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Within the radioisotope thermoelectric generator, iridium alloy clad vent sets — virtually indestructible metal cups — encapsulate Pu-238. Iridium, among the platinum-group metals on the periodic table, is extremely durable and can withstand temperatures with a melting point of more than 4,000 degrees Fahrenheit. Since the 1970s, Oak Ridge National Laboratory scientists have custom designed the alloy cladding for space travel to ensure the fuel within would remain contained even during anomalous events. Credit: Carlos Jones/Oak Ridge National Laboratory, U.S. Dept. of Energy
The 2015 HUNKY JESUS CONTEST with THE SISTERS OF PERPETUAL INDULGENCE !
A MUSCLE-BOUND, diaper clad, HUNKY JESUS carrying his toy Easter bunnies, two baby bottles filled with milk, and sucking on a pacifier waddled up on stage much to the delight of Sister ROMA and the crowd. Everyone went in to a wild uproar when he squirted his bottle of milk all over his golden tan, rippled muscled beautiful body a la Flashdance. Milk really do a body good...BABY JESUS won the title of 2015 HUNKY JESUS CONTEST!
The sexy lanky ROLLER DISCO JESUS stunned the crowed with his roller skating antics on stage, ok it was his tight muscled body in a white disco jumpsuit which was ripped open in just the right places !
The EXORCIST JESUS also got the audience howling with his Dr. Frankenfurter black lace , neglige outfit and 6-inch black platform boots.
Afterwards, HUNKY, MUSCLE-BOUND BABY JESUS was pulled aside by tons of people for a photo-op !
+++++
Thanks to everyone for visiting my Flickr site ! The VIEW COUNT is over SEVENTY-FIVE MILLION VIEWS (75,000,000 VIEWS) !
THANK YOU for visiting this virtual gallery! Enjoy my social documentary photos of the various events in San Francisco! Thank you FLICKR for providing an outlet for my artistic creativity !
THANK YOU to all the ADULTS who let ADDA take their photos! (Everyone was properly asked & everyone consented.) These are my original photos which were taken by me! They are NOT stolen! Do NOT steal them !
These photos carry copyright protection. Do NOT post them elsewhere! )
NUDES are PROPERLY marked RESTRICTED ! (EVERYONE PHOTOGRAPHED IS OVER 18-YEARS-OLD! ) There is NO PORN on my site! There are no stolen photos, either. and, Don't steal mine!
NOTE: MY photos are NOT to be reproduced, COPIED, BLOGGED, USED in any way shape or form. Use of them by anyone is an infringement copyright ! © All rights reserved. Use without permission is illegal
Mademoiselle Eden is wearing jeans from Earth Angel Eden Blair, top is from an OOAK DB fashion, cardigan is Dagamoart, handbag is Little Day Ensemble Véronique Perrin. Earring are JamieShow.
Heading to the ruins of the destroyed Coventry Cathedral. This is it's replacement from the 1950s and '60s!
It is Grade I listed.
Cathedral of St Michael, Coventry
COVENTRY
Priory Street
SP 3379 SE
Cathedral of St Michael
833/2/411
GV. I
Cathedral. 1951-62. Designed by Sir Basil Spence. Red sandstone ashlar with
green slate cladding to chapels; concrete roof. Lofty space of 7 bays with nave; full height aisles; no clerestorey; full height Lady Chapel and Western (liturgical) porch; circular chapels to north-west (lit) and south-east (lit). Cathedral aligns east-west. Built at right angles to the ruins of the old cathedral, formerly Parish Church (q.v.) and attached to its north-east corner. Nave and chancel walls of new cathedral canted outwards in vertical bands, producing a 'saw-toothed' plan, with vertical 4-light stained glass windows facing north-west (lit) and south-west (lit).
Porch with tall circular sandstone piers and 3 flat topped concrete vaults. Baptistry to south west (lit) with convex wall, partly solid and partly glazed with closely spaced vertical stone mullions; Epstein's sculpture of St.Michael and Lucifer attached to baptistry wall by the porch. Chapel of Christ the Servant to south-east (lit) circular with closely spaced vertical mullions. Chapel of Unity to north-west (lit) polygonal with largely solid walls of riven slate, and projecting fins tapering upwards, with vertical strip glazing to ends. East wall blind. West wall fully glazed, from floor to ceiling and wall to wall; 19 lights divided into 8 horizontal bands. Bronze glazing bars, plate glass with engraved figures of saints and angels by John Hutton.
Low roof, crowned by openwork metal fleche crowned by cross designed by sculptor Geoffrey Clarke. Interior with cruciform reinforced concrete piers, tapering to the base and supporting concrete 'ribbed' canopy with panels of timber slats between ribs. This has the appearance of a vault but is structurally and visually separate from the walls.
Interior contains fitments by the most prominent British artists and designers of the period. These include font and choir stalls designed by Spence himself, monumental inscriptions to walls and floor by Ralph Beyer, stained glass to Baptistry by John Piper and Patrick Reyntiens, to aisle walls by Lawrence Lee, Geoffrey Clarke and Keith New, to Lady Chapel by Einar Forseth, to Chapel of Unity by Margaret Traherne; pulpit and lectern by Spence, the latter with an eagle book rest by Elizabeth Frink, in bronze: tapestry to east wall of Lady Chapel, dominating the Cathedral,by Graham Sutherland, altar cross and crown of thorns by Geoffrey Clarke, large ceramic candlesticks by Hans Coper, chairs by Russell, Hodgson, and Leigh: mosaics by Einar Forseth, ceramic panels by Steven Sykes, etc.
Coventry Cathedral was one of the most important architectural commissions of its date in Britain, and was built following an architectural competition in 1951. The scheme was also notable in its period for the degree to which the bomb damaged shell of the Medieval church of St.Michael was preserved.
N.Pevsner and A.Wedgwood, B o E Warwickshire, pp 249-259 B.Spence, Phoenix at Coventry, 1962
Listing NGR: SP3362879067
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
The HUNKY JESUS CONTEST 2015 with THE SISTERS OF PERPETUAL INDULGENCE !
A MUSCLE-BOUND, diaper clad, HUNKY JESUS carrying his toy Easter bunnies, two baby bottles filled with milk, and sucking on a pacifier waddled up on stage much to the delight of Sister ROMA and the crowd. Everyone went in to a wild uproar when he squirted his bottle of milk all over his golden tan, rippled muscled beautiful body a la Flashdance. Milk really do a body good...BABY JESUS won the title of 2015 HUNKY JESUS CONTEST!
The sexy lanky ROLLER DISCO JESUS stunned the crowed with his roller skating antics on stage, ok it was his tight muscled body in a white disco jumpsuit which was ripped open in just the right places !
The EXORCIST JESUS also got the audience howling with his Dr. Frankenfurter black lace , neglige outfit and 6-inch black platform boots.
Afterwards, HUNKY, MUSCLE-BOUND BABY JESUS was pulled aside by tons of people for a photo-op !
+++++
Thanks to everyone for visiting my Flickr site ! The VIEW COUNT is over SEVENTY-FIVE MILLION VIEWS (75,000,000 VIEWS) !
THANK YOU for visiting this virtual gallery! Enjoy my social documentary photos of the various events in San Francisco! Thank you FLICKR for providing an outlet for my artistic creativity !
THANK YOU to all the ADULTS who let ADDA take their photos! (Everyone was properly asked & everyone consented.) These are my original photos which were taken by me! They are NOT stolen! Do NOT steal them !
These photos carry copyright protection. Do NOT post them elsewhere! )
NUDES are PROPERLY marked RESTRICTED ! (EVERYONE PHOTOGRAPHED IS OVER 18-YEARS-OLD! ) There is NO PORN on my site! There are no stolen photos, either. and, Don't steal mine!
NOTE: MY photos are NOT to be reproduced, COPIED, BLOGGED, USED in any way shape or form. Use of them by anyone is an infringement copyright ! © All rights reserved. Use without permission is illegal
Yesterday's GoodWill Shopping. Large & Small Skillets, Large Saute Pan, & Small Wok. All for less than $20.
An afternoon outing on the Gloucestershire Warwickshire Steam Railway from Cheltenham Race Course to Broadway. We got the 14:05 and had our own carriage reserved.
Arriving at Cheltenham Race Course Station, and heading down the ramp to get on to our carriage.
Cheltenham Racecourse railway station serves Cheltenham Racecourse on the outskirts of Cheltenham, Gloucestershire, England.
On the ex-Great Western Railway Cheltenham to Stratford line, the station opened in 1912 to serve the new racecourse at Prestbury Park, home of the famous Gold Cup meeting. The platforms were later extended to accommodate trains of up to 14 carriages. The station was only opened on race days and so facilities were rudimentary, but it continued to serve racegoers until the 1976 Cheltenham Festival.
Although most of the stations on the line closed in 1960 the line itself remained open for non-stop passenger services until 1968. Special trains on racedays only served Cheltenham Racecourse station from 1971 until 1976. The line was also used as a diversionary route with no scheduled passenger services until 1976 when a freight train derailed at Winchcombe and damaged the track. The line was officially closed in 1976 and the track was lifted shortly afterwards.
Cheltenham Racecourse is now the southern terminus of the 12-mile long heritage Gloucestershire Warwickshire Railway, run entirely by volunteers. The line has been reopened in stages. The line trackbed itself was bought in 1984. The track from Gotherington to the racecourse was relaid in 2001. The line was reopened as a heritage railway by the Princess Royal on 7 April 2003.
The station is in a cutting fringed by Corsican pine trees. Its northern end, where it emerges from the cutting, affords views towards Cleeve Hill. The original station booking office is believed to be the only remaining example of a Swindon-built flatpack prefabricated building that was brought by train and assembled on site. It is perched at the top of the cutting, next to the A435 roadbridge and close to the main entrance of the racecourse. It has a collection of artifacts housed within it. A gentle slope gives access to the platform where there is a new station building with a canopy, toilets and waiting room. The station has two tracks, one adjacent to the platform and the other to allow locomotives to run around the train. A new signal box was opened in 2005 to control the signals and point work around the station.
Access to the station by car is only via the main racecourse entrance. There is a large free car park. A bus service runs from the Network Rail Cheltenham Spa station, through the town centre to the Racecourse Park and Ride, about 10 minutes walk from the Gloucestershire Warwickshire Steam Railway station.
Waiting at the far end near the bridge was SR Merchant Navy Class 35006 Peninsular & Oriental S. N. Co. - this locomotive would head around to the other end of the train to take us to Broadway.
35006 Peninsular & Oriental S. N. Co. is a Southern Railway rebuilt Merchant Navy Class 4-6-2 steam locomotive. It was built at Eastleigh locomotive works in December 1941 and given the Southern Railway number 21C6. Although the first two members of the Merchant Navy class had their air-smoothed casings made of sheet steel, 21C6 was one of eight in which the casing was made of asbestos board, with a visible horizontal fixing strip along the centre line.
21C6 was allocated to Salisbury Shed where it remained based throughout her working life. Its first livery was unlined black, with hand-painted lettering in gilt with black blocking and yellow highlights. In December 1942 the locomotive's Bulleid chain-driven valve gear failed near Honiton on an evening goods service when one of the valve chains parted, throwing oil over the boiler cladding, track and lineside vegetation, which then ignited.
When Nationalisation came in 1948 the locomotive was renumbered as 35006. From November 1955 all members of the Merchant Navy class were substantially rebuilt, with 35006 and 35028 Clan Line being the last two examples to be modified in October 1959. Rebuilding included the removal of the air-smoothed casing, and the fitting of Walschaerts valve gear.
35006 was withdrawn in August 1964, with a final mileage of 1,134,319. It was bought by Dai Woodham for £350 and sent to Woodham Brothers scrapyard in Barry, South Wales. Whilst at the scrapyard the tender, which was notable for being used only with 35006 for its entire working life, was sold to a group restoring another Merchant Navy locomotive, and many fittings were removed from the engine. The remains of 35006 were purchased for preservation in 1983 with the intention of restoring it to running order. The locomotive was moved to Toddington, the principal station of the Gloucestershire Warwickshire Railway. It was the 144th locomotive to leave the scrapyard.
Restoration was a long drawn out affair. On 10 August 2015 35006 moved under its own power for the first time in under 50 years, albeit only with two of the three cylinders connected. During April and May 2016 the loco undertook light engine and loaded test runs. The first public runs were during the GWSR's Cotswold Festival of steam gala at the end of May, and the locomotive is now operational.
Within the radioisotope thermoelectric generator, iridium alloy clad vent sets — virtually indestructible metal cups — encapsulate Pu-238. Iridium, among the platinum-group metals on the periodic table, is extremely durable and can withstand temperatures with a melting point of more than 4,000 degrees Fahrenheit. Since the 1970s, Oak Ridge National Laboratory scientists have custom designed the alloy cladding for space travel to ensure the fuel within would remain contained even during anomalous events. Credit: Carlos Jones/Oak Ridge National Laboratory, U.S. Dept. of Energy
The 2015 HUNKY JESUS CONTEST with THE SISTERS OF PERPETUAL INDULGENCE !
A MUSCLE-BOUND, diaper clad, HUNKY JESUS carrying his toy Easter bunnies, two baby bottles filled with milk, and sucking on a pacifier waddled up on stage much to the delight of Sister ROMA and the crowd. Everyone went in to a wild uproar when he squirted his bottle of milk all over his golden tan, rippled muscled beautiful body a la Flashdance. Milk really do a body good...BABY JESUS won the title of 2015 HUNKY JESUS CONTEST!
The sexy lanky ROLLER DISCO JESUS stunned the crowed with his roller skating antics on stage, ok it was his tight muscled body in a white disco jumpsuit which was ripped open in just the right places !
The EXORCIST JESUS also got the audience howling with his Dr. Frankenfurter black lace , neglige outfit and 6-inch black platform boots.
Afterwards, HUNKY, MUSCLE-BOUND BABY JESUS was pulled aside by tons of people for a photo-op !
+++++
Thanks to everyone for visiting my Flickr site ! The VIEW COUNT is over SEVENTY-FIVE MILLION VIEWS (75,000,000 VIEWS) !
THANK YOU for visiting this virtual gallery! Enjoy my social documentary photos of the various events in San Francisco! Thank you FLICKR for providing an outlet for my artistic creativity !
THANK YOU to all the ADULTS who let ADDA take their photos! (Everyone was properly asked & everyone consented.) These are my original photos which were taken by me! They are NOT stolen! Do NOT steal them !
These photos carry copyright protection. Do NOT post them elsewhere! )
NUDES are PROPERLY marked RESTRICTED ! (EVERYONE PHOTOGRAPHED IS OVER 18-YEARS-OLD! ) There is NO PORN on my site! There are no stolen photos, either. and, Don't steal mine!
NOTE: MY photos are NOT to be reproduced, COPIED, BLOGGED, USED in any way shape or form. Use of them by anyone is an infringement copyright ! © All rights reserved. Use without permission is illegal
Stadsdriehoek | Blaak
A glass-roofed light court in the middle of the building for the Netherlands Trading Society is there to give its offices sufficient daylight. Walls and floors in the central public entrance area and the strongroom are clad in Calacatta marble. The facades are dominated by a grid of brick piers with an infill of decorative brickwork and steel frames. The asymmetrically placed main entrance on Blaak is clearly marked with an imposing gateway bearing a bronze emblem of the NTS and two groups of mermaids on the entrance canopy.
Arch. Kees Elffers and A.A. van Nieuwenhuyzen
1941-50.
Cytoarchitectonic organisation of the habenulae in teleosts.(A) Drawings of adult male individuals belonging to different teleost species, placed in the context of a cladogram of the teleost lineage according to Nelson [28]. (B) Schematic representation of a teleost brain (e.g. D rerio), showing the location and orientation of histological sections shown in C–I. (C–I) Photomicrographs of cresyl-violet stained 10 µm-thick coronal sections taken at a midpoint between rostral and caudal ends of the Hb as shown in B. Each panel corresponds to a single species, as indicated in the letter code of the left diagram. C′ is a magnification of the square region depicted in C. Dorsal is to the top, and left is to the left. Arrowheads point to the subhabenular sulcus. Asterisks indicate the position of the dorsal-most neuropil region of the dorsal habenulae that is surrounded by a shell of cell bodies in some species. Abbreviations: A (anterior), D (dorsal), dHb (dorsal Hb), L (left), P (posterior), R (right), TeO (Optic Tectum), V (ventral), vHb (ventral Hb). Scale bars: 50 µm.
14 August 2005 - Provincetown, Massachusetts - A scantily clad transvestite walks down Commercial Street in Provincetown, MA.
Photo Credit: Jethro Soudant
Second full day in Valencia, and a day of culture planned, or at least visits to several churches.
Which counts as culture, right?
We laid in bed to half seven, then leapt out, had showers and after dressing went down for breakfast. Breakfast was fruit, cold cuts, fresh rolls and cakes all with lashings of coffee, was good.
Traffic outside the hotel is mad in the morning, with it trying to get on the main roads alongside and over the long park, we walked over to the other side and flagged a taxi down to take us to San Nicolás de Bari, or close to it, though walking would not have taken much longer than the taxi ride. We think we got the driver to understand our required destination, and he drove off, weaving in and out of the other cars and buses.
He dropped us in a narrow alleyway lined with old shops covered in graffiti, not sure it it was art or just rundown. But with Maps on the mobile, we walked the three minutes to the church, and found out it opened at half ten. We had 90 minutes to kill.
Down the street was a coffee shop, so we had another coffee and watched the world go by from our small table on the street. We then sat on a bench nearer the church as time crept to half ten and the opening of the church.
I will be forever haunted by the homeless man who was in the doorway opposite, who had made a pair of shoes from offcuts of plastic, and who bought a coffee when he had begged enough. He had dreadlocks, and a trolley of possessions, but was young, handsome, and who knows what his story was.
I even thought about buying him some shoes and taking them there next day, but the heat of the day made me feel quite ill, so not up to the walk.
Both Jools and I have had luck, we both nearly went bankrupt and could have ended up homeless.
St Nicholas is an ancient church, but had something of a Baroque makeover in the 18th century, and the walls, ceilings and everywhere covered in paintings, frescos and statues. As a whole it is remarkable, and the work is of a very high standard indeed. As is the way here, it seems, the church was lined with side chapels with statues or triptychs.
I took lots of shots, though my vertigo was giving me grief, and I would have to sit down between taking shots up at the roof. This would come to a peak at the basilica later that morning, when snapping the inside of the dome I nearly fell over. Jools saw that I nearly came over to catch me.
Oddly, that was the last day I had vertigo, a week later after staring at choughs on the cliffs for ten minutes, I realised I wasn't getting dizzy.
So it goes, so it goes.
Or went.
A short walk away is the Cathedral, a large a sprawling complex meaning that in the search for the entrance I found another Basilica conjoined to it, so we went it and found a small square church by with the underside of the dome gloriously painted.
BasÃlica de la Mare de Déu dels Desemparats is a stone box with a dome, at least from the outside, but the Spanish Baroque had visited here as well, most impressively on the underside of the dome, which is magnificently painted.
It was crowded, which meant any detailed shots were impossible without annoying people who had come to actually worship.
We sat for a wile in the cool before moving on, but crowds at the entrance to the cathedral meant we thought we would return on Friday, early, to beat the crowds. It was half eleven, and in trying somewhere to shady to sit, I find two more churches which to visit, the second a service began at midday.
Santa Caterina offered a climb up the belltower for a few Euros: not in this heat I thought. So we entered the church and found a brick vaulted building, austere compared to St Nicholas and St Mary, but cool and calm.
I took a few shots before we went in search of somewhere to get a cool drink.
But only found cafes offering piping hot coffee.
We found Església de Sant Tomàs i Sant Felip Neri also open, but just before midday itmeant a service was about to start.
We did stay for a while, but in a break in the service, we make best our escape back into the bright sunshine.
Back outside it was hotter than ever, and packed with people. One last visit was to Pl. Redona, a circular plaza, which looked photogenic. But as most other photographers from Europe and beyond had the same thought, and it was filled with market stalls and street cafes, I take a few shots and we leave again through a portal into a quiet street.
But being after midday, it meant bars and restaurants were open, and on a side street we fond a small place that did cold beer and were happy to make us a bowl of Valencian paella, made with chicken and rabbit. Paella takes at least half an hour to make, so we sat, talked and drank cold beers until the tin pan full of rice, herbs, vegetables and meat was brought.
Once we had eaten, it being two in the afternoon, we walked back to the hotel for a siesta. Going was hard, but we walked on the shady side of the streets, and in 20 minutes we were back in our room, but it had yet to be serviced. When the maid came at three, we went and sat in the shade in the small park in the centre of the boulevard outside the hotel, watching people and traffic coming and going.
We sat in the room, writing and listening to podcasts until it was half six, and the heat of the day had left, to walk back to the centre for arts, so we could take shots of the complex once the sun set at quarter to nine.
In fact, the hour we took to ambe there on Wednesday could be done is close to 20 minutes if you don't stop every 20 yards to take photos. Who knew?
The paths and tracks were packed with people doing exercise, taking their dogs or children out for a walk, or just out.
Like us.
Once we reached the complex, crowds had thinned as all was closed to visitors, so it was just a hardy band of photographers and tourists waiting for the sun to set. We had 90 minutes to wait, so we walked up to the far end of the site, where the zoo was, and in there is another fine building, but it could not be seen from the road or paths, but the walk did increase our step could to over 16,000!
As the sun set, lights came on, so we walked back to the taxi rank, taking dozens, if not hundreds of shots, as the light changed minute by minute, and lights came on, illuminating and highlighting the shapes of the buildings.
Half nine, it was dark, and it took ten minutes for a taxi to come by that we could flag down, he whizzed us back to the hotel, and a walk over the road to the Irish bar where most of the city were inside watching the various games being shown. I got us a drink and we took them to sit on the cool pavement tables, watching the traffic and beautiful people passing by. Some were on their way out to paint the town, we were pooped, so went back to the hotel.
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The church of Sant Martà , of Sant Martà Bishop and Sant Antoni Abbot , is one of the oldest in the city of Valencia , located at the beginning of Carrer Sant Vicent . Its origin must be sought in the conquest of the city by Jaume I , being in principle a mosque consecrated to Catholic worship.
After the conquest of Valencia in 1238 , the archbishop of Tarragona, Pere d'Albalat , consecrated a mosque inside the wall, it is the origin of the current Sant MartÃ. At first the construction was modest, as indicated by the fact that in 1276 all the churches had already been built with a new plan, except for Sant Tomà s which still retained the form of a mosque.
The work on the current building dates from 1372 to 1401 , when a larger temple was needed due to the expansion of the wall in 1356 which increased the parish demarcation of Sant MartÃ, which became one of the largest and that occupied a large part of the southwestern sector of the city. For this extension, the space from an old impasse was added , granted by the General Council of the city in 1372 , in 1388 it is recorded that the church doors were already being finished.
Like most Valencian parish churches, it had a unique nave plan with chapels between the buttresses and a polygonal head , but with a trapezoidal and irregular plan, to have adapted to the layout of pre-existing streets. The Gothic elements are partly hidden by later remodeling and where they are most visible is on the outside. The main facade, a large stone wall, shows the blind oculus above the main door, which is the only element of the facade that belongs to later reforms. Also a large part of the side walls correspond to the Gothic construction, as can be seen on the south side where there is an ogival window, many lapidary signs on the ashlars and two shields with heraldic figures; to the north there are remains of windows and gargoyles .
Until the middle of the 16th century , the church maintained its Gothic forms, but between 1547 and 1570 remodeling works were carried out at the head of the building, almost half a century ahead of the reforms at the heads of churches such as Sant Andreu , Sant Joan del Mercat or Sant Esteve , who did it in the middle of the 17th century . For this extension, the houses that stood out had to be demolished and a papal license was even requested, which was obtained through a bull signed in Rome by Paul III on July 9 , 1548 .
This new header was expanded following the polygonal plan of the plant, but innovating in the construction system of the vault. While other churches in the city, even with later reforms, continue to use the cross with flat tile additions, in the church we are dealing with the head is covered with a vault of three skirts preceded by a straight section where a oculus with flashlight. This solution is similar to the one used in the head of the Jerónimos church in Granada , the work of Diego de Siloé and made between 1526 and 1546 . Already in Valencian lands, the work of Sant Martà can be related to works from the environment of Jerónimo Quijano in Oriola, especially in the search to configure a centralized space. The scheme used will later be typified in Alonso de Vandelvira 's stonework treatise as "ochavo igual por cruceros", with the particularity of the slightly oval zenith opening of Sant MartÃ. [2] The soffit of the vault is decorated with boxes full of figures of prophets, virtues, musical angels and shields, the lantern is arranged based on pilasters supported by corbels.
This header becomes one of the few examples in the city of Valencia that adopts stone cutting solutions typical of the Full Renaissance , coinciding with a period in which there is a progressive increase in the use of tile techniques plain for the construction of new vaults, as can be seen in the reconstruction of the infirmaries of the General Hospital after the fire of 1545 , where blown vaults and an oval dome are used.
The lower facings are articulated with a double arrangement of superimposed columns at the angles with their corresponding entablature. The friezes are decorated with renaissance motifs, in the lower one there are a lot of putti between targes, roleus and vases, in the upper one busts of apostles between foliated corbels. Also noteworthy is the arrangement of the angles with semi-columns flanked by transpilasters and protruding entablature . And the side covers with double pairs of columns supporting an entablature with highlighted elements and where stuccos are repeated with naked figures holding mascarons, pilasters with grotesques and finished with a small pediment with a shell.
On the outside, the expansion made is also visible in the differences in the factory and in two buttresses, one with a sculpture of three Atlanteans placed in the form of a capital on a pilaster with a raven frieze . In the same wall canvas you can see a gap with a powerful slanted capital that was used for the lighting of the transagrarian of the church, built at the same time.
By 1567 most of this reform was finished, in 1570 there is evidence of the payment to Miquel Porcar for the paving of the entire presbytery. The following year, work began on the sacristy (not preserved), which lasted until 1574 . These works were part of the remodeling of the head office and were directed by Joan d'Alfafar, foreman also linked to the General Hospital , since his training as a worker began with the group of the foreman who directed the reconstruction of the infirmaries: Vicent Eiximeno, alias d'Oliva. [3] Also, in the carpentry work, the name of Gaspar Gregori appears , specifically in the drawers of the sacristy.
The association of the architect Gaspar Gregori with the church of Sant Martà only related to the carpentry could be extrapolated to the rest of the construction. The architect of the reform of the header is unknown, Miquel Porcar is a simple stonecutter documented in the paving. Only Gaspar Gregori would be one of the only master architects able to give these fully Renaissance traces, as he himself will do in the models of the Hospital, the New Work of the cathedral and the tower of the Generalitat , among others, and which he also carried out in collaboration with Porcar.
This reform will not have a major impact in Valencia, only in contemporaneous dates is the construction of coffered vaults applied in small spaces, such as in the transagrarian of the church of Algemesà ( made in the third quarter of the sixteenth century ) or the remodeling of the head of the church of the convent of Jesus (contracted in 1570 with the Italian master builders and plasterers Batiste Abril and Joan Maria Quetze) which included a stucco vault with abundant figures.
Between 1618 and 1620, the master builder Antoni Gallego built a double-sided cover or roof over the roof of the church to prevent moisture and seepage from the Gothic vault. Between 1621 and 1627 the stonemasons Bartomeu Abril and Tomàs Leonart Esteve contracted the construction of the new bell tower . They had already done some work inside the temple, such as plastering and whitewashing the walls in 1620 and 1621.
The first bell tower occupied the corner of Carrer de l'Abadia de Sant MartÃ, now it has moved to its current location. It has a rectangular plan and smooth ashlars, an ordered body of bells based on an arch on each side flanked by a pair of pilasters decorated by circles and rectangles and friezes with foliated corbels. The upper body is not currently preserved, it was dismantled at the end of the 19th century , and had a domed body with a lantern finial , just like the contemporaries of the churches of Sant Joan del Mercat or the Convent del Carme .
The Communion Chapel was built from 1669 to 1674 , it is almost a small independent church, designed by the architect Gaspar Matutano with the master builder Josep Escrivà . The completion date is inscribed on a sign located at the access door, independent of the church. This cover takes up almost the entire face of the facade, divided into a scheme of two bodies, the lower one framed by attached columns and pilasters topped by a relief of the Blessed Sacrament. The upper one has a split pediment containing the base of a window with pilasters and scrolls on the sides and curved pediment with volutes on the top. theshells _ It also contains part of the altarpieces from the chapel of the Gremi d'Argenters in the church of Santa Caterina , the altarpiece of the Gremi, made by Josep Pons and traced by LluÃs Domingo, Josep Herrero, Vicent Llorens, Felip Rubio and Tomà s Miner, stands out ; in addition to two Ribalta tables on the life of Saint Eloi .
During the 18th century , important reforms were carried out inside the building, construction and cladding works that shape the current appearance. In 1715, the main chapel was renovated, with stucco work and decoration with frescoes painted by DionÃs Vidal, to which others had been ordered for the transagrarian five years earlier. The main altarpiece was also modified by Juan Muñoz el Jove over the previous one drawn by the sculptor Tomà s Sanchiz fifty years earlier. This new altarpiece was adapted to the structure of the presbytery by means of two bodies with a lintel, the lower one with columns on high pedestals that supported a broken-line entablature and the upper one with double columns and split pediment. Neither the frescoes nor the altarpiece are preserved due to their destruction in 1936 .
In 1723, a new sacristy was built over the previous one from the 16th century and an adjacent house, following the footsteps of the architect José Cardona i Pertusa, under the direction of the master builder Mauro Minguet el Major. José Cardona ( 1672 - 1732 ), was a disciple of Tosca and would give the traces of other important works such as that of the church of Sant Sebastià begun in 1726 and modification projects of the church of Santa Maria la Major d'Oliva . This space is also considered lost because it was one of the most affected in 1936.
The great renovation of the interior of the temple was carried out between 1735 and 1753 . Although the authorship is not clear, the role of Francesc Vergara el Major stands out , who would have the help of the architect Josep Herrero (author of the traces of the church of Alcalà de Xivert , of the later chapel of the Communion of the church of Santa Maria d'Elx , being one of the most outstanding architects of the Valencian eighteenth century). With these great masters, workers and stonemasons participated who would build the traces given, among them: the masters Miquel and Llorenç MartÃnez, the stonemasons Joan Sancho, Joan Baptista Ribes and especially Tomà s Miner.
This great baroque reform follows the model, albeit fifty years earlier, of the one carried out in the church of Sant Joan del Mercat , especially in decorative elements and in the scheme of large columns between the side chapels and elliptical panels on the arches The reform involves a total reorganization, which hides the Gothic factory with a barrel vault and lunettes that extends below the original, in addition to the total remodeling of the side chapels, which are lowered and covered with new cupules with lanterns. [5]
What stands out the most about the new arrangement is the change from a trapezoidal plan to an apparently orthogonal one, except that it is especially evident in the oval domes of the side chapels. The main nave is ordered by high jasper pedestals on which the half columns with helical shafts are located, with the lower third decorated with rock stones, a Corinthian capital and a Doric entablature with a frieze of triglyphs and metopes. The entablature stands out with a triglyph on each of the columns and by the cornice that also protrudes, coinciding with the fascinted arches. In the intercolumniations, the chapels open with semicircular arches and above the oval medallions. The columns and metopes of ecclesiastical motifs are elements that have the, evidencing the first years of Francesc Vergara 's training . He would also be in charge of decorating some chapels with paintings, such as the shells of Sant Mena, but most of the frescoes would be executed by Josep Vergara , they were destroyed in 1936 .
Ignasi Vergara made some sculptures for the church, such as Sant Joaquim and Sant Josep , which frame the window located above the main portal. Other artists intervened, such as the painters J. Rosselli J. Pérez, who according to Ponz , painted the oval panels with scenes from the lives of saints and an "Allegory of the Eucharist" over the main entrance.
ca.wikipedia.org/wiki/Esgl%C3%A9sia_de_Sant_Mart%C3%AD_(Val%C3%A8ncia)
September 01, 2018:.
18-544428.
Toronto
60 Bloor St W Re-cladding
Office Buildings
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The 2015 HUNKY JESUS CONTEST with THE SISTERS OF PERPETUAL INDULGENCE !
A MUSCLE-BOUND, diaper clad, HUNKY JESUS carrying his toy Easter bunnies, two baby bottles filled with milk, and sucking on a pacifier waddled up on stage much to the delight of Sister ROMA and the crowd. Everyone went in to a wild uproar when he squirted his bottle of milk all over his golden tan, rippled muscled beautiful body a la Flashdance. Milk really do a body good...BABY JESUS won the title of 2015 HUNKY JESUS CONTEST!
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