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After my apparently annual roast chicken I craved something lighter today.
Serrano ham wrapped around cream cheese and dates (Mazafati) and fried for a few minutes, with shredded pickled red cabbage and salad.
So much flavor in everything. Frugal. as befits Boxing Day celebrations.
CAMP EYE
In her essay, Susan Sontag observed that “Camp taste has an affinity for certain arts rather than others,” citing fashion as one of those arts. Yet Sontag offers only two examples: “women’s clothes of the twenties” and “a woman walking around in a dress made of three million feathers.” More critical to appreciating fashion as a key expression of the camp sensibility is Sontag’s analysis of its formal characteristics: irony, humor, parody, pastiche, naïveté, duplicity, ambiguity, artificiality, theatricality, extravagance, exaggeration, and aestheticism. All of these characteristics—either singly or jointly—are apparent in the fashions shown here.
While the first section of the exhibition functions as a series of “whispering” galleries, as befits camp’s clandestine status before its “outing,” the second presents an “echo chamber.” Although Sontag’s voice can be heard the loudest, she is joined by other voices of camp criticism that come afterward, including those of Mark Booth, Fabio Cleto, Philip Core, and Karl Keller—their assertions bouncing off one another as was well as off fashions.
The designs are organized under eighteen statements that communicate key aspects of the camp sensibility. Within these groupings, each ensemble is accompanied by a comment that speaks to the complicated and multi-faceted nature of camp. While experienced as a cacophony, these remarks, which are spoken aloud by designers in the exhibition, together point to the essential spirit of the camp sensibility: its all-inclusive, all embracing magnanimity.
(Hats and headdresses by Stephen Jones)
From the wall display: The Metropolitan Museum of Art, New York, NY
www.metmuseum.org/exhibitions/listings/2019/camp-notes-on....
Roy G. Biv
Memorial for the deported
Between 1940 and 1945 more than 8,000 Jews, Sinti and Roma originally from Hamburg and northern Germany were deported from the city, in particular via the former Hannoverscher Bahnhof railway station. They were sent to ghettos and to concentration and extermination camps in German-occupied regions: Belzec, Litzmannstadt/Lodz, Minsk, Riga, Auschwitz and Theresienstadt. Only very few survived. Responsibility for these deportations fell to Hamburg’s local authorities and administrative bodies as well as to state organisations at Reich level. The vast majority of German society either looked idly on or actively supported these crimes.
The Hannoverscher Bahnhof was severely damaged during the Second World War and, after 1945, it was largely forgotten about. What parts of the building complex remained were razed to the ground in 1955 and 1981. As Hamburg’s HafenCity district began to emerge, the general public once again became aware of the site in the early 2000s. Associations of former victims of Nazi persecution in particular have campaigned actively to this day for a memorial that befits the memory of the victims.
The early morning frost lays on the headstone and provides a chill that befits this place and it's history.
Memorial for the deported
Between 1940 and 1945 more than 8,000 Jews, Sinti and Roma originally from Hamburg and northern Germany were deported from the city, in particular via the former Hannoverscher Bahnhof railway station. They were sent to ghettos and to concentration and extermination camps in German-occupied regions: Belzec, Litzmannstadt/Lodz, Minsk, Riga, Auschwitz and Theresienstadt. Only very few survived. Responsibility for these deportations fell to Hamburg’s local authorities and administrative bodies as well as to state organisations at Reich level. The vast majority of German society either looked idly on or actively supported these crimes.
The Hannoverscher Bahnhof was severely damaged during the Second World War and, after 1945, it was largely forgotten about. What parts of the building complex remained were razed to the ground in 1955 and 1981. As Hamburg’s HafenCity district began to emerge, the general public once again became aware of the site in the early 2000s. Associations of former victims of Nazi persecution in particular have campaigned actively to this day for a memorial that befits the memory of the victims.
Expensive and refined as befits the gift of a king.
As glamorous as a film star.
And so it would be.
7.370 cc
8 Cylinder
110 hp @ 2.400 rpm
Vmax : 140 km/h
Museo dell'Automobile
Corso Unità d'Italia 40
Torino - Turin
Italia - Italy
January 2019
Hans Holbein the Elder (Augsburg, 1460 - Issenheim, 1524) - Altar of St. Sebastian; right wing Saint Elizabeth; Left wing Saint Barbara (1516) - Alte Pinakothek, Munich
La storia di san Sebastiano nelle arti è una tra le più lunghe e ricche, forse può essere considerato uno dei santi più rappresentati della Chiesa cattolica.
Riconoscibile a colpo d'occhio, per via dell'iconografia che lo riguarda, costituita dalle frecce che gli penetrano il corpo, questa immagine ha subito nel corso del tempo una notevole evoluzione, passando dall'originaria figura di uomo barbuto di mezza età che indossa l'armatura a quella di adolescente muscoloso con un corpo intatto seminudo ed inerme, fino a trasfigurarsi in una vera e propria icona gay diventando il "santo protettore degli omosessuali".
Nelle rappresentazioni del primo millennio lo si vede indossare la clamide militare come si conveniva alla sua professione di soldato, e sempre senza barba: un guerriero armato di scudo e spada. Durante l'epoca dell'arte gotica appare con un'armatura di maglie metalliche alla moda del tempo, ma presto anche con un ricco abito da nobile romano e di solito con la barba. Da allora in poi si è cominciato inoltre a rappresentarlo nudo al momento di essere colpito dalle frecce; soprattutto i gotici olandesi e tedeschi lo raffigurano ricoperto di ferite e col corpo magro ben evidenziato. Il primo attributo personale di riconoscimento è la corona di fiori in mano; a partire dall'alto Medioevo una freccia e un arco tra le mani.
Dal tardo XV secolo gli artisti hanno scelto sempre più spesso di presentare la figura del santo come un giovinetto denudato, ancora completamente imberbe, con le mani strettamente legate al tronco di un albero o alla cima di una colonna mentre offre del tutto indifeso il petto alle frecce del carnefice.
The history of Saint Sebastian in the arts is one of the longest and richest, perhaps it can be considered one of the most represented saints of the Catholic Church.
Recognizable at a glance, due to the iconography that concerns him, consisting of the arrows that penetrate his body, this image has undergone a considerable evolution over time, passing from the original figure of a bearded middle-aged man who wears the armor to that of a muscular teenager with an intact half-naked and defenseless body, until he transfigured into a real gay icon becoming the "patron saint of homosexuals".
In the representations of the first millennium he is seen wearing the military clamide as befits his profession as a soldier, and always without a beard: a warrior armed with a shield and sword. During the epoch of the Gothic art he appears with an armor of fashionable metal mesh of the time, but soon also with a rich Roman nobleman's dress and usually with a beard. From then on he also began to represent him naked at the moment of being hit by arrows; above all the Dutch and German Gothic represent him covered with wounds and with the lean body well highlighted. The first personal attribute of recognition is the wreath of flowers in hand; from the early Middle Ages an arrow and a bow in his hands.
Since the late fifteenth century, artists have increasingly chosen to present the figure of the saint as a naked boy, still completely beardless, with his hands closely tied to the trunk of a tree or to the top of a column while offering his chest completely defenseless. executioner's arrows.
Every time I get up early in order to photograph the night train in the "Wasserschloss der Schweiz" (the region where the three important Swiss rivers Aare, Reuss and Limmat meet) because the weather forecast promises loads of sun, I tend to be greeted by thick and stubborn layers of fog. This had been the case back in October 2014, and it was the case again this time around - even thicker than last time. Still, it befits the impending end of DB's involvement in the night train business and, therefore, the end of the CityNightLine label. Here, CNL 471 «Sirius» is passing Umiken on its way from Berlin Hbf (with through coaches from Praha hl.n.) to Zürich HB. Umiken, 26-08-2016.
This picture is of a 'coal jagger' with his horse in Russell Street Wednesbury, The coal Jagger is a Mr William Potter of Holloway jBank who died in 1908 aged 78.
The term "Coal Jagging" is a local name for selling coal to poorer households directly from the colliery.
In this picture a smart outfit driven by a uniformed coachman is passing Mr Potter, the driver is well aware of the camera and is probably proud of the difference between his outfit and Bill's 'oss.
The buildings behind are called Summer Row and were erected in 1831, the background, as befits a Black Country scene is one of smoking chimneys and dirt.
This picture is a fragile print which was destined for the bin. On scanning it I searched for information and found other views of the same gent, the information obtained was from this source. This actual picture with the coachman did not appear so perhaps this is a missing picture from a lost series.? One source has Walsall for the location of the picture another Wednesbury.
Geoff Dowling Collection.
© all rights reserved by B℮n
Please take your time... to View it large on black
Yes, REM Eiland was a North Sea platform in another life; beginning around 1964 it was the base for a pirate radio and television station back in the day when those media were state controlled - even in The Netherlands such things happened! And now, oh happy fortune for foodies, REM Eiland is a restaurant and a good one to boot. Climb the stairs or take the elevator up to the restaurant level, pick a table by the windows - every side is a wonderful view - personally I like the western view to watch the sunset from on high. You do get a great view of the working harbor, with commercial barges and ferry's plying the waters as you eat. But most every table gives you the thrill of watching the lights of Amsterdam blink on as night falls. Then order from the French menu. 4 or 3 course dinners, or a la carte. The menu is a little limited, but the food is good. The choice of wines and beers is excellent. The kitchen is quite slowly, there was a twenty minute wait between each course. Service is typically Dutch, you are never rushed, enjoy yourself, enjoy the evening; they are not desperate to turn tables. They are happy if you are happy. Dress is casual which befits the place - the tables look as though they were original to the drilling platform. If you are scared of heights, its probably not the place for you. Getting there is fun - GPS will help - or a cab! Leave a little extra time, and go by bike, it is certainly the best way to travel in Amsterdam. Best place to watch the Amsterdam sunset.
The REM-eiland is in a 3 story off shore platform located in the habor of Amsterdam. The platform build in 1964 was dismantled, brought to shore and rebuilt and as of July 2011 houses Restaurant REM-eiland.The REM eiland is worth a visit for the view alone. Amazing views and great place for drinks and to watch the sunset over Amsterdam. Make sure you have a table with a view.
REM staat voor Reclame Exploitatie Maatschappij, een onderneming die commerciële televisie wilde brengen. TV-Noordzee begon op 15 augustus 1964 met uitzenden vanaf het REM-eiland. Dat lag om de Nederlandse wetgeving te ontlopen net buiten de territoriale wateren. De pret duurde slechts vier maanden. De regering, bezorgd dat reclame de nederlandse burger zou corrumperen en het omroepbestel ondermijnen, scheidde gelijk een noodwetje af. REM-eiland werd door de Rijkspolitie te water bestormd en op de piraten veroverd. Uiteindelijk kwam de Tros hieruit voort. De constructie werd gedemonteerd en stond klaar voor de sloop, totdat de restanten naar Amsterdam werden gesleept en met een extra verdieping weer werden opgebouwd aan de Haparandadam, met als bestemming een restaurant in een nog te ontwikkelen gebied. Dat restaurant zit op twee- en driehoog, met een schitterend uitzicht over de haven en de stad. Je komt met de lift op tweehoog in de ruime ontvangstruimte en bar. Daarboven is het restaurant, vanzelfsprekend lowtech ingericht, en helemaal boven is een fantastisch dakterras. Er is een kleine Franse kaart en een uitgebreide wijnkaart. Het personeel is onwennig maar vriendelijk. Het eten is er prima maar je moet geen haast hebben. Geniet van het uitzicht en de ambiance waar een eeuw geleden vrachtschepen uit de hele wereld hun boomstammen losten. Amsterdam heeft niet zo veel gemeen met Rotterdam maar áls er iets is dan is er niets Rotterdamser dan het REM-eiland. Voor de koffie verhuizen we naar het terras beneden. We zijn net op tijd om de zon te zien ondergaan boven het westelijk havengebied. Met zijn laatste stralen trekt hij een zilveren rand om een wolk. Als het gaat om bijzondere eetplekken dan is het REM eiland zeker bijzonder. Johannes van Dam onze culinair journalist geeft deze plek maar liefst een 8.5.
Although like most mediaeval and post-mediaeval families the fortunes of the Homes waxed and waned, it is probably fair to say that they were the most prominent family on the East March (the front line!) for many centuries, and as befitted their status and their usually warlike duties, Cowdenknowes developed into an important fortress during the 16th century.
Enough evidence survives for us to be able to speculate that it was a square courtyard style castle (the courtyard being where the lawn on the left is), surrounded by a curtain wall with towers at its angles, and a 'main block' on the north facing side, where the 'mansion' now stands. The south-west tower (whether it was built by the Douglases or the Homes) was the tower on the river bank (just visible in the distance) and the tall tower in the foreground contains, in its lower levels, the remains of the north-east tower. The remains of the 16th century 'main block' survive under the existing mansion. Working out which bit was built when is the complicated bit!
(In the 19th century, when the mansion was built and a grand entrance was required, someone came up with the bright idea of slapping the entrance through the north-east tower(house), creating an entrance hall within and then connecting it with a linking wing to the main house beyond.)
「頭髮舞」或稱「甩髮舞」是達悟族最著名的舞蹈，這種舞蹈婦女排成列，以手叉相互拉緊，兩腳不動，然後將頭髮甩下，開始唱歌並彎身向前，直到頭髮觸及面前的地板上，再隨腳步的前進，而前後擺動長長的頭髮，愈搖愈厲害，屈膝彎腰，以此將髮端能夠拂地甩出力量與律動。
Myth, Dance and Music
To this day, the Tao have preserved their ancient musical tradition that features a variety of songs and ballads performed in a narrowly-defined register. The different styles and techniques, including solo singing, chorus singing (featuring a lead singer), unison singing, duet and canon singing, have been passed down from generation to generation. Along the lines of the singers’ gender and status, the occasion and time, as well as the song’s form and content, strict distinctions were made between magical and ritual songs on the one hand, and work songs and other tunes related to everyday life on the other.
Most Tao singing falls in the category of recitative solo singing, while in terms of content the focus is on prayers and ritual songs addressed to the gods and spirits. At the same time, religious themes are closely connected with everyday work and mythical legends. About 80% of traditional Tao ballads and songs fall into the male domain. Women have much fewer opportunities to sing: dance is their domain.
Among most of Taiwan’s indigenous peoples, singing is usually an activity performed by men and women together, but Orchid Island’s Tao are different. Men and women rarely sing together, and if they do, it is almost exclusively limited to work songs, such as tunes related to land clearing, plowing, weeding, and sowing millet.
Many of the Tao songs are performed in praise and worship of the sea, as befits a culture so intimately connected with the ocean and fishing. Boat building, which is another important aspect of Tao seagoing life, also has given rise to a number of songs, some of them sung on the eve of the Great Canoe-Launching Ceremony. The canoe-launching tunes are quite solemn and dignified, and the words are in a very archaic style of the ancient Tao language. Incidentally, these particular chants are addressed to the heavens, not the sea, and it is strictly forbidden to sing them at any other times than the evening before the Canoe-Launching Ceremony.
The Tao fishing songs are an integral part of their fishing activities, and are mostly sung by individuals (solo) or as duets. But between March and June, the peak season for catching flying fish in the island’s offshore waters, the crews of the large canoes sing together in unison as they return from a day’s work, the rhythm of their rowing in perfect sync with the beat of the song. According to the Taos’ traditional customs, “men sing and women dance”. In other words, dancing skills are passed on among the female members of the tribe, and they are particularly valued in young, unmarried women or married women who have not had children yet. They are the principal performers of the dances on occasion of important festivals and ritual celebrations, or in a less formal setting when a “dancing party” is held under the sky on a clear night with a bright moon. There is an air of mystery and ethereal beauty to such performances, but the atmosphere becomes more “down-to-earth” if the men join in at some point.
In traditional dance, the men’s moves were mostly restricted to stylized gestures symbolizing the pounding of millet—a performance given during the Bumper Millet Harvest Festival. Otherwise, women completely dominated this area of Tao culture, but after the end of Japanese colonial rule over Taiwan, a number of dances were added to the male repertoire, including the Warrior Dance, the Spiritual Dance and others that are meant to express the men’s valor and prowess at fishing and other activities.
Male dances now involve a number of special steps and moves, including beating parts of the body with the hands to produce a variety of sounds and rhythms and display the beauty of male toughness and hardihood. The most famous of the Tao dances, however, has to be the women’s Hair Dance, also known as the Hair-Flinging Dance. For this, the women get in a line, standing side by side and, elbow to elbow, holding each other tightly by the hands, they do not move their feet at first but let their hair fly wildly. As they start to sing, they bend their bodies forward until their long hair touches the ground, and now they begin to move their feet, gradually advancing in a line as they keep flinging their long hair with increasing force and a forward and backward movement of the head. As they dance, they also bend their knees, which adds extra momentum to their moves and allows them to fling their hair even more powerfully to the rhythm of the music.
Povero Sonny ...
Povero giovane orsetto dal grande testone...era poco più di un cucciolo, si affacciava alla vita solitaria, nei suoi primi tempi da individuo indipendente, senza la mamma .
Inesperto e fiducioso, muoveva i suoi passi nel bosco e nelle valli.
Lui non dormiva al sicuro in qualche tana, ma girovagava in cerca di cibo.
Il bel sonno del letargo non ha protetto Sonny.
Peccato si sarebbe salvato.
Le invernate miti, infatti, hanno ormai confuso e influenzato il ciclo naturale degli orsi.
Il loro ritmo sonno/veglia, legato alle stagioni, si è alterato.
L'incontro da lontano con due persone gli è costato la vita... per aver solo incrociato lo sguardo del bipede tiranno .
Non ha mai fatto male a nessuno Sonny. Condannato, braccato e freddato a fucilate per non aver fatto niente.
Tutto in modalità rapida come conviene ai vili che agiscono a tradimento.
Un esecuzione contestuale all'emissione del decreto di uccisione, senza lasciare spazio alla società civile di impostare un' azione volta a salvarlo, ricorrendo al Tar.
Ucciso perché confidente, perché si serviva dei cassonetti sempre disponibili e mai modificati, ucciso perché anche i sentieri in Trentino non sono mai stati ben disciplinati e tutti possono spingersi ovunque, per poi creare allarmismi collettivi.
Mentre gli orsi non hanno più una zona sicura e devono solo scomparire.
Presi i denari del progetto di reintroduzione Life Ursus, ora i plantigradi sono di troppo in quelle valli e forse di intralcio per qualche altro disegno che porta soldi .
Il suo giudice e carnefice è il Presidente della tristissima Provincia autonoma di Trento, Fugatti, determinato a farli fuori tutti.
Questo soggetto ostile e sprezzante della vita dei selvatici, ricorderà bene questi giorni. Segneranno la sua esistenza perché tutto il Paese ha conosciuto bene il suo cinismo, la sua ossessione fuori controllo per queste creature e verrà ricordato come l'odiatore degli orsi, aguzzino dalle doppiette e dagli ergastoli facili ...
Re indiscusso del Casteller.
Ruth Lemma
Poor Sonny...
Poor young bear with the big head... he was little more than a puppy, he was facing a solitary life, in his early days as an independent individual, without his mother.
Inexperienced and confident, he took his steps in the woods and valleys.
He did not sleep safely in some den, but wandered around looking for food.
The beautiful sleep of hibernation did not protect Sonny.
Too bad he would have been saved.
The mild winters, in fact, have now confused and influenced the natural cycle of bears.
Their sleep/wake rhythm, linked to the seasons, has altered.
The encounter with two people from afar cost him his life... for just having met the gaze of the bipedal tyrant.
He never hurt anyone Sonny. Condemned, hunted down and shot dead for doing nothing.
All in rapid mode as befits cowards who act treacherously.
An execution at the same time as the issuing of the killing decree, leaving no room for civil society to take action aimed at saving him, resorting to the TAR.
Killed because he was confident, because he used the bins that were always available and never modified, killed because even the paths in Trentino have never been well regulated and anyone can go anywhere, and then create collective alarmism.
While bears no longer have a safe area and just have to disappear.
Having taken the money from the Life Ursus reintroduction project, now the plantigrades are too many in those valleys and perhaps an obstacle to some other project that brings money.
His judge and executioner is the President of the very sad autonomous province of Trento, Fugatti, determined to kill them all.
This hostile and contemptuous subject of the life of wild animals will remember these days well. They will mark his existence because the whole country knew well his cynicism, his out of control obsession with these creatures and he will be remembered as the hater of bears, a tormentor with doubles and easy life sentences...
Undisputed king of Casteller.
Ruth Lemma
I am not usually a fan of shorter clothes but this dress is part of a 2 piece suit which I love to wear. I have likely worn it a few too many times on many trips into the outside world where an evening suit would befit the occasion but there is something about this suit that keeps bringing me back to it when I need something reliable that I know works.
I am sure you all know what I mean because special ladies like us usually have a reliable dress or suit to fall back on when it is needed.
So today we investigate two factions but of a more social sort o factions, they have not much in common but the fact that they usually dwell in the royal court in the palace…
One could say that they are actually quite the opposites, because the Wives of lords and royalty are constantly bored, while the lunatic troupe have cast aside every social norm and even dear to prank the kings and queens…
Even though the alliance Kingdoms have had a Ruling Queen, she is an exception that breaks the rule…
The woman in court are often very limited by the social norms of these medieval kingdoms, sure they are protected and feed with delicate luxury food, they get expensive clothing that by it’s very nature in ornate but unpractical decorations which limits them even more…
But despite of all these luxuries, the get bored by sewing tapestries about their husbands deeds on the battle field…
So the occupies themself by elaborate screams of backstabbing and bullying veiled behind façades of nice curtesy and friendly manners…
A sentence like: “dear Lady Fatima of the house of Trudore what a nice creamy purple dress you have, it becomes you and that lovely amber broch befits both of you!”
But in translation to a commoners tongue it is equivalent to: “that bitch has no sense of fashion, she is so tacky, rip her to shreds!”
But enough about the wealthy and boring life for the dignitary Ladies, Let’s talk about the Fools…
Most of the Jesters begin their life far outside the royal palace, often of the poorest beginnings you can imagine, many start off in landless roamers that travel in wheeled huts, making money from what ever trade they can offer at local markets or taking temporary work when such is needed…
Some of these family based unit’s members take to the lute or play theaters or perform in circus acts to help their family with income…
Some of these are so popular that they eventually get hand-picked as entertainers to the court…
Since many speak many more languages and are accustom to the many cultures they meet during their travels the often adjust quite easily to court-life, which can be even demanding to those born in the system….
Some even get to be muses, company and even lovers to kings, Queens and other palace nobility…
It was even rumored that the King Henry has a special relation to one jester, that smelled a bit like roses and elderberries…
But some court Jesters have a very different background, yes those who are “possessed by demons” those who have been kept in cellars and locked at lofts, these often have very different attributes to those with roaming background…
Often these hardly speak language at all, some have escaped the captivity of their families and when out in the world of their own devices, they behave in strange manners at markets and in villagers…
Sometimes these individual are picket up by mages and wise men and kept as Guinea pigs, as helpers or a source of body parts in the name of science…
Some of these are getting noticed by kings and would in this manner get picked for life in the castle throne room for the amusement of the nobility because they simply has no manners at all…
This is 1870s and western Texas is a lawless land where laws are passed only by eating them first. Here, Johnnie and Cresencio are two young ranch-hands in the Moonberry Cattle company - a strangely named endeavor that raises and trades thin-blooded longhorns in the rugged Chihuahuan Desert. Johnnie is from east Texas and has ended up in the Moonberry due to poor execution of his grand plan to become rich in California. Cresencio was born here of parents who have crossed over Rio Grande decades ago. He is a fine horseman and has eagerly taught Johnnie how to live of the land, repair guns, tie a lasso, and, manage his temper. “The heat stays in the sand, not your head”, he often says. But on this warm cloudless summer morning, Cresencio was unable to control his own anger.
“It’s the same bear, again! ” Johnnie exclaimed as Cresencio shook his head in hard disbelief.
The past winter didn’t see much snowfall in the Chisos, depleting the land’s water resources severely. Now, summer is pushing everyone to the limit. Vegetation is more brown than lush, springs are dry and animals are edgy. Cresencio and his pals have been moving their herds every now and then to keep them near any faint source of water that may have only days before drying up. If this was already not trouble enough, a bear has taken a liking to newborn cattle in their herd. It has hunted thrice already and this morning, it has left behind partial carcass of its fourth victim.
“Let’s go get it!” Cresencio said in a firm voice that trembled just a bit due to the bubbling anger within.
“Yeah?” Johnnie consented with a smile and an eagerness that befits his teen temperament well.
Easier said than done; Over the next few days, they ride through every trail in the Chisos looking for the perpetrator. They come across several bears but none limp as the one Pedro had seen trespassing their camp. After a week, the chase needs to be abandoned. The weak water source has dried up and it is time to move the herd again. The bear has followed them over their past two moves; may be, it will do so again.
And it did. One night, Cresencio spotted a limping shadow in the light of the crescent moon.
“Johnnie, it is limping real bad. ” He whispered.
“Gun? ” Johnnie was in a recoil already.
“No. Let’s rope it. ”
In the next few minutes, two lassos fly towards the unsuspecting bear. Once caught, the bear doesn’t put up much of a fight. The broken ankle has drained him of all his fights.
A month later, after amusing all Moonberry ranchers from behind the makeshift bars, the bear is sold off to Simon O’Neil. O’Neil is a smooth-talking charmer who occasionally visits the area to sell snake oil and buy longhorn hide. He works for a certain Cody, who will – Johnnie and Cresencio were told – put the bear to work in his hit ‘Wild West’ show.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
The Big Bend National Park is one of the remotest in the US park system that knows how to test a visitor’s will and endurance. It’s a vast desert that has been testing men and breaking the weak ones. Historically, ranchers and cowboys have attempted livelihood in these lands by raising herds of desert-adapted animals. But their lives were not always rosy. Shooting high in the Chisos Mountains, within sight of the dawn’s shadow through the ‘window’ the other day, I ‘heard’ whispers of the above tale floating in the thin morning air. Johnnie Ward is a historic character from this region but the rest... ah, well... believe me at your own risk.
A text, in english, from Wikipedia, the free encyclopedia.
Milan Cathedral
Milan Cathedral (Italian: Duomo di Milano; Milanese: Domm de Milan) is the cathedral church of Milan in Lombardy, northern Italy. It is the seat of the Archbishop of Milan, currently Cardinal Dionigi Tettamanzi.
History:
Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies the most central site in Roman Mediolanum, that of the public basilica facing the forum. Saint Ambrose's 'New Basilica' was built on this site at the beginning of the 5th century, with an adjoining basilica added in 836. When a fire damaged both buildings in 1075, they were rebuilt as the Duomo.
Um texto, em português, do Site "Fatos e fotos de viagens", que pode ser visto no endereço interata.squarespace.com/jornal-de-viagem/2006/11/27/duom...
In 1386 archbishop Antonio da Saluzzo began construction in a rayonnant Late Gothic style more typically French than Italian. Construction coincided with the accession to power in Milan of the archbishop's cousin Gian Galeazzo Visconti, and was meant as a reward to the noble and working classes which had been suppressed by his tyrannical Visconti predecessor Barnabò. Before actual work began, three main buildings were demolished: the palace of the Archbishop, the Ordinari Palace and the Baptistry of 'St. Stephen at the Spring', while the old church of Sta. Maria Maggiore was exploited as a stone quarry. Enthusiasm for the immense new building soon spread among the population, and the shrewd Gian Galeazzo, together with his cousin the archbishop, collected large donations for the work-in-progress. The construction program was strictly regulated under the "Fabbrica del Duomo", which had 300 employees led by first chief engineer Simone da Orsenigo. Galeazzo gave the Fabbrica exclusive use of the marble from the Candoglia quarry and exempted it from taxes.
In 1389 a French chief engineer, Nicolas de Bonaventure, was appointed, adding to the church its strong Gothic imprint. Ten years later another French architect, Jean Mignot, was called from Paris to judge and improve upon the work done, as the masons needed new technical aid to lift stones to an unprecedented height. Mignot declared all the work done up till then as in pericolo di ruina ("peril of ruin"), as it had been done sine scienzia ("without science"). In the following years Mignot's forecasts proved untrue, but anyway they spurred Galeazzo's engineers to improve their instruments and techniques. Work proceeded quickly, and at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, due to lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.
In 1500-1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of fifteen statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior long remained without any decoration, except for the Guglietto dell'Amadeo ("Amadeo's Little Spire"), constructed 1507-1510. This is a Renaissance masterwork which nevertheless harmonized well with the general Gothic appearance of the church.
The famous "Madunina" atop the main spire of the cathedral, a baroque gilded bronze artwork.
During the subsequent Spanish domination, the new church proved usable, even though the interior remained largely unfinished, and some bays of the nave and the transepts were still missing. In 1552 Giacomo Antegnati was commissioned to build a large organ for the north side of the choir, and Giuseppe Meda provided four of the sixteen pales which were to decorate the altar area (the program was completed by Federico Borromeo). In 1562 Marco d' Lopez's St. Bartholomew and the famous Trivulzio candelabrum (12th century) were added.
After the accession of the ambitious Carlo Borromeo to the archbishop's throne, all lay monuments were removed from the Duomo. These included the tombs of Giovanni, Barnabò and Filippo Maria Visconti, Francesco and his wife Bianca, Galeazzo Maria and Lodovico Sforza, which were brought to unknown destinations. However, Borromeo's main intervention was the appointment, in 1571, of Pellegrino Pellegrini as chief engineer— a contentious move, since to appoint Pellegrino, who was not a lay brother of the duomo, required a revision of the Fabbrica's statutes.
Borromeo and Pellegrino strove for a new, Renaissance appearance for the cathedral, that would emphasise its Roman / Italian nature, and subdue the Gothic style, which was now seen as foreign. As the façade still was largely incomplete, Pellegrini designed a "Roman" style one, with columns, obelisks and a large tympanum. When Pellegrini's design was revealed, a competition for the design of the facade was announced, and this elicited nearly a dozen entries, including by Antonio Barca [1].
This design was never carried out, but the interior decoration continued: in 1575-1585 the presbytery was rebuilt, while new altars and the baptistry were added in the nave.
Wooden choirstalls were constructed by 1614 for the main altar by Francesco Brambilla.
In 1577 Borromeo finally consecrated the whole edifice as a new church, distinct from the old Santa Maria Maggiore and Santa Tecla (which had been unified in 1549 after heavy disputes).
At the beginning of the 17th century Federico Borromeo had the foundations of the new façade laid by Francesco Maria Richini and Fabio Mangone. Work continued until 1638 with the construction of five portals and two middle windows. In 1649, however, the new chief architect Carlo Buzzi introduced a striking revolution: the façade was to revert to original Gothic style, including the already finished details within big Gothic pilasters and two giant belfries. Other designs were provided by, among others, Filippo Juvarra (1733) and Luigi Vanvitelli (1745), but all remained unapplied. In 1682 the façade of Santa Maria Maggiore was demolished and the cathedral's roof covering completed.
The ultimate facade with its striking rosy marble revetment
In 1762 one of the main features of the cathedral, the Madonnina's spire, was erected at the dizzying height of 108.5 m. The spire was designed by Francesco Croce and sports at the top a famous polychrome Madonnina statue, designed by Giuseppe Perego that befits the original stature of the cathedral.[2] Given Milan's notoriously damp and foggy climate, the Milanese consider it a fair-weather day when the Madonnina is visible from a distance, as it is so often covered by mist.
On May 20, 1805, Napoleon Bonaparte, about to be crowned King of Italy, ordered the façade to be finished. In his enthusiasm, he assured that all expenses would fall to the French treasurer, who would reimburse the Fabbrica for the real estate it had to sell. Even though this reimbursement was never paid, it still meant that finally, within only seven years, the Cathedral had its façade completed. The new architect, Francesco Soave, largely followed Buzzi's project, adding some neo-Gothic details to the upper windows. As a form of thanksgiving, a statue of Napoleon was placed at the top of one of the spires.
In the following years, most of the missing arches and spires were constructed. The statues on the southern wall were also finished, while in 1829-1858, new stained glass windows replaced the old ones, though with less aesthetically significant results. The last details of the cathedral were finished only in the 20th century: the last gate was inaugurated on January 6, 1965. This date is considered the very end of a process which had proceeded for generations, although even now, some uncarved blocks remain to be completed as statues. The Duomo's main facade is under renovation as of 2007; canvas-covered scaffolding obscures most of the facade.
he cathedral of Milano is often described as one of the greatest churches in the world. The ground plan is of a nave with 5 aisles, crossed by a transept and then followed by choir and apsis. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral that was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, sitting upon delicate flying buttresses.
The cathedral's five wide naves, divided by forty pillars, are reflected in the hierarchic openings of the facade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
The interior of the cathedral includes a huge number of monuments and artworks. These include:
* The Archbishop Alberto da Intimiano's sarcophagus, which is overlooked by a Crucifix in copper laminae (a replica).
* The sarcophagi of the archbishops Ottone Visconti and Giovanni Visconti, created by a Campionese master in the 14th century.
* The sarcophagus of Marco Carelli, who donated 35,000 ducati to accelerate the construction of the cathedral.
* The three magnificent altars by Pellegrino Pellegrini, which include the notable Federico Zuccari's Visit of St. Peter to St. Agatha jailed.
* In the right transept, the monument to Gian Giacomo Medici di Marignano, called "Medeghino", by Leone Leoni, and the adjacent Renaissance marble altar, decorated with gilt bronze statues.
* In front of the former mausoleum is the most renowned work of art of the cathedral, the St. Bartholomew statue by Marco D'Agrate.
* The presbytery is a late Renaissance masterpiece composing a choir, a Temple by Pellegrini, two pulpits with giant telamones covered in copper and bronze, and two large organs. Around the choir the two sacristies' portals, some frescoes and a fifteenth-century statue of Martin V by Jacopino da Tradate) can be seen.
* The transepts house the Trivulzio Candelabrum, which is in two pieces. The base (attributed to Nicolas of Verdun, 12th century), characterized by a fantastic ensemble of vines, vegetables and imaginary animals; and the stem, of the mid-16th century.
* In the left aisle, the Arcimboldi monument by Alessi and Romanesque figures depicting the Apostles in red marble and the neo-Classic baptistry by Pellegrini.
* A small red light bulb in the dome above the apse marks the spot where one of the nails from the Crucifixion of Christ has been placed.
* In November-December, in the days surrounding the birthdate of the San Carlo Borromeo, a series of large canvases, the Quadroni are exhibited along the nave.
DUOMO - A Catedral de Milão
O Duomo é apenas mais um dos fabulosos exemplos de arquitetura e monumentalidade dirigida ao culto ao divino entre tantas outras catedrais construídas na Europa durante a Idade Média, entre os séculos 9 e 12.
Dizem que o Duomo foi projetado pelo pintor, escultor, arquiteto, engenheiro, cientista e inventor italiano Leonardo da Vinci, nascido em Vinci e falecido em Amboise, na França.
Igrejas como as de Chartres , Amiens e Notre Dame de Paris (França), Sevilha e Santiago de Compostela (Espanha), Colônia (Alemanha) e o Duomo de Milão (Itália) são o exemplo máximo do estilo gótico — caracterizado pelo uso das ogivas (cruzamento de arcos), que possibilitavam a construção de altas estruturas. No apogeu do fervor católico, elas foram projetadas usando medidas que reproduziam as proporções do corpo humano.
Situado no centro da cidade , o Duomo é o marco zero geográfico da cidade e ponto de partida para se conhecer a cidade. Muitas de suas atrações estão nas proximidades ou vizinhanças.
Pode-se visitar internamente a igreja e seu telhado. Todos os dias, de 7 às19h de junho a setembro, e de 9 às 16h, de outubro a maio. Para ingressar na igreja nada se paga, mas para subir ao seu telhado paga-se o preço de 4 Euros, por elevador.
Duomo é uma gigantesca igreja catedral, uma das maiores em estilo gótico em todo o mundo, em dimensões, pois tem cerca de 160 m de comprimento por 92 de largura. Suas dimensões representam aquilo que mais impressiona e provoca admiração a quem a visita, num primeiro olhar.
igreja começou a ser construída no Século 14 mas só foi concluída 500 (!!) anos depois.
Uma das coisas mais interessantes a ser fazer em toda Milão é visitar o telhado do Duomo, todo em placas de mármore, da mesma pedra de sua fachada, suas esculturas (santos, gárgulas e agulhas) e de onde se tem uma bela vista de toda a cidade.
A fachada do Duomo não tem apenas um estilo arquitetônico: eles vão do gótico ao renascentista, com alguns elementos neoclássicos.
Ainda no exterior, antes de entrar na igreja, não deixe de observar o rendilhado que envolve as janelas-vitrais e também as belíssimas e enormes portas de bronze, nas quais estão esculturas em baixos e altos-relevos que mostram cenas da história da cidade.
O que mais impressiona no interior é a altura dos enormes pilares góticos que suportam o telhado de toda a igreja e que delimitam suas naves laterais, secundárias e principal, além do altar-mór. Elas enquadram os vitrais igualmente gigantescos e belíssimos.
O interior não impressiona tanto quanto o exterior, ainda que seja solene, grandioso e tenha cinco naves e 52 gigantescas colunas de pedra.
Também o maravilhoso piso de mármore de três ou quatro tonalidades, que formam belos desenhos, dão, na nave central, a verdadeira impressão das dimensões desta fabulosa igreja. Observe o piso (de preferência ajoelhado nele) posisionando-se de costas para o altar-mór e olhando para o portão principal.
Em Milão quase tudo gira ao redor do Duomo, a Catedral de Milão, a terceira maior igreja da cristandade depois da Basílica de São Pedro, em Roma, e da Catedral de Sevilha.
No telhado as centenas de agulhas altíssimas, de arcos e gárgulas, estátuas e cariátides esculpidos em mármore impressionam tanto quanto sua fachada, vista do nível da rua. A mais magestosa das imagens é a estatua dourada da Madonnina do Perego, situada no topo da agulha maior, onde foi colocada em 1744.
Uma visita ao seu telhado dá-nos a dimensão exata da grandiosidade do trabalho de construção desta monumental escultura e nos leva a imaginar o quão difícil deve ter sido, compreendendo-se porque ela iniciou-se em 1386 e terminou em 1887!
O Duomo di Milano é um monumento símbolo do patrimônio Lombardo, dedicado à Santa Maria Nascente e situado na praça central da cidade de Milão, Itália. É uma das mais célebres e complexas construções em estilo Gótico do mundo.
Leia mais sobre a catedral de Milão no endereço www.maconaria.net/portal/index.php?view=article&catid...
Povero Sonny ...
Povero giovane orsetto dal grande testone...era poco più di un cucciolo, si affacciava alla vita solitaria, nei suoi primi tempi da individuo indipendente, senza la mamma .
Inesperto e fiducioso, muoveva i suoi passi nel bosco e nelle valli.
Lui non dormiva al sicuro in qualche tana, ma girovagava in cerca di cibo.
Il bel sonno del letargo non ha protetto Sonny.
Peccato si sarebbe salvato.
Le invernate miti, infatti, hanno ormai confuso e influenzato il ciclo naturale degli orsi.
Il loro ritmo sonno/veglia, legato alle stagioni, si è alterato.
L'incontro da lontano con due persone gli è costato la vita... per aver solo incrociato lo sguardo del bipede tiranno .
Non ha mai fatto male a nessuno Sonny. Condannato, braccato e freddato a fucilate per non aver fatto niente.
Tutto in modalità rapida come conviene ai vili che agiscono a tradimento.
Un esecuzione contestuale all'emissione del decreto di uccisione, senza lasciare spazio alla società civile di impostare un' azione volta a salvarlo, ricorrendo al Tar.
Ucciso perché confidente, perché si serviva dei cassonetti sempre disponibili e mai modificati, ucciso perché anche i sentieri in Trentino non sono mai stati ben disciplinati e tutti possono spingersi ovunque, per poi creare allarmismi collettivi.
Mentre gli orsi non hanno più una zona sicura e devono solo scomparire.
Presi i denari del progetto di reintroduzione Life Ursus, ora i plantigradi sono di troppo in quelle valli e forse di intralcio per qualche altro disegno che porta soldi .
Il suo giudice e carnefice è il Presidente della tristissima Provincia autonoma di Trento, Fugatti, determinato a farli fuori tutti.
Questo soggetto ostile e sprezzante della vita dei selvatici, ricorderà bene questi giorni. Segneranno la sua esistenza perché tutto il Paese ha conosciuto bene il suo cinismo, la sua ossessione fuori controllo per queste creature e verrà ricordato come l'odiatore degli orsi, aguzzino dalle doppiette e dagli ergastoli facili ...
Re indiscusso del Casteller.
Ruth Lemma
Poor Sonny...
Poor young bear with the big head... he was little more than a puppy, he was facing a solitary life, in his early days as an independent individual, without his mother.
Inexperienced and confident, he took his steps in the woods and valleys.
He did not sleep safely in some den, but wandered around looking for food.
The beautiful sleep of hibernation did not protect Sonny.
Too bad he would have been saved.
The mild winters, in fact, have now confused and influenced the natural cycle of bears.
Their sleep/wake rhythm, linked to the seasons, has altered.
The encounter with two people from afar cost him his life... for just having met the gaze of the bipedal tyrant.
He never hurt anyone Sonny. Condemned, hunted down and shot dead for doing nothing.
All in rapid mode as befits cowards who act treacherously.
An execution at the same time as the issuing of the killing decree, leaving no room for civil society to take action aimed at saving him, resorting to the TAR.
Killed because he was confident, because he used the bins that were always available and never modified, killed because even the paths in Trentino have never been well regulated and anyone can go anywhere, and then create collective alarmism.
While bears no longer have a safe area and just have to disappear.
Having taken the money from the Life Ursus reintroduction project, now the plantigrades are too many in those valleys and perhaps an obstacle to some other project that brings money.
His judge and executioner is the President of the very sad autonomous province of Trento, Fugatti, determined to kill them all.
This hostile and contemptuous subject of the life of wild animals will remember these days well. They will mark his existence because the whole country knew well his cynicism, his out of control obsession with these creatures and he will be remembered as the hater of bears, a tormentor with doubles and easy life sentences...
Undisputed king of Casteller.
Ruth Lemma
The tiny village of Little Bradley (population: 60) lies at the bottom of a long hill near the banks of the initial stage of the River Stour in the south-western corner of Suffolk. The attractive little church of All Saints’ is the most westerly of all Suffolk’s 38 round-tower churches. As befits such a small parish, it is a small church with no aisles. Much of the base of the church, including the timbered south porch is of Norman origin, although the nave windows and octagonal belfry are 15th century Perpendicular.
The interior of the church is clean, light and airy with some interesting brass monuments to John Daye, John Lehunte, Richard Lehunte and his wife Ann.
Anselm Kiefer (born 8 March 1945) is a German painter and sculptor. He studied with Joseph Beuys and Peter Dreher during the 1970s. His works incorporate materials such as straw, ash, clay, lead, and shellac. The poems of Paul Celan have played a role in developing Kiefer's themes of German history and the horror of the Holocaust, as have the spiritual concepts of Kabbalah.In his entire body of work, Kiefer argues with the past and addresses taboo and controversial issues from recent history. Themes from Nazi rule are particularly reflected in his work; for instance, the painting "Margarethe" (oil and straw on canvas) was inspired by Paul Celan's well-known poem "Todesfuge" ("Death Fugue").
His works are characterised by an unflinching willingness to confront his culture's dark past, and unrealised potential, in works that are often done on a large, confrontational scale well suited to the subjects. It is also characteristic of his work to find signatures and/or names of people of historical importance, legendary figures or historical places. All of these are encoded sigils through which Kiefer seeks to process the past; this has resulted in his work being linked with the movements New Symbolism and Neo–Expressionism.Kiefer has lived and worked in France since 1992. Since 2008, he has lived and worked primarily in Paris[3] and in Alcácer do Sal, Portugal.The son of a German art teacher,[5] Kiefer was born in Donaueschingen two months before the end of World War II. In 1951, his family moved to Ottersdorf, and he attended public school in Rastatt, graduating high school in 1965. He entered University of Freiburg, and studied pre-Law and Romance languages. However, after 3 semesters he switched to Art, studying at Art academies in Freiburg, Karlsruhe, and Düsseldorf. In Karlsruhe, he studied under Peter Dreher, an important realist and figurative painter.[6] He received an Art degree in 1969.Kiefer moved to Dusseldorf in 1970. In 1971 he moved to Hornbach, in southwestern Germany, where he established a studio. He remained there until 1992; his output during this first creative time is known at The German Years. In 1992 he relocated to France.
en.wikipedia.org/wiki/Anselm_Kiefer
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Anselm Kiefer (born March 8, 1945) is a German painter and sculptor. He studied with Joseph Beuys and Peter Dreher during the 1970s. His works incorporate materials such as straw, ash, clay, lead, and shellac. The poems of Paul Celan have played a role in developing Kiefer's themes of German history and the horror of the Holocaust, as have the spiritual concepts of Kabbalah.In his entire body of work, Kiefer argues with the past and addresses taboo and controversial issues from recent history. Themes from Nazi rule are particularly reflected in his work; for instance, the painting "Margarethe" (oil and straw on canvas) was inspired by Paul Celan's well-known poem "Todesfuge" ("Death Fugue").His works are characterized by an unflinching willingness to confront his culture's dark past, and unrealized potential, in works that are often done on a large, confrontational scale well suited to the subjects. It is also characteristic of his work to find signatures and/or names of people of historical importance, legendary figures or places particularly pregnant with history. All of these are encoded sigils through which Kiefer seeks to process the past; this has resulted in his work being linked with a style called New Symbolism.Kiefer has lived and worked in France since 1991. Since 2008, he has lived and worked primarily in Paris and in Alcácer do Sal, Portugal.
theartstack.com/artist/anselm-kiefer/freimaurer-freemason
Throughout his career, the German artist Anselm Kiefer has confronted the weight of the past and the power of myth on a monumental scale. As the RA stages a major retrospective, Martin Gayford chronicles the extraordinary vision and transformative force of this colossus of contemporary art.Walking down a hillside in the foothills of the Cévennes, we come across a group of massive towers. Multi-storeyed, irregular, almost tottering, these look at once old and new. The material they are made from – cast concrete – gives them the appearance of a contemporary shanty town or some haphazard industrial structure. Their form and presence, silhouetted against the clear southern French sky, suggest the architecture of Dante’s Italy or medieval Greece.
Kiefer is both spiritual and extremely well read, as well as unexpectedly jolly. A conversation with him might begin with medieval philosophy, and progress, via alchemy, to architecture. In origin, he is a Catholic, from Donaueschingen in the Black Forest, near the border with France and Switzerland (in contrast to Richter and Baselitz, who come from the Protestant north-east, almost another country from southern Germany). You could not, he told me, “imagine anywhere more Catholic” as Donaueschingen. He was an altar boy: “I’ve forgotten a lot of the poems I learned by heart but I still know the mass in Latin.”As befits someone who once assisted at the mystery of transubstantiation, in which bread and wine become the body of Christ, Kiefer has a metaphysical approach to materials. No doubt he relishes lead for its physical attributes: its enormous weight and sombre matt-grey surface. But he likes it as much for its metaphorical qualities. As Soriano explains: “Lead is the basest of materials but also it is changeable. If you heat it up, it bubbles, it is constantly in flux. Above all, to Kiefer’s mind, there’s its weight: he considers it the only material heavy enough to carry the weight of human history.”Kiefer uses lead paradoxically. He makes it into the kinds of objects you would least employ it for from a practical point of view: aeroplanes too heavy to fly, boats that would immediately sink, books whose pages would require huge effort to turn. At the entrance to the Royal Academy exhibition will stand a new sculpture, incarnating this paradox: lead books with wings (The Language of the Birds, 2013).
Poem.
Childish excitement travelling from east to west in late winter.
You know soon, very soon, the West Coast “Munros” will gleam like incisor teeth above the forested landscape.
Forcan, left, and The Saddle, right, are such peaks that advertise the thousand metre micro-climate of semi-Alpine splendour.
Spin-drift sweeps off the upper slopes to accumulate in layers like royal icing.
The snowy back-cloth forms a pleasing contrast to the pastel tans and greens of the bracken and forest of the lower slopes of this historic Glen.
The West Coast beckons.
Such a grand mountain corridor befits the momentous land and seascapes that lie in prospect.
With the recent replacement of Condor Flats with Grizzly Peak Airfield, these old Condor Gas pumps are now among the last remaining relics of the land's past. But the choice to keep them in place was wise, as they provide an eclectic charm to the newly branded Humphrey's gift shop behind them that befits the theme.
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Pictured with other coaches at the back of the Royal Northern College of Music during a weekend band contest. She carries a select registration as befits a Neoplan Skyliner, although I unfortunately don't know her previous number. By August that year, the plate was transferred for use on a newly delivered, but otherwise less appropriate, Volvo B10M.
Manchester, Rosamond Street West, 03/04/1993.
Two great rivers come together at Cairo, Illinois. Going by volume of water, it is the Ohio River which should keep its name as it flows on southwards to the Gulf of Mexico, not the Mississippi. The Ohio River flow (nearly 8000m^3/s) is higher than that of the Mississippi River (nearly 6000m^3/s) so hydrologically, the Ohio River is the main stream of the river system. (Wikipedia)
The States of Illinois, Missouri and Kentucky meet at the confluence; nearby is the southernmost point of Illinois. This photo. was taken from area around the parking lot near Fort Defiance, definitely in Illinois (and not as Flickr supposes in Missouri). The geotag is accurate to a few metres. We are looking approximately northwards.
The US51 crosses the Ohio near the confluence, connecting Kentucky with Illinois; Fort Defiance Park occupies the peninsula tip, attesting to the strategic importance of the place during the Civil War, and indeed before. Unfortunately, the State of Illinois does not yet see fit to maintain the Park as would befit the history of the place. Lewis and Clark made camp here, too.
en.wikipedia.org/wiki/Fort_Defiance_(Illinois)
en.wikipedia.org/wiki/Cairo,_Illinois
en.wikipedia.org/wiki/Mississippi_River
To all my Friends.
From Art With Friends.
Yohi,
You made me so happy.
I'll draw you a treat
Or whatever befit.
Give me some time
I'll match with a rhyme.
Loose reference from John Tan's rose garden in Melbourne.
The door of Alcalá de Madrid has seen the passing of life in a stately manner, as befits a grandiose monument.
В 2017 году исполнилось 100 лет самому известному ледоколу в мире – легендарному судну «Красин», символу исследований Арктики и морского наследия России. Сейчас, как и положено ветерану, ледокол, получив статус объекта культурного наследия, стал плавучим памятником – филиалом Музея Мирового океана в Санкт-Петербурге.
In 2017, the 100th anniversary of the most famous icebreaker in the world, the legendary vessel Krasin, symbol of Arctic and maritime heritage research in Russia, was celebrated. Now, as befits a veteran, an icebreaker, having received the status of an object of cultural heritage, has become a floating monument - a branch of the Museum of the World Ocean in St. Petersburg.
historyrussia.org/tsekh-istorikov/fakultativ/ledokol-kras...
False door of princess Uhemnefret (2543-2435 B.C. Old Kingdom 4th dynasty) - Provenance: Giza - western necropolis / mastaba of Uhem-neferet - Egyptian Museum of Turin
Nella tabella centrale in alto si riconosce la defunta Uhemnefret seduta di fronte a una tavola, sulla quale si trova una fila di fette di pane rappresentate in verticale, secondo le convenzioni artistiche egizie. Immediatamente sotto la tabella, sull’architrave della falsa-porta, a sinistra, è indicato il nome della defunta preceduto da titoli ed epiteti che sottolineano l’appartenenza di Uhemnefret alla famiglia regale: “la figlia del re, la sua amata, venerabile presso suo padre, onorata presso sua madre”. Sugli stipiti esterni sono rappresentate coppie di persone rivolte verso il centro del monumento; nei quattro pannelli in alto si tratta di funzionari di rango elevato e membri della corte, a testimonianza dell’importanza della defunta. Alcuni di loro hanno nomi composti con nomi di faraoni (circondati dall’ovale detto “cartiglio”): “Possa-vivere-Cheope” o “La-bella-al-seguito-di-Snefru”. Il bambino raffigurato nudo e con il dito alla bocca sullo stipite interno destro in alto è invece, secondo l’iscrizione, Irenptah, il nipote della defunta. Negli altri pannelli sono raffigurati personaggi che trasportano offerte di vario tipo e sacerdoti addetti al culto funerario dopo la morte.
In the central panel at the top, we see the deceased woman, Wehemnefret, sitting in front of a table laden with bread slices. The slices are depicted vertically, as the conventions of Egyptian art prescribe. Immediately below the panel, on the left side of the lintel of the false-door, is the name of the deceased preceded by titles and epithets stressing that she is a member of the royal family: “The daughter of the king, beloved by him, honored before her father, honored before her mother.” On the outer jambs are several pairs of individuals facing towards the middle of the stela. In the four upper panels, these individuals are high-ranking officials and courtiers, as befits the importance of the deceased. Some have names incorporating royal names (surrounded by the oval called “cartouche”): “May-Cheops-live” or “The-beautiful-female-in-the-following-of-Snefru.” The nude child with his finger to his mouth on the right inner jamb, above, is identified by the inscription as Irenptah, the deceased’s grandson (“the son of her son”). In the other panels are individuals carrying various kinds of offerings and priests charged with the performance of the funerary cult.
False door of princess Uhemnefret (2543-2435 B.C. Old Kingdom 4th dynasty) - Provenance: Giza - western necropolis / mastaba of Uhem-neferet - Egyptian Museum of Turin
Nella tabella centrale in alto si riconosce la defunta Uhemnefret seduta di fronte a una tavola, sulla quale si trova una fila di fette di pane rappresentate in verticale, secondo le convenzioni artistiche egizie. Immediatamente sotto la tabella, sull’architrave della falsa-porta, a sinistra, è indicato il nome della defunta preceduto da titoli ed epiteti che sottolineano l’appartenenza di Uhemnefret alla famiglia regale: “la figlia del re, la sua amata, venerabile presso suo padre, onorata presso sua madre”. Sugli stipiti esterni sono rappresentate coppie di persone rivolte verso il centro del monumento; nei quattro pannelli in alto si tratta di funzionari di rango elevato e membri della corte, a testimonianza dell’importanza della defunta. Alcuni di loro hanno nomi composti con nomi di faraoni (circondati dall’ovale detto “cartiglio”): “Possa-vivere-Cheope” o “La-bella-al-seguito-di-Snefru”. Il bambino raffigurato nudo e con il dito alla bocca sullo stipite interno destro in alto è invece, secondo l’iscrizione, Irenptah, il nipote della defunta. Negli altri pannelli sono raffigurati personaggi che trasportano offerte di vario tipo e sacerdoti addetti al culto funerario dopo la morte.
In the central panel at the top, we see the deceased woman, Wehemnefret, sitting in front of a table laden with bread slices. The slices are depicted vertically, as the conventions of Egyptian art prescribe. Immediately below the panel, on the left side of the lintel of the false-door, is the name of the deceased preceded by titles and epithets stressing that she is a member of the royal family: “The daughter of the king, beloved by him, honored before her father, honored before her mother.” On the outer jambs are several pairs of individuals facing towards the middle of the stela. In the four upper panels, these individuals are high-ranking officials and courtiers, as befits the importance of the deceased. Some have names incorporating royal names (surrounded by the oval called “cartouche”): “May-Cheops-live” or “The-beautiful-female-in-the-following-of-Snefru.” The nude child with his finger to his mouth on the right inner jamb, above, is identified by the inscription as Irenptah, the deceased’s grandson (“the son of her son”). In the other panels are individuals carrying various kinds of offerings and priests charged with the performance of the funerary cult.
More of the wonderful vaulted ceiling in the Beauchamp Chapel which, as if that was not enough, also has a whole wall of carved and painted angels, some very fine tombs, a Doom painting and a wealth of stained glass. As befits a chantry chapel, the windows not only have a host of angels singing and playing instruments, but sheet music too, which is some of the earliest surviving notation and apparently playable.
Memorial for the deported
Between 1940 and 1945 more than 8,000 Jews, Sinti and Roma originally from Hamburg and northern Germany were deported from the city, in particular via the former Hannoverscher Bahnhof railway station. They were sent to ghettos and to concentration and extermination camps in German-occupied regions: Belzec, Litzmannstadt/Lodz, Minsk, Riga, Auschwitz and Theresienstadt. Only very few survived. Responsibility for these deportations fell to Hamburg’s local authorities and administrative bodies as well as to state organisations at Reich level. The vast majority of German society either looked idly on or actively supported these crimes.
The Hannoverscher Bahnhof was severely damaged during the Second World War and, after 1945, it was largely forgotten about. What parts of the building complex remained were razed to the ground in 1955 and 1981. As Hamburg’s HafenCity district began to emerge, the general public once again became aware of the site in the early 2000s. Associations of former victims of Nazi persecution in particular have campaigned actively to this day for a memorial that befits the memory of the victims.
This is an entry into the CCCVII Fantasy Castle Category
THE BEAR CLAW CASTLE
Shortly after his escape, Gorang started to think about how to better secure the future of the clan. He immediately decided he needed a castle that befit his clan's power, history, and respect for nature. The entry gate is designed to intimidate all those who enter.
This is my first castle, my largest build to date, and the longest build as well. I put a lot of thought into the architecture and details so as to stay true to the Bear Claw Clan's other creations.
Enjoy!
Rules:
Sun. Sand. Sea. Surf. Life is always better at the beach! Show us how your doll(s) enjoys island life. You can photograph whatever comes to mind! Just make sure your doll is ready to soak up some sun! Good luck, participants! :)
Well as Great Britain is an Island I thought it would be fun to create some images of Island Life in good Ol' Blighty! A day by the sea often involves sitting in the car with a thermos flask eating sandwiches while watching the crashing waves mix with the driving rain... I was inspired by Tim Burton's fabulous film Sweeney Todd featuring Helena Bonham Carter and Johnny Depp in full gothic mode! Of course, my models had to be the palest of pale skin tones, as befits the average Brit!
「頭髮舞」或稱「甩髮舞」是達悟族最著名的舞蹈，這種舞蹈婦女排成列，以手叉相互拉緊，兩腳不動，然後將頭髮甩下，開始唱歌並彎身向前，直到頭髮觸及面前的地板上，再隨腳步的前進，而前後擺動長長的頭髮，愈搖愈厲害，屈膝彎腰，以此將髮端能夠拂地甩出力量與律動。
Myth, Dance and Music
To this day, the Tao have preserved their ancient musical tradition that features a variety of songs and ballads performed in a narrowly-defined register. The different styles and techniques, including solo singing, chorus singing (featuring a lead singer), unison singing, duet and canon singing, have been passed down from generation to generation. Along the lines of the singers’ gender and status, the occasion and time, as well as the song’s form and content, strict distinctions were made between magical and ritual songs on the one hand, and work songs and other tunes related to everyday life on the other.
Most Tao singing falls in the category of recitative solo singing, while in terms of content the focus is on prayers and ritual songs addressed to the gods and spirits. At the same time, religious themes are closely connected with everyday work and mythical legends. About 80% of traditional Tao ballads and songs fall into the male domain. Women have much fewer opportunities to sing: dance is their domain.
Among most of Taiwan’s indigenous peoples, singing is usually an activity performed by men and women together, but Orchid Island’s Tao are different. Men and women rarely sing together, and if they do, it is almost exclusively limited to work songs, such as tunes related to land clearing, plowing, weeding, and sowing millet.
Many of the Tao songs are performed in praise and worship of the sea, as befits a culture so intimately connected with the ocean and fishing. Boat building, which is another important aspect of Tao seagoing life, also has given rise to a number of songs, some of them sung on the eve of the Great Canoe-Launching Ceremony. The canoe-launching tunes are quite solemn and dignified, and the words are in a very archaic style of the ancient Tao language. Incidentally, these particular chants are addressed to the heavens, not the sea, and it is strictly forbidden to sing them at any other times than the evening before the Canoe-Launching Ceremony.
The Tao fishing songs are an integral part of their fishing activities, and are mostly sung by individuals (solo) or as duets. But between March and June, the peak season for catching flying fish in the island’s offshore waters, the crews of the large canoes sing together in unison as they return from a day’s work, the rhythm of their rowing in perfect sync with the beat of the song. According to the Taos’ traditional customs, “men sing and women dance”. In other words, dancing skills are passed on among the female members of the tribe, and they are particularly valued in young, unmarried women or married women who have not had children yet. They are the principal performers of the dances on occasion of important festivals and ritual celebrations, or in a less formal setting when a “dancing party” is held under the sky on a clear night with a bright moon. There is an air of mystery and ethereal beauty to such performances, but the atmosphere becomes more “down-to-earth” if the men join in at some point.
In traditional dance, the men’s moves were mostly restricted to stylized gestures symbolizing the pounding of millet—a performance given during the Bumper Millet Harvest Festival. Otherwise, women completely dominated this area of Tao culture, but after the end of Japanese colonial rule over Taiwan, a number of dances were added to the male repertoire, including the Warrior Dance, the Spiritual Dance and others that are meant to express the men’s valor and prowess at fishing and other activities.
Male dances now involve a number of special steps and moves, including beating parts of the body with the hands to produce a variety of sounds and rhythms and display the beauty of male toughness and hardihood. The most famous of the Tao dances, however, has to be the women’s Hair Dance, also known as the Hair-Flinging Dance. For this, the women get in a line, standing side by side and, elbow to elbow, holding each other tightly by the hands, they do not move their feet at first but let their hair fly wildly. As they start to sing, they bend their bodies forward until their long hair touches the ground, and now they begin to move their feet, gradually advancing in a line as they keep flinging their long hair with increasing force and a forward and backward movement of the head. As they dance, they also bend their knees, which adds extra momentum to their moves and allows them to fling their hair even more powerfully to the rhythm of the music.
Empire Outriders are the elite veteran warriors of an Empire Pistolkorps squadron, acting as both a drill-instructor and commander of a squadron of ill-experienced Pistoliers.
Unlike the flamboyishly young nobles of a Pistolier company, Outriders are rarely of noble-birth, but rather are veterans elevated from the ranks of a regular State Troop regiments, sergeants and officers who show an affinity for horsemenship and a talent for training new recruits. Outriders typically wear a heavier and more ornate suit of half-plate armour, a symbol of how a noblemen would pay large sums of money for their sons to be taught the lessons of the art of war. They also tend to sport eccentrically waxed moustaches to better differentiate themselves from their younger and more ill-experienced recruits.
When amassed in larger numbers, Outriders generally form into seperate regiments of the same rank, sometimes to show their recruits exactly how it's done, but also as a way to display their own martial discipline to any rich noblemen within the army that might be looking for an experienced instructor to tutor his own sons. As the Pistolkorps is funded in part by the Imperial Engineers School, Outriders are generally equipped with deadly repeater handguns, weapons capable of unleashing a devastating storm of lead at long range. The leader of the Outriders, inevitably the keenest shot in the regiment, will often be armed with an even more outlandish weapon befit of his status, and sometimes even gifted to him by a patron Master Engineer.
Source: Wikipedia
HulaKula 6 1/2 inch heel serving shoes with 1 1/4 inch platforms. A bespoke feature of these shoes is that the ankle straps are held on with leather loops rather than easily cut elastic loops. Maid barbie feels even more controlled than normal because Mistress Lady Penelope has locked the shoes on.
The platforms curve up at the front so contact with the floor is just 5 1/2 inches from front to heel, making her feel unstable. The geometry of these "serving" shoes forces her posture forward so her centre of gravity is only just above the contact area, so she is always in imminent danger of falling over. This makes her take short mincing strides and feel and look vulnerable. The slightest nudge could push her over. To avoid this she must curtsey, and be obedient, respectful, attentive and loyal at all times.
As if this were not humbling enough, the padlocks on the ankle straps can be linked with a hobble chain making recovery from the slightest stumble or Mistress' nudge impossible. A maid is not allowed to sit whilst on duty. Barbie's is also locked into a matching baby pink satin uniform with white apron and a maid's cap. Anyone seeing her is in no doubt that she is there to serve, to obey every instruction, to humbly improve the lives of her betters without a thought for herself. Ask her to run and fetch an item and the hobble chain will make her trot, with her heels clattering out a rhythm against Mistress' tile or wood strip flooring to fulfil your wish.
Between the shoes you can just see the white ribbons which lace the shoes up.
Even un-hobbled, the shoes force a feminine mincing gait and encourage hip movement. Add to this the chastity device she wears and sissy barbie feels completely controlled. Being a beta male, her ongoing humiliation gives her an erection, it tries to swell more but is constrained within its tiny prison cell, this draws all her attention, she cannot think straight, so she simply obeys her orders mindlessly, relying on her Mistress to make all decisions.
In the back of her mind she also knows disobedience or answering back will result in pain, extra work, or bondage which makes her duties even more difficult. Maids can be trained to do things they would not have imagined they were capable of. Like military basic training, only there it is described as gaining confidence in the soldier's abilities rather than learning to obey, though that is what the soldier actually learns. Also like breaking-in a horse and for a show jumping horse, not allowing it to refuse to jump a tall fence but making it obey its rider despite its fear.
A sissy maid may well think she cannot go indefinitely without an orgasm, and her mounting sexual frustration can be used as a tool to control her. She may have to wear pantie liners to capture her leaking juices and having to do so will humiliate her even more but she will not physically break without release.
A maid may think she cannot do some filthy task without vomiting but she learns that she can with sufficient discipline. She may think she cannot bear high heels but Mistress knows the limits she can bear, the maid learns better balance and that leg cramp will subside in time with a short rest.
The shoes increase barbie's height from 5'7" to 6'1" so she can reach higher shelves and clean higher without a stepladder, though she cannot just stoop down to the floor, she must crouch or kneel, but then such subservient positions befit a humble maid. The extra height also makes her more top heavy, boosted by having the extra weight of breast forms in front of her.
If you would like to know more about sissy barbie or are interested in maid training, look at Mistress Lady Penelope's excellent free web site. Why not take a look?
Mistress Lady Penelope is very discrete, very friendly up to when Mistress knows how you wish to be treated and a session begins. If you have asked for Mistress to be nasty to you then you will get what you asked for unless you cannot stand it and ask to go home, then you would be released.
You can make an appointment with Mistress Lady Penelope by calling 07970183024
This photo is part of a survey of all my shoes, old and new, perfect and worn out. Warts and all as Cromwell said.
Uma das naves do Interior da Catedral de Milão.
A text, in english, from Wikipedia, the free encyclopedia.
Milan Cathedral
Milan Cathedral (Italian: Duomo di Milano; Milanese: Domm de Milan) is the cathedral church of Milan in Lombardy, northern Italy. It is the seat of the Archbishop of Milan, currently Cardinal Dionigi Tettamanzi.
History:
Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies the most central site in Roman Mediolanum, that of the public basilica facing the forum. Saint Ambrose's 'New Basilica' was built on this site at the beginning of the 5th century, with an adjoining basilica added in 836. When a fire damaged both buildings in 1075, they were rebuilt as the Duomo.
Um texto, em português, do Site "Fatos e fotos de viagens", que pode ser visto no endereço interata.squarespace.com/jornal-de-viagem/2006/11/27/duom...
In 1386 archbishop Antonio da Saluzzo began construction in a rayonnant Late Gothic style more typically French than Italian. Construction coincided with the accession to power in Milan of the archbishop's cousin Gian Galeazzo Visconti, and was meant as a reward to the noble and working classes which had been suppressed by his tyrannical Visconti predecessor Barnabò. Before actual work began, three main buildings were demolished: the palace of the Archbishop, the Ordinari Palace and the Baptistry of 'St. Stephen at the Spring', while the old church of Sta. Maria Maggiore was exploited as a stone quarry. Enthusiasm for the immense new building soon spread among the population, and the shrewd Gian Galeazzo, together with his cousin the archbishop, collected large donations for the work-in-progress. The construction program was strictly regulated under the "Fabbrica del Duomo", which had 300 employees led by first chief engineer Simone da Orsenigo. Galeazzo gave the Fabbrica exclusive use of the marble from the Candoglia quarry and exempted it from taxes.
In 1389 a French chief engineer, Nicolas de Bonaventure, was appointed, adding to the church its strong Gothic imprint. Ten years later another French architect, Jean Mignot, was called from Paris to judge and improve upon the work done, as the masons needed new technical aid to lift stones to an unprecedented height. Mignot declared all the work done up till then as in pericolo di ruina ("peril of ruin"), as it had been done sine scienzia ("without science"). In the following years Mignot's forecasts proved untrue, but anyway they spurred Galeazzo's engineers to improve their instruments and techniques. Work proceeded quickly, and at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, due to lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.
In 1500-1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of fifteen statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior long remained without any decoration, except for the Guglietto dell'Amadeo ("Amadeo's Little Spire"), constructed 1507-1510. This is a Renaissance masterwork which nevertheless harmonized well with the general Gothic appearance of the church.
The famous "Madunina" atop the main spire of the cathedral, a baroque gilded bronze artwork.
During the subsequent Spanish domination, the new church proved usable, even though the interior remained largely unfinished, and some bays of the nave and the transepts were still missing. In 1552 Giacomo Antegnati was commissioned to build a large organ for the north side of the choir, and Giuseppe Meda provided four of the sixteen pales which were to decorate the altar area (the program was completed by Federico Borromeo). In 1562 Marco d' Lopez's St. Bartholomew and the famous Trivulzio candelabrum (12th century) were added.
After the accession of the ambitious Carlo Borromeo to the archbishop's throne, all lay monuments were removed from the Duomo. These included the tombs of Giovanni, Barnabò and Filippo Maria Visconti, Francesco and his wife Bianca, Galeazzo Maria and Lodovico Sforza, which were brought to unknown destinations. However, Borromeo's main intervention was the appointment, in 1571, of Pellegrino Pellegrini as chief engineer— a contentious move, since to appoint Pellegrino, who was not a lay brother of the duomo, required a revision of the Fabbrica's statutes.
Borromeo and Pellegrino strove for a new, Renaissance appearance for the cathedral, that would emphasise its Roman / Italian nature, and subdue the Gothic style, which was now seen as foreign. As the façade still was largely incomplete, Pellegrini designed a "Roman" style one, with columns, obelisks and a large tympanum. When Pellegrini's design was revealed, a competition for the design of the facade was announced, and this elicited nearly a dozen entries, including by Antonio Barca [1].
This design was never carried out, but the interior decoration continued: in 1575-1585 the presbytery was rebuilt, while new altars and the baptistry were added in the nave.
Wooden choirstalls were constructed by 1614 for the main altar by Francesco Brambilla.
In 1577 Borromeo finally consecrated the whole edifice as a new church, distinct from the old Santa Maria Maggiore and Santa Tecla (which had been unified in 1549 after heavy disputes).
At the beginning of the 17th century Federico Borromeo had the foundations of the new façade laid by Francesco Maria Richini and Fabio Mangone. Work continued until 1638 with the construction of five portals and two middle windows. In 1649, however, the new chief architect Carlo Buzzi introduced a striking revolution: the façade was to revert to original Gothic style, including the already finished details within big Gothic pilasters and two giant belfries. Other designs were provided by, among others, Filippo Juvarra (1733) and Luigi Vanvitelli (1745), but all remained unapplied. In 1682 the façade of Santa Maria Maggiore was demolished and the cathedral's roof covering completed.
The ultimate facade with its striking rosy marble revetment
In 1762 one of the main features of the cathedral, the Madonnina's spire, was erected at the dizzying height of 108.5 m. The spire was designed by Francesco Croce and sports at the top a famous polychrome Madonnina statue, designed by Giuseppe Perego that befits the original stature of the cathedral.[2] Given Milan's notoriously damp and foggy climate, the Milanese consider it a fair-weather day when the Madonnina is visible from a distance, as it is so often covered by mist.
On May 20, 1805, Napoleon Bonaparte, about to be crowned King of Italy, ordered the façade to be finished. In his enthusiasm, he assured that all expenses would fall to the French treasurer, who would reimburse the Fabbrica for the real estate it had to sell. Even though this reimbursement was never paid, it still meant that finally, within only seven years, the Cathedral had its façade completed. The new architect, Francesco Soave, largely followed Buzzi's project, adding some neo-Gothic details to the upper windows. As a form of thanksgiving, a statue of Napoleon was placed at the top of one of the spires.
In the following years, most of the missing arches and spires were constructed. The statues on the southern wall were also finished, while in 1829-1858, new stained glass windows replaced the old ones, though with less aesthetically significant results. The last details of the cathedral were finished only in the 20th century: the last gate was inaugurated on January 6, 1965. This date is considered the very end of a process which had proceeded for generations, although even now, some uncarved blocks remain to be completed as statues. The Duomo's main facade is under renovation as of 2007; canvas-covered scaffolding obscures most of the facade.
he cathedral of Milano is often described as one of the greatest churches in the world. The ground plan is of a nave with 5 aisles, crossed by a transept and then followed by choir and apsis. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral that was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, sitting upon delicate flying buttresses.
The cathedral's five wide naves, divided by forty pillars, are reflected in the hierarchic openings of the facade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
The interior of the cathedral includes a huge number of monuments and artworks. These include:
* The Archbishop Alberto da Intimiano's sarcophagus, which is overlooked by a Crucifix in copper laminae (a replica).
* The sarcophagi of the archbishops Ottone Visconti and Giovanni Visconti, created by a Campionese master in the 14th century.
* The sarcophagus of Marco Carelli, who donated 35,000 ducati to accelerate the construction of the cathedral.
* The three magnificent altars by Pellegrino Pellegrini, which include the notable Federico Zuccari's Visit of St. Peter to St. Agatha jailed.
* In the right transept, the monument to Gian Giacomo Medici di Marignano, called "Medeghino", by Leone Leoni, and the adjacent Renaissance marble altar, decorated with gilt bronze statues.
* In front of the former mausoleum is the most renowned work of art of the cathedral, the St. Bartholomew statue by Marco D'Agrate.
* The presbytery is a late Renaissance masterpiece composing a choir, a Temple by Pellegrini, two pulpits with giant telamones covered in copper and bronze, and two large organs. Around the choir the two sacristies' portals, some frescoes and a fifteenth-century statue of Martin V by Jacopino da Tradate) can be seen.
* The transepts house the Trivulzio Candelabrum, which is in two pieces. The base (attributed to Nicolas of Verdun, 12th century), characterized by a fantastic ensemble of vines, vegetables and imaginary animals; and the stem, of the mid-16th century.
* In the left aisle, the Arcimboldi monument by Alessi and Romanesque figures depicting the Apostles in red marble and the neo-Classic baptistry by Pellegrini.
* A small red light bulb in the dome above the apse marks the spot where one of the nails from the Crucifixion of Christ has been placed.
* In November-December, in the days surrounding the birthdate of the San Carlo Borromeo, a series of large canvases, the Quadroni are exhibited along the nave.
DUOMO - A Catedral de Milão
O Duomo é apenas mais um dos fabulosos exemplos de arquitetura e monumentalidade dirigida ao culto ao divino entre tantas outras catedrais construídas na Europa durante a Idade Média, entre os séculos 9 e 12.
Dizem que o Duomo foi projetado pelo pintor, escultor, arquiteto, engenheiro, cientista e inventor italiano Leonardo da Vinci, nascido em Vinci e falecido em Amboise, na França.
Igrejas como as de Chartres , Amiens e Notre Dame de Paris (França), Sevilha e Santiago de Compostela (Espanha), Colônia (Alemanha) e o Duomo de Milão (Itália) são o exemplo máximo do estilo gótico — caracterizado pelo uso das ogivas (cruzamento de arcos), que possibilitavam a construção de altas estruturas. No apogeu do fervor católico, elas foram projetadas usando medidas que reproduziam as proporções do corpo humano.
Situado no centro da cidade , o Duomo é o marco zero geográfico da cidade e ponto de partida para se conhecer a cidade. Muitas de suas atrações estão nas proximidades ou vizinhanças.
Pode-se visitar internamente a igreja e seu telhado. Todos os dias, de 7 às19h de junho a setembro, e de 9 às 16h, de outubro a maio. Para ingressar na igreja nada se paga, mas para subir ao seu telhado paga-se o preço de 4 Euros, por elevador.
Duomo é uma gigantesca igreja catedral, uma das maiores em estilo gótico em todo o mundo, em dimensões, pois tem cerca de 160 m de comprimento por 92 de largura. Suas dimensões representam aquilo que mais impressiona e provoca admiração a quem a visita, num primeiro olhar.
igreja começou a ser construída no Século 14 mas só foi concluída 500 (!!) anos depois.
Uma das coisas mais interessantes a ser fazer em toda Milão é visitar o telhado do Duomo, todo em placas de mármore, da mesma pedra de sua fachada, suas esculturas (santos, gárgulas e agulhas) e de onde se tem uma bela vista de toda a cidade.
A fachada do Duomo não tem apenas um estilo arquitetônico: eles vão do gótico ao renascentista, com alguns elementos neoclássicos.
Ainda no exterior, antes de entrar na igreja, não deixe de observar o rendilhado que envolve as janelas-vitrais e também as belíssimas e enormes portas de bronze, nas quais estão esculturas em baixos e altos-relevos que mostram cenas da história da cidade.
O que mais impressiona no interior é a altura dos enormes pilares góticos que suportam o telhado de toda a igreja e que delimitam suas naves laterais, secundárias e principal, além do altar-mór. Elas enquadram os vitrais igualmente gigantescos e belíssimos.
O interior não impressiona tanto quanto o exterior, ainda que seja solene, grandioso e tenha cinco naves e 52 gigantescas colunas de pedra.
Também o maravilhoso piso de mármore de três ou quatro tonalidades, que formam belos desenhos, dão, na nave central, a verdadeira impressão das dimensões desta fabulosa igreja. Observe o piso (de preferência ajoelhado nele) posisionando-se de costas para o altar-mór e olhando para o portão principal.
Em Milão quase tudo gira ao redor do Duomo, a Catedral de Milão, a terceira maior igreja da cristandade depois da Basílica de São Pedro, em Roma, e da Catedral de Sevilha.
No telhado as centenas de agulhas altíssimas, de arcos e gárgulas, estátuas e cariátides esculpidos em mármore impressionam tanto quanto sua fachada, vista do nível da rua. A mais magestosa das imagens é a estatua dourada da Madonnina do Perego, situada no topo da agulha maior, onde foi colocada em 1744.
Uma visita ao seu telhado dá-nos a dimensão exata da grandiosidade do trabalho de construção desta monumental escultura e nos leva a imaginar o quão difícil deve ter sido, compreendendo-se porque ela iniciou-se em 1386 e terminou em 1887!
O Duomo di Milano é um monumento símbolo do patrimônio Lombardo, dedicado à Santa Maria Nascente e situado na praça central da cidade de Milão, Itália. É uma das mais célebres e complexas construções em estilo Gótico do mundo.
Leia mais sobre a catedral de Milão no endereço www.maconaria.net/portal/index.php?view=article&catid...
1964:
At the age of 21, Catherine Deneuve stars in one of the most acclaimed films of the year, "The Umbrellas of Cherbourg," a dramatic musical in which all the dialogue is sung; in other words, it is a glorious and contemporary opera with modern music that befits its setting. It will be nominated for Oscars for Best Foreign Language Film, Best Screenplay, and Best Song. That song, "I Will Wait for You," becomes an international hit:
"If it takes forever I will wait for you
For a thousand summers I will wait for you
Till you're back beside me, till I'm holding you
Till I hear you sigh here in my arms
Anywhere you wander, anywhere you go
Every day remember how I love you so
In your heart believe what in my heart I know
That forevermore I will wait for you
The clock will tick away the hours one by one
Then the time will come when all the waiting's done
The time when you return and find me here and run
Straight to my waiting arms
If it takes forever I will wait for you
For a thousand summers I will wait for you
Till you're here beside me, till I'm touching you
And forevermore sharing your love"
--"I Will Wait for You"/"Je ne pourrai jamais vivre sans toi"; music by Michel Legrand, English lyrics by Norman Gimbel, original French lyrics by Marc Demy
The one track mind in action .. as befits the breed. Paddy managing quite easily to switch everything else off and just focus, focus focus! (more or less w/o internet at the moment!! .. having withdrawal symptoms!)
This elegant ironwork rather befits an organisation set up to conserve Florence’s religious monuments.
The OPA – the Opera del Duomo – is the Cathedral Workshop or works commission, whose principal task is to look after the monuments belonging to the city’s cathedral and baptistery. It’s also a large museum, preserving and displaying more than 750 works of art that, over the centuries, have been removed from those places.
Poem.
Childish excitement travelling from east to west in late winter.
You know soon, very soon, the West Coast “Munros” will gleam like incisor teeth above the forested landscape.
Forcan, left, and The Saddle, right, are such peaks that advertise the thousand metre micro-climate of semi-Alpine splendour.
Spin-drift sweeps off the upper slopes to accumulate in layers like royal icing.
The snowy back-cloth forms a pleasing contrast to the pastel tans and greens of the bracken and forest of the lower slopes of this historic Glen.
The West Coast beckons.
Such a grand mountain corridor befits the momentous land and seascapes that lie in prospect.
This Syrphid fly (Helophilus sp) masquerades as a wasp in order to escape its predators' attention. Many fly species use this kind of camouflage to improve their chances of survival in a often hostile environment, although this description hardly seems to befit this inviting patch of forget-me-not flowers.
Escultura de São Bartolomeu, que aparece carregando a sua própria pele, no Interior da Catedral de Milão.
Statue of St. Bartholomew in the Duomo di Milano,
Statue of St. Bartholomew, with own skin, by Marco d'Agrate, placed in the Duomo di Milano in 1562.
In front of the former mausoleum is the most renowned work of art of the cathedral, the St. Bartholomew statue by Marco D'Agrate.
Saint Bartholomew was one of the twelve Apostles of Jesus. Bartholomew (Greek: Βαρθολομαίος, transliterated "Vartholomeos") comes from the Aramaic bar-Tôlmay (תולמי-בר), meaning son of Tolmay (Ptolemy) or son of the furrows (perhaps a ploughman). Many have, based on this meaning, assumed it was not a given name, but a family name.[1]
The festival of St Bartholomew is celebrated on August 24 in the western Church and on June 11 in the Eastern churches. The Armenian Apostolic Church honours Saint Bartholomew, along with Saint Thaddeus as their patron saint. The Coptic Church remembers him on January 1. The festival in August has been a traditional occasion for markets and fairs; such a fair serves as the scene for Bartholomew Fair, a play by Ben Jonson.
Of the many miracles performed by St. Bartholomew before and after his death, two very popular ones are known by the townfolk of the small island of Lipari. When St. Bartholomew's body was found off the shore, the Bishop of Lipari ordered many men to take the body to the Cathedral. When this failed due to its extreme weight, the Bishop then sent out the children. The children easily brought the body ashore.
The people of Lipari celebrated his feast day annually. The tradition of the people was to take the solid silver and gold statue from inside the Cathedral of St. Bartholomew and carry it through the town. When taking the statue down the hill towards the town, it suddenly got very heavy and had to be set down. When the men carrying the statue regained their strength they lifted it a second time. After another few seconds, it got even heavier. They set it down and attempted once more to pick it up. They managed to lift it but had to put it down one last time. Within seconds, the walls further downhill collapsed. If the statue had been able to be lifted, all of the townspeople would have been killed.
Statue of St. Bartholomew, with own skin, by Marco d'Agrate, placed in the Duomo di Milano in 1562.
During World War II, the Fascist regime looked for ways to finance their activities. The order was given to take the silver statue of Saint Bartholomew and melt it down. The statue was weighed and it was found to be only several ounces. It was returned to its place in the Cathedral in Lipari. In reality, the statue is made from many pounds of silver and it is considered a miracle that it was not melted down.
St. Bartholomew is credited with many other miracles having to do with the weight of objects.
The sixth-century writer in Constantinople, Theodorus Lector, averred that ca 507 the Emperor Anastasius gave the body of Bartholomew to the city of Dura-Europos, which he had recently founded (actually re-founded).[8] The existence of relics at Lipari, a small island off the coast of Sicily, in the part of Italy controlled from Constantinople, was explained by Gregory of Tours[9] by his body having miraculously washed there: a large piece of his skin and many bones that were kept in the Cathedral of St. Bartholomew the Apostle, Lipari, were translated to Beneventum in 803, and to Rome in 983 by Holy Roman Emperor Otto II, at the basilica of San Bartolomeo all'Isola. In time, the church here inherited an old pagan medical center. This association with medicine in course of time caused Bartholomew's name to become associated with medicine and hospitals.[10] Some of Bartholomew's skull was transferred to Frankfurt, while an arm is venerated in Canterbury Cathedral today.
A text, in english, from Wikipedia, the free encyclopedia.
Milan Cathedral
Milan Cathedral (Italian: Duomo di Milano; Milanese: Domm de Milan) is the cathedral church of Milan in Lombardy, northern Italy. It is the seat of the Archbishop of Milan, currently Cardinal Dionigi Tettamanzi.
History:
Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies the most central site in Roman Mediolanum, that of the public basilica facing the forum. Saint Ambrose's 'New Basilica' was built on this site at the beginning of the 5th century, with an adjoining basilica added in 836. When a fire damaged both buildings in 1075, they were rebuilt as the Duomo.
Um texto, em português, do Site "Fatos e fotos de viagens", que pode ser visto no endereço interata.squarespace.com/jornal-de-viagem/2006/11/27/duom...
In 1386 archbishop Antonio da Saluzzo began construction in a rayonnant Late Gothic style more typically French than Italian. Construction coincided with the accession to power in Milan of the archbishop's cousin Gian Galeazzo Visconti, and was meant as a reward to the noble and working classes which had been suppressed by his tyrannical Visconti predecessor Barnabò. Before actual work began, three main buildings were demolished: the palace of the Archbishop, the Ordinari Palace and the Baptistry of 'St. Stephen at the Spring', while the old church of Sta. Maria Maggiore was exploited as a stone quarry. Enthusiasm for the immense new building soon spread among the population, and the shrewd Gian Galeazzo, together with his cousin the archbishop, collected large donations for the work-in-progress. The construction program was strictly regulated under the "Fabbrica del Duomo", which had 300 employees led by first chief engineer Simone da Orsenigo. Galeazzo gave the Fabbrica exclusive use of the marble from the Candoglia quarry and exempted it from taxes.
In 1389 a French chief engineer, Nicolas de Bonaventure, was appointed, adding to the church its strong Gothic imprint. Ten years later another French architect, Jean Mignot, was called from Paris to judge and improve upon the work done, as the masons needed new technical aid to lift stones to an unprecedented height. Mignot declared all the work done up till then as in pericolo di ruina ("peril of ruin"), as it had been done sine scienzia ("without science"). In the following years Mignot's forecasts proved untrue, but anyway they spurred Galeazzo's engineers to improve their instruments and techniques. Work proceeded quickly, and at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, due to lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.
In 1500-1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of fifteen statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior long remained without any decoration, except for the Guglietto dell'Amadeo ("Amadeo's Little Spire"), constructed 1507-1510. This is a Renaissance masterwork which nevertheless harmonized well with the general Gothic appearance of the church.
The famous "Madunina" atop the main spire of the cathedral, a baroque gilded bronze artwork.
During the subsequent Spanish domination, the new church proved usable, even though the interior remained largely unfinished, and some bays of the nave and the transepts were still missing. In 1552 Giacomo Antegnati was commissioned to build a large organ for the north side of the choir, and Giuseppe Meda provided four of the sixteen pales which were to decorate the altar area (the program was completed by Federico Borromeo). In 1562 Marco d' Lopez's St. Bartholomew and the famous Trivulzio candelabrum (12th century) were added.
After the accession of the ambitious Carlo Borromeo to the archbishop's throne, all lay monuments were removed from the Duomo. These included the tombs of Giovanni, Barnabò and Filippo Maria Visconti, Francesco and his wife Bianca, Galeazzo Maria and Lodovico Sforza, which were brought to unknown destinations. However, Borromeo's main intervention was the appointment, in 1571, of Pellegrino Pellegrini as chief engineer— a contentious move, since to appoint Pellegrino, who was not a lay brother of the duomo, required a revision of the Fabbrica's statutes.
Borromeo and Pellegrino strove for a new, Renaissance appearance for the cathedral, that would emphasise its Roman / Italian nature, and subdue the Gothic style, which was now seen as foreign. As the façade still was largely incomplete, Pellegrini designed a "Roman" style one, with columns, obelisks and a large tympanum. When Pellegrini's design was revealed, a competition for the design of the facade was announced, and this elicited nearly a dozen entries, including by Antonio Barca [1].
This design was never carried out, but the interior decoration continued: in 1575-1585 the presbytery was rebuilt, while new altars and the baptistry were added in the nave.
Wooden choirstalls were constructed by 1614 for the main altar by Francesco Brambilla.
In 1577 Borromeo finally consecrated the whole edifice as a new church, distinct from the old Santa Maria Maggiore and Santa Tecla (which had been unified in 1549 after heavy disputes).
At the beginning of the 17th century Federico Borromeo had the foundations of the new façade laid by Francesco Maria Richini and Fabio Mangone. Work continued until 1638 with the construction of five portals and two middle windows. In 1649, however, the new chief architect Carlo Buzzi introduced a striking revolution: the façade was to revert to original Gothic style, including the already finished details within big Gothic pilasters and two giant belfries. Other designs were provided by, among others, Filippo Juvarra (1733) and Luigi Vanvitelli (1745), but all remained unapplied. In 1682 the façade of Santa Maria Maggiore was demolished and the cathedral's roof covering completed.
The ultimate facade with its striking rosy marble revetment
In 1762 one of the main features of the cathedral, the Madonnina's spire, was erected at the dizzying height of 108.5 m. The spire was designed by Francesco Croce and sports at the top a famous polychrome Madonnina statue, designed by Giuseppe Perego that befits the original stature of the cathedral.[2] Given Milan's notoriously damp and foggy climate, the Milanese consider it a fair-weather day when the Madonnina is visible from a distance, as it is so often covered by mist.
On May 20, 1805, Napoleon Bonaparte, about to be crowned King of Italy, ordered the façade to be finished. In his enthusiasm, he assured that all expenses would fall to the French treasurer, who would reimburse the Fabbrica for the real estate it had to sell. Even though this reimbursement was never paid, it still meant that finally, within only seven years, the Cathedral had its façade completed. The new architect, Francesco Soave, largely followed Buzzi's project, adding some neo-Gothic details to the upper windows. As a form of thanksgiving, a statue of Napoleon was placed at the top of one of the spires.
In the following years, most of the missing arches and spires were constructed. The statues on the southern wall were also finished, while in 1829-1858, new stained glass windows replaced the old ones, though with less aesthetically significant results. The last details of the cathedral were finished only in the 20th century: the last gate was inaugurated on January 6, 1965. This date is considered the very end of a process which had proceeded for generations, although even now, some uncarved blocks remain to be completed as statues. The Duomo's main facade is under renovation as of 2007; canvas-covered scaffolding obscures most of the facade.
he cathedral of Milano is often described as one of the greatest churches in the world. The ground plan is of a nave with 5 aisles, crossed by a transept and then followed by choir and apsis. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral that was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, sitting upon delicate flying buttresses.
The cathedral's five wide naves, divided by forty pillars, are reflected in the hierarchic openings of the facade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
The interior of the cathedral includes a huge number of monuments and artworks. These include:
* The Archbishop Alberto da Intimiano's sarcophagus, which is overlooked by a Crucifix in copper laminae (a replica).
* The sarcophagi of the archbishops Ottone Visconti and Giovanni Visconti, created by a Campionese master in the 14th century.
* The sarcophagus of Marco Carelli, who donated 35,000 ducati to accelerate the construction of the cathedral.
* The three magnificent altars by Pellegrino Pellegrini, which include the notable Federico Zuccari's Visit of St. Peter to St. Agatha jailed.
* In the right transept, the monument to Gian Giacomo Medici di Marignano, called "Medeghino", by Leone Leoni, and the adjacent Renaissance marble altar, decorated with gilt bronze statues.
* In front of the former mausoleum is the most renowned work of art of the cathedral, the St. Bartholomew statue by Marco D'Agrate.
* The presbytery is a late Renaissance masterpiece composing a choir, a Temple by Pellegrini, two pulpits with giant telamones covered in copper and bronze, and two large organs. Around the choir the two sacristies' portals, some frescoes and a fifteenth-century statue of Martin V by Jacopino da Tradate) can be seen.
* The transepts house the Trivulzio Candelabrum, which is in two pieces. The base (attributed to Nicolas of Verdun, 12th century), characterized by a fantastic ensemble of vines, vegetables and imaginary animals; and the stem, of the mid-16th century.
* In the left aisle, the Arcimboldi monument by Alessi and Romanesque figures depicting the Apostles in red marble and the neo-Classic baptistry by Pellegrini.
* A small red light bulb in the dome above the apse marks the spot where one of the nails from the Crucifixion of Christ has been placed.
* In November-December, in the days surrounding the birthdate of the San Carlo Borromeo, a series of large canvases, the Quadroni are exhibited along the nave.
DUOMO - A Catedral de Milão
O Duomo é apenas mais um dos fabulosos exemplos de arquitetura e monumentalidade dirigida ao culto ao divino entre tantas outras catedrais construídas na Europa durante a Idade Média, entre os séculos 9 e 12.
Dizem que o Duomo foi projetado pelo pintor, escultor, arquiteto, engenheiro, cientista e inventor italiano Leonardo da Vinci, nascido em Vinci e falecido em Amboise, na França.
Igrejas como as de Chartres , Amiens e Notre Dame de Paris (França), Sevilha e Santiago de Compostela (Espanha), Colônia (Alemanha) e o Duomo de Milão (Itália) são o exemplo máximo do estilo gótico — caracterizado pelo uso das ogivas (cruzamento de arcos), que possibilitavam a construção de altas estruturas. No apogeu do fervor católico, elas foram projetadas usando medidas que reproduziam as proporções do corpo humano.
Situado no centro da cidade , o Duomo é o marco zero geográfico da cidade e ponto de partida para se conhecer a cidade. Muitas de suas atrações estão nas proximidades ou vizinhanças.
Pode-se visitar internamente a igreja e seu telhado. Todos os dias, de 7 às19h de junho a setembro, e de 9 às 16h, de outubro a maio. Para ingressar na igreja nada se paga, mas para subir ao seu telhado paga-se o preço de 4 Euros, por elevador.
Duomo é uma gigantesca igreja catedral, uma das maiores em estilo gótico em todo o mundo, em dimensões, pois tem cerca de 160 m de comprimento por 92 de largura. Suas dimensões representam aquilo que mais impressiona e provoca admiração a quem a visita, num primeiro olhar.
igreja começou a ser construída no Século 14 mas só foi concluída 500 (!!) anos depois.
Uma das coisas mais interessantes a ser fazer em toda Milão é visitar o telhado do Duomo, todo em placas de mármore, da mesma pedra de sua fachada, suas esculturas (santos, gárgulas e agulhas) e de onde se tem uma bela vista de toda a cidade.
A fachada do Duomo não tem apenas um estilo arquitetônico: eles vão do gótico ao renascentista, com alguns elementos neoclássicos.
Ainda no exterior, antes de entrar na igreja, não deixe de observar o rendilhado que envolve as janelas-vitrais e também as belíssimas e enormes portas de bronze, nas quais estão esculturas em baixos e altos-relevos que mostram cenas da história da cidade.
O que mais impressiona no interior é a altura dos enormes pilares góticos que suportam o telhado de toda a igreja e que delimitam suas naves laterais, secundárias e principal, além do altar-mór. Elas enquadram os vitrais igualmente gigantescos e belíssimos.
O interior não impressiona tanto quanto o exterior, ainda que seja solene, grandioso e tenha cinco naves e 52 gigantescas colunas de pedra.
Também o maravilhoso piso de mármore de três ou quatro tonalidades, que formam belos desenhos, dão, na nave central, a verdadeira impressão das dimensões desta fabulosa igreja. Observe o piso (de preferência ajoelhado nele) posisionando-se de costas para o altar-mór e olhando para o portão principal.
Em Milão quase tudo gira ao redor do Duomo, a Catedral de Milão, a terceira maior igreja da cristandade depois da Basílica de São Pedro, em Roma, e da Catedral de Sevilha.
No telhado as centenas de agulhas altíssimas, de arcos e gárgulas, estátuas e cariátides esculpidos em mármore impressionam tanto quanto sua fachada, vista do nível da rua. A mais magestosa das imagens é a estatua dourada da Madonnina do Perego, situada no topo da agulha maior, onde foi colocada em 1744.
Uma visita ao seu telhado dá-nos a dimensão exata da grandiosidade do trabalho de construção desta monumental escultura e nos leva a imaginar o quão difícil deve ter sido, compreendendo-se porque ela iniciou-se em 1386 e terminou em 1887!
O Duomo di Milano é um monumento símbolo do patrimônio Lombardo, dedicado à Santa Maria Nascente e situado na praça central da cidade de Milão, Itália. É uma das mais célebres e complexas construções em estilo Gótico do mundo.
Leia mais sobre a catedral de Milão no endereço www.maconaria.net/portal/index.php?view=article&catid...
L- large / grande
C- Comment / comentar
DRAC DE SANT JORDI
Correfoc Palma 2015
DRAC DE SANT JORDI
El drac és la figura que, sens dubte, sovinteja més en el bestiari dels correfogs. Molts tenen nom propi i es vinculen a llegendes locals, antigues o de nova creació. Són, com correspon al personatge, bèsties de foc i participen, junt amb els diables, a les cercaviles i correfocs emprant la pirotècnia.
La Llegenda de Sant Jordi i el Drac és emblemàtica
Llegenda de Sant Jordi i el drac - ca.wikipedia.org/wiki/Sant_Jordi#Llegenda_de_Sant_Jordi_i...
- Ball de diables o Correfocs ca.wikipedia.org/wiki/Ball_de_diables
- El dimoni a la nostra cultura
www.diariodemallorca.es/part-forana/2011/01/12/dimoni-nos...
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EL DRAGÓN DE SAN JORGE
El dragón es la figura que, sin duda, es más frecuente en el bestiario de los correfogs. Muchos tienen nombre propio y se vinculan a leyendas locales, antiguas o de nueva creación. Son, como corresponde al personaje, bestias de fuego y participan, junto con los diablos, a los pasacalles y correfocs empleando la pirotecnia.
La Leyenda de San Jorge y el Dragón es emblemática
San Jorge y el dragón. es.wikipedia.org/wiki/Jorge_de_Capadocia#La_leyenda_del_d...
Más "dimonis" y correfocs , en mi galería: www.flickr.com/photos/maytevidri/sets/72157642172616783/w...
San Antonio Abad y los demonios en Mallorca
www.mca-hotels.com/guia-vacaciones-mallorca/7/23/43/mallo...
Demonios y "Correfocs"
www.mallorcanatural.es/vida-local/fiestas-y-tradiciones-m...
Correfocs o Baile de diablos - es.wikipedia.org/wiki/Baile_de_diablos
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SAINT GEORGE'S DRAGON
The dragon figure is undoubtedly frequent in the bestiary of correfogs. Many have their own name and are linked to local legends, old or new creation. They are fire animals and, as befits his character, they are involved together with the devils in correfocs parades and fireworks.
The Legend of Saint George and the Dragon is emblematic
Saint George and the Dragon- en.wikipedia.org/wiki/Saint_George_and_the_Dragon
Saint Anthony Abbot and the demons in Mallorca
www.mca-hotels.com/guia3.php?idIdiomaCap=3&sid=1d0eaa...
The "correfoc" (Fire run) or Devils dance
en.wikipedia.org/wiki/Ball_de_diables
"Devils and "Correfocs"", at my galery: www.flickr.com/photos/maytevidri/sets/72157642172616783/w...
St Botolph's Church has a history of worship going back over 900 years
A short history of the church
There has been a place of worship on this site for nearly 900 years, and a consecrated churchyard existed before that. As befits a Saxon parish, the church is one of 68 churches in England dedicated to St Botolph, the patron saint of travellers along the ancient route which today is called The Pilgrims' Way. St Botolph's church was first mentioned in a document which recorded the payment of Easter dues to the Diocese of Rochester. The Textus Roffensis [1122-23] refers to the parish of Civilinga — the Anglo-Saxon name for the parish now known as Chevening.
The earliest remaining portion of the church is the south wall of the south aisle. Built mainly of local flint rubble [gathered from the fields] — mixed with Kent ragstone to strengthen the corners, and at window and door openings. There are also a few fragments of Roman material which may have been gleaned from a ruined villa nearby to the east of the site
False door of princess Uhemnefret (2543-2435 B.C. Old Kingdom 4th dynasty) - Provenance: Giza - western necropolis / mastaba of Uhem-neferet - Egyptian Museum of Turin
Nella tabella centrale in alto si riconosce la defunta Uhemnefret seduta di fronte a una tavola, sulla quale si trova una fila di fette di pane rappresentate in verticale, secondo le convenzioni artistiche egizie. Immediatamente sotto la tabella, sull’architrave della falsa-porta, a sinistra, è indicato il nome della defunta preceduto da titoli ed epiteti che sottolineano l’appartenenza di Uhemnefret alla famiglia regale: “la figlia del re, la sua amata, venerabile presso suo padre, onorata presso sua madre”. Sugli stipiti esterni sono rappresentate coppie di persone rivolte verso il centro del monumento; nei quattro pannelli in alto si tratta di funzionari di rango elevato e membri della corte, a testimonianza dell’importanza della defunta. Alcuni di loro hanno nomi composti con nomi di faraoni (circondati dall’ovale detto “cartiglio”): “Possa-vivere-Cheope” o “La-bella-al-seguito-di-Snefru”. Il bambino raffigurato nudo e con il dito alla bocca sullo stipite interno destro in alto è invece, secondo l’iscrizione, Irenptah, il nipote della defunta. Negli altri pannelli sono raffigurati personaggi che trasportano offerte di vario tipo e sacerdoti addetti al culto funerario dopo la morte.
In the central panel at the top, we see the deceased woman, Wehemnefret, sitting in front of a table laden with bread slices. The slices are depicted vertically, as the conventions of Egyptian art prescribe. Immediately below the panel, on the left side of the lintel of the false-door, is the name of the deceased preceded by titles and epithets stressing that she is a member of the royal family: “The daughter of the king, beloved by him, honored before her father, honored before her mother.” On the outer jambs are several pairs of individuals facing towards the middle of the stela. In the four upper panels, these individuals are high-ranking officials and courtiers, as befits the importance of the deceased. Some have names incorporating royal names (surrounded by the oval called “cartouche”): “May-Cheops-live” or “The-beautiful-female-in-the-following-of-Snefru.” The nude child with his finger to his mouth on the right inner jamb, above, is identified by the inscription as Irenptah, the deceased’s grandson (“the son of her son”). In the other panels are individuals carrying various kinds of offerings and priests charged with the performance of the funerary cult.
Explore #54 20/09/2012
Normally I would have cropped it square as befits most round flowers but I believe the background adds to the atmosphere and highlights the bloom
The Temple Guard are a revered and uncommon spawning of Saurus. They were created to protect the Slann Mage-Priests and the temple-cities in which the Lizardmen dwell. To their tasks, they dedicate every fibre of their beings, displaying a single-minded determination that will result in either the safeguarding of their charges or their own deaths. As befits their honoured status, Temple Guard are armed with heavy ornamental weapons and adorned with sacred glyphs. They wear armour plates of the strongest bronze.
Some Temple Guard are as old as the temple-cities and Slann that they protect. However, should one fall in battle, his helm is salvaged by Skink attendants to be placed within the inner sanctum of a pyramid-temple. There it remains, a relic, until a new generation of Temple Guard is spawned to claim the helms of the fallen. It is believed that when a Saurus inherits one of these sacred heirlooms, he becomes imbued with a portion of its predecessor’s strength and martial skill. In this way, the Temple Guard continue to safeguard their charges for eternity - clearly the role for which they were designed.