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Campbell Symington was a prominent Detroit merchant and associate of J.L. Hudson. This house was designed by the firm of Donaldson and Meier in 1882, and its exterior looks to be in excellent condition today.
Mandore (Hindi: मंडोर), is a town located 9 km north of Jodhpur city, in the Indian state of Rajasthan.
HISTORY
Mandore is an ancient town, and was the seat of the Mandorva branch of the Gurjar -Pratihara dynasty which ruled the region in the 6th century AD by King Nahar Rao Panwar.[citation needed] In 1395 AD, a Mohil princess of the Parihar rulers of Mandore married Chundaji, scion of the Rathore clan of Kshstriyas. This was during the era of rapid ascendency of the Rathore clan, and Chundaji received Mandore in dowry.[citation needed] The town remained the seat of the Rathore clan until 1459 AD, when Rao Jodha, a Rathore chief who united the surrounding region under his rule, shifted his capital to the newly founded city of Jodhpur.
Mandore was the capital of the erstwhile princely state of Marwar (Jodhpur State), before moving to Mehrangarh Fort in Jodhpur.
MONUMENTS
The historic town boasts several monuments. The now ruined Mandore fort, with its thick walls and substantial size, was built in several stages and was once a fine piece of architecture. A huge, now ruined temple is a highlight of the fort. The outer wall of the temple depicts finely carved botanical designs, birds, animals and planets.
The 'Mandore gardens', with its charming collection of temples and memorials, and its high rock terraces, is another major attraction. The gardens house the Chhatris (cenotaphs) of many rulers of Jodhpur state. Prominent among them is the chhatri of Maharaja Ajit Singh, built in 1793.
The Mandore Gardens also house a government museum, a 'Hall of Heroes' and a Hindu temple to 33 crore gods. Various artefacts and statues found in the area are housed at the museum. The 'Hall of Heroes' commemorates popular folk heroes of the region. It contains 16 figures carved out of a single rock. Next door is a larger hall called "The temple of 33 crore gods" which houses images of various Hindu deities.
FAIRS AND FESTIVALS
The Rao Festival
Hariyali Amavasya
Naag Panchami
Veerpuri Mela
BhogiShell Parikrama
________________________________________
A cenotaph is an "empty tomb" or a monument erected in honour of a person or group of people whose remains are elsewhere. It can also be the initial tomb for a person who has since been reinterred elsewhere. The word derives from the Greek: κενοτάφιον = kenotaphion (kenos, one meaning being "empty", and taphos, "tomb"). Although the vast majority of cenotaphs honour individuals, many noted cenotaphs are instead dedicated to the memories of groups of individuals, such as the lost soldiers of a country or of an empire.
HISTORY
Cenotaphs were common in the ancient world with many built in Ancient Egypt, Ancient Greece and across Northern Europe (in the shape of Neolithic barrows).
Sir Edwin Lutyens' cenotaph in Whitehall, London influenced the design of many other war memorials in Britain and the British sectors of the Western Front, as well as those in other Commonwealth nations.
The Church of Santa Engrácia, in Lisbon, Portugal, turned into a National Pantheon since 1966, holds six cenotaphs, namely to Luís de Camões, Pedro Álvares Cabral, Afonso de Albuquerque, Nuno Álvares Pereira, Vasco da Gama and Henry the Navigator.
The Basilica di Santa Croce in Florence, Italy, contains a number of cenotaphs including one for Dante Alighieri,who is buried in Ravenna.
CHHATRIS
In India, cenotaphs are a basic element of Hindu architecture, later used by Moghuls as seen in most of the mausoleums of Mughal Emperors which have two burial chambers, the upper one with a cenotaph, as in Humayun's Tomb, Delhi, or the Taj Mahal, Agra, while the real tomb often lies exactly below it, or further removed. The Chhatri(s) trace their origin at 2000 years ago at Fort Kangara. The term chhatri, used for these canopylike structures, comes from Hindustani word literally meaning umbrella, and are found throughout the northwestern region of Rajasthan as well as in Madhya Pradesh and Maharashtra. In the Shekhawati region of Rajasthan, chhatris are built on the cremation sites of wealthy or distinguished individuals. Chhatris in Shekhawati may consist of a simple structure of one dome raised by four pillars to a building containing many domes and a basement with several rooms. In some places, the interior of the chhatri is painted in the same manner as the Haveli.
Chhatris are elevated, dome-shaped pavilions used as an element in Indian architecture. Chhatris are commonly used to depict the elements of pride and honor in the Jat, Maratha and Rajput architecture. They are widely used, in palaces, in forts, or to demarcate funerary sites. Originating in Rajasthani architecture where they were memorials for kings and royalty, they were later adapted as a standard feature in all buildings in Maratha ruled states, Rajasthan, and most importantly in Mughal architecture. They are today seen on its finest monuments, Humayun's Tomb in Delhi and the Taj Mahal in Agra. Chhatris are basic element of Hindu as well as Mughal architecture. The term "chhatri" (Hindi: छतरी) means umbrella or canopy.
In the Shekhawati region of Rajasthan, chhatris are built on the cremation sites of wealthy or distinguished individuals. Chhatris in Shekhawati may consist of a simple structure of one dome raised by four pillars to a building containing many domes and a basement with several rooms. In some places, the interior of the chhatris is painted in the same manner as the Havelis (Mansions) of the region.
IN RAJASTHAN
Many other chhatris exist in other parts of Rajasthan. Their locations include:
- Jaipur - Gaitore Cenotaphs of the Maharajas of Jaipur. Set in a narrow valley, the cenotaphs of the former rulers of Jaipur consist of the somewhat typical chhatri or umbrella-shaped memorials. Sawai Jai Singh II's Chhatri is particularly noteworthy because of the carvings that have been used to embellish it.
- Jodhpur - White marble Chhatri of Maharaja Jaswant Singh II
- Bharatpur- the cenotaphs of the members of the Jat royal family of Bharatpur, who perished whilst fighting against the British in 1825, are erected in the town of Govardhan. The chhatri of Maharaja Suraj Mal of Bharatpur has fine frescos illuminating the life of Surajmal, vividly depicting darbar and hunting scenes, royal processions and wars.
- Udaipur, Rajasthan-. Flanked by a row of enormous stone elephants, the Lake Pichola island has an impressive chhatri carved from gray blue stone, built by Maharana Jagat Singh.
- Haldighati - a beautiful Chhatri with white marble columns, dedicated to Rana Pratap, stands here. The cenotaph dedicated to Chetak, Rana Pratap's famous horse, is also noteworthy.
- Alwar - Moosi Maharani ki Chhatri is a beautiful red sandstone and white marble cenotaph of the rulers of Alwar.
- Bundi - Suraj Chhatri and Mordi Ki Chhatri, Chaurasi Khambon ki Chhatri, Bundi and Nath Ji ki Chhatri are located in Bundi. Rani Shyam Kumari wife of Raja Chhatrasal on the northern hill constructed the Suraj Chhatri and Mayuri the second wife of Chhatrasal on the southern hill erected Mordi Ki Chhatri.
- Jaisalmer - Bada Bagh, a complex with chhatris of Jai Singh II (d. 1743) and subsequent Maharajas of Jaisalmer.
- Bikaner - Devi Kund near Bikaner is the royal crematorium place with a number of cenotaphs. The chhatri of Maharaja Surat Singh is most imposing. It has the spectacular Rajput paintings on the ceilings.
- Ramgarh - Seth Ram Gopal Poddar Chhatri
- Nagaur - Nath Ji ki Chhatri, Amar Singh Rathore-ki-Chhatri
IN SHEKHAWATI
Some of the best-known chhatris in the Shekhawati region of Rajasthan are located at the following cities and towns:
- Ramgarh - Ram Gopal Poddar Chhatri (Ram Gopal Poddar Chhatri )
- Bissau - The Raj ki Chhatri of the Shekhawat Thakurs
- Parsurampura - Thakur Sardul Singh Shekhawat's chhatri
- Kirori - Chhatri of Raja Todarmal (Ruler of Udaipurwati)
- Jhunjhunu - Chhatri of Shekhawat Rulers
- Dundlod - The beautiful chhatri of Ram Dutt Goenka
- Mukungarh - Shivdutta Ganeriwala Chhatri
- Churu - Taknet Chhatri
- Mahansar - The Sahaj Ram Poddar Chhatri
- Udaipurwati - Joki Das Shah ki Chhatri
- Fatehpur - Jagan Nath Singhania Chhatri
IN MADHYA PRADESH
The region of Madhya Pradesh is the site of several other notable chhatris of its famous Maratha rulers:
- Shujalpur - Tomb Of Ranoji Scindia, Founder Of Scindia Dynasty. Situated At Ranoganj, Shujalpur To Akodia Road.
- Shivpuri - Intricately embellished marble chhatris erected by the Scindia rulers in Shivpuri.
- Gwalior - Shrimati Balabai Maharaj Ladojirao Shitole Chhatri
- Gwalior - Rajrajendra Ramchandrarao Narsingh Shitole and wife Gunwantyaraje Ramchandrarao Shitole (princess of Gwalior)Chatri
- Orchha - Elaborate chhatris of local Hindu kings are not popular tourist attraction
- Gohad - The Jat rulers of Gohad constructed the chhatri of Maharaja Bhim Singh Rana on the Gwalior Fort.
- Indore and Maheshwar - Chhatris of Holkar rulers.
- Alampur - Maharani Ahilya Bai Holkar built the chhatri of Malhar Rao Holkar at Alampur in Bhind district in 1766 A.D.
IN KUTCH
Chhatris can also be found in the outskirts of Bhuj city belonging mainly to Jadeja rulers of Kutch. The chhatri of Rao Lakhpatji is very famous for its intricate designs & carvings. Most of them but have been destroyed in the earthquake of 26 January 2000. The restoration work is going on.
OUTSIDE INDIA
There are two notable chhatris in the United Kingdom, a country with strong historical links to India. One is a cenotaph in Brighton, dedicated to the Indian soldiers who died in the First World War. The other is in Arnos Vale Cemetery near Bristol and is a memorial to the distinguished Indian reformer Ram Mohan Roy, who died in the city.
WIKIPEDIA
Fotos Nuevas 2013
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© Álbum 1507
By Catedrales e Iglesias
By Cathedrals and Churches
By Catedrais e Igrejas
Par Cathédrales et Eglises
Arquidiócesis de Puebla
Sitio Oficial Arquidiocesis de Puebla
www.arquidiocesisdepuebla.org.mx/
Parroquia: Nuestra Sra. de la Asunción
Dirección: Apdo. Postal #37 de Atlixco
C.P.: 74250
Colonia:
Población: Acapetlahuacan
Teléfono: 01244 44-5-70-53
Párroco: P. Margarito López Morales
Vicarios:
Celebraciones dominicales: 7:00, 12:00, 18:00 hrs
El ex-convento franciscano de Santa María de Jesús se ubica en el cerro de San Miguel, lugar ceremonial donde se celebra el Huey Atlixcayotl. El conjunto se compone de iglesia, claustro, dormitorios y huerta, aunque sólo se puede visitar el templo. La fachada de la iglesia posee una portada de estilo mudéjar con influencia gótica, con la iconografía franciscana y la puerta de madera original, así como un portal de peregrinos y una línea de cruces griegas de tezontle negro que coronan el edificio; un detalle único en construcciones similares de la misma época. El interior es la nave con bóveda de nervaduras típica de la arquitectura conventual franciscana, con un extraordinario retablo mayor.
Una de las tomas, que encontre de mi viaje a Mexico, los detalles arquitectonicos son impresionantes.
Tomada con mi camara de pelicula Nikon N75 pelicula kodak proimage
Alguien me ayuda con el nombre?
The ideal time for night photos is when ambient light and artifical light are roughly similar. Here layers of the same picture apply different algorithms, as does light, both actual and manipulated images meld together.
English
en.wikipedia.org/wiki/Church_of_Santa_Maria_do_Olival
The Church of Santa Maria do Olival is a Roman Catholic church in the city of Tomar, in Portugal.
The church was built in the second half of the 12th century by the provincial master of the Order of the Knights Templar in Portugal, Gualdim Pais. It was used as a burial place for the Knights Templar of Tomar and, later, by the Knights of the Order of Christ, which succeeded the Templars in the 14th century. Gualdim Pais is buried in the church, and his original tomb slab, dated from 1195 and bearing a gothic inscription, is still preserved inside.
The current building is mostly the result of a reconstruction carried out in the 13th century in early Gothic style. The main façade has a beautiful rose window and a simple portal with several archivolts, and is flanked by a free-standing bell tower. The interior is very simple. The church has three naves covered by a wooden roof, and the columns of the pointed arches of the naves are devoid of capitals. The main chapel of the apse is covered by a Gothic ribbed vault. The tracery of the small rose window in the Eastern wall of the nave has the shape of a pentagram.
In the 16th century the church was restored and several chapels were added to the Southern side of the church. Notable are the polychromed statue of the Virgin Mary and Child (early 16-century) in the main altar and the funerary monument of Diogo Pinheiro, first Bishop of Funchal, a fine Renaissance work dated from 1525, located on the wall of the main chapel.
Português
pt.wikipedia.org/wiki/Igreja_de_Santa_Maria_dos_Olivais
A Igreja de Santa Maria dos Olivais, também conhecida como Igreja de Santa Maria do Olival, situa-se na cidade de Tomar, na margem esquerda do Rio Nabão. O templo, cuja fundação remonta ao século XII, foi a sede da Ordem do Templo em Portugal, tendo servido como panteão dos mestres templários. Após a extinção desta ordem, a igreja tornou-se a cabeça da nova Ordem de Cristo, tornando-se na matriz de todas as igrejas do Império Português, com honras de Sé Catedral. Este templo, Monumento Nacional desde 1910, é um dos exemplares mais emblemáticos da arte gótica em Portugal, tendo servido de modelo às igrejas de três naves construídas até ao período manuelino.
A igreja primitiva foi fundada por volta de 1160 por D. Gualdim Pais, mestre da Ordem do Templo, no local onde anteriormente se erguia um mosteiro beneditino, mandado edificar no século VII por São Frutuoso, Arcebispo de Braga. Esta zona fazia parte da antiga cidade romana de Sellium, facto confirmado por escavações levadas a cabo nas imediações do templo, e que puseram a descoberto alicerces e estruturas dos antigos edifícios e arruamentos. Não muito longe dali, foi encontrado o antigo fórum da cidade. A igreja e a sua envolvente serviram como necrópole dos freires da ordem, tendo o próprio Gualdim Pais sido sepultado no interior do templo, em túmulo datado de 1195 do qual resta a inscrição funerária.
Na segunda metade do século XIII, durante o reinado de D. Afonso III, a primitiva igreja sofre uma ampla reforma, dando lugar ao edifício gótico actual. Da feição românica inicial, apenas resta a porta de arco de volta perfeita da fachada norte. O novo templo tornou-se uma referência para a arquitectura gótica mendicante portuguesa, tendo servido como protótipo a várias igrejas paroquiais, monacais e catedralícias de norte a sul do país. Após a extinção da Ordem do Templo, em 1314, a igreja tornou-se a sede da recém-instituída Ordem de Cristo, mantendo a sua função funerária.
A grande importância da igreja na época medieval é comprovada pela existência de uma bula papal, passada ainda durante o período templário, que colocou o templo a depender directamente do Papa e da Santa Sé, fora da alçada de qualquer diocese. Mais tarde, em 1455, uma bula do Papa Calisto III tornou-a matriz de todas as igrejas dos territórios descobertos na Ásia, na África e na América, sendo-lhe conferida a honra de Sé Catedral. A este facto não foi estranha a intensa participação da Ordem de Cristo nas viagens de descoberta quatrocentistas.
No século XVI, durante os reinados de D. Manuel I e de D. João III, foram levadas a cabo obras de reparação e de alteração, que resultaram na construção da abóbada e da janela de verga golpeada da sacristia, da galeria corrida da fachada sul, do púlpito, das capelas maneiristas do lado sul e, do túmulo renascentista de D. Diogo Pinheiro, primeiro bispo do Funchal – executado em 1528 e atribuído a João de Ruão. Durante esta campanha de obras, dirigida por Frei António de Moniz e Silva, foram destruídos os túmulos e epigrafias dos mestres templários e da Ordem de Cristo, sendo poupados apenas quatro deles.
Já no século XVII, foi colocado o revestimento azulejar das capelas do lado sul, que viriam a ser destruídas no século XIX, durante a realização de obras de restauro. A campanha de obras levada a cabo na primeira metade do século XX, pretendeu recuperar a aparência gótica da igreja, sendo então reconstituídas a cantaria do altar-mor e a grande rosácea da fachada principal. A janela moderna que existia sobre o arco do cruzeiro foi substituída por uma rosácea, enquanto que a primitiva porta românica da fachada norte foi desentaipada. Ainda nesta intervenção, foram reconstruídos, nas capelas laterais, os altares de alvenaria com frontal de azulejo, que haviam sido apeados no século anterior.
A igreja, de invocação de Nossa Senhora da Assunção, é uma obra marcante da arquitectura gótica mendicante, apresentando ainda diversos elementos característicos do renascimento e do maneirismo.
A fachada principal apresenta três corpos, que definem as naves. O corpo central inclui o pórtico gabletado, de quatro arquivoltas ogivais assentes em colunas capitelizadas, sobrepujando-o uma magnífica rosácea de doze folhas trilobadas. No frontão do gablete, que envolve o portal, está gravado um signo-saimão. Nos corpos laterais, separados do central por dois gigantes, rasgam-se duas frestas de verga trilobada e espelho duplo. A abside, flanqueada por gigantes, é rasgada por altas frestas de ogiva pouco apontada, que iluminam amplamente a capela-mor. A fachada sul apresenta uma galeria corrida, ao nível das naves, enquadrada por colunas toscanas. No adro, ergue-se uma vigorosa torre de fundação medieval que serve como sineira, possuindo a particularidade de se apresentar separada da igreja. Esta torre teve inicialmente a função de atalaia, tendo sido adaptada a sineira na época de D. Manuel I.
O interior é constituído por três naves, de cinco tramos, de diferentes alturas, sendo a central a mais elevada. A cobertura das três naves é em madeira, com as arcadas quebradas suportadas por pilares cruciformes facetados sem capitel. Do lado do evangelho, merece destaque o púlpito de balaústres, adossado ao último pilar e constituído por um feixe de colunas, que assenta numa coluna coríntia estriada. A inexistência de transepto, leva a que a capela-mor abra imediatamente para as naves, através de um arco triunfal gótico, coroado por um espelho que rompe a empena. A cabeceira, abobadada, compõe-se de capela-mor de dois tramos, sendo o derradeiro de sete faces, e é ladeada por dois absidíolos rectangulares. A sacristia encontra-se adossada ao absidíolo do lado sul, sendo ladeada por um pequeno torreão quadrangular. Esta dependência, à qual se tem acesso através de uma porta renascença, tem uma cobertura quinhentista em abóbada de florões e é iluminada por uma janela manuelina de verga golpeada.
Do lado da epístola, abrem-se cinco capelas, com arcos de pedraria quinhentistas, de volta perfeita, sobre pilastras com capitéis jónicos. As capelas são intercomunicantes, sendo iluminadas por frestas e cobertas por abóbadas nervuradas, cujos fechos possuem ornatos diferenciados. Os altares, em alvenaria, são revestidos de azulejos policromos seiscentistas, com excepção do da terceira capela, que é em talha dourada. Nestas capelas, é possível admirar imagens de Santa Ana, escultura dos finais do século XVI, de Santa Maria Madalena e de São Brás.
A capela-mor, que apresenta uma cobertura em abóbada nervurada, possui dois altares, sendo o altar-mor de calcário e o outro de madeira. Nesta capela, admiram-se uma escultura de pedra quinhentista, exposta no altar-mor, representando Nossa Senhora do Leite, e a arqueta renascença do bispo D. Diogo Pinheiro, abrigada sob um arcossólio de volta perfeita, com intradorso em abóbada de caixotões e decoração com querubins na arquivolta. As capelas colaterais, que se acedem através de arcos de volta quebrada, são revestidas por azulejos do tipo padrão e apresentam altares em alvenaria, cujos frontais são revestidos com azulejos policromos. A capela do lado da epístola, conhecida como Capela de Simão Preto, tem uma cobertura em abóbada nervurada azulejada, apresentando uma imagem de Nossa Senhora da Conceição no altar. A capela do lado do evangelho é coberta por uma abóbada de berço quebrada e azulejada.
Algumas das lápides parietais, que se encontram espalhadas um pouco por toda a igreja, são dignas de registo, nomeadamente a de D. Gualdim Pais e a do Mestre Lourenço Martins, ambas embebidas no paramento da segunda capela do lado da epístola, e a do Mestre D. Gil Martins, na capela-mor, todas elas com inscrições em caracteres góticos.
Budapest Jewish Quarter.
Kazinczy-Wesselényi Street corner.
Both buidings were built in 1908.
On the left: architext: Bíró Gyula
Schiffer House on the right, architects: Jenő Schwarz and Antal Horváth, 1908. Art Nouveau.
Baloldalt: Bíró Gyula terve alapján éplt szecessziós lakóház.
Jobboldalt: Schiffer-ház (Schwarz Jenő és Horváth Antal, szecessziós, 1908).
Brooklyn is the bomb. And by that I mean, it's very hip and cool. We stayed in a new high rise and the view as you can see was quite spectacular. There is some much great graffiti and the streets are full of interesting buildings, nooks and crannies. get there soon!
By Catedrales e Iglesias
Con mis agradecimientos a mi amigo Tacho por la ayuda en esta visita al Templo de Santa Barbara Almoloya asi como a los Fiscales del Templo que permitieron la realización de este reportaje
© Álbum 2747
By Catedrales e Iglesias
Arquidiócesis de Puebla
IGLESIA DE SANTA BARBARA ALMOLOYA
CALLE LIBERTAD SN,
CHOLULA DE RIVADAVIA,
SAN PEDRO CHOLULA PUEBLA,
MÉXICO
CP 72750
TEL: 01-222-289-0239
El territorio en el que se encuentran ubicadas las poblaciones del antiguo señorío de Cholula, puede decirse que es sumamente prolífico. Posee abundantes corrientes de agua, tanto a flor de tierra, como subterráneas lo que permite que la flora y la fauna sean sumamente ricas.
Santa Bárbara Almoloya, junta auxiliar del municipio de San Pedro Cholula, no podía ser la excepción. Su belleza natural, desde hace muchos años, está conformada en parte por el río Prieto y por un hermoso manantial del que brotan torrentes cristalinos de agua.
Una costumbre muy arraigada de este lugar consistía en que cada 24 de junio día de San Juan, por las noches, guapas jóvenes se bañaban en este hermoso estanque, situado en la parte oriente del templo católico.
Existía la creencia entre ellas que al hacerlo ese día y a esa hora, su pelo crecía y su belleza aumentaba.
En realidad, su secreto a voces consistía en la esperanza de que en punto de las doce de la noche, en alguna ocasión de tantas, tendrían oportunidad de ver a una sirena, ser fabuloso con busto de mujer y cuerpo de pez, que según su creencia y relatos de los ancianos emitía un canto muy hermoso.
Cada año, al acercarse la fecha, la mayoría de las jóvenes de Santa Bárbara preparaban los jabones más caros con esencias perdurables, además de los listones más finos y coloridos con los que sujetaban y adornaban su bien cuidado cabello.
El día señalado en punto de las siete de la noche se veía caminar a decenas de jovencitas que se dirigían presurosas al manantial, en el que se zambullirían y juguetearían. Solamente las mujeres jóvenes tenían el privilegio. A los jóvenes varones, se les tenía prohibido acercarse a ese lugar precisamente en ese día.
Ruperto Petlachi, era un joven de 21 años de edad, siempre se había distinguido por ser muy inteligente y observador ya que a lo largo de varios años había percibido que algunos de sus conocidos, un poco mayores que él habían desaparecido sin dejar rastro precisamente un día después del 24 de junio de casa año.
Esa ocasión estuvo muy atento al desarrollo de los acontecimientos por lo que por la tarde se reunió con su amigo Crisóforo, tal como lo hacía todos los días después de terminar su jornada de trabajo. Éste lo notó preocupado y pensativo, así que le pregunto:
-¿Te pasa algo Ruperto?
A lo que respondió: -Toda la noche soñé cosas extrañas. Te vas a burlar de mí, pero soñé con la sirena del manantial.
Crisóforo quería reírse, pero se contuvo al ver la seriedad con la que hablaba su amigo. Hubo un corto silencio y continuó el dialogo: No sé. ¡Como que siento ganas de ir al manantial!
Crisóforo le dijo alarmado: ¡ni lo pienses! Te van a apedrear las mujeres.
Ruperto dijo más tranquilo: mira te ruego me acompañes al manantial después de las doce de la noche ya que se hayan retirado las mujeres. Con esa idea se retiraron cada uno a su casa.
En punto de las doce de la noche, Crisóforo salió de su casa, se dirigió al lugar donde había quedado de ver a su amigo. Cuando llegó, vio que éste ya se encaminaba rumbo al manantial, trató de alcanzarlo pero no pudo. Por la gran distancia que los separaba sólo encontró en el camino a muchas mujeres que regresaban, las saludó y prosiguió.
Al llegar al manantial vio a su amigo Ruperto dentro del agua con la vista fija en los veneros situados en una roca casi a nivel del estanque natural. De pronto, estos orificios acuáticos se agrandaban y salía de ellos una hermosa criatura con cuerpo de mujer de la cintura hacía arriba y en lugar de piernas poseía una asombrosa cola de pez.
Sorprendido, Crisóforo corrió a esconderse en unos arbustos, mientras el extraño ser empezó a cantar con una dulce voz tierna, casi angelical, interpretando una linda melodía. El ambiente se llenó de un resplandor cálido como una esfera de ensueño, pero impenetrable.
Sin poder articular palabra, Crisóforo vio que Ruperto avanzó lentamente hacia la sirena. El trató de detener a su amigo gritándole:
-¡Ruperto!, ¡detente! ¡por favor hermano!, ¡recuerda a tu familia!, ¡no seas imprudente, por el amor de Dios!.
La sirena, amorosamente, susurró:
-¡Veeen!... te estaba esperaaando… acércate… veeen a mi…así…eres míooo…, míooo…
En ese momento, Ruperto estaba como poseído por el rostro iluminado por la emoción y una inmensa alegría, siguió caminando muy cerca de la sirena extendió los brazos rodeó con ellos el cuerpo de este atractivo ser, y se fundió en un solo ser con ella.
De inmediato desaparecieron en los veneros donde brotaba el agua, todo sucedió en un momento muy breve. El asombro fue tal que Crisóforo se retiró como pudo. Ruperto jamás volvió a aparecer.
La gente inventó muchas versiones, pero Crisóforo sabía la verdad de que en los primeros minutos del día 25 de junio de cada año, al escuchar el canto de la sirena, un varón de Santa Bárbara Almoloya desaparecería para siempre.
Leyendas de Puebla
Salvador Momox Pérez y Roberto Vélez de la Torre
Recopilación: Myrna Rojas Flores
This is the The Walker Memorial Hall on Ampton Road in Edgbaston.
The hall is for Edgbaston Old Church.
At 17a Ampton Road.
Grade II listed.
AMPTON ROAD
1.
5104
Edgbaston B15
No 17A
(Walker Ball)
SP 0585 SE 45/9
II GV
2.
Circa 1840-50 former school of modest size. One storey red brick with burnt
header diaper work. Slight Jacobean Gothic details. Main hall has gabled
break; entrance link to crosswing hall. Gables with saddlestones and kneelers.
Three and 4 light with diamond leaded lattice casements with hollow chamfered
sandstone mullions. Gable end roofs with scalloped tiles.
Listing NGR: SP0566885048
The Walker Memorial Hall was the parish school. Low Tudor ranges of 1847 etc.
From Pevsner Architectural Guides: Birmingham by Andy Foster
Edgbaston Old Church - Walker Memorial Hall
The Walker Hall, situated in Ampton Road (B15 2UJ), a few minutes’ walk from the church, was built in 1847 as a Church of England Elementary School. It functioned as a ‘British Restaurant’ during the period of the Second World War, providing lunchtime meals for those working within the parish. The building and its land were leased to the parish in 1951, and thanks to a generous bequest from the estate of Isabel Frances Walker, whose name it now bears, it was subsequently renovated for use as a church hall.
In recent years the Walker Hall has been substantially restored, and its meeting rooms and facilities are in great demand for church events and other public and private functions. It has both a substantial kitchen, and its own car park.
Fresh Kodak 320TXP film
Moersch Tanol 1+1+100 (distilled water) 10min @ 20°C (N-30%) BTZS rotary tube
Linhof M 4x5” & Macro Sironar 210mm f5.6 @ f22, front swing.
There’s no date sign for this church but it’s the final resting place of a famous cleric who died in 1625, so it’s at least that old. Another church in the area with similar doors is dated 1500-20.
The wood is in poor condition but at least these doors can be photographed easily. The older and bigger wooden doors on the local cathedral are in much better condition and feature more elaborate carving but they’re behind protective glass.
Streetcar (TTC/Toronto Transit Commission), Toronto Eaton Centre, Dundas Station entrance, and Yonge-Dundas Square
Warsaw's mixture of architectural styles reflects the turbulent history of the city and country. During the Second World War, Warsaw was razed to the ground by bombing raids and planned destruction.[39] After liberation, rebuilding began as in other cities of the communist-ruled PRL. Most of the historical buildings were thoroughly reconstructed. However, some of the buildings from the 19th century that had been preserved in reasonably reconstructible form were nonetheless eradicated in the 1950s and 1960s (e.g. Leopold Kronenberg Palace).[51] Mass residential blocks were erected, with basic design typical of Eastern bloc countries.
Public spaces attract heavy investment, so that the city has gained entirely new squares, parks and monuments. Warsaw's current urban landscape is one of modern and contemporary architecture.[52]
Wooden arch between the main dining and reception rooms in the Maison des Médecins aka Maison des Métiers or Maison Dr Bastin (1908)
rue Léon Bernus 40
B-6000 Charleroi
BELGIUM
Now attributed to arch. François Giuannotte aka Guiannotte (BE, Fleurus 1843 - Charleroi 1914), most important Art Nouveau architect in Charleroi (according to recent research);
before, Alfred Machélidon was believed to be the architect
The house of Dr. Jean-François Bastin (1867-1947) is generally known as "la Maison des Médecins" (house of the doctors) or Maison des Métiers (House of the Crafts). It was the private home of one of the first radiologists in Belgium, a man passionate about art and architecture and an artist at heart himself.
Having practiced first in Dampremy at the start of his career, he builds this house in Charleroi where he will spend the rest of his life. His son, Franz, a doctor as well, will live there till his death in 1958.
The house (listed since 1994) possesses a richly decorated facade in the Belgian Art Nouveau style , mixing several materials. We can see red and yellow brickwork, sculpted Belgian blue stone, painted wooden window frames, bas-reliefs in white plaster, forged iron elements and stained glass windows.
Amongst the decorative panels are medallion reliefs with representations of artisans (e.g. a painter) as a homage to traditional skills whose savoir-faire is put to use in the architecture of the house.
These representations are significant of the spirit of the Art Nouveau movement that pushed for the return to artisanship as a counter reaction to the use of serial production work typical of the industrial age.
The house is one of the most grand dwellings erected in the new northern residential quarters of the upper-town of Charleroi beginning of the XXth C. It was established on the remnants of the fortifications built by the Dutch to extend the existing Vauban designed fortress dating back to the Louis XIV, the "Roi-Soleil" or Sun-King of France.
The interior is a bit eclectic, with Beaux-Arts plaster ceilings while the walls have ornate wooden paneling, beautifully crafted doors with hand-painted floral motifs mimicking in-laid marquetry, a majestic and elegant arch in curved wood and a striking stained glass conservatory at the back of the house. The main hall and vestibule are covered in white veined marble walls and floors and the house has beautiful wooden parquet floors in the adjacent rooms.
The upper floors are simpler and have wooden doors painted in faux-bois as to resemble more luxurious wood types. Simple wooden planks were once covered with carpets.
© picture by Mark Larmuseau
Foreign Restaurants in the old town.
Variety really is the spice of life when you're visiting Amsterdam. This city has enjoyed a rich and turbulent history, and so much of it can be seen in the old center where history, sex, education, and religion are all well represented.
Dam Square is a useful landmark bridging the older (east) and newer (west) sides of the center. From here you can head off to worship naval heroes in the Nieuwe Kerk or, for some retail therapy, pop into the De Bijenkorf (which lives up to its name—the beehive—during big sales). The core of the oldest part of the city is Amsterdam's most famous area, the Red Light District, known locally as de Wallen, with the Ouderkerk, its oldest church, bang in the middle. Business in the two main canals and narrow alleyways leading off them is conducted against an implausibly scenic backdrop (porn emporiums and coffee shops at ground level, gables on the top) with atmospheric views from the bridges. (Although this is relative; there's no comparison with the non-red-light-district leafy environs of the southern sections of these same canals below the Damstraat). Its eastern perimeter is Zeedijk, which leads from Centraal Station through Amsterdam's little Chinatown. There's a bit more in Gelderskade and Nieuwmarkt, where the street opens up into a vibrant square packed with cafés and dominated by the hulking presence of ex-weigh house and medieval gateway, De Waag.
Heading southwards along the Kloveniersburgwal is a rewarding wander with diversions on both sides of the water: Look for churches, chapels, attractive canals, and some notable historic buildings that today house departments of the University of Amsterdam. Farthest west, running parallel to Rokin, is theater district Nes; heading east is the Old Jewish Quarter, which includes the synagogue complex of the Joods Historisch Museum, Amsterdam's most famous flea market behind the Muziektheater/City Hall complex on Waterlooplein, and behind all that, the Rembrandthuis. But if you get lost, even the worst student of foreign languages can easily get help by asking for "The Dam."