View allAll Photos Tagged befit
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
Graceful, historic Hoi An is known as Veitnam’s most atmospheric and delightful town. Once a major port, it boasts the grand architecture and beguiling riverside setting that befits its heritage.The face of the Old Town has preserved its incredible legacy of tottering Japanese merchant houses, Chinese temples and ancient tea warehouses – though, unfortunately, residents and rice fields have been gradually replaced by tourist businesses – Hoi An, Vietnam
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.
Commentary.
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.
Faochag, 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.
The door of Alcalá de Madrid has seen the passing of life in a stately manner, as befits a grandiose monument.
In less than perfect weather conditions a befits a British winter East Midlands Railway Class 153 Super Sprinters 153308 and 153318 lead Class 156 Super Sprinter 156473 towards Ilkeston station with the 10.47 Nottingham to Liverpool Lime Street service.
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...
-----------------------------------------------------------------------------------------
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
-----------------------------------------------------------------------------------------
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...
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.
16.02.2022 Piotrków Trybunalski
[PL]
Najstarszy istniejący egzemplarz "byka" jeszcze do niedawna pozostawał w czynnej służbie. Jak na lokomotywę historyczną przystało, maszyna również posiadała historyczną, turkusowo-zieloną malaturę oraz różne detale (między innymi metalowe oznaczenie, klasyczne lampy).
Na zdjęciu ET22 prowadzi skład lawet z autami w kierunku Mszczonowa mijając przejazd w ciągu ulicy Rolniczej w Piotrkowie Tryb.
[EN]
The oldest existing example of the "Bull" was in active service until recently. As befits a historical locomotive, the machine also had historic turquoise-green paint and various details (including metal markings, classic lamps).
In the photo, ET22 is driving a train of tow trucks with cars towards Mszczonów, passing the crossing along Rolnicza Street in Piotrków Tryb.
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.
So far as we attain to this--we are secure from disappointment!
(John Newton)
One of the greatest privileges and brightest ornaments of our profession, is a sweet acquiescence in the Lord's will--founded in a persuasion of His wisdom, holiness, sovereignty and goodness. So far as we attain to this--we are secure from disappointment!
Our own limited views and short-sighted purposes and desires--may be, and will be, often over-ruled. But then our main and leading desire, that the will of the Lord may be done--must be accomplished.
How highly does it befit us, both as creatures and as sinners--to submit to the appointments of our Maker! And how necessary it is to our peace!
This great attainment is too often unthought of, and overlooked. We are prone to fix our attention upon the second causes and immediate instruments of events--forgetting that whatever befalls us is according to His purpose, and therefore must be right and seasonable in itself, and shall be productive of good in the final outcome. From hence arise impatience, resentment, and secret repinings--which are not only sinful, but tormenting.
Whereas, if all things are in His hand; if the very hairs of our head are numbered; if every event, great and small, is under the direction of His providence and purpose; and if He has a wise, holy, and gracious end in view, to which everything that happens is subordinate and subservient--then we have nothing to do, but with patience and humility to follow as He leads, and cheerfully to expect a blessed outcome.
"I know what it is to be in need, and I know what it is to have plenty. I have learned the secret of being content in any and every situation, whether well fed or hungry, whether living in plenty or in want." Philippians 4:12
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...
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
Auf beiden Seitenflächen des Throns werden Bilder von verlorenen Paradiesen in christlicher und antiker Version gezeigt. Auf der rechten Wange ist der Sündenfall dargestellt. Adam und Eva stehen unter dem Baum der Erkenntnis. Eva reicht Adam den Apfel, den sie aus der Krone des Baumes gepflückt hat.
www.hgb-leipzig.de/kunstorte/ap_klinger_beschreibung.html
Images of lost paradises in Christian and ancient versions are shown on both sides of the throne. The Fall of Man is depicted on the right side. Adam and Eve stand beneath the Tree of Knowledge. Eve hands Adam the apple she has picked from the crown of the tree.
www.hgb-leipzig.de/kunstorte/ap_klinger_beschreibung.html
Zur Zeit befindet sich das monumentale Beethoven-Denkmal, Ausdruck der heroisienden Beethoven-Verehrung seiner Zeit, in einer der beiden großen Eingangshallen des Museums. Dadurch ist es möglich, das Werk von allen Seiten zu betrachten und auf sich wirken zu lassen. Auch Detailaufnahmen aus größerer Entfernung sind leichter möglich, weil viel Raum um die Skulptur herum frei bleibt. Sie ist hier das einzige Aussgellungstück, eine herausgehobene Position, die ihrem Rang als einem der wichtigsten Werke des Museums entspricht.
The monumental Beethoven monument, an expression of the heroic veneration of Beethoven in Klinger's time, is currently located in one of the museum's two large entrance halls. This makes it possible to view the work from all sides and let it sink in. It is also easier to take detailed photographs from a greater distance because there is plenty of space around the sculpture. It is the only exhibit here, occupying a prominent position that befits its status as one of the museum's most important works.
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
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!
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
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
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.
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!
"Na Ferreeta" Dimonis de Sa Cova des Fossar -
Correfoc de Sant Antoni a Sineu- 2015
Dimoni- Macià www.flickr.com/photos/massay/
Sant Antoni in Sineu. Night of Fire with the Dimonis de Sa Cova des Fossar and lighting of bonfires throughout the village.
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.
- "NA FERRERETA" at my galery: www.flickr.com/search/?sort=interestingness-desc&text...
"Devils" at my galery: www.flickr.com/photos/maytevidri/sets/72157642172616783/w...
Saint Anthony Abbot and the demons in Mallorca
The festival of Sant Antoni Abad (Saint Anthony Abbot), which falls on 17 December and which marks the start of the winter solstice, is a major event in most rural villages in Mallorca. The festival starts on 16 December at dusk, when the street bonfires are lit. It´s the Sant Antoni´s Eve,the Patron Saint of domestic animals, and one of the most magical nights in Mallorca when former fertility rituals were held. The ritual remembers all temptations this saint had to overcome in the desert. On this night locals eat sobrassada (Mallorcan sausage meat) cooked on embers in the street, as well as other types of sausage meats and traditional local foods; there is also plenty of wine. The demons wander from bonfire to bonfire, performing their special dance. The festival gets under way with traditional folk songs, which are sung with a special air of Sant Antoni and which remind locals of the saint´s heroic deeds; however, there are also some saucier songs, and it these which are really popular. On 17 December there are processions with floats which represent traditional scenes from Mallorcan rural life; in addition to this, pets are blessed and the demons chase the figure of Sant Antoni, with children playing an essential part in the festival.
www.mca-hotels.com/guia3.php?idIdiomaCap=3&sid=1d0eaa...
The "correfoc" (Fire run) or Devils dance is one of the most deeply rooted traditions initially in Catalonia, Valencian Community and and the Balearic Islands. Nowadays, its participation in the form of passacaglia, procession and correfocs became an essential part of the main celebrations of many towns and cities.
The origin is uncertain, but it seems that it comes from the medieval street theatre.
The synthesis of the Ball de diables is a theatrical representation of the struggle between the good and the evil.
en.wikipedia.org/wiki/Ball_de_diables
--------------------------------------------------------------------------------------
L- large / grande
C- Comment / comentar
.................................................................................................................
La bestias de fuego participan, junto con los demonios, en los pasacalles y correfocs empleando la pirotecnia.
- FOTOS DE NA FERRERETA DE DIA -
www.flickr.com/search/?sort=interestingness-desc&text...
- Más "dimonis" y correfocs , en mi galería: www.flickr.com/photos/maytevidri/sets/72157642172616783/w...
San Antonio Abad y los demonios en Mallorca
La fiesta de San Antoni Abad (Sant Antoni Adad) el 17 de enero, es un evento importante en la mayor parte de pueblos de la Part Forana (toda la isla excepto Palma) de Mallorca, que da paso al solsticio de invierno. La fiesta empieza el 16 de enero por la tarde, cuando se encienden las hogueras repartidas por las calles de los pueblos. Es la víspera de la fiesta de Sant Antoni Abat, patrón de los animales, y una de las fiestas mágicas del calendario mallorquín que entronca con los antiguos ritos de fertilidad. La velada recuerda las tentaciones que sufrió este santo en el desierto. Esta noche, la gente cena en la calle de sobrassada a la brasa y otros embutidos y comidas tradicionales, donde no falta el vino. Los demonios se van paseando de hoguera en hoguera, bailando su baile característico. Los poemas populares cantados con una melodía propia de Sant Antoni, recordando las gestas del santo venerado abren la fiesta, aunque los que verdaderamente triunfan son otros con una vertiente más picante. El día 17 se celebran desfiles de carrozas, que representan escenas tradicionales del mundo rural mallorquín, y se bendicen los animales domésticos, donde los demonios incordiando a la figura de Sant Antoni y a los más pequeños son parte esencial de la fiesta.
www.mca-hotels.com/guia-vacaciones-mallorca/7/23/43/mallo...
Dimonis y Correfocs
El vistoso y colorido baile de las bestias forma un espectáculo de dimonis o correfocs saltando y bailando por las calles acompañados de música, fuegos artificiales, hogueras y ruido.
Muchos son los pueblos de Mallorca que animan sus fiestas con el baile de los dimonis en honor a San Antonio y al demonio, a la lucha del bien contra el mal.
La víspera de San Antonio es la noche en que más dimonis se concentran, aunque también aprovechan otras festividades para salir a la calle.
Es muy común que en las fiestas de un pueblo se convoquen demonios de distintas peñas e incluso de distintos pueblos, con espectáculos y trajes diferentes. Las zambombas, las canciones, el vino, el fuego y las glosas (rimas o dichos populares de composición poética) también acompañan esta tradición.
En principio este tipo de concentraciones tuvo un sentido religioso, aunque al mismo tiempo también se celebraba el solsticio de invierno; el crecimiento del sol que da vida a la tierra de cultivo y a las hogueras de San Antonio, que alejan a los malos espíritus.
Ésta danza pertenece a la cultura popular de Baleares, Cataluña, Valencia y el Rosellón Francés (sur de Francia) y está documentado desde el s. XII donde tuvo sus comienzos como “cercavilas” que eran grupos de personas que salían disfrazadas a la calle anunciando las fiestas, y que ha ido poco a poco evolucionando hasta el performance de hoy día.
www.mallorcanatural.es/vida-local/fiestas-y-tradiciones-m...
Correfocs o Baile de diablos - es.wikipedia.org/wiki/Baile_de_diablos
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.
Mike. 45 minutes after posting this I discovered to my nauseous horror that Mike has just died. He had told me he had a congenital heart condition and probably wouldn't be around for long, but he was such a fearless and big-dicked fucking ox that I didn't take his words seriously. So much wild vitality, as I suppose befits someone with a very short time in this world. Mike was genuinely hilarious. He had hilarious tattoos of flying dicks on the soles of his feet, tattoos on the palms of his hands, hilarious tattoos on his dickhead under his foreskin. He was enormous and imposing and smelled like soap and danger but was just a massive softie in his way.
When last I spoke with him this summer he had to cancel a scheduled shoot because, in his words, "life gets in the way." He was excited about shooting on his next visit, said i was one of his favorite photographers and that he thought my work was "super fucking sick."
The first draft of this pic, which I started last night on the one year anniversary of our last shoot, showed him as an angel with burned wings. I thought it was too morbid for him and scrapped it - little did I know.
Life sure does have its way with us. Hope you're in a better world. shanti.
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.
Here's the quilt I have just finished for my daughter. She chose the fabrics and the general design. It's a couch quilt to snuggle under in winter!
The quilt is named for Florence Broadhurst because the fabric patterns remind us of her 1970s wallpapers.
"The complex, eccentric and talented woman who was Florence Broadhurst was born in rural Queensland, Australia in 1899.
By the time of her death in 1977 Florence Broadhurst had lived and worked in Australia, Asia, and England; performed professionally on stage; been befriended by royalty; exhibited her paintings; and started an internationally successful wallpaper company whose success was based upon her own designs. She also found time to run a trucking company, start up a dress salon, play marbles with a strong competitive streak and agitate for women’s rights."
As would befit such a colourful character, she was murdered while at work - aged in her mid-70s.
More info here - www.signatureprints.com.au/aboutus/aboutus_flobro.html
The site includes examples of her wallpaper and fabric designs.
She is close to my heart cos I also was born in rural Queensland, and, though I have done some exotic travelling (e.g. pre-Taliban Afghanistan) I have nowhere near her breadth of achievements.
Australian cinemas were showing a feature biopic about her in 2006.
The scientific name for this bird is purrhos for flame-colored or red and kephalos for head. I prefer to call it Fiery-headed. In the morning sun, it is easy to see why the name befits this bird. Cypress Lawn Cemetery, Coloma, San Mateo Co, California on 13 January 2017.
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
Reached #15 on Explore pages
///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////( Check Flickr Art in BW )
//
//
//
//
//
//
/////////////////////////////////////////////////////////////////////////////////////////////////////////////////( Check Flickr Art in Color)
See 'Bentota beach' On White OR
Frederico Garcia Lorca
THE UNFAITHFUL WIFE
(river replaced with beach)
I took her to the beach
Believing she was a virgin
But she had a husband.
It was the night of Saint James and almost as promised
The street lamps extinguished as the crickets lit up
In the far corners I touched her sleeping nipples,
And suddenly they opened to me
Like a hyacinth branch.
The starch of her taffeta
Sounded in my ear like silk scratched by ten knives.
Without silver light on their crowns the trees had grown,
And an horizon of dogs barked very far from the river.
Beyond raspberry bushes, rushes and thorn shrubs,
Under her matted hair I hollowed out the mud.
I took off my tie.
She dropped her dress.
I unbuckled my gunbelt
She let fall her four laces.
Neither white petals nor snails have skin so fine
Nor moonlit crystals shine with her brilliance.
Her thighs escaped me like surprised fish,
Half filled with embers, half filled with ice.
That night I ran—best runner of all the roads,
Mounted on a pearly steed, neither saddle nor bridle.
As a man I can not tell the things she told me
Light of understanding makes me prudent.
Dirty with sand and with kisses
I took her away from the beach
The swords of the lilies flailed in the breezes.
I behaved as befit me, a genuine gypsy
I gave her a sewing basket of straw-colored silk
I refused to fall in love with her because she has a husband.
She said she was virgin when I took her to the beach.
FEDERICO GARCIA LORKA
(lumi zëvendësuar me det - nga unë)
Gruaja e pabesë
Dhe e shpura atë te deti
duke besuar se qe e virgjër
po ajo qënkësh e martuar.
Ishte nata e Santiagos
dhe sikur ta kishin bërë me fjalë
dritat e udhës zunë u zbehën
dhe bulkthit nisën të kuqëlojnë.
Matanë qoshes së fundit
preka gjijtë e saj të fjetur
dhe ata në çast m’u hapën
porsi heshtat e zymbylave.
Kolla e fustanit të saj
tringëllonte në veshët e mij
si copa të gjata mëndafshi
nga dhjetë gërshëra prerë.
Pemët u rritën pamasë
pa dritë argjendi në degë
dhe një horizont me qen
lehte tutje, shumë larg detit.
Atje pas ferrave
kallameve e gjembave
hoqa tutje baltën
nën tufën e flokëve të saj.
Hoqa kravatën time
ajo zhveshi rrobet
unë rripin e mesit me koburen
dhe ajo pjesët e korsesë.
As lulet dhe perlat
nuk kishin lëkurë më të bukur
dhe as me këtë brilancë
kristalet e hënës nuk shndrisnin.
Si peshq të trembur papritur
shkanë nga unë kofshët e saj
gjysma larë me akull
gjysma larë me zjarr.
Në udhën më të mirë
atë natë kalërova
hipur mbi një pelë sedefi
pa yzengji e kapistër.
Si burrë, nuk do t’i them
gjithato ç’më tha ajo,
drita e mirkuptimit
më bën mua më të përmbajtur.
Njollosur me rërë e puthje
e solla atë nga deti
teksa shpatat e lilave
fshikullonin lart ajrin.
Pastaj u solla siç jam
një cigan i vërtetë, sidoqoftë:
i dhashë asaj një shportë të thurur
prej atlasi ngjyrë kashte.
Po s’pranova ta dua më
se e martuar ishte
por më tha se ishte e virgjër
kur po e shpija te deti.
The spiral arms of the galaxy NGC 3318 are lazily draped across this image from the NASA/ESA Hubble Space Telescope. This spiral galaxy lies in the constellation Vela and is roughly 115 million light-years away from Earth. Vela was originally part of a far larger constellation, known as Argo Navis after the fabled ship Argo from Greek mythology, but this unwieldy constellation proved to be impractically large. Argo Navis was split into three separate parts called Carina, Puppis, and Vela – each named after part of the Argo. As befits a galaxy in a nautically inspired constellation, the outer edges of NGC 3318 almost resemble a ship’s sails billowing in a gentle breeze.
Text credit: European Space Agency (ESA)
Image credit: ESA/Hubble & NASA, European Southern Observatory (ESO), R. J. Foley; Acknowledgment: R. Colombari
For more information: www.nasa.gov/image-feature/goddard/2022/hubble-sights-a-s...
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.
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...
-----------------------------------------------------------------------------------------
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
-----------------------------------------------------------------------------------------
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...
Jacopo del Sellaio (Jacopo di Arcangelo - Florence, about 1441 - Florence, 1493) - Martyrdom of Saint Sebastian (1465-73) 122.5 x 81.6 cm. - 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.
nrhp # 66000405- The James J. Hill House is the former mansion of railroad magnate James J. Hill, today operated as a museum home. It is located in Saint Paul, Minnesota, United States, towards the eastern end of Summit Avenue near the Cathedral of Saint Paul. Completed in 1891, the house has 36,000 square feet (3,300 m2) of living area and 44,552 square feet (4,139.0 m2)[1] of total space. During Hill's lifetime it was regarded as the "showcase of St. Paul".[2]
It is listed as a U.S. National Historic Landmark, operated by the Minnesota Historical Society. It is also a contributing property to the Historic Hill District.[3]
History
James J. Hill became wealthy as the chief executive officer of the Great Northern Railway. He had a large family of 10 children, and built a substantial home in Saint Paul in 1878 in the Lowertown area near Ninth and Canada streets.
In 1882, during an era when wealthy citizens were scrambling to build fashionable homes on Summit Avenue, Hill bought three lots in the neighborhood. The street offered a commanding view of downtown St. Paul and the Mississippi River area, making it a highly desirable location.
As new warehouses and railroad tracks crowded the Lowertown residential area, and as Hill's collection of paintings and sculpture overflowed the house, the Hill family thought it was desirable to move. Hill also realized that recent improvements in home technology, such as electric lighting, plumbing, ventilation, and fireproofing, could be incorporated into a new home. Moreover, since Hill was growing in social prominence in the community, a new home would befit his status as the "Empire Builder" of northern railroads.
The house was designed by an East Coast architectural firm, Peabody, Stearns and Furber, at a time when local architects such as Clarence Johnston and Cass Gilbert were employed on other homes in the neighborhood. It emerged in the Richardsonian Romanesque style, with a massive, rugged appearance featuring randomly sized blocks of stone, sturdy pillars, rounded arches, and a generally strong horizontal emphasis.
Hill supervised the design and construction closely. As an example, when the Lewis Comfort Tiffany Company submitted designs for the stained glass windows, Hill replied that they were, "anything but what I want," and the job went to A.B. Cutter and Company of Boston. Later, in 1889, Hill fired the architects because they had overridden his orders to the stonecutters in Massachusetts, and hired the Boston firm of Irving and Casson to finish the project.
The St. Paul Pioneer Press reviewed the house just before it was completed in 1891, writing:
Solid, substantial, roomy, and comfortable is the new home of James J. Hill and family. ... There has been no attempt at display, no desire to flaunt an advertisement of wealth in the eyes of the world. Just a family home ... impressive, fine, even grand in the simplicity of design, but after all a St. Paul home.
Hill died in 1916, and his wife followed in 1921. After their parents’ passing, the children eventually moved out.
from Wikipedia
"So fallen! so lost! the light withdrawn
Which once he wore!
The glory from his gray hairs gone
Forevermore!
Revile him not, the Tempter hath
A snare for all;
And pitying tears, not scorn and wrath,
Befit his fall!
Oh, dumb be passion's stormy rage,
When he who might
Have lighted up and led his age,
Falls back in night.
Scorn! would the angels laugh, to mark
A bright soul driven,
Fiend-goaded, down the endless dark,
From hope and heaven!
Let not the land once proud of him
Insult him now,
Nor brand with deeper shame his dim,
Dishonored brow.
But let its humbled sons, instead,
From sea to lake,
A long lament, as for the dead,
In sadness make.
Of all we loved and honored, naught
Save power remains;
A fallen angel's pride of thought,
Still strong in chains.
All else is gone; from those great eyes
The soul has fled:
When faith is lost, when honor dies,
The man is dead!
Then, pay the reverence of old days
To his dead fame;
Walk backward, with averted gaze,
And hide the shame!"
- Icabod by: John Greenleaf Whittier
Opened in 1904, at a cost of £116,700, the oldest surviving part of Leeds Kirkgate market was designed to regenerate a run down area in the centre of Leeds to befit the new city status.
The building still thrives today and is part of what is believed to be the biggest covered market in Europe.
Access is available to the upper tier, which doesn't seem to have any stalls but does offer an amazing view over the market at the structure of the building. I chose to focus on the central roof space with its blend of function and decoration forming a stunning centrepiece to the hall.
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.
To view more of my images, of Cotswold Wildlife Park & Gardens, please click "here"!
From the Achieves, reprocessed using using Photoshop CC 2026"!
Please, do not insert images, or group invites, thank you!
The Bactrian Camel (Camelus bactrianus) is a large, even-toed ungulate native to the steppes of Central Asia. Of the two species of camel, it is by far the rarer. The Bactrian camel has two humps on its back, in contrast to the single-humped dromedary camel. Its population of two million exists mainly in the domesticated form. Some authorities, notably the International Union for Conservation of Nature (IUCN), use the binomial name Camelus ferus for the wild Bactrian camel and reserve Camelus bactrianus for the domesticated Bactrian camel. Their name comes from the ancient historical region of Bactria. The domesticated Bactrian camel has served as a pack animal in inner Asia since ancient times. With its tolerance for cold, drought, and high altitudes, it enabled travel such as the caravans of the Silk Road. The wild form has dwindled to a population estimated at 800 in October 2002 and has been classified as critically endangered on the IUCN Red List of Threatened Species. Its range in the wild is restricted to remote regions of the Gobi and Taklamakan Deserts of Mongolia and China, migrating from the desert to rivers in Siberia during winter. A small number of wild Bactrian camels still roam the Mangystau Province of southwest Kazakhstan and the Kashmir valley in India. There are feral herds of Bactrian camels in Australia. The Bactrian camel is the largest mammal in its native range and rivals the dromedary as the largest living camel. Shoulder height is from 180 to 230 cm (5.9 to 7.5 ft), head-and-body length is 225–350 cm (7.38–11.48 ft) and the tail length is 35–55 cm (14–22 in). At the top of the humps, the average height is 213 cm (6.99 ft). Body mass can range from 300 to 1,000 kg (660 to 2,200 lb), with males often being much larger and heavier than females. Its long, wooly coat varies in colour from dark brown to sandy beige. There is a mane and beard of long hair on the neck and throat, with hairs measuring up to 25 cm (9.8 in) long. The shaggy winter coat is shed extremely rapidly, with huge sections peeling off at once, appearing as if sloppily shorn off. There are two humps on the back, which are composed of fat (not water as is sometimes thought). The face is typical of a camelid, being long and somewhat triangular, with a split upper lip. There are long eyelashes, which, along with the sealable nostrils, help to keep out dust in the frequent sandstorms which occur in their natural range. The two broad toes on each foot have undivided soles and are able to spread widely as an adaptation to walking on sand. The feet are very tough, as befits an animal of extreme environments
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.
John 15:16 (ESV)
16 You did not choose me, but I chose you and appointed you that you should go and bear fruit and that your fruit should abide, so that whatever you ask the Father in my name, he may give it to you.
Elect, Election.
In modern English, terms referring to the selection of a leader or representative by a group of people. An element of choice is involved, since usually there are several candidates out of whom one must be chosen.
When the verb “elect” is used theologically in the Bible, it usually has God as its subject. In the OT it is used for God’s choice of Israel to be his people (cf. Acts 13:17). Israel became God’s people, not because they decided to belong to him, but because he took the initiative and chose them. Nor did God’s choice rest on any particular virtues that his people exemplified, but rather on his promise to their forefather Abraham (Dt 7:7, 8). God also chose their leaders, such as Saul and David (1 Sm 10:24; 2 Sm 6:21), apart from any popular vote by the people. The word thus indicates God’s prerogative in deciding what shall happen, independently of human choice.
The same thoughts are found in the NT. God’s people are described as his “elect” or “chosen ones,” a term used by Jesus when speaking of the future time when the Son of man will come and gather together God’s people (Mk 13:20, 27). He will vindicate them for their sufferings and for their patience in waiting for his coming (Lk 18:7). In 1 Peter 2:9 God’s people are called an “elect nation.” This phrase was originally used of the people of Israel (Is 43:20), and it brings out the fact that the people of God in the OT and the Christian church in the NT stand in continuity with each other; the promises addressed to Israel now find fulfillment in the church.
In Romans 9–11 Paul discusses the problem of why the people of Israel as a nation have rejected the gospel, while the Gentiles have accepted it. He states that in the present time there is a “remnant” of Israel as a result of God’s gracious choice of them. This group is called “the elect.” They are the chosen people who have obtained what was meant for Israel as a whole, while the greater mass of the people have failed to obtain it because they were “hardened” as a result of their sin (Rom 11:5, 7).
Nevertheless, God’s choice of Israel to be his people has not been cancelled. Most Jewish people have aligned themselves against the gospel, so that the Gentiles may come in and receive God’s blessings in their place; but they still remain beloved by God, and God will not go back on his original calling of them (Rom 11:28). Consequently Paul is confident that in due time there will be a general return to God by the people of Israel.
The word translated “elect” is generally found in the plural and refers either to the members of God’s people as a whole or to those in a particular local church (Rom 8:33; Col 3:12; 1 Thes 1:4; 2 Tm 2:10; Ti 1:1; 1 Pt 1:1; 2 Pt 1:10; Rv 17:14; Rom 16:13 and 2 Jn 13 have the singular form). The use of the plural may partly be explained by the fact that most of the NT letters are addressed to groups of people rather than to individuals. More probably, however, the point is that God’s election is concerned with the creation of a people rather than the calling of isolated individuals.
The use of the word “election” emphasizes that membership of God’s people is due to God’s initiative, prior to all human response, made before time began (Eph 1:4; cf. Jn 15:16, 19). It is God who has called men and women to be his people, and those who respond are elect. God’s call does not depend on any virtues or merits of humankind. Indeed, he chooses the foolish things by worldly standards to shame the wise, the weak to confound the strong, and the low and insignificant to bring to nothing those who think that they are something (1 Cor 1:27, 28). The effect of election is to leave no grounds whatever for human boasting in achievement and position. Whatever the elect are, they owe entirely to God, and they cannot boast or compare themselves with other people.
God’s elect are a privileged people. Since they now have God to uphold them, no one can bring any accusation against them that might lead to God’s condemnation (Rom 8:33). They constitute a royal priesthood; they are God’s servants with the right of access to him (1 Pt 2:9). It is for their sake that the apostles endured hardship and suffering, so that they might enjoy future salvation and eternal glory (2 Tm 2:10).
The elect are distinguished by their faith in God (Ti 1:1), and they are called to show the character that befits God’s people (Col 3:12). They must make their calling and election sure; that is, they must show that they belong to God by the quality of their lives (2 Pt 1:10). They must continue being faithful to the One who called them (Rv 17:14).
The relationship between God’s call and human response is explained in Matthew 22:14: “For many are called, but few are chosen.” Although God calls many through the gospel, only some of those respond to the call and become his elect people. The text sheds no light on the mystery of why only some become God’s people. Certainly, when a person does respond to God’s call, it is because the gospel comes to him or her “in power and in the Holy Spirit and with full conviction” (1 Thes 1:4, 5). When men and women refuse the gospel, it is because they have become hardened as a result of sin and their trust in their own works. Scripture does not go beyond that point in explanation, and neither should Christians.
“Election” can also be used of God’s choice of people to serve him. Jesus chose the 12 disciples out of the larger company of those who followed him (Lk 6:13; Acts 1:2). The same thought reappears in John’s Gospel; Jesus commented that although he chose the 12, one of them turned out to be a devil (Jn 6:70; 13:18). When a replacement was needed for Judas, the church prayed to Jesus and asked him to show them which of the two available candidates he would choose to fill the gap in the 12 (Acts 1:24). Peter attributes his evangelism among the Gentiles to God’s “election” of him for that purpose (Acts 15:7). Similarly, Paul was an elected instrument for God’s mission to the Gentiles (Acts 9:15). The initiative in Christian mission rests with God, who elects people to serve him in particular ways.
Jesus is called “God’s Chosen” (Lk 9:35; cf. the taunt in Lk 23:35). The heavenly voice at Jesus’ transfiguration spoke in language that echoed Isaiah 42:1 and identified Jesus as God’s Servant, chosen to do his work of bringing light to the nations. In the same way, Jesus is a “chosen cornerstone” (1 Pt 2:4, 6; cf. Is 28:16).
In the teaching of Augustine and Calvin, the doctrine of election is of fundamental importance. They taught that God had chosen before the creation of the world to save a number of specific individuals from sin and judgment and to give them eternal life. Those whom he chose did nothing to deserve it; their merits are no better than the rest of humankind who will be judged for their sins. But in his mercy God decided to save some; therefore, he chose them and sent Jesus to be their Savior. The Holy Spirit regenerates and brings to faith through an “effectual calling” those whom God has elected. God’s Spirit effectively persuades each of them to submit to the gospel, so they are guaranteed recipients of eternal life.
This choice by God selectively to save some may seem unjust. But in fact, God is not obliged to show mercy to anybody; he is free to show mercy as he pleases. People cannot protest that because they were not the elect, they never had a chance of being saved. They never deserved that chance anyway. But anybody who hears the gospel and responds to it with faith can know that he is one of the elect. Whoever rejects the gospel has only his own sinfulness to blame.
Many Christians reject that explanation of God’s election. They maintain that although it appears to be logically consistent with Scripture, it makes God the prisoner of his own plan. His predestination of certain individuals to salvation commits him personally to a detailed, predetermined, unilateral course of action that reduces human action to a charade and renders it insignificant. God ceases to be a person dealing with persons.
The Augustinian and Calvinist view of election, according to its critics, also makes God out to be arbitrary in his choice of the elect. In effect, chance becomes the arbiter of human destiny rather than a holy and loving God. Those difficulties arise because, they say, the teaching of Scripture has been pressed into an artificial logical system that distorts it.
Walter A. Elwell and Barry J. Beitzel, Baker Encyclopedia of the Bible (Grand Rapids, MI: Baker Book House, 1988), 681–683.
From the East
Dominating the Lunedale ridge, the pine-covered tumulus of Kirkcarrion is one of the region's major Bronze Age burial sites. Thought to have been constructed sometime around 1400 BC, this elaborate chieftain's tomb was excavated in Victorian times.
As befits a site of such antiquity, there are several local legends about the spot. It is said that within its circle of trees there is a place where no wind ever blows, no matter how rough the weather, but since the location of this point itself is supposed to be constantly shifting, it is a difficult thing to verify. The site is also reputed to be haunted. The identity of the ghost varies -- the original Bronze Age inhabitant, one of the Victorian diggers or the land-owner who gave permission for the excavation -- but the vengeful nature of the spectre remains a fairly constant feature in all versions. Whatever the truth of the story, at times the mound -- which is said to lie on a ley line -- can be an unusual and oddly atmospheric sight, even in full sunshine.
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
Graceful, historic Hoi An is known as Veitnam’s most atmospheric and delightful town. Once a major port, it boasts the grand architecture and beguiling riverside setting that befits its heritage.The face of the Old Town has preserved its incredible legacy of tottering Japanese merchant houses, Chinese temples and ancient tea warehouses – though, unfortunately, residents and rice fields have been gradually replaced by tourist businesses – Hoi An, Vietnam
The photo reports some Statue Stelae dating to the 5th - 4th millennium B.C. and belonging to the Group A Stelae type. From left, stelae representing a boy, a warrior, a woman and a fourth warrior.
These statues have been found at different times since the last century in the basin of the river Magra and its tributaries, and are now partly conserved in the Civic Museum of La Spezia and partly in that of Pontremoli. The corpus comprises over 60 stelae, which document the birth and flourishing of the production in the Copper Age (5th - 4th millennium B.C.) and the subsequent, probably not contiguous, production in the Iron Age (late 2nd - 1st millennium BC).
The statues can be divided into two large groups (Copper Age and Iron Age). Their dating is based on the study of the representation of the objects carved on them. These objects, realistically drawn in the stone, are weapons and ornaments of a well-defined and well-recognized type, which correspond to and reproduce the archaeological remains found in the excavations of tombs or dwellings of the Copper Age. The former group, the more ancient and numerous one, comprises three types of anthropomorphic representations: male, indicated either only by a dagger or an associated flat axe; female, indicated by more or less marked breast, and sometimes by necklaces or chokers; finally a type without any attribute, hence conventionally considered asexual. This latter type is perhaps an expressive metaphor of an individual with a still-undefined social role, as would befit a child or adolescent.
The Copper Age stelae are divided in two groups: the Group A, or the Pontevecchio type Stelae, and the Group B, or the Malgrate type stelae. The main characteristic of the Group A is the head joined to the torso, of the Group B the head separated from the torso and spread out sideways.
Stone stelae
5th - 4th millennium B.C.
Spezia, Archaeological Museum, Castle of San Giorgio
Land Rover Series 1 (1948-58) Engine 1997cc S4
Registration Number JNJ 375 (East Sussex)
LAND ROVER SET
www.flickr.com/photos/45676495@N05/albums/72157623671619947/
Introduced in 1948 with a 1.6ltr petrol engine of 50bhp replaced in 1952-3 by a 2.0ltr Siamese bore engine, meaning no water passages between the pistons. For the 1954 model year saw the 86 inch wheelbase replace the 80 inch and the introduction of a 107 inch wheelbase Pick Up version.
In Britain the Land Rover occupies a strange position in the taxation system. The original vehicle was classified as a commercial vehicle and as such was exempt from Purchase Tax, however this meant that as a Commercial vehicle it was subject to a speed limit of 30mph on British roads. After an appeal to the Law Lords, following the prosecution of a driver charged with exceeding this limit, the vehicle was reclassified as multi-purpose and only to classified a commercial if used for that purpose. Although not often applied today this means that a Land Rover registered as commercial has a 60mph speed limit, those not registered as such can drive up to the National Speed limit of 70mph. Nearer to home i have the err... pleasure of living near the UK's only toll road, and a case arose that a Land Rover driver was asked to pay the higher toll charge of a commercial vehicle
This Land Rover is finished in Bluebird blue as befits a vehicle which was once the property of Donald Campbell. The old style log book shows it was first registered on 10th October 1954 with it first change of ownership 20th January 1960 to new owner Donald Campbell. It remained registered to Donald Campbell until 21st August 1967, some 8 months after his death on Coniston Water, while attempting his final 8th and fatal attempt on the World Waterspeed Record.
Thankyou for a massive 56,759,810 views
Shot 13.06.2016 at the Lakeland Motor Museum, Backbarrow, Cumbria REF 122-135
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.
www.golakes.co.uk/shap-and-lowther-valley/shap-introducti...
Farming has been at the heart of life in the Lowther Valley for hundreds of years, the fertile pastures being grazed by sheep and cattle for generations.
On higher ground within this broadly shelving valley are several attractive villages and hamlets. Askham, ‘the place of ash trees', gently descends from Askham Fell to the river; its broad village green awash with yellow daffodils in the spring and lined by gracious 17th and 18th century houses on either side. Prosperity here came from employment on the Lowther estate where the now empty shell of Lowther Castle stands forlornly in its parkland awaiting development.
To the south is Helton with its jumble of cottages tumbling down the fellside, followed by the dairying villages of Butterwick, Bampton and Rosgill, all former centres of butter and cheese making.
The drowned village of Mardale was also known for butter production prior to its flooding in the 1930s to create Haweswater Reservoir. As Mardale disappeared below the rising waters so the little ‘cast iron' village of Burnbanks at the foot of the dam prospered with its transient community of dam workers and their families.
The upper reaches of the River Lowther have a different story to tell. Here prehistoric peoples left their legacy in the form of numerous stone circles and standing stones (the ‘heaps' from which the name ‘Shap' may be derived). The monks of Shap Abbey built their own monument in stone alongside the river. And Shap, surrounded by these remnants of antiquity and on a major trading route between north and south, developed as one of the earliest settlements; its long main street bustling with the constant passage of trade for centuries, until the coming of the M6 motorway changed its character for ever.
The Yellow Earl
Hugh Cecil Lowther (1857-1944) was the fifth earl and one of the family's more flamboyant characters nicknamed the Yellow Earl because of his love for the colour. He owned a fleet of yellow cars and as president of the Automobile Association allowed the Association to use the colour on their badges and signs. Hugh entertained on a lavish scale and was an enthusiastic participant in hunting, horse-racing and yachting. He was also a keen patron of boxing and founded the Lonsdale Belt trophy, first fought for in 1909.
The Bampton valley area is one of the last remaining strongholds for Fell Ponies, Cumbria's only native equine. The distinctive black-coated ponies can often be seen grazing in small groups on the open commons.
www.golakes.co.uk/shap-and-lowther-valley/shap-history.aspx
The wealth of ancient archaeological remains on the moors and fells around Shap indicate a long history of human occupation. The limestone plateau stretching from Orton to Askham is littered with prehistoric remains. There are stone circles at Oddendale (NY 592 129) and Gunnerkeld (NY 568 178) but one of the largest was at Kemp Howe to the south of Shap, now truncated by the main West Coast Railway. A double line of stones, the so-called ‘Shap Avenue' led from this circle in a northwest direction. Elsewhere, a few standing stones can be seen in fields to the west of Shap - one known as the Goggleby Stone and another, the Thunder Stone. On Moor Divock, the Cop Stone, a solitary large boulder overlooking the Lowther valley may have been connected to the prehistoric remains at Shap.
Shap Abbey included a church, chapter house, living quarters for the monks, refectory, cloister and an infirmary. The monks also had a fishpond and corn mill and farmed sheep on the surrounding land, acquiring considerable wealth from the wool trade as a result. After the Dissolution of the Monasteries around 1540, Shap Abbey fell into ruin - the lead was stripped from the roof, the windows removed and the building stones taken away for re-use elsewhere. Much of the carved stonework ended up at Lowther Castle. Today, all that remains is the church tower and the foundation stones of many of the ancillary buildings.
Shap was on an important droving road from Scotland into England and later became a stopover on the main north-south coaching route down the western side of England, attracting a bustling trade in goods and services. Coaching inns and ale houses lined its long street catering for weary travellers and the old Market Hall bustled with activity on market days. Bonnie Prince Charlie came this way as his bedraggled army retreated during the Jacobite Rebellion and is said to have lodged at Stuart House in Shap on 17 December 1745. Two days later at Clifton, his army fought the last battle ever to be fought on English soil.
The Lowther family have long been associated with this area, originally occupying an old hall in the heart of Lowther village. As the family grew in wealth and influence, they needed somewhere to live that befitted their new status. In 1682, plans were drawn up for a grand new house, Lowther Castle, surrounded by extensive parkland. Just 40 years on, the original castle was destroyed by fire. The replacement castle, completed in 1811, was a monument to Gothic extravagance, with a host of towers, turrets, pinnacles, battlements, ramparts, fortified gateways and even a cloister. The grandeur of the interior was matched by the exquisite formal gardens, laid out with avenues of beech trees, glittering lakes and far-reaching vistas. The fairytale castle remained the home of the Lowther family until 1936 when the lead was stripped from its roof, leaving the castle open to the elements. The empty shell is now the focus for new plans to restore the gardens and create exhibition space within the former stable block.
In Victorian times people came to Shap Wells to bathe or drink the waters of the Spa Well. Shap Wells Hotel opened in 1833 to accommodate visitors to the spa, providing a bath house and landscaped grounds. During the Second World War, the building was requisitioned as a prisoner-of-war camp for senior German Luftwaffe and naval officers.
As the population of Manchester expanded in the Victorian era, Manchester Corporation sought to secure reliable water supplies for the inhabitants of its city. Thirlmere Reservoir had already been constructed and Haweswater was regarded as another suitable location for holding drinking water. Local objections were swept away and in 1919 Parliament granted permission to build a dam across the valley. The surrounding land was compulsorily purchased and construction began in 1930. To house the workers and their families, the Corporation built the model village of Burnbanks near the dam wall. As Burnbanks became a settled community at the foot of the reservoir, so the old village of Mardale at the upper end of the valley was sacrificed for the greater good of providing water for the Manchester conurbation. The village now lies submerged beneath the waters of Haweswater, its skeletal remains only appearing during periods of drought.
Shap is famous for its pink granite, which has been quarried here since 1865. The feldspar-rich granite was highly prized as a decorative polished stone and used to grace the facades of prestigious buildings around the world. Although pink granite is no longer extracted, Shap is still locally regarded as the quarrying village with active limestone and ‘blue' granite quarries. The limestone is burned in large kilns, visible on the edge of Shap village, for use in the steel industry while blue granite is primarily used for railway ballast.
www.golakes.co.uk/shap-and-lowther-valley/shap-heritage.aspx
St Michael's Church, Shap (NY 564 154)
This ancient church can trace its origins back to Celtic times, though the present structure dates from 1140. Its earliest features are the fine Norman tower, the north-facing windows and the internal pillars. A large font made of polished Shap granite presides over the nave, while the beautiful Millennium window depicts features from the parish such as the Goggleby Stone, Keld Chapel and Shap Abbey. Outside, a poignant gravestone commemorates the workmen who lost their lives during construction of the Lancaster and Carlisle Railway (completed in 1846).
Shap Abbey (NY 548 152)
In 1199 a group of Premonstratian monks from Preston Patrick chose an isolated location on the banks of the River Lowther to found an abbey. The abbey prospered for around 300 years until the Dissolution of the Monasteries when the lead was taken from the roof and the building stones carted away for re-use elsewhere. All that remains today is the priory tower, still at its full height, and the outline of various buildings associated with the monastery. Open all year. Free admission.
Keld Chapel, Shap (NY 553 145)
It is thought that this simple chapel was used as a chantry by the monks of Shap Abbey, a place where prayers were said for the souls of the dead. With its bare walls, uneven stone floor and rustic pews, it is one of the few pre-Reformation chapels in the country and daties from the late 15th century. In its time it has been used as a cottage, a meeting place for various religious sects and as a lodging house for navvies working on the Lancaster and Carlisle Railway. The chapel is now in the care of the National Trust and is open during daylight hours.
Lowther Castle (NY 523 238)
Estate Office, Lowther, Penrith, CA10 2HG
Tel: 01931 712577
The battered remains of this once majestic mansion stand forlornly in open parkland; its former gardens now a mass of broken-up concrete and weeds but plans are underway to restore the gardens to their former glory and create an art gallery and exhibition space within the former stable block.
St Michael's Church, Lowther (NY 519 245)
High on a ridge overlooking the River Lowther is this ancient church dedicated to St Michael which may well pre-date Norman times. Several Norse hogback tombstones and the remains of a stone cross were discovered in the churchyard, now on display in the porch. Apart from these early relics, the church is filled with many ostentatious memorials to the Lowther family. A giant mausoleum to William, Earl of Lonsdale (1757-1844) dominates the churchyard, whilst other family gravestones can be seen nearby
St Patrick's Church, Bampton (NY 521 180)
Although the church was erected in 1726 there has been a church on this site for over 800 years. The appealing interior has elegant timber arcades and an early 12th century font, the date of 1662 was carved later. The Parish Hall next door houses a rare collection of books written in Latin (Tinclar Library). The library is open on the first Monday of every month and at other times by appointment (tel: 01931 713262).
www.golakes.co.uk/shap-and-lowther-valley/shap-natural-en...
Lakeland Bird of Prey Centre (NY 530 237)
Lowther, Penrith, CA10 2HH
Tel: 01931 712746
The old walled garden near Lowther Castle provides the setting for aviaries housing various birds of prey including eagles, hawks, falcons and owls from around the world. Flying displays take place every afternoon between 2.00 and 4.00. There are also opportunities to handle the birds and have falconry ‘experience days'. Tearoom serving home-produced meals, with a small display area of local pottery and artworks. Open daily from March to October, 11.00-5.30.
Golden eagle
Haweswater has its own special bird of prey - a male golden eagle that can occasionally be seen soaring above crags at the far end of the reservoir. The viewpoint in Riggindale (NY 466 117) is open at all times but only manned April-August from 11.00-4.00 on Saturdays, Sundays and Bank Holidays. For more information, telephone 01931 713376 or go to www.rspb.org.uk/reserves.
Red squirrels
Red squirrels can be found throughout this area, but one of the best chances of seeing them is at Shap Wells Hotel. Near the original spa well are several feeding stations, ensuring a strong likelihood that one or two ‘reds' will make an appearance. For more information on seeing red squirrels at Shap Wells Hotel, contact the hotel manager on 01931 716628
www.golakes.co.uk/shap-and-lowther-valley/shap-art-and-cu...
The Toy Works (NY 513 237)
Holly House,
Askham,
Penrith, CA10 2PG
Tel: 01931 712077
Housed in a 17th century barn is this traditional toy maker's shop, specialising in the design and manufacture of farms and castles. Insert a coin to see the train chugging around the toy display. Open Wed-Sat, 10.00-5.00; Sunday, 11.00-4.00. Closed Mon and Tues except on Bank Holidays.
Stuart Broadhurst Ceramics (NY 511 237)
Keldside Cottage,
Askham,
Penrith, CA10 2PG
Tel: 01931 712878
Mobile: 07738 237420
Learn how to hand-throw pottery with individual tuition and all materials provided.
The Himba are indigenous peoples with an estimated population of about 50,000 people living in northern Namibia, in the Kunene Region. Both the Himba men and women are accustomed to wearing traditional clothing that befits their living environment in the hot Kaokoland. Himba people, especially women, are remarkably famous for covering themselves with otjize paste, a cosmetic mixture of butterfat and ochre pigment, to cleanse the skin over long periods due to water scarcity and protect themselves from the extremely hot and dry climate as well as insect bites. The cosmetic mixture, often perfumed with the aromatic resin of the omuzumba shrub, gives their skin and hair plaits a distinctive orange or red-tinge characteristic, as well as texture and style. Hairstyle and jewelry play a significant role among the OvaHimba, indicating age and social status within their community – Van ZyL’S Pass, Kaokoland, Namibia