner of Front Street East and Cherry Street, and is part of a larger post-industrial landscape within the West Don Lands, which includes the Gooderham and Worts Distillery, Cherry Street Interlocking Station, and the Dominion Foundry Complex. The CNR Office Building was constructed in 1923, and is recognized on the City of Toronto's Heritage Register. The two buildings complement each other, with similar setbacks from the corner and with a common low-scale brick clad form. Together, the properties form a gateway into the West Don Lands neighbourhood, a mixed-use area constructed as part of the 2015 Pan Am and Para Pan Games, and form a significant landmark within the community.
Heritage Attributes
Design and Physical Value
Attributes that contribute to the value of the property at 425 Cherry Street as representative of the Jacobean style and the Queen Anne Revival style include:
- The scale, form and massing of the former school and hotel buildings
- The symmetrical organization of the facades of the former school building, featuring centre bays bound by large rectangular window openings
- The setback of the former school building from the hotel addition on the west facade
- The use of brick cladding (buff and red) with stone foundations and sandstone detailing
- The brick detailing, including the corbelling below the mansard roof on the former school building the inset detailing on the west façade of the former hotel, and the engaged brick pier on the third floor of the west façade that extends above the cornice line alongside the corner window
- The ornamental wrought iron railing set above the corner entrance to the former hotel building
- The brick quoins, located at the corners of the former school building, the protruding bays, and the window surrounds
- The stone drip moulds over the entrance on the south facade and the second storey window above
- The mansard roof with high hipped dormers extending above the roofline
- The brick end wall on the south façade, with stepped brick detailing
- The flat headed window openings on the former school building with splayed brick lintels
- The arched window openings on the second floor of the former hotel building with radiating brick voussoirs
- The flat headed window opening set within the curved corner above the primary entrance of the hotel building
- The two-over-two hung wood windows on the former school and hotel buildings
- The entrances to the former school building on the south and west facades, both set within brick openings with shoulder arched openings
- The prominent corner entrance to the former hotel building, set atop a short flight of stairs and within a chamfered corner, with a large transom window above
- The round arched door opening on the north façade, which has been infilled
- The brick chimney on the north façade, with inset brick detailing at the third floor and above the roofline
- The large plate-glass storefront windows on the west facades with sandstone details set between brick and sandstone pilasters and below a metal-clad signboard and cornice
- The Dutch gable with inset Palladian window opening and featuring a radial transom window
Attributes that contribute to the value of the property at 425 Cherry Street as representative of the warehouse building type include:
- The scale, form and massing of the three-storey warehouse addition
- The red brick cladding with brick foundation
- The regular rhythm of the large rectangular window openings with cast stone lintels and brick sills, and multi-pane steel sash windows;
- The flat roof with brick parapet.
Attributes that contribute to the contextual value of 425 Cherry Street at the intersection of Front Street East and Cherry Street and its identification as a local landmark include:
- The setback, placement and orientation of the building, with its corner entrance and prominent curved corner windows above facing towards the intersection of Front Street East and Cherry Street
- The view of the building looking east on Front Street East from Cherry Street, and in relation to the adjacent Canadian National Railway Office Building
~~Le long des quais, l’identité maritime s’affirme : criée, chantiers de constructions navales, pontons accueillant des bateaux de toute nature y compris des voiliers de course le temps d’un départ de transat.
~~Ce port, peu profond, abrita toutefois jusqu'à 600 chaloupes pendant la saison de la sardine et, par la suite, les thoniers vinrent s'y ajouter. Des maisons bourgeoises sont édifiées le long des quais hors de la « Ville close ». Cette dernière devient, en cette période, un quartier populaire abritant matelots et sardinières. La Station de biologie marine de Concarneau est fondée par Victor Coste en 1859. Il s'agit de la plus ancienne station marine du monde.
~~À partir de 1851, les premières conserveries, remplaçant progressivement les fritures et les presses à sardines, apparaissent. Elles sont spécialisées dans la sardine et le thon. Elles feront la fortune de quelques négociants et permettront une élévation du niveau de vie de la population.
~~ En 1877, la ville compte 20 usines dont l'usine Béziers et en 1900 30 usines employant 2 000 ouvrières (qui portent la coiffe penn sardin) sur une population de 7 000 habitants. ~~À partir de 1902, la disparition des grands bancs de sardines plonge Concarneau dans la misère.
"Art is essentially the affirmation, the blessing, and the edification of existence."- Fried rich Nietzsche
Make This Original Painting Yours etsy.me/2fq8Ept
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"Remember to use positive affirmations. I am not a dork is not one of them"
~Story People
For Theme of the Week.
(I think this applies to Story Poople also :)
by 1010
Hamburg Neugraben
Life-affirming plurality! This means that there is not just one perspective, but always the possibility of looking at things in a very subjective way. The many shades of colour represent different destinations, but also, in a figurative sense, very different emotions and moods. I want to create something here that is pleasant for the eye, that you enjoy looking at and that you can simply forget about the rest of everyday life. It should capture a moment of ‘time’.
(Instagram account of 1010)
🌈🌈 www.tomorrowland.com/media-center/?playerType=DAYBREAK 🌈🌈 Suggestion: Open the Live Music Stream Link Above in a New Tab, Then Press the Play Button, Listen & Enjoy the Music While Viewing Flickr. 🌈🌈
by 1010
Hamburg Neugraben
Life-affirming plurality! This means that there is not just one perspective, but always the possibility of looking at things in a very subjective way. The many shades of colour represent different destinations, but also, in a figurative sense, very different emotions and moods. I want to create something here that is pleasant for the eye, that you enjoy looking at and that you can simply forget about the rest of everyday life. It should capture a moment of ‘time’.
(Instagram account of 1010)
nrhp # 04000919- Ripley Historic District- ️ Founding & Architecture
• Year Built: 1927, during a period of civic and religious expansion in small-town West Virginia.
• Architectural Features: The sanctuary boasts 55 stained glass windows, each crafted in West Virginia. These windows are rich in Christian symbolism and artistry, reflecting both theological themes and local craftsmanship.
• Historic Recognition: The church is officially listed in the National Register of Historic Places, affirming its architectural and cultural importance to the region.
from Copliot
Les fonts baptismaux de la cathédrale de Winchester, capitale du comté de Hampshire, dans le Sud de l’Angleterre.
Ces fonts baptismaux de marbre noir datant du 12e siècle viennent de Tournai en Belgique. La cuve est ornée de sculptures représentant les miracles de saint Nicolas, reconnu comme le saint des enfants.
La construction de cette cathédrale a débuté en 1079 sous Guillaume le Conquérant. Malgré les transformations jusqu'au 16e siècle, elle a conservé l'essentiel de l'architecture originelle de style roman de l'ancien monastère bénédictin.
L'antique Venta Belgarum, au carrefour de six voies romaines, a laissé la place à une ville prestigieuse au milieu d'une région champêtre. Elle devient la grande capitale du royaume du Wessex du 6e siècle au 9e siècle, la capitale d'Angleterre jusque sous les premiers rois normands au 11e siècle, suite à la conquête de Guillaume le Conquérant. Elle reste une des résidences principales des rois jusqu'à George Ier, début du 18e siècle, tout en s'affirmant un des évêchés les plus riches d'Angleterre.
Oui ce matin on a eu droit à une petite tempête, c'est beau mais me semble que le printemps devrait s'affirmer et revoir le gazon.
Good morning 🌞
I wish you a successful week.
Orange stands for joy, liveliness, affirmation of life, exuberance, fun, sociability, emotional warmth, refreshment, cheerfulness, youth, maturity.
Thank you all for favorising and commenting.
Love Awena 💋💋
Enjoy your orange weekend.
Orange stands for joy, liveliness, affirmation of life, exuberance, fun, sociability, emotional warmth, refreshment, cheerfulness, youth, maturity.
Orange shirt, black short trousers, 4 inch black highheels.
Thank you all for favorising and commenting.
Love Awena 💋💋
3 jolies mécaniques des années 1920/1930, 100% fonctionnelles, c'est l'intérêt :o))
****************************************
A gauche, "Rolleiflex standart"-(1932), Tessar Carl Zeiss Jena 7,5cm F:3,5, il est en parfait état mécanique et cosmétique, révisé par un professionnel de la marque. Un dépoli moderne de rollei série 6000 à été installé et réglé ... dans ces conditions le confort de visée est au moins équivalent à celui d'un modèle F, si ce n'est supérieur :o)) Si je peux faire une telle affirmation, ce n'est certainement pas en répétant ce que j'ai lu sur un forum dit "argentique" à la "concon" , mais bien parce que je possède les deux modèles -(entre autres ... )
Au centre, chambre sans marque, datée de environ 1915, format 9x12, obturateur pneumatique "koilos" -(compound), tessar krauss 13,5 cm F:6,3. L'optique est très bonne comme on peut en juger sur cette galerie, juste pour ne pas parler de ce qu'on ne connaît pas ... Elle est très petite et très légère ...
A droite, chambre "Avus" Voigtländer , format 9x12, Skopar 13,5cm, F:4,5, obturateur compur ZDM.
Pour la petite histoire ....... -(tadam !!) ...Bien que dans le genre cette chambre est probablement la mieux fabriquée, je ne l'ai pas achetée avec l'intention de m'en servir, du fait que j'ai ma HEAG VII-(ernemann). ... MAIS : Cette "avus" était vendue avec 10 châssis "voigtländer, état neuf avec adaptateurs pour PF, qui sont compatibles avec ma HEAG VII. L'idée pour moi, était simplement d'acquérir les 10 châssis pour un prix très intéressant. Le problème principal avec ces vieux objets, si on veut les utiliser et c'est le but, est de trouver des châssis puisque à cette époque quelques modèles plus ou moins compatibles mais pas de châssis "standard"
Lorsque le bel objet est arrivé, je me suis aperçu que, finalement, il était complet, sauf le dépoli de visée, -(obtu gommé, optique sale et brumeuse) et je me suis pris au jeu de le restaurer.
Révision du compur, nettoyage interne de l'optique, désormais 100% parfaite, nettoyage et lubrification, refabrication d'un dépoli à partir d'une plaque en verre 9x12 d'époque, de pâte à roder et d'huile de coude lol :o)) résultat correct sans plus mais acceptable :o) etc ...
Je ne le regrette pas car cette "Avus" a retrouvé 100% de ses fonctionnalités. Elle est, à présent, dans un état cosmétique correct . j'ai hâte de faire des essais ... normalement pas de grandes surprises à attendre le "skopar" étant plus ou moins un Tessar "made by Voigtländer" :o))
Juste pour le plaisir d'en faire, celui de ne pas parler de ce qu'on ne connaît pas, et pour celui de partager ....
A bientôt sur Flickr :o))
Les "je sais tout" de bas étage, EUX, ne font pas de photos !! Au royaume des aveugles, un borgne est roi !!
Bon plans sur paris :
Le perroquet de forum a un avis sur tout, n'a jamais rien vu, n'a jamais rien fait, et, se contente de se faire mousser avec la science des autres, d'où la dénomination "perroquets" qui lui va à ravir !! -( on a des noms, et même des adresses ...)
Ou encore, cet autre taré prétentieux, qui se prend pour Cartier-Bresson, et, qui se délecte de photos de petites filles pas très nettes et carrément grises, de photos de cimetière, et de photos volées de tombes de petites filles !!!
On ne va pas non plus s'étendre sur les épisodes de déprime d'un obèse pleurnichard, ni d'autres prétentieux, qui se croient bons... ce qui, sans cerveau et sans yeux me paraît difficile ...
C'est comme ça, malheureusement, sur ce certain forum dit "argentique " à la concon, qui ne fait que du tord, à éviter absolument ! !!
Hey, le perroquet aux 20 000 posts, si tu as un moment, montres-nous de quoi tu es capable !!! hahahaha !! je suis mort de rire !!!
-(pauvre type, mais grand nuisible ..... ) CQFD !!
National Museum, Oslo – Cast Hall
Visitors to the new National Museum in Oslo may be surprised—and perhaps moved—to find a dedicated hall of plaster casts among the sleek, modern galleries. The presence of these replicas pays homage to a formative chapter in art education and museum history: a time before commercial travel, digital media, and visual saturation, when even well-educated Europeans could rarely, if ever, encounter the originals of world art.
In 1904, when painter Ivar Lund depicted the Interior of the National Gallery, cast halls served both pedagogical and cultural missions. They democratized access to Greco-Roman antiquity and Renaissance masterworks, offering a surrogate form of aesthetic communion. These casts were not dismissed as mere imitations; rather, they were prized as tools of knowledge—objects to be studied, copied, and internalized.
Importantly, many casts were made using molds taken directly from the originals. Classical sculptures in major European collections—such as the Louvre, the Vatican Museums, and the British Museum—were at times permitted to serve as sources for plaster molds, particularly in the 19th century. If viewers knew or believed that a cast had been taken from such a mold, that knowledge was often sufficient to establish the object’s authenticity in their eyes. Few would have fixated on the missing aura of the original.
Even today, in an era obsessed with provenance, attribution, and originality, the authenticity of so-called “originals” is far from guaranteed. In the murky world of dealers, restorers, and curators, forgeries and misattributions remain a known hazard. A museum label, even in the British Museum or the Met, is not a metaphysical guarantee of truth. What casts offer—paradoxically—is clarity: a frank acknowledgment of derivation and replication that frees the viewer to engage directly with the sculpture’s visual and formal language.
As Jeannine’s pencil drawing of the Nike of Samothrace (a cast of the Louvre original) reminds us, to draw is still to see. The museum provides paper and pencils and invites the public to try their hand at sketching under the motto "to draw is to see." The replication of the ancient masterpiece, no less than the act of sketching it, forms a bridge between observer and observed. It demands attention, patience, and fidelity—not to provenance, but to form.
The very presence of casts in a 21st-century museum affirms a deeper philosophy: that art’s value lies not only in originality but in transmission. That touchstones of cultural memory must remain physically accessible, even in duplicate. That learning still begins with looking—long and hard—and that beauty survives translation.
This text is a collaboration with Chat GPT.
Stefano Bruzzi (Piacenza, 1 May 1835 - Piacenza, 4 January 1911) - The source of the Lamoni (1890-1895) Oil on canvas 65 x 102 cm - Ricci Oddi Modern Art Gallery, Piacenza
E' stato un pittore italiano figurativo, paesaggista, aderente alla corrente dei "macchiaioli" fiorentini.
Il movimento macchiaiolo afferma la teoria della "macchia" sostenendo che la visione delle forme è creata dalla luce come macchie di colore, distinte, accostate o sovrapposte ad altre macchie di colore.
Was an Italian figurative, landscape painter, adhering to the current of the Florentine "Macchiaioli".
The Macchiaiolo movement affirms the "Macchia" theory by arguing that the vision of forms is created by light as spots of color, distinct, placed side by side or superimposed on other spots of color.
God Grant me the serenity to accept the things I cannot change, courage to change the things I can, and wisdom to know the difference. AMEN
La buvette Cachat à Evian-les-Bains a été édifiée par l'architecte Albert Hebrard entre 1903 et 1905. Après l'inauguration, les touristes et buveurs d'eau découvrent un vaste hall coiffé d'une coupole en bois, le tout dans le style art nouveau avec une ornementation luxuriante.
La buvette Cachat occupe l'emplacement de l'ancien Hôtel des bains. Elle est propriété de la société des eaux, fondée par la famille Cachat au xviiie siècle, suite à la découverte des vertus de l'eau d'Évian par le marquis Jean-Charles de Laizer (1734-1806) qui affirma que sa consommation lui avait permis de guérir de la gravelle.
Planning a shoot with the northern lights is certainly not a given. So many factors come into consideration that can either make or break your night. On this evening though, everything came together for myself and my workshop clients. After many trips to Iceland, this was the first time seeing the shore frozen at this location. We knew it would make for a special foreground, particularly with the dim green glow of the aurora illuminating it. I couldn’t shake the thought. 8 hours later we were able to behold such a sight. There’s also several meteors visible flying across the sky which were captured during the long exposure.
Some of my favorite quotes come from Anne Frank. Such a positive outlook from a young girl who endured so much. More watercolor background practice.
I knew it was true love from the first moment I saw her. Thank you, Jessy, very much, for letting me have her! So I put her in an outfit inspired by Sensuous Affair Giselle as a tribute to Jessy ;-)
OOAK Agnes repaint by Jessy Ayala
Outfit & Accessories: Integrity
Wikipedia,
Sintra
Municipality
UNESCO
Clockwise: Pena National Palace; Azenhas do Mar; Quinta da Regaleira; Seteais Palace; Praia da Ursa; Monserrate Palace.
Flag of Sintra
Flag
Coat of arms of Sintra
Coat of arms
Coordinates: 38°47′57″N 9°23′18″W
Country Portugal
RegionLisbon
Metropolitan areaLisbon
DistrictLisbon
Parishes11 (list)
Government
• PresidentBasílio Horta (PS)
Area
• Total
319.23 km2 (123.26 sq mi)
Elevation175 m (574 ft)
Lowest elevation0 m (0 ft)
Population (2011)
• Total
377,835
• Density1,200/km2 (3,100/sq mi)
Time zoneUTC+00:00 (WET)
• Summer (DST)UTC+01:00 (WEST)
Postal code
2714
Area code219
PatronSão Pedro
Websitehttp://www.cm-sintra.pt
UNESCO World Heritage Site
Official nameCultural Landscape of Sintra
CriteriaCultural: ii, iv, v
Reference723
Inscription1995 (19th Session)
Area946 ha
Sintra (/ˈsɪntrə, ˈsiːntrə/,[1][2][3] Portuguese: [ˈsĩtɾɐ] ⓘ) is a town and municipality in the Greater Lisbon region of Portugal, located on the Portuguese Riviera. The population of the municipality in 2021 was 385,654,[4] in an area of 319.23 square kilometres (123.26 sq mi).[5] Sintra is one of the most urbanized and densely populated municipalities of Portugal. A major tourist destination famed for its picturesqueness, the municipality has several historic palaces, castles, scenic beaches, parks and gardens.
The area includes the Sintra-Cascais Nature Park through which the Sintra Mountains run. The historic center of the Vila de Sintra is famous for its 19th-century Romanticist architecture, historic estates and villas, gardens, and royal palaces and castles, which resulted in the classification of the town as a UNESCO World Heritage Site. Sintra's landmarks include the medieval Castle of the Moors, the romanticist Pena National Palace and the Portuguese Renaissance Sintra National Palace.
Sintra is one of the wealthiest municipalities in both Portugal and the Iberian Peninsula as a whole.[6][7][8][9] It is home to one of the largest foreign expatriate communities along the Portuguese Riviera,[10][11][12][13][14] and consistently ranks as one of the best places to live in Portugal.[15][16] The ECB Forum on Central Banking, an annual event organised by the European Central Bank, is held in Sintra.[17]
History
Prehistory to Moorish era
Anta de Adrenunes.
Anta do Monte Abraão.
The earliest remnants of human occupation were discovered in Penha Verde: these vestiges testify to an occupation dating to the early Paleolithic.[18] Comparable remnants were discovered in an open-air site in São Pedro de Canaferrim, alongside the chapel of the Castelo dos Mouros (Moorish Castle), dating back to the Neolithic, and include decorated ceramics and microlithic flint utensils from the 5th millennium BC.[19]
Ceramic fragments found locally including many late Chalcolithic vases from the Sintra mountains suggest that between the fourth and third millennia B.C. the region (adjacent to the present village of Sintra) was occupied by a Neolithic/Chalcolithic settlement, with characteristics comparable to fortified settlements in Lisbon and Setúbal.[18] The evidence discovered in Quinta das Sequoias and São Pedro de Canaferrim contrasts dramatically with those remnants discovered in the walled town of Penha Verde and the funerary monument of Bella Vista.[18] Traces of several Bronze Age remains were also discovered in many places in the Sintra Mountains, including alongside the town, in the Monte do Sereno area, and a late Bronze Age settlement within the Moorish Castle dating to the 9th–6th centuries B.C.
The most famous object from this period is the so-called Sintra Collar, a middle Bronze Age gold neck-ring found near the city at the end of the 19th century, which since 1900 has been part of the British Museum's collection. Relatively close by, in Santa Eufémia da Serra, is an Iron Age settlement where artifacts from indigenous tribes and peoples of Mediterranean origins (principally from the Punic period) were also discovered.[18]
These date from the early 4th century B.C., prior to the Romanization of the peninsula, which in the area of Foz do Tejo took place in the middle of the 2nd century B.C.[18] Close proximity to a large commercial centre (Olisipo) founded by the Turduli Oppidani people in the first half of the first millennium B.C., meant that the region of Sintra was influenced by human settlement throughout various epochs, cultures that have left remains in the area to this day. The toponym Sintra derives from the medieval Suntria, and points to an association with radical Indo-European cultures; the word translates as 'bright star' or 'sun', commonly significant in those cultures.[18] Marcus Terentius Varro and Cadizian Lucius Junius Moderatus Columella designated the place "the sacred mountain" and Ptolemy referred to it as the "mountains of the moon".[18]
Part of the Roman Dam of Belas complex, showing the ventilation structures (foreground) and the remaining dam segment (background).
During the Roman occupation of the peninsula, the region of Sintra was part of the vast Civitas Olisiponense which Caesar (around 49 B.C.) or more likely Octavius (around 30 B.C.) granted the status of Municipium Civium Romanorum. The various residents of the region were considered part of the Roman Galeria and in the present village of Sintra there are Roman remains testifying to a Roman presence from the 1st–2nd centuries B.C. to the 5th century A.D. A roadway along the southeast part of the Sintra Mountains and connected to the main road to Olisipo dates from this period.[18]
Roman Bridge of Catribana.
This via followed the route of the current Rua da Ferraria, the Calçada dos Clérigos and the Calçada da Trindade.[18] Following the Roman custom of siting tombs along their roads and near their homes, there is also evidence of inscriptions pertaining to Roman funeral monuments, dating mainly to the 2nd century. The area around the modern town of Sintra, due to its proximity to Olisipo, the ancient name of Lisbon, was always profoundly interconnected with the major settlement, to the point that the Fountain of Armés, a 1st-century fountain in the village of Armés, Terrugem, in Sintra, has been built by Lucius Iulius Maelo Caudicus, an Olisipo flamen, to honour the Roman Emperor Augustus.
The Castle of the Moors, on the hilltops of Sintra
It was during the Moorish occupation of Sintra (Arabic: Xintara) that Greco-Latin writers wrote of the explicit occupation of the area of the town centre. A description by the geographer Al-Bacr, described Sintra as "one of the towns that [are] dependent on Lisbon in Al-Andalus, in proximity to the sea", characterizing it as "permanently submersed in a fog that never dissipates".[18]
During the Reconquista (around the 9th century), its principal centre and castle were isolated by Christian armies. Following the fall of the Caliphate of Córdoba, the King of León, Alfonso VI received in the spring of 1093, the cities of Santarém, Lisbon and the Castle of Sintra.[18] This followed a period of internal instability within the Muslim taifas of the peninsula, and in particular the decision by the ruler of Taifa of Badajoz, Umar ibn Muhammad al-Mutawakkil who, after hesitating from 1090 to 1091, placed his territory under the suzerainty of Alfonso VI when faced with the threat of the Almoravids. Afonso took the cities and the castle of Sintra between 30 April and 8 May 1093, but shortly after their transfer Sintra and Lisbon were conquered by the Almoravids.[18] Santarém was saved by Henry, who Alfonso had nominated Count of Portugal in 1096, to replace Raymond of Burgundy.[18]
Kingdom
The remnants of the chapel of São Pedro de Canaferrim, constructed by Afonso Henriques following the surrender of Moors in Sintra
In July 1109, Count Henry reconquered the Castle of Sintra.[18] This was preceded a year before by an attempt by Prince Sigurd the Crusader, son of Magnus III of Norway, to capture the castle from the Moors in the course of his trek to the Holy Land. Sigurd's forces disembarked at the mouth of the Colares River but failed to take the castle. But it was only after the conquest of Lisbon, in October 1147, by Afonso Henriques (supported by Crusaders), that the castle surrendered definitively to the Christians, in November.[18] It was integrated into Christian dominions along with Almada and Palmela after their surrender. Afonso Henriques established the Church of São Pedro de Canaferrim within the walls of the Moorish Castle to mark his success.[18]
The municipal building of Sintra, constructed after 1154 to house the local administration
On 9 January 1154, Afonso Henriques signed a foral ("charter") for the town of Sintra, with all its respective regalia. The charter established the municipality of Sintra, whose territory encompassed a large area, eventually divided into four great parishes: São Pedro de Canaferrim (in the castle), São Martinho (in the town of Sintra), Santa Maria and São Miguel (in the ecclesiastical seat of Arrabalde).[18] The early municipal seat, the town of Sintra, was the centre of a significant Sephardic community, with a synagogue and quarter. This community was not limited to Sintra town: enclaves are mentioned during the reign of King Denis in Colares, but were heavily pressured by the influx of Christian serfs.[18] Throughout the 12th and 13th centuries, owing to the fertility of the land, various convents, monasteries and military orders constructed residences, estates, water-mills and vineyards. There are municipal records from this period of a number of donations and grants; between 1157 and 1158, Afonso Henriques donated to the master of the Knights Templar, Gualdim Pais, various houses and estates in the centre of Sintra.[18]
In 1210, the Monastery of Santa Cruz in Coimbra acquired four houses in Pocilgais, releasing them in 1230, while in 1264 it controlled homes and vineyards in Almargem.[18] In 1216 the Monastery of São Vicente de Fora (Lisbon) also held a vineyard in Colares and, in 1218, estates in Queluz and Barota. At some time between 1223 and 1245, the Monastery of Santa Maria de Alcobaça held various privileges in the territory. The military Order of Santiago owned an estate in Arrifana in 1260.[18] Many of Afonso Henriques' donations in the 12th century, including privileges assigned to these institutions, were confirmed in 1189 by his son, Sancho I (1185–1211), corresponding to a social, political and economic strategy during the post-Reconquista era.[18] Consequently, after 1261, Sintra had a local administration consisting of an alcalde representing the Crown, and two local judges elected by the public. During the political conflict between King Sancho II (1223–1248) and the Church, the churches of São Pedro and São Martinho, which belonged to the King, were ceded to the Bishop of Lisbon and Sé.[18] Yet the Crown's patrimony was defined early: in 1287, King Denis donated to Queen Elizabeth of Portugal the town, the signeurial holdings and all their associated benefits. Later, these lands were transferred to the young Infante Afonso (later King Afonso IV), and remained in his possession until 1334, before reverting to the ownership of the queen (Portuguese: Casa da Rainha).[18]
The Black Death arrived in Sintra in the 14th century; in 1350, the disease is known to have caused the death of five municipal scribes. Far greater numbers of deaths probably resulted, perhaps owing to the cool climate and humidity, conditions that favoured the rapid spread of the disease.[18]
The Palace of Sintra, for a long time the residence of royal family during the summer
During the reign of King Ferdinand (1367–1383), Sintra played a part in the controversial marriage of the monarch to Dona Leonor Telles de Menezes. In 1374, the King donated Sintra to the Lady Telles, whom he eventually married in secret in the north of the country.[18] Along with Sintra the King conceded the municipalities of Vila Viçosa, Abrantes and Almada, to the consternation of his private council; following a confrontation the King abandoned his duties and travelled to Sintra, where he remained for a month on the pretext of hunting.[18] As Sintra was located relatively close to Lisbon, many of its people were called to work on projects for the Crown in the capital: in 1373, King Ferdinand decided to wall the city, and requested funds or workers from coastal lands in Almada, Sesimbra, Palmela, Setúbal, Coina, Benavente and Samora Correia, as well as all of Ribatejo, and from the inland areas of Sintra, Cascais, Torres Vedras, Alenquer, Arruda, Atouguia, Lourinhã, Telheiros and Mafra. During the Dynastic Crisis between 1383 and 1385, Sintra joined Leonor Telles in supporting the proclamation of her daughter, Beatrice, who married John I of Castile, as Queen of Portugal and Castile. After the defeat of the Castilian army at Aljubarrota (August 1385) by Portuguese and English troops, commanded by Nuno Álvares Pereira, Sintra became one of the last places to surrender to the Master of Aviz, later King of Portugal (after 1383).
Joanine and Philippine era
John I (1385–1433), first King of the second dynasty, broke the tradition of transferring Sintra to the Casa da Rainha (Queen's property). Probably around 1383, John I granted the lands of Sintra to Count Henrique Manuel de Vilhena, quickly revoking the decision after Henrique took the Infanta's side during the dynastic quarrel. Sintra, therefore, continued as a possession of the King, who expanded the local estate. Until the end of the 17th century, the royal palace constituted one of the principal residences and summer estates of the court: it was from here that John decided to conquer Ceuta (1415); King Afonso V was born and died at the palace (1433–1481); and here King John II (1481–1495) was acclaimed sovereign.[18]
In a document issued in 1435 by King Edward (1433–1438), the region was described as: "A land of good air and water and of the Comarcas with an abundance in the sea and land [...] our most loyal city of Lisbon being so near, and being in it sufficient diversions, and the distractions of the mountains and hunting...".[18]
During the Portuguese Age of Discovery, several people born in Sintra were written into history. In 1443 Gonçalo de Sintra, squire in the House of the Infante Henry, was sent by the prince as captain of a caravel to the coast of Africa. He explored the region near the Ouro River and eventually died there in 1444.[18] Pedro de Sintra and Soeiro da Costa later mapped most of the Atlantic coast of Africa, around the time of Henry's death in 1460.[18]
At the end of the 15th century the importance of Sintra on official itineraries led Queen Eleanor of Viseu (wife of King John II), then principal benefactor of the Portuguese Misericóridas, to expand her principal institutions in Sintra.[18] The Hospital e Gafaria do Espírito Santo, the only remnant of which left standing is a chapel to São Lázaro, was constructed to provide assistance and support to lepers in the region (the chapel still includes the signets of King John, the pelican, and Queen Leonor, the shrimp). In 1545, the hospital was transferred to the administration of the Santa Casa da Misericórdia of Sintra which was set up by Queen Catherine of Austria, wife of John III.
King Manuel I (1495–1521) enjoyed spending his summers in Sintra, due to its cool climate and abundance of game; as Damião de Góis, his chronicler noted: "because it is one of the places in Europe that is cooler, and cheerful for whichever King, Prince or Master to pass their time, because, in addition to its good airs, that cross its mountains, called by the older peoples the promontory of the moon, there is here much hunting of deer and other animals, and overall many and many good trout of many type, and in which in all of Hispania there can be found, and many springs of water...".[18] Between the 15th and 16th century, after travelling to the Crown of Castile and the Crown of Aragon when being considered as heir to the Kingdoms in 1498, the King transformed and enriched the town and its region with several public works. These included the reconstruction of the old Gothic Church of São Martinho and in 1511 the construction of the Monastery of Nossa Senhora da Pena on the highest peak of the Sintra Mountains, which he then transferred to the Order of Saint Jerome. In the second half of the 16th century, Sintra was a centre for courtesans and members of the aristocracy began building estates and farms within the region.[18] In this rural environment, from 1542, the Viceroy of India, D. João de Castro (1500–1548) began residing at Quinta da Penha Verde, where he collected examples of Portuguese culture of the time, including works by celebrated artist Francisco de Holanda.[18] It was during this cultural Renaissance that the marble chancel sculpted between 1529 and 1532 by Nicolau Chanterene for the chapel of the Monastery of Nossa Senhora da Pena was completed, as was the portico of the Church of Nossa Senhora da Conceição da Ulgueira (1560).[18]
The Convent of the Capuchos, the monastic retreat established during the primordial history of the municipality (16th century)
Luís de Camões (1524–1580) referred to the mountains of Sintra in his Os Lusíadas chronicle, as a mythic land ruled by water nymphs. The Renaissance poet Luisa Sigea—Syntrae Aloisiae Sygeae in Paris (1566) and Madrid (1781) referred to Sintra as a "pleasant valley, between cliffs that rise into the heavens...curved in graceful hills among which one can feel the murmur of the waters...[where] everything, in fact, will enchant and perfume the environment with its fragrance and fruit."[18]
With the death of the Cardinal-King Henry (1578–1580), Philip II of Spain inherited the Kingdom of Portugal, initiating a personal union of the crowns that would last until 1640. During this period, Portuguese political power moved from Sintra to Vila Viçosa, principal centre of the House of Braganza, whose dukes, descendants of John of Portugal, were heirs to the throne of Portugal. Following the decision of the Cortes of Tomar in 1581, Phillip as King of Portugal accepted an administration composed of the Portuguese aristocracy. He passed through Sintra around October 1581, visiting the monasteries and churches.[18] It was during this period that cult of Sebastianism, the hope for the return of King Sebastian, came to an end, when several fake "Sebastians" were denounced.[18] In 1585 Mateus Alvares, born on the island of Terceira in the Azores and guardian of the hermitage of São Julio, passed himself off as King Sebastian and created conflict in Sintra, Madra, Rio de Mouro and Ericeira. The Sebastian adventure ended with the hanging of thirty people and the suffering of many more. It was not surprising, therefore, that the visit in 1619 by King Philip IV of Spain (Philip III of Portugal) resulted in many families escaping to the hills. During this union (1580–1640), Sintra was a privileged place for Portuguese "exiles" from the Castilian court; nobles who wished to distance themselves from Spanish nobility would purchase lands in the region, away from court intrigue.[18] At the time of the Restoration, in 1640, the municipality had approximately 4000 residents.
Brigantine era
Royal Palace of Queluz.
The war with Spain (1640–1668), the affirmation of Mafra during the reign of John V of Portugal (1706–1750) through the construction of the Palace-Convent, and later the construction of Royal Palace of Queluz in 1747 during the reigns of Joseph I (1750–1777) and Maria I (1777–1816), helped diminish royal visits to the region.[18] During this time there were only two documented visits: in 1652 and 1654, respectively the visit of Queen Luísa de Gusmão and King John IV (1640–1656), and the final burial of King Afonso VI.[18]
Ill-fated king Afonso VI imprisoned in the Palace of Sintra, by painter Alfredo Roque Gameiro.
Alleging the insanity of the King and the incapacity of the heir, the Duke of Cadaval and the Infante Peter led a coup d'état in 1667 which resulted in the resignation of the Count of Castelo Melhor, Minister of King Afonso VI (1656–1683) and the imprisonment of the monarch.[18] In 1668 the Cortes of Lisbon confirmed the Infante Peter, the king's brother, as regent and heir. Afonso VI lived the rest of his life imprisoned, in the Paço da Ribeira (1667–1669), in the Fortress of Saint John the Baptist in Angra, in the Azores (1669–1674) and in the end, with the discovery of a conspiracy to kill the regent, in the Paço da Vila in Sintra (1674–1683).[18]
From the 17th to the 18th centuries, the region was centre of contemplative religious orders who established convents in Sintra. But it remained a place of myths, with a large, mysterious forest and macabre, gloomy spaces. Father Baião, in his Portugal Cuidadoso (1724) noted: "Next to the Palace of Sintra was a forest, so thick, that during the day, it cast fear in him who entered it. And [King] D. Sebastian was free from these fears, that he would walk at night, through it, many times for two or three hours."[18] Starting in the second half of the 18th century and lasting through the 19th century Sintra became known as a nostalgic and mysterious location described by many foreigners.
Lord Byron (1788–1824) particularly enjoyed his stay in Sintra that is described in Childe Harold's Pilgrimage as "glorious Eden".
It was the Romantic Lord Byron's "glorious Eden"; Almeida Garrett's "pleasant resort"; Eça de Queirós's "nest of lovers [where, in] the romantic foliage, the nobles abandoned themselves in the hands of the poets"; or the place where Richard Strauss saw a garden "comparable to Italy, Sicily, Greece or Egypt, a true garden of Klingsor, and there in the heights, a castle of the Holy Grail".[18]
The 1755 Lisbon earthquake, meanwhile, caused the destruction of the centre of Sintra as well as a number of deaths, resulting in building and restoration in the second half of the 18th century. Also in the 18th century, the first industrial building was established in the town: the Fábrica de Estamparia de Rio de Mouro (Mouro River Stamping Factory) in 1778.
The front façade of Seteais Palace, expanded for the visits of the royal family, by the Marquess of Marialva
The visit of Queen Maria I in 1787 brought about the restoration and redecoration of a few salons and chambers in the municipal buildings. The great festivities of 1795 to celebrate the baptism of the Infante António, son of John VI, resulted in grand balls at the Palace of Queluz. In 1838 the King-Consort, Ferdinand II bought the Monastery of Nossa Senhora da Pena and a vast adjacent area, commissioning the architect José de Costa e Silva to construct an arch joining the two quarters of the Seteais Palace (owned by the Marquis of Marialva), to commemorate the 1802 visit of the Prince and Princess of Brazil, John and Carlota Joaquina, and the subsequent visit of their son, the absolutist King Miguel, in 1830.[18]
The arabesque Monserrate Estate on another hilltop near the town of Sintra
During the third quarter of the 18th century and practically all of the 19th century, foreign travellers and Portuguese aristocrats, fired by Romanticism, rediscovered the magic of Sintra, especially in its exotic landscapes and climate. Their visits led to the establishment of several hotels, one of which, Lawrence's, opened in 1764, was still functioning in 2018. In the summer of 1787, William Beckford stayed with the Marquis of Marialva, master of the horse for the kingdom, at his residence of Seteais. At the beginning of the 19th century Princess Carlota Joaquina, wife of Prince Regent John, bought the estate and Ramalhão Palace. Between 1791 and 1793, Gerard Devisme constructed a Neo-Gothic mansion on his extensive estate in the Quinta de Monserrate (later known as the Monserrate Palace). Beckford, who remained in Sintra, rented the property from Devisme in 1794. The landscape, covered in fog, also attracted another Englishman, Sir Francis Cook, who occupied the estate, constructing an oriental pavilion.[18]
The Pena National Palace: summer residence of the monarchs of Portugal during the 19th century
Quinta da Regaleira, an integral landmark of Sintra's UNESCO Cultural Landscape
The Palace of Pena, Sintra's exemplary Portuguese Romantic symbol, was initiated by the King-Consort Ferdinand, husband of Queen Maria II (1834–1853), a German-born member of the House of Saxe-Cobourg-Gotha. The palace was built over the remains of the 16th-century monastery of the Order of Saint Jerome, conserving many fundamental aspects, including the church, cloister and a few dependencies. The architecture is eclectic, influenced by many architectural styles, evidence of an era of Romanticism.
The intentional mixture of eclectic styles includes the Neo-Gothic, Neo-Manueline, Neo-Islamic, Neo-Renaissance neo-Islamic, and neo-Manueline styles. Much of this has been evident since a major restoration that was completed prior to 1900.[20]
The design was a project of the Baron von Eschwege and Ferdinand II, to substitute the Sintra National Palace as an alternative to the summer residence in Cascais. After Sintra, the monarchs Louis of Portugal (1861–1889) and Carlos of Portugal (1863–1908) ended their summers with visits to Cascais in the months of September and October.
In 1854, the first contract was signed to construct a rail link between Sintra and Lisbon. A decree signed on 26 June 1855 regulated the contract between the government and Count Claranges Lucotte but was later rescinded in 1861. The connection was finally inaugurated on 2 April 1887.
By the beginning of the 20th century, Sintra was recognized as a summer resort visited by aristocrats and millionaires. Among these, Carvalho Monteiro, owner of a considerable fortune (known as "Monteiro dos Milhões") constructed near the main town, on an estate he bought from the Baroness of Regaleira, a luxurious revivalist palacette, based on a Neo-Manueline architecture.
From the second half of the 19th century into the first decades of the 20th century, Sintra also became a privileged place for artists: musicians such as Viana da Mota; composers such as Alfredo Keil, painters like João Cristino da Silva (author of one of the most celebrated canvases of Portuguese Romantic art, "Five Artists in Sintra [pt]"), writers such as Eça de Queirós or Ramalho Ortigão, all these people lived, worked or got inspiration from Sintra's landscapes.[18]
Republic
Part of the historic centre
The proclamation of a Portuguese Republic in 1910 transformed the bohemian climate of Sintra. Economic development was now promoted; the potential benefits to the region of growth in agriculture, industry and commerce were promoted to foster development. In 1908 a wine growing zone had been demarcated in Colares. Now a commission was established to monitor the quality of wines and promote their exportation, and in 1914 a commercial association (Portuguese: Associação Comercial e Industrial de Sintra) was set up to manage their concession. Meanwhile, in the name of secular and popular progress, parts of the cultural heritage were destroyed, including the annexes of the medieval village bordering the palace in 1911, while the nave of the Church of the Misericórdia was reduced to the presbytery to allow the road to be widened. The first decades of the 20th century were the time of the fastest urbanization of the town, supported by its rail link to Lisbon and the influx of summer travellers.
During the 1920s damage to culturally important sites led to the creation of institutions to study and protect the vast artistic heritage. The Instituto Histórico de Sintra (Historic Institute of Sintra), under the direction of Afonso de Ornelas, played an important part in this period.[18] Archaeological studies resulted in considerable development: in 1927, Félix Alves Pereira rediscovered the Neolithic settlements of Santa Eufémia, and the first publication of the discoveries at the prehistoric monuments of Praia das Maçãs were completed in 1929.[18] From this time until the 1970s, coastal Sintra was becoming a summer destination, resulting in the building of Portuguese summer residences.[18] Many important Portuguese architects developed projects in the area in the first half of the 20th century, including Raul Lino, Norte Júnior and Tertuliano de Lacerda Marques.
These projects benefited town and region, increased tourism and attracted as residents many notable Portuguese: historian Francisco Costa; writer Ferreira de Castro; sculptor Anjos Teixeira; architects Norte Júnior and Raul Lino; painters Eduardo Viana, Mily Possoz and Vieira da Silva; poet Oliva Guerra; composer and maestro Frederico de Freitas; historians Felix Alves Pereira and João Martins da Silva Marques.[18]
In 1944, prior to his arrest, Vichy France Prime Minister Pierre Laval had planned to move to an estate in Sintra, where a house had been leased for him.[21]
The 1949 municipal plan by De Groer was devised to protect the town and its neighbourhood from uncontrolled urbanization, and resulted in the maintenance of an environment comparable to 19th century Sintra.[18] Urban anarchy predominated until the middle of the 1980s in the areas adjacent to the main town of Sintra, resulting in the development of new neighbourhoods.[18]
Geography
Physical geography
The town of Sintra sitting atop the Sintra Mountains, the exposed granite formation of igneous rock extending to the Atlantic Ocean
The Sintra Mountains, a granite massif ten kilometres long – considered the Monte da Lua (Mountain of the Moon), or Promontorium Lunae by the strong local tradition of astral cults – emerge abruptly between a vast plain to the north and the northern margin of the Tagus River estuary, winding in a serpentine cordillera towards the Atlantic Ocean and Cabo da Roca, the most westerly point of continental Europe.
The imposing cliffs which delimit the Sintra range and the Atlantic
The São João platform, along the northern flank of the Sintra Mountains, has altitudes between 100 metres (110 yd) and 150 metres (160 yd), while the southern part of the mountains, the Cascais platform, is lower: sloping from 150 metres (160 yd) to the sea, terminating along the coast, around 30 metres (33 yd) above sea level.[22][23] The spectacular relief results from the east–west orientation of the massif's axis, its terminus at the coast, and the nature of igneous rocks, which are resistant to erosion.[23] The Eruptive Massif of Sintra (MES) is a dome structure, formed by layers of sedimentary rocks (limestones and sandstones) from the Upper Jurassic and early Cretaceous periods.[23] A metamorphosed igneous intrusion resulted in a narrow halo of metamorphic rocks, but also strongly deformed these sedimentary layers causing a vertical exposure.[23] While in the south there are enclosed sedimentary layers, to the north (around Praia Grande) the massif is steep. The sedimentary formations, until the beginning of the Upper Cretaceous, are deformed by the intrusion which limits the MES to the end the Cretaceous.[23] Radiometric aging of different rocks from the massif has indicated an age between 80 and 75 million years (confirming the installation of the massive Upper Cretaceous).[23]
Beach in Azenhas do Mar, Sintra
The geodynamic conditions that controlled the formation of the MES (correlated with the development of the Sines and Monchique Eruptive Massifs) are associated with the progressive northern expansion of the Atlantic Ocean and the consequent opening of the Bay of Biscay.[23] The Bay of Biscay's expansion resulted in complex tensions responsible for profound fractures in the Earth's crust that were conduits for the ascension of magma.[23] Around 80 million years ago this magma spread across the surface as a superficial crust with a depth of 5 kilometres between sedimentary layers (160 to 9 million years old) that were chemically metamorphosed.[23] Over time the magma chamber cooled and crystallized, resulting in conditions that caused the granular textures that characterize the MES.[23] The weaker sedimentary layers were susceptible to erosion, and their products were deposited around their base. Consequently, the massif likely became exposed during the Paleogenic epoch (30 million years ago), known as the Benfica Complex.[23]
Climate and biome
High humidity and cooler temperatures are rather frequent in the mountains of Sintra
The Mediterranean climate, influenced by the Atlantic and characterized by moderate temperatures and wet winters, is typical of mainland Portugal. Although the climate in the area of Cabo da Roca is close to semi-arid, the Sintra Mountains are considered moderately humid: precipitation in the mountains is higher than in the surrounding areas. The position of the town in the natural landscape of the Sintra Mountains (consisting of an exuberant natural patrimony), is influenced by the existence of a micro-climate.[22][24] For different reasons (the climate here has been moderated by the Sintra Mountains; the fertility of the soils; and its relative proximity to the Tagus estuary) the region attracted considerable early settlement. Due to its micro-climate, a huge park has developed full of dense foliage with a rich botanical diversity.
The temperate climate and humidity resulting from proximity to the coast favour the growth of a rich mat of forest including Atlantic and Mediterranean species, marking the transition in Portugal from northern to southern vegetation. The Pyrenean oak (Quercus pyrenaica) predominates over great expanses of the rocky heights and sheltered slopes. On moist shady slopes, normally facing north, or in sheltered places, the common oak (Quercus robur) is widespread. In lowland areas and warm places the cork oak (Quercus suber) is common and in limestone areas the Portuguese oak (Quercus faginea) is found. Other species scattered throughout the mountains of Sintra include: maple (Acer pseudoplatanus), common hazel (Corylus avellana), common hawthorn (Crataegus monogyna), European holly (Ilex aquifolium), Portuguese laurel (Prunus lusitanica), Bay laurel (Laurus nobilis), strawberry tree (Arbutus unedo), laurestine (Viburnum tinus), Kermes oak (Quercus coccifera), and Italian buckthorn (Rhamnus alaternus). In the valleys, near watercourses, grow narrow-leaf ash (Fraxinus angustifolia), Grey willow (Salix atrocinerea), European alder (Alnus glutinosa), alder buckthorn (Frangula alnus) and black elderberry (Sambucus nigra).
Since 1966, the Sintra Mountains have been affected by fires that have destroyed a major part of the original forest, which has been substituted by acacia and other fast-growing exotic species. The forested area of the Sintra mountains is about 5,000 hectares (50 km2), of which 26% (1,300 hectares (13 km2)) is maintained by the State through the Direcção Geral de Florestas – Núcleo Florestal de Sintra (General Directorate of Forests – Sintra Forestry Service).
Climate data for Sintra (Sintra Air Base) 1971–2000
MonthJanFebMarAprMayJunJulAugSepOctNovDecYear
Record high °C (°F)21.6
(70.9)23.4
(74.1)27.2
(81.0)28.0
(82.4)33.6
(92.5)41.4
(106.5)39.8
(103.6)38.5
(101.3)37.8
(100.0)31.8
(89.2)27.0
(80.6)22.5
(72.5)41.4
(106.5)
Mean daily maximum °C (°F)14.3
(57.7)14.9
(58.8)16.8
(62.2)17.4
(63.3)19.2
(66.6)22.3
(72.1)24.7
(76.5)25.3
(77.5)24.5
(76.1)21.1
(70.0)17.5
(63.5)15.1
(59.2)19.4
(66.9)
Daily mean °C (°F)9.7
(49.5)10.6
(51.1)12.0
(53.6)13.0
(55.4)14.9
(58.8)17.8
(64.0)20.0
(68.0)20.4
(68.7)19.4
(66.9)16.4
(61.5)13.0
(55.4)10.9
(51.6)14.9
(58.8)
Mean daily minimum °C (°F)5.2
(41.4)6.2
(43.2)7.3
(45.1)8.5
(47.3)10.6
(51.1)13.3
(55.9)15.2
(59.4)15.6
(60.1)14.3
(57.7)11.6
(52.9)8.6
(47.5)6.8
(44.2)10.3
(50.5)
Record low °C (°F)−3.5
(25.7)−3.5
(25.7)−2.0
(28.4)−0.1
(31.8)3.2
(37.8)6.0
(42.8)8.6
(47.5)8.4
(47.1)4.8
(40.6)−1.0
(30.2)−3.5
(25.7)−4.0
(24.8)−4.0
(24.8)
Average precipitation mm (inches)100.7
(3.96)90.7
(3.57)57.2
(2.25)72.3
(2.85)56.8
(2.24)18.2
(0.72)6.2
(0.24)6.9
(0.27)28.4
(1.12)91.0
(3.58)111.5
(4.39)127.8
(5.03)767.7
(30.22)
Average precipitation days (≥ 0.1 mm)14.314.511.213.110.56.13.63.16.811.913.916.0125.0
Average relative humidity (%)87858077757574747782848680
Mean monthly sunshine hours152.2149.5205.0224.0255.4269.7309.0307.3244.2203.5158.7128.52,607
Source: Instituto Português do Mar e da Atmosfera[25][26]
Climate data for Sintra (Granja), altitude: 134 m (440 ft), 1961–1984 normals, 1953–2003 sun hours
Human geography
Historical population
YearPop.±%
186420,766—
187821,990+5.9%
189022,918+4.2%
190026,074+13.8%
191130,694+17.7%
192029,762−3.0%
193037,986+27.6%
194045,171+18.9%
195060,423+33.8%
196079,964+32.3%
1970124,893+56.2%
1981226,428+81.3%
1991260,951+15.2%
2001363,749+39.4%
2011377,835+3.9%
2021385,606+2.1%
Source: INE[27]
The municipality is administered by 11 civil parish (Portuguese: freguesias) councils, with local authority to administer services and provide local governance, which are:[28]
Agualva e Mira-Sintra
Algueirão–Mem Martins
Almargem do Bispo, Pêro Pinheiro e Montelavar
Cacém e São Marcos
Casal de Cambra
Colares
Massamá e Monte Abraão
Queluz e Belas
Rio de Mouro
São João das Lampas e Terrugem
Sintra (Santa Maria e São Miguel, São Martinho e São Pedro de Penaferrim)
Sintra also has numerous hamlets and villages, including the affluent village of Linhó, Sintra.
Sintra's population grew considerably in the late 20th century, rising from about 14% of the Lisbon region to 19%, with the main concentration of resident population found in the important Queluz-Portela corridor, along the southeast corner of the municipality.[29] In this area were concentrated approximately 82% of the municipality's population, the most attractive parishes to live in being São Pedro de Penaferrim, Rio de Mouro, Belas and Algueirão-Mem Martins.[29][30]
The buildings in the central square of São Martinho, across from the Sintra National Palace
With the decrease in mortality rates, the region has undergone a general increase in infant births, primarily associated with late births, but also an increase in seniors in the community (56.5% in 2001).[29] Yet Sintra is still considered to have a structurally young population, the youngest in the Greater Metropolitan Area of Lisbon.[29] Young adults (30- to 39-year-olds) dominate Sintra's communities, with the parishes of Pêro Pinheiro, Terrugem, São Martinho, São João das Lampas, Santa Maria e São Miguel, Montelavar, Colares, Queluz and Almargem do Bispo all having higher rates of seniors in the population.[29] Approximately 80% of the population are born outside the town, 21% of these being foreign born residents. While the resident population in Lisbon has seen a gentle decrease since the mid-1960s, Sintra has grown comparably.[29]
Urban areas represent 55.4 square kilometres (5,540 ha) of the municipality, or approximately 17.4% of Sintra's territory; 35% of the population reside in places of between 50,000 and 100,000 inhabitants.[29] Many of these areas are anchored to lines of access, in particular, the Sintra Line and the IC19 motorway which connects the principal towns of Queluz, Agualva-Cacém, Algueirão/Mem Martins, Rio de Mouro and Belas).[29] Many of these urban areas are composed of a fabric of building projects that have historically resulted in dense buildings of concrete, normally seven or more floors in height.[29] The greatest growth in residential homes has occurred in the south of the municipality, in the triangle of São Pedro de Penaferrim, Santa Maria e São Miguel and Casal de Cambra.[29] In addition, there is a major concentration and growth in family dwellings of a seasonal nature, or second homes, in this region, and a proliferation of illegal construction in the parishes of São João das Lampas, São Pedro de Penaferrim, Belas, Agualva-Cacém and Casal de Cambra.[29]
Economy
The iconic Pena National Palace originally built on the Monastery of Nossa Senhora da Pena, and renovated extensively through the initiative of Ferdinand II of Portugal
The growth in tertiary activities has played an important part in the pattern of employment in the region, with commercial, retail and support services predominating.[29] This has been to the detriment of industry, although continuing industrial activities include the transport of materials, mineral processing, the manufacture of machinery and equipment, food-processing, beverage and tobacco companies as well as publishing and printing services.[29] There has also been a dramatic growth in the civil construction industry.[29]
EuroAtlantic Airways has its head office in Sintra.[31]
Tourism is also significant, with the parks and monuments operated by the Parques de Sintra accounting for 3.2 million visitors in 2017, for example.[32]
Transport
Sintra commuter railway station
Lisbon's commuter railway network (CP Urban Services) provides direct services to Sintra Station. The journey to Lisbon takes 35–45 minutes.[33] There is alternative transport, taxis, car-sharing services and buses, covering a large area of the district.
The Sintra tramway links Sintra with the Atlantic coast at Praia das Maçãs, providing a beautiful scenic ride along the way and covering a distance of some 11.5 kilometres (7.1 mi). As of 2016, the heritage line runs Wednesday to Sunday in summer months.
Tourist bus 434 takes visitors between attractions in Sintra. The bus follows a one-way route and stops at Sintra Station, São Pedro de Sintra, the Castle of the Moors, Pena National Palace, Sintra Old Town and returns to Sintra Station.[34]
Landmarks
Cultural Landscape of Sintra
UNESCO World Heritage Site
CriteriaCultural: ii, iv, v
Reference723
Inscription1995 (19th Session)
Area946 ha
Sintra has a great number of preserved or classified architectural buildings:
Prehistoric
Barreira Megalithic Complex
Dolmen of Adrenunes (Portuguese: Anta de Adrenunes)
Dolmen of Agualva (Portuguese: Anta de Agualva/Anta do Carrascal)
Dolmen of Estria (Portuguese: Anta da Estria)
Dolmen of Monte Abraão (Portuguese: Anta do Monte Abraão)
Praia das Maçãs Prehistoric Monument (Portuguese: Monumento Pré-Histórico de Praia das Maçãs)
Tholos tomb of Monge (Portuguese: Tholos do Monge)
St. Joseph's Church is a Franciscan Roman Catholic church in the Old City of Nazareth, modern-day Northern Israel. It was built in 1914 over the remains of much older churches. It is located close to the Church of the Annunciation. It was built in the Romanesque Revival style.[1]
The church is built on the site of the Church of Nutrition quoted by the pilgrim Arculfe about 670 in "De locis sanctis" (II, 26), then a church of the crusaders of the Kingdom of Jerusalem, whose vestiges are under the crypt, and a Franciscan church built in the 17th century. This history is described by the Franciscan Quaresmius in his "Historica, theologica et moralis terrae sanctae elucidatio", written between 1616 and 1626, but merely affirms the existence ab antiquo of the tradition of a cult in this place, without giving evidence.
The Goddess Ostara has the shoulders and head of a hare. The Symbols of Ostara are: In Celtic tradition, the hare is sacred to the Goddess and is the totem animal of lunar goddesses such as Hecate, Freyja and Holda - the hare is a symbol for the moon. The Goddess most closely associated with the Hare is Eostre, or Ostara.
www.goddessandgreenman.co.uk/ostara
The Goddess Wenet (Wenut, Unut) is an enigmatic figure in ancient Egyptian religion and mythology. In the earliest times Wenet was first identified as a snake headed goddess and then became associated with the hare. Her name means the Opener and also the Swift One. Both the snake and the hare are known for being swift creatures and the hare symbolized the opening of the new year, fertility, and the beginning of new life.
Wenet’s name, the hieroglyphic symbol for the Hare, was the “standard” of the 15th province in Upper Egypt.
In Egyptian history her name (“Unut”) was used by only one king, the Pharaoh Unas (circa 2350 BCE), who was the first pharaoh to have the Pyramid Texts carved and painted on the walls of the chambers of his pyramid. The Pyramid Texts are possibly the oldest known religious texts in the world.
The antiquity of Wenet’s worship is suggested by Book of the Dead spell 137A (Heku Stories 3) as well as in the Coffin Text spell 495 where the deceased states, “I extend my arm in company with Shu, I am released in company with Wenet.” In spell 720, “To become a dawn-God and to live by means of magicians,” the deceased affirms “I will act as one who is sent to the Gods, and my voice is that of Wenet.” In a fragmentary Coffin Text spell 942, an unknown deity is identified with Wenet by the phrase “…she has nothing which has been done against her, in this her name of Wenet.”
An ancient Egyptian text describes how Horus was injured after fighting with Seth, and he asks his mother (Isis) to speak words of heku on his behalf, “the name of Wenet was made, since words existed.” Elsewhere the same text refers to Wenet as “the lady of fighting of the chamber of Nunet in the high hill of Khemenu which is on the island of fire,” which means the point from which the sun rises.
Carved mythological texts found in shrines and temples to Bastet describe Bastet projecting her magical fury to destroy evildoers in the form of the “Seven Arrows.” Each Arrow was attributed to a deity who controlled a group of supernatural beings (or demons). The full list of deities has been lost to history, however Wenet is the sixth of the “Seven Arrows of Bastet.”
For a rather unknown deity of great antiquity, there remains a great deal of evidence as to the Hare Goddess Wenet’s magical powers.
Bibliography
Butler, E. P. “Goddesses and Gods of the Ancient Egyptians.” Henadology 2010
Cruz-Uribe, Eugene. 1988. Hibis Temple Project, Volume I. San Antonio, TX: Van Siclen.
Hart, George. A dictionary of Egyptian gods and goddesses. Psychology Press, 1986.
Hastings, James, John Alexander Selbie, and Louis Herbert Gray, eds. Encyclopaedia of religion and ethics. Vol. 5. Scribner, 1912.
Rosenow, D. C. E. “The Temple-house of the Great Temple of Bastet at Bubastis.” (2013).
iseumsanctuary.com/2020/04/05/the-hare-goddess-wenet-part-2/
« Des affirmations sans système jaillissent soudain, pareilles à des explosions, à des incandescences isolées, d’un éclat aveuglant. » (E.C.)
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