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The Alfa Romeo 6C name was used on road, race, and sports cars produced between 1927 and 1954 by Alfa Romeo; the "6C" name refers to the six cylinders of the car's straight-six engine. Bodies for these cars were made by coachbuilders such as James Young, Zagato, Touring Superleggera, Castagna, and Pinin Farina. Beginning in 1933 there was also a 6C version with an Alfa factory body, built in Portello. In the early 1920s Vittorio Jano received a commission to create a lightweight, high performance vehicle to replace the Giuseppe Merosi designed RL and RM models. The car was introduced in April 1925 at the Salone dell' Automobile di Milano as the 6C 1500. It was based on Alfa's P2 Grand Prix car, using a single overhead cam 1,487 cc in-line six-cylinder engine, producing 44 horsepower. In 1928 the 1500 Sport was presented, which was the first Alfa Romeo road car with double overhead camshafts.
6C 1500 (1927–1929)
Alfa Romeo 6C 1500
1929 6C 1500 Super Sport, 1929, in the Louwman Collection
Overview
Production1927–1929
Powertrain
Engine1.5 L (1,487 cc) I6
1.5 L (1,487 cc) supercharged I6
Transmission4-speed manual
Dimensions
Wheelbase
2,900 mm (114.2 in) 4-seater[1]
3,100 mm (122.0 in) 6-str., Normale[1]
2,920 mm (115.0 in) Sport, S.S.[2]
In the mid-1920s, Alfa's RL was considered too large and heavy, so a new development began. The 2-litre formula that had led to Alfa Romeo winning the Automobile World Championship in 1925, changed to 1.5-litres for the 1926 season. The 6C 1500 was introduced in 1925 at the Milan Motor Show. Series production started in 1927,[3] with the P2 Grand Prix car as a starting point.The Alfa Romeo 6C-1500 Super Sport features a twin overhead cam six cylinder engine with a bore of 62 mm and stroke of 82 mm, giving a displacement of 1487 cc, as against the P2's 1,987 cc, while supercharging was dropped. First versions were bodied by James Young and Carrozzeria Touring.
In 1928, the 6C Sport model was released, with a dual overhead-camshaft engine. Its sport version won many races, including the 1928 Mille Miglia. Total production was 3,000 (200 with DOHC engines). Ten examples of a supercharged (compressore, compressor) Super Sport variant were also built. Wikipedia
What can I say?
It is what it is ...
A farewell...
Sadness...
Melancholy ...
Attachment ...
Solidarity ...
Commitment ...
Warmth ...
Closeness ...
Friendship ...
It is what it is ...
Bittersweet
Resurrected from a pic created 12 years ago. A contemplative selfie - not Jesus. Just my Christ Consciousness hangin out.
Weekend commitments mean adventuring no further than the back garden, so what better opportunity then to get the old Tamron 150-600mm with Kenko x2 convertor, so 1200mm @ F5.6 / 1/125sec ISO 200 on the Canon 7D2
I dedicate this image to Jay Daley for his effort and commitment on arriving on location at 7am, befriending a security guard (that looked like Pauly from Rockie) and then managed to get a special area roped off exclusively for us!
Great night out with the focus group with plenty of laughs and not a lot of drinking which makes for a great news years day.
This was taken through the sixth floor window of an abandoned and deteriorating building on the East side of Cleveland. I remember it was such a beautiful day to go urban exploring.
Cleveland has always been like a second home for me. I grew up about 45 minutes south in the farmlands of NE Ohio.
The title of this one is what I think of when I think of Cleveland. The natives from the city and surrounding areas are very proud, committed, strong and hardworking people.
Location: Cleveland, Ohio
Capture Date:
Edit Date: 05.22.2011
Camera: Canon EOS Digital Rebel
One of the most fun and daring things I’ve ever done was this photo. As a man the challenge of attempting to portray myself as a woman appealed to me as of course I am a transvestite but the excitement of daring to try something risqué certainly spurred me on.
It took a lot of shaving off of male body hair, plucking of eyebrows, no small amount of make-up then plenty of tape to lift my chest to create the illusion of having breasts, aided by wearing breast forms inside my bra and also a genital tuck to try and create a feminine silhouette, again aided by judicious use of adhesive tape. To then don the wig, wear knickers, tights and pull the woman’s shirt well off my shoulders and finally step into a pair of stilettos… it was amazing to experience!
I then had a lot of fun getting into the persona of my female alter-ego and my ambition, though I admit I have no idea if I achieved it, was to try and create an appearance of being a woman that men may find desirable.
I think my inner quest for men to desire me as a woman is not to do with sex but all to do with seeking verification. Part of me dreams of being able to look like a woman and so being desired as a woman by a man is the ultimate verification of the illusion I am attempting to portray.
I do enjoy engaging in cross-dressing and female impersonation, the effort and commitment and the undeniable amazing way I feel when transformed is a real high. As I mentioned, with me being a transvestite such activity is one I enjoy and it never fails to disappoint.
of my commitment to spend every day for a week being me!
And ...........
I managed to go for a walk, on my own, outside, for the 1st time in 6 months!
The crisis stabilization unit is in effect an emergency room for psychiatry, frequently dealing with suicidal, violent, or otherwise critical individuals. Laws in many jurisdictions providing for long term involuntary commitment require a commitment order issued by a judge within a short time (after 72 hours, the evaluation period) of the patient's entry to the unit, if the patient does not or is unable to consent
Abandoned 3 mile sanatorium
the photo captures the intimate dance of closing time at cabanyal's markethall. a fishmonger, hands clad in protective gloves, delicately handles the day's remnants. her focus is unwavering, a silent testament to the craftsmanship that feeds a city. the overhead lamps cast a halo over her work, a soft spotlight on the icy bed where sea creatures once sprawled. this is the quiet behind the day's clamor, the unseen ballet that offers a glimpse into the lifeblood of a community's culinary culture.
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“FLOWERS … and WEDDINGS …
Go together like CREATION … and COMMITMENT <3”
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Dear Dorothy;
Get the flowers YOU LOVE …
(In your price point, of course !) <3
Our favorite idea... is to have a single flower ...
… tucked somewhere near you …
On your Special Day …
To remind you that the fragrance of nature's beauty …
and the miracle of LOVE …
are with you every moment <3
xo
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BLYTHE-A-DAY
A flickr Group
JUNE 2026 - The Wedding Month
Day 11: "FLOWERS"
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One from my Winter trip to Iceland. My attempt at a non-cliched shot of Jokulsarlon beach on a dull day. I imagine it was entertaining to watch!
© Copyright - brendan ó - 2011 | All rights reserved.
Please do not use, copy or edit any of my materials without my written permission. If you want to use this or any other image, please contact me first.
A brief selection of images from a recent series of dawn photowalks, Eastney & Southsea
Got to admire the commitment of these two
Nov. 15, 2012
"The President had just met with the U.S. Olympics gymnastics team, who because of a previous commitment had missed the ceremony earlier in the year with the entire U.S. Olympic team. The President suggested to McKayla Maroney that they recreate her 'not impressed' photograph before they departed." (Official White House Photo by Pete Souza)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
Crazy Horse Memorial
Sculptor Korczak Ziolkowski and Lakota Chief Henry Standing Bear officially started Crazy Horse Memorial June 3, 1948. The Memorial's mission is to honor the culture, tradition and living heritage of North American Indians.
Crazy Horse Memorial Foundation demonstrates its ongoing commitment to this promise by following these objectives:
- Continuing the progress on the world's largest mountain sculpture, carving a memorial to the spirit of legendary Lakota leader Crazy Horse and his culture;
- Providing educational and cultural programming to encourage harmony and reconciliation among all people and nations;
- Acting as a repository for Native American artifacts, arts and crafts through the Indian Museum of North America and the Native American Educational & Cultural Center;
- And by establishing and operating the Indian University of North America, and when practical, a medical training center for American Indians
www.crazyhorsememorial.org/about/
______________________________
Le sculpteur Korczak Ziolkowski et le chef Lakota Henry Standing Bear ont officiellement commencé le Crazy Horse Memorial le 3 Juin 1948. L'objectif de ce mémorial est de mettre à l'honneur le patrimoine, la culture, la tradition et la vie des Indiens nord-américains.
La fondation Crazy Horse Memorial démontre son engagement continuel dans cette mission en suivant les objectifs suivants:
- Réaliser dans la montagne la plus grande sculpture du monde, un monument dédié à l'esprit et à la culture du légendaire chef Lakota Crazy Horse;
- Fournir des éléments éducatifs et culturels pour encourager l'harmonie et la réconciliation entre tous les peuples et les nations;
- Agir en tant que référentiel pour les objets, les arts et l'artisanat amérindiens par le biais du Musée de l'Indien d'Amérique du Nord et le Native American Educational & Cultural Center;
- Et en créant et exploitant l'Université indienne de l'Amérique du Nord, et lorsque cela est possible, un centre de formation médicale pour les Indiens d'Amérique
Traduit de :
Shot with my Fuji X100's using a Cokin soft filter.
This is my last picture for my weekly theme 'Commit' and my 365 group.
I'm commited to take a picture for each day of the year =)
No treatment, but not sooc, due a tiny crop.
My yearning to spend time in the guise of a woman is building within me just now. The reality is nearly two years have passed since I last cross-dressed and there is no real opportunity to do so this year. It will likely be 2017 before I become Helene, my female alter-ego once more. In the meantime I get by on the memories and looking at my photo archives and enjoy the anticipation that will slowly build over the next year for the next opportunity.
There were several reasons why I have not been able to cross-dress. Family and work commitments are always my priority over my own personal desires and the last two years have been enjoyable despite no cross-dressing so I’m not tortured, depressed or eaten up, quite the opposite. I did have a major health issue crop up in early autumn requiring major surgery. To be frank, everything else became of little consequence as my focus was on getting through it and recovering my health. The surgery is now over and my recuperation period will be many months but I gain improved health with each passing week. Such an encounter with one’s own mortality and a prolonged recovery period provides an opportunity in allowing time to think and helps clarify what is most precious to you in life.
I adore becoming a woman but I am aware it is a selfish indulgence on my part and my family do tolerate it but there is no direct involvement. This suits me as I could never appear as a woman in front of my wife, I simply could not bear to do that. My wife knows I am a transvestite and this is how I am able on occasion to shave my legs, chest and arms and pluck my eyebrows, its not a secret but it is compartmentalised. This is the main reason why I rarely cross-dress.
Another reason is I simply cannot bear to cross-dress as a woman unless I can go the whole way, body shaving, eyebrows plucked, full make-up, wig, female underwear clothing, shoes, nail varnish and perfume. If I am not in a position to do that I prefer not to cross-dress. I suppose I am an an 'all or nothing' transvestite. This is because I need to feel I’m a woman on an emotional level as I do have some transsexual aspects to me but not enough to embark upon transitioning full time. I still enjoy my male life despite desiring to swap gender now and again.
When I dress up as a woman I try to act convincingly as a female and I admit I do feel comfortable in the role and get a buzz out of being Helene. I find as Helene I become in my head an heterosexual woman and I don’t, or should I say I no longer, have issues with freeing that part of myself. I am actually very comfortable being her and I love being a woman.
I do have aspirations to try and live as a woman for a few days now and again and to forget I am a man. I would love such a experience and I am actually convinced one day it will actually happen. This picture, taken on 3 June 2014, captures me in that frame of mind; I had ceased being a man in my head and felt euphoric at being Helene the woman. The photograph I am posting means a lot to me as I felt rather complete as a person having accepted my female self alongside my male self and believe me, I really had become female within myself at the time this photo was taken.
It is an intense private experience yet one that always leaves me both happy and emotionally exhausted afterwards. As I remove my wig take off my female clothing and my feet experience the relief of kicking off my high heels then wash off my make-up I find a deep inner contentment that lingers for days and often many weeks. Those few hours of becoming a woman are always incredible and rewarding. I would like some female experience. One I dream of is getting made-up, wig styled and wearing a gorgeous dress and high heels and being taken out for dinner and treated as a lady. It would be daring and rather thrilling and prove to me I can switch gender and free every part of my male/female self.
I admit it, I’m happy in a dress, in make-up wearing high heels and love the idea men may desire desire me as a woman. Somehow such a project would vindicate I can pass myself off as a female. It takes a lot of effort and commitment to take on a female appearance so being found attractive by a man is quite a reward even if I have no desire to be intimate with a man. I simply dream of being a woman now and again and hope that she is convincing in appearance and feels real. The day this picture was taken I was very much settled into being Helene, the woman and felt poised in maybe taking her to a new level. That level can only be venturing out as her? To truly carry off the role though surely being the woman alongside man is the ultimate in trying to achieve convincing female appearance? Could I do it? The thought both excites me and terrifies me. Could I play the role completely and respond naturally as a woman despite being a man? The truth is I finally am aware I would love to one day try such a thing and see how I do. A future adventure to muse over! Being a transvestite can be a lot of fun and you get to wear lots of make-up (which I love to wear). I’m never happier than when I’m applying mascara to my lashes and my face is covered in foundation and I feel so happy as I paint on lipstick, I just feel good in make-up, it boosts my confidence and makes me feel good.
I do so much love being a transvestite...love it, love it love it!
Time and family commitments stopping me getting out so I'm playing with Silver Efex Pro.
This is the Isle of Skye, and shows Gesto Bay with the Cuillin Mountains behind. An archive shot from 2013
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© Copyright 2014 Philip Hunter, All Rights Reserved.
You do NOT have the right to copy, reproduced, download, or exploit any of my images without my permission.
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In the late 1950s, Wolverhampton Council proposed a controversial and costly project to build a ring road around the town, to divert ‘through traffic’ away from the town centre. As with most towns in Britain, the huge increase in private car ownership was becoming a headache for the town’s planners.
As part of the town’s future road planning, it was decided that the building of the ‘Ring Road’ would also force the abandonment of the town’s trolleybus system, as the council wanted ‘no trolleybuses or trolleybus infrastructure’ to encounter the new Ring Road! This commitment would become a huge finical burden on the local rate-payers, so budgetary restraints were made where possible. Construction of the Ring Road began in 1961, but took almost three decades to complete.
Between June 1963 and March 1967, Wolverhampton Corporation Transport purchased 146 new double-deck motorbuses to replace the post-war trolleybus fleet. The financial enormity of funding the conversion program impacted on the quality of the new motorbus purchases, with savings having to be made. From 1965 – 1967, the Transport Department’s budget constraints forced them to opt for cheaper bus bodies to be fitted to the locally built Guy Arab V motorbus chassis that the council were duty-bound to purchase. Strachan (Coachbuilders) Ltd of Hamble, Hampshire became the new bus body supplier, but these budget built bus bodies for the Guy Arabs would soon prove to be sub-standard, resulting in short service lives due to structural fatigue.
On the demise of the town's last trolleybuses in March 1967, came the news that twelve high-capacity single-deck buses had been ordered. In July 1967, the ‘Transport Department’ took delivery of six AEC Swifts (708-713) and six Daimler Roadliners (714-719), all having Strachan built dual-doored bodies. This may have been seen as an extravagant purchase in lieu of the tax payers money recently spent on the trolleybus replacement fleet?
The buses appeared very modern looking, with large windows and spacious high-roofed interiors, being very similar in design to London Transport’s Strachan bodied ‘Red Arrow’ buses that had been new to the capital in 1966. The intension from the outset was to trial the concept of ‘pay-on-entry’ buses, with passengers paying the driver on boarding the bus.
The new buses were initially put to work on the No1 Tettenhall service to gauge public reaction to 'pay-on-entry, and assessing operational issues. However, after a few weeks the experiment was ended and crew-operated double-deckers reinstated to the route. Against all expectations, the costly experiment hadn’t been a success, having been met with mixed reactions from the travelling public who were not used to paying the driver on boarding, much preferring bus conductors to take their fares. It was also found that the ‘Cummins V6’ engined Daimler ‘Roadliners’ in particular, didn’t like the intense ‘stop and start’ work on this short urban service. Therefore a decision was made to redeploy these buses to rural services, such as the lengthy No17 and No31 routes to Bridgnorth in Shropshire. In this setting, the stops were fewer and the average speeds were higher, but as a cost saving measure the buses continued to be used as ‘pay-on-entry’ vehicles.
In October 1969, 708-719, along with the rest of the former Wolverhampton Corporation bus fleet, became part of the newly formed West Midlands PTE, whereupon they were renumbered 708N - 719N.
The first victim to early withdrawal was Roadliner 714N, which was lost to fire when working the No17 Bridgnorth service in November 1971. The following year, AEC Swifts 708, 711 were withdrawn and sold to Northampton Transport for further use.
The remaining buses continued to be allocated to Wolverhampton’s Bilston Garage, their duties staying much the same until the loss of the rural bus network in December 1973. The Midland Red taking over these services from WMPTE as part of a wider operational agreement between the two concerns.
Being relatively modern buses and suitable for one-man-operation, WMPTE continued to use the remaining Roadliners and Swifts, but with an eye to disposing of them when the opportunity arose as they did not fit the general fleet profile. Despite the Roadliners continuing to be mechanically troublesome, 716-719 received repaints into WMPTE livery in 1972 and 1973, and may have received body strengthen modifications in preparation? However, the AEC Swifts were never repainted out of their Wolverhampton colours.
Following the premature exit of 708N, 711N (pictured) and 714N, the next to go was Roadliner 715N in July 1973 suffering structural faults to its Strachan built body. It was sold for scrap in May 1974 still wearing WCT green and yellow.
The remaining AEC Swifts came out of service between 1973 to 1974, and the last Roadliners were finally withdrawn between the end of 1974 and January of 1975. Some of these buses found new owners, but all eventually ended up being scrapped with the exception of 719N. Today, 719(N) survives at the Transport Museum Wythall, restored into WCT livery.
The picture taken by the late Dave Everitt, show AEC Swift 711N pulling out onto Railway Drive, as it departs Victoria Square Bus Station for Cheslyn Hay in July 1970.
As for the previously mentioned ‘Ring Road’, that has further relevance to this picture, as part of its Eastern section runs right through the location where this picture was taken.
Image scanned from the original 35mm colour slide.
A rework of an older shot, i always loved the energy but wasn't a great fan of the noise levels, cleaned up a little bit in PS.
La Cattedrale di Santa Maria Fiore - Duomo, Firenze (Florença)
www.google.com/maps?q=florença%20italia&layer=c&...
Following, a text, in english, from Wikipedia, the Free Encyclopedia:
The Basilica di Santa Maria del Fiore (English: Basilica of Saint Mary of the Flower) is the cathedral church of Florence, Italy. The Duomo, as it is ordinarily called, was begun in 1296 in the Gothic style to the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th century Gothic Revival façade by Emilio De Fabris.
The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. The three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major attraction to tourists visiting the region of Tuscany. The basilica is one of Italy's largest churches, and until development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.
The cathedral is the mother church of the Roman Catholic Archdiocese of Florence, whose archbishop is currently Giuseppe Betori.
he Basilica di Santa Maria del Fiore was built on the site of an earlier cathedral dedicated to Saint Reparata.[1] The ancient building, founded in the early 5th century and having undergone many repairs, was crumbling with age, as attested in the 14th century Nuova Cronica of Giovanni Villani,[2] and was no longer large enough to serve the growing population of the city.[2] Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, as seen at Pisa and particularly Siena where the enormous proposed extensions were never completed.
The new church was designed by Arnolfo di Cambio and approved by city council in 1294. Arnolfo di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio. He designed three wide naves ending under the octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on September 9, 1296 by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 170 years, the collective efforts of several generations; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.
After Arnolfo died in 1302, work on the cathedral slowed for the following thirty years. The project obtained new impetus, when the relics of Saint Zenobius were discovered in 1330 in Santa Reparata. In 1331, the Arte della Lana, the [=[Guilds of Florence|guild of wool merchants]], took over exclusive patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died in 1337, Andrea Pisano continued the building until work was again halted due to the Black PDeath in 1348.
In 1349 work resumed on the cathedral under a series of architects, commencing with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359 Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the center nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravante and Andrea Orcagna. By 1375 the old church Santa Reparata was pulled down. The nave was finished by 1380, and by 1418 only the dome remained incomplete.
On 19 August 1418, the Arte della Lana announced a structural design competition for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, who was supported by Cosimo de Medici. Ghiberti had been winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two remained acute. Brunelleschi won and received the commission.[3]
Ghiberti, appointed coadjutator, was drawing a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, would potentially earn equal credit, while spending most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423 Brunelleschi was back in charge and took over sole responsibility.[4]
Work started on the dome in 1420 and was completed in 1436. The cathedral was consecrated by Pope Eugene IV on March 25, 1436 (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame: the Roman Pantheon, a circular dome, was built in 117–128 AD with support structures. It was one of the most impressive projects of the Renaissance. During the consecration service in 1436, Guillaume Dufay's similarly unique motet Nuper rosarum flores was performed. The structure of this motet was strongly influenced by the structure of the dome.
The decoration of the exterior of the cathedral, begun in the 14th century, was not completed until 1887, when the polychrome marble façade was completed to the design of Emilio De Fabris. The floor of the church was relaid in marble tiles in the 16th century.
The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent baptistery the Battistero di San Giovanni and Giotto's Bell Tower. There are two lateral doors, the Doors of the Canonici (south side) and the Door of the Mandorla (north side) with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia. The six lateral windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common feature in Italian Gothic.
During its long history, this cathedral has been the seat of the Council of Florence (1439), heard the preachings of Girolamo Savonarola and witnessed the murder of Giuliano di Piero de' Medici on Sunday, 26 April 1478 (with Lorenzo Il Magnifico barely escaping death) in the Pazzi conspiracy.
Exterior
Plan and structure
The cathedral of Florence is built as a basilica, having a wide central nave of four square bays, with an aisle on either side. The chancel and transepts are of identical polygonal plan, separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and aisles are separated by wide pointed Gothic arches resting on composite piers.
The dimensions of the building are enormous: length 153 metres (502 ft), width 38 metres (124 ft), width at the crossing 90 metres (295 ft). The height of the arches in the aisles is 23 metres (75 ft). The height from pavement to the opening of the lantern in the dome is also 90 metres (295 ft).
Dome
By the beginning of the fifteenth century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15 ft) high 9.2 metres (30 ft) long, was standing in a side isle of the unfinished building, and had long ago become sacrosanct.[5] It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
The Duomo viewed from the heights of Piazzale Michelangelo
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravante's model was chosen over a competing one by Giovanni di Lapo Ghini.[6] That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts, in addition to being a style favored by central Italy's traditional enemies to the north.[7] Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. A wooden form had held the Pantheon dome aloft while its concrete set, but for the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[8] Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of bricks, due to its light weight compared to stone and easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco and still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one each at the top and bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. He was also able to accomplish this by setting vertical "ribs" on the corners of the octagon curving towards the center point. The ribs had slits, where platforms could be erected out of and work could progressively continue as they worked up,a system for scaffolding.[9]
A circular masonry dome, such as that of Hagia Sophia in Istanbul can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.[10]
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome at its base; it has no embedded chains.[11]
A modern understanding of physical laws and the mathematical tools for calculating stresses was centuries into the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design was for an octagonal lantern with eight radiating buttresses and eight high arched windows (now on display in the Museum Opera del Duomo). Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (375 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
The commission for this bronze ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.[12]
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".[13]
The decorations of the drum gallery by Baccio d'Agnolo were never finished after being disapproved by no one less than Michelangelo.
A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.[14]
The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the nineteenth century.
Façade
Façade of the cathedral
The original façade, designed by Arnolfo di Cambio and usually attributed to Giotto, was actually begun twenty years after Giotto's death.[citation needed] A mid-15th century pen-and-ink drawing of this so-called Giotto's façade is visible in the Codex Rustici, and in the drawing of Bernardino Poccetti in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them Andrea Orcagna and Taddeo Gaddi. This original façade was only completed in its lower portion and then left unfinished. It was dismantled in 1587-1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. Some of the original sculptures are on display in the Museum Opera del Duomo, behind the cathedral. Others are now in the Berlin Museum and in the Louvre. The competition for a new façade turned into a huge corruption scandal. The wooden model for the façade of Buontalenti is on display in the Museum Opera del Duomo. A few new designs had been proposed in later years but the models (of Giovanni Antonio Dosio, Giovanni de' Medici with Alessandro Pieroni and Giambologna) were not accepted. The façade was then left bare until the 19th century.
Main portal of the cathedral
In 1864, a competition was held to design a new façade and was won by Emilio De Fabris (1808–1883) in 1871. Work began in 1876 and completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's bell tower and the Baptistery, but some think it is excessively decorated.
The whole façade is dedicated to the Mother of Christ.
Main portal
The three huge bronze doors date from 1899 to 1903. They are adorned with scenes from the life of the Madonna. The mosaics in the lunettes above the doors were designed by Niccolò Barabino. They represent (from left to right): Charity among the founders of Florentine philanthropic institutions, Christ enthroned with Mary and John the Baptist, and Florentine artisans, merchants and humanists. The pediment above the central portal contains a half-relief by Tito Sarrocchi of Mary enthroned holding a flowered scepter. Giuseppe Cassioli sculpted the right hand door.
On top of the façade is a series of niches with the twelve Apostles with, in the middle, the Madonna with Child. Between the rose window and the tympanum, there is a gallery with busts of great Florentine artists.
Interior
The Gothic interior is vast and gives an empty impression. The relative bareness of the church corresponds with the austerity of religious life, as preached by Girolamo Savonarola.
Many decorations in the church have been lost in the course of time, or have been transferred to the Museum Opera del Duomo, such as the magnificent cantorial pulpits (the singing galleries for the choristers) of Luca della Robbia and Donatello.
As this cathedral was built with funds from the public, some important works of art in this church honour illustrious men and military leaders of Florence:
Dante Before the City of Florence by Domenico di Michelino (1465). This painting is especially interesting because it shows us, apart from scenes of the Divine Comedy, a view on Florence in 1465, a Florence such as Dante himself could not have seen in his time.
Funerary Monument to Sir John Hawkwood by Paolo Uccello (1436). This almost monochrome fresco, transferred on canvas in the 19th c., is painted in terra verde, a color closest to the patina of bronze.
Equestrian statue of Niccolò da Tolentino by Andrea del Castagno (1456). This fresco, transferred on canvas in the 19th c., in the same style as the previous one, is painted in a color resembling marble. However, it is more richly decorated and gives more the impression of movement. Both frescoes portray the condottieri as heroic figures riding triumphantly. Both painters had problems when applying in painting the new rules of perspective to foreshortening: they used two unifying points, one for the horse and one for the pedestal, instead a single unifying point.
Busts of Giotto (by Benedetto da Maiano), Brunelleschi (by Buggiano - 1447), Marsilio Ficino, and Antonio Squarcialupi (a most famous organist). These busts all date from the 15th and the 16th century.
Above the main door is the colossal clock face with fresco portraits of four Prophets or Evangelists by Paolo Uccello (1443). This one-handed liturgical clock shows the 24 hours of the hora italica (Italian time), a period of time ending with sunset at 24 hours. This timetable was used till the 18th century. This is one of the few clocks from that time that still exist and are in working order.
The church is particularly notable for its 44 stained glass windows, the largest undertaking of this kind in Italy in the 14th and 15th century. The windows in the aisles and in the transept depict saints from the Old and the New Testament, while the circular windows in the drum of the dome or above the entrance depict Christ and Mary. They are the work of the greatest Florentine artists of their times, such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno.
Christ crowning Mary as Queen, the stained-glass circular window above the clock, with a rich range of coloring, was designed by Gaddo Gaddi in the early 14th century.
Donatello designed the stained-glass window (Coronation of the Virgin) in the drum of the dome (the only one that can be seen from the nave).
The beautiful funeral monument of Antonio d'Orso (1323), bishop of Florence, was made by Tino da Camaino, the most important funeral sculptor of his time.
The monumental crucifix, behind the Bishop's Chair at the high altar, is by Benedetto da Maiano (1495–1497). The choir enclosure is the work of the famous Bartolommeo Bandinelli. The ten-paneled bronze doors of the sacristy were made by Luca della Robbia, who has also two glazed terracotta works inside the sacristy: Angel with Candlestick and Resurrection of Christ.
In the back of the middle of the three apses is the altar of Saint Zanobius, first bishop of Florence. Its silver shrine, a masterpiece of Ghiberti, contains the urn with his relics. The central compartment shows us one his miracles, the reviving of a dead child. Above this shrine is the painting Last Supper by the lesser-known Giovanni Balducci. There was also a glass-paste mosaic panel The Bust of Saint Zanobius by the 16th century miniaturist Monte di Giovanni, but it is now on display in the Museum Opera del Duomo.
Many decorations date from the 16th-century patronage of the Grand Dukes, such as the pavement in colored marble, attributed to Baccio d'Agnolo and Francesco da Sangallo (1520–26). Some pieces of marble from the façade were used, topside down, in the flooring (as was shown by the restoration of the floor after the 1966 flooding).
It was suggested that the interior of the 45 metre (147 ft) wide dome should be covered with a mosaic decoration to make the most of the available light coming through the circular windows of the drum and through the lantern. Brunelleschi had proposed the vault to glimmer with resplendent gold, but his death in 1446 put an end to this project, and the walls of the dome were whitewashed. Grand Duke Cosimo I de' Medici decided to have the dome painted with a representation of The Last Judgment. This enormous work, 3,600 metres² (38 750 ft²) of painted surface, was started in 1568 by Giorgio Vasari and Federico Zuccari and would last till 1579. The upper portion, near the lantern, representing The 24 Elders of Apoc. 4 was finished by Vasari before his death in 1574. Federico Zuccari and a number of collaborators, such as Domenico Cresti, finished the other portions: (from top to bottom) Choirs of Angels; Christ, Mary and Saints; Virtues, Gifts of the Holy Spirit and Beatitudes; and at the bottom of the cuppola: Capital Sins and Hell. These frescoes are considered Zuccari's greatest work. But the quality of the work is uneven because of the input of different artists and the different techniques. Vasari had used true fresco, while Zuccari had painted in secco. During the restoration work ended in 1995, the entire pictorial cycle of the The Last Judgment was photographed with specially designed equipment and all the information collected in a catalogue. All the restoration information along with reconstructed images of the frescos were stored and managed in the Thesaurus Florentinus computer system.
Crypt
The cathedral underwent difficult excavations between 1965 and 1974. The subterranean vaults were used for the burial of Florentine bishops throughout the centuries.
Recently[when?] the archaeological history of this huge area was reconstructed through the work of Dr Franklin Toker: remains of Roman houses, an early Christian pavement, ruins of the former cathedral of Santa Reparata and successive enlargements of this church. Close to the entrance, in the part of the crypt open to the public, is the tomb of Brunelleschi. While its location is prominent, the actual tomb is simple and humble. That the architect was permitted such a prestigious burial place is proof of the high esteem he was given by the Florentines.
Also buried in the former cathedral of Santa Reparata was Conrad II of Italy.
A seguir, um texto, em português, da Wikipédia a Enciclopédia Livre:
A Basílica di Santa Maria del Fiore é a catedral, ou Duomo[1], da Arquidiocese da Igreja Católica Romana de Florença. Notabilizada por sua monumental cúpula - obra do celebrado arquiteto renascentista Brunelleschi - e pelo campanário, de Giotto, é uma das obras da arte gótica e da primeira renascença italiana, considerada de fundamenal importância para a História da Arquitetura, registro da riqueza e do poder da capital da Toscana nos séculos XIII e XIV. Seu nome (cuja tradução é Santa Maria da Flor) parece referir-se ao lilium, símbolo de Florença, mas, documento [2] do Século XV, por outro lado, informa que “flor”, no caso, refere a Cristo.
História
O Duomo de Florença, como o vemos hoje, é o resultado de um trabalho que se estendeu por seis séculos. Seu projeto básico foi elaborado por Arnolfo di Cambio no final do século XIII, sua cúpula é obra de Filippo Brunelleschi, e sua fachada teve de esperar até o século XIX para ser concluída. Ao longo deste tempo uma série de intervenções estruturais e decorativas no exterior e interior enriqueceriam o monumento, dentre elas a construção de duas sacristias e a execução de esculturas e afrescos por Paolo Uccello, Andrea del Castagno, Giorgio Vasari e Federico Zuccari, autor do Juízo Final no interior da cúpula. Foi construída no lugar da antiga catedral dedicada a Santa Reparata, que funcionou durante nove séculos até ser demolida completamente em 1375.
Em 1293, durante a República Florentina, o notário Ser Mino de Cantoribus sugeriu a substituição de Santa Reparata por uma catedral ainda maior e mais magnificente, de tal forma que "a indústria e o poder do homem não pudessem inventar ou mesmo tentar nada maior ou mais belo", e estava preparado para finaciar a construção. Entretanto, esperava-se que a população contribuísse, e todos os testamentos passaram a incluir uma cláusula de doação para as obras. O projeto foi confiado a Arnolfo em 1294, e ele cerimoniosamente lançou a pedra fundamental em 8 de setembro de 1296.
Arnolfo trabalhou na construção até 1302, ano de sua morte, e embora o estilo dominante da época fosse o gótico, seu projeto foi concebido com uma grandiosiddade clássica. Arnolfo só pôde trabalhar em duas capelas e na fachada, que ele teve tempo de completar e decorar só em parte. Com a morte do arquiteto o trabalho de construção sofreu uma parada. Um novo impulso foi dado quando em 1330 foi descoberto o corpo de São Zenóbio em Santa Reparata, que ainda estava parcialmente de pé. Giotto di Bondone então foi indicado supervisor em 1334, e mesmo que não tivesse muito tempo de vida (morreu em 1337) ele decidiu concentrar suas energias na construção do campanário. Giotto foi sucedido por Andrea Pisano até 1348, quando a peste reduziu a população da cidade de 90 mil para 45 mil habitantes.
Sob Francesco Talenti, supervisor entre 1349 e 1359, o campanário foi concluído e preparou-se um novo projeto para o Duomo, com a colaboração de Giovanni di Lapo Ghini: a nave central foi dividida em quatro espaços quadrangulares com duas alas retangulares, reduzindo o número de janelas planejadas por Arnolfo. Em 1370 a construção já estava bem adiantada, o mesmo se dando com o novo projeto para a abside, que foi circundada por tribunas que amplificaram o trifólio de Arnolfo. Por fim Santa Reparata terminou de ser demolida em 1375. Ao mesmo tempo continuou-se o trabalho de revestimento externo com mármores e decoração em torno das entradas laterais, a Porta dei Canonici (sul) e a Porta della Mandorla (norte), esta coroada com um relevo da Assunção, última obra de Nanni di Banco.
Contudo, o problema da cúpula ainda não fora resolvido. Brunelleschi fez seu primeiro projeto em 1402, mas o manteve em segredo. Em 1418, a Opera del Duomo, a centenária empresa administradora dos trabalhos na Catedral, anunciou um concurso que Brunelleschi haveria de vencer, mas o trabalho não iniciaria senão dois anos mais tarde, continuando até 1434. A Catedral foi consagrada pelo Papa Eugênio IV em 25 de março (o Ano Novo florentino) de 1436, 140 anos depois do início da construção. Os arremates que ainda esperavam conclusão eram a lanterna da cúpula (colocada em 1461) e o revestimento externo com mármores brancos de Carrara, verdes de Prato, e vermelhos de Siena, de acordo com o projeto original de Arnolfo.
A fachada
A fachada original, desenhada por Arnolfo di Cambio, só foi começada em meados do século XV, realizada de fato por vários artistas em uma obra coletiva, mas de toda forma só foi terminada até o terço inferior. Esta parte foi desmantelada por ordem de Francesco I de Medici entre 1587 e 1588, pois era considerada totalmente fora de moda naquela altura. O concurso que foi aberto para a criação de uma nova fachada acabou em um escândalo, e os desenhos subseqüentes que foram apresentados não foram aceitos. A fachada ficou, então, despida até o século XIX, mas estatuária e ornamentos originais sobrevivem no Museu Opera del Duomo e em museus de Paris e Berlim.
Em 1864, Emilio de Fabris venceu um concurso para uma nova fachada, que é a que vemos hoje, um enorme e magistral trabalho de mosaico em mármores coloridos em estilo neogótico, com uma volumetria dinâmica e harmoniosa. Pronta em 1887, foi dedicada à Virgem Maria, e é ricamente adornada com estatuária de elegante e austero desenho. Em 1903 terminaram-se as monumentais portas de bronze, com várias cenas em relevo e outras decorações.
Interior
Sua planta é basilical, com três naves, divididas por grandes arcos suportados por colunas monumentais. Tem 153 metros de comprido por 38 metros de largo, e 90 metros no transepto. Seus arcos se elevam até 23 metros de altura, e o cume da cúpula, a 90 metros.
Suas decorações internas são austeras, e muitas se perderam no curso dos séculos. Alguns elementos acharam abrigo no Museu Opera del Duomo, como os coros de Luca della Robbia e Donatello. Subsistem também os monumentos a Dante, a John Hawkwood, a Niccolò da Tolentino, a Antonio d'Orso, e os bustos de Giotto (de Benedetto da Maiano), Brunelleschi (de Buggiano - 1447), Marsilio Ficino, e Antonio Squarcialupi.
Sobre a porta de entrada há um relógio colossal com decoração em pintura de Paolo Uccello, e acertado de acordo com a hora italica, uma divisão do tempo comumente empregada na Itália até o século XVIII, que dava o por-do-sol como o início do dia.
Os vitrais são os maiores em seu gênero na Itália entre os séculos XIV e XV, com imagens de santos do Velho e Novo Testamento. O crucifixo é obra de Benedetto da Maiano, a talha do coro de Bartolommeo Bandinelli, e as portas da sacristia são de Luca della Robbia.
When I immigrated to Canada at the age of 17 I went through a culture shock. The most differences between the Canadian society and the Iraqi society are the lack of commitment, and how lightly love is treated here. I first came to realize that commitment is not highly valued here at my first summer job: people simply didn't care about the company, the products they were producing, their co-workers, or the owners—they only wanted their pay checks. I don't even want to start talking about love here, because I don't know where to start and where to end! I just want to make one comment about love:
Love is not only a feeling, if it was our Lord Jesus Christ wouldn't command us to love our enemies (Matthew 5:44). Because when was the last time you felt love towards your enemy? So love is also a commitment: while a feeling is something you can't control, a commitment you certainly can. It is after you make the commitment to pray and do good to your enemies that the feeling of love may come.
I remember while I was new in Canada I watched on a Judge Judy show a woman suing her common-law husband who is 25 years old because he does not work or help her around the house because he only plays video games with his friends, while she takes care of their 2 children. I had to laugh when I heard that, as I was new to this concept of a 25 years old man who does nothing with his life but play video games! Then around that time I heard in the morning news that a man was wanted in a drive-by shooting related to gang wars, and they said he was 35 years old! I was very shocked to find out that a 35 years old man is still in a gang and he goes around shooting people! It took me few years to figure out what is going on to a high percentage of people here: people (both males and females, but it seems males have a higher percentage) seem to go through infancy, childhood, adolescence, but have such a hard time passing into adulthood. Let me give you an example:
Boys in Iraq when they grow up they are constantly reminded that one day they are going to be men. For example, when my brother-in-law (who is from Egypt) goes to do a business deal he takes my 6 years old nephew with him because he wants his son to see that life is not all playing and that it requires seriousness and responsibility. And we are also told to keep our word—that is if we say something we stick by it. Because Iraq is a cultural society a man's worth is valued by how he values his own words. Let's say a man promises his neighbour to help him fix his car in the evening. If evening comes and the man doesn't show up then he cannot be trusted, if he cannot be trusted then he is not dependable, which mean his services will not be required, and if you are not needed in the society then you are not important. This idea here is almost non-existing. At university for example students are constantly being formed into groups of about 5 people and have to work as a group to get a project done. It is almost always that one group member or more either doesn't show up to a meeting, or is late, or has not done his or her part. Many have no feelings of responsibility or commitment. Yet, those same students are expected to graduate in a year or so and become leaders of families and our society!
The problem lies in that most people live here by preference rather than convictions. Their thoughts pattern usually goes like this: I feel like it therefore I will do it, or I don't feel like it therefore I won't do it. People live by preferences when they are selfish and self centred. But living by convictions and commitments requires selflessness and sacrifice. And as Christians it is essential that we keep our words and promises. Because if we desire to be like our Lord then we have to be trustworthy, faithful, selfless, and committed like Him. It is essential that we live by convictions.
Imagine marriage run by feelings alone? Who feels like taking the garbage out? Who feels like changing diapers? Who feels like waking up 3 times a night to a crying child? Who feels like paying the mortgage? Who feels in love the same with their spouse after 30 years?
Another problem people face here is that at such a young age they engage in sexual immorality, and associate love with it, and experience rejection. If a person has had multiple sex partners by the time they are 20 years old, what value does marriage, love, or commitment have to them anymore? That's why it is so important that Christians raise their children on Biblical principles and enforce those principles.
I am not saying that in Iraq people don't break their promises, and people in Canada are not trustworthy, all I am saying is that the percentage of people who are untrustworthy, take love easily, and don't value commitment is much higher here. And I am not saying that if you promise something you have to always keep it. If you promise in your anger to commit a sin then don't do it. Or if you promise doesn't fit God's will then don't do it. And I am also not saying you should become like a machine living without feelings but by commands alone. The goal here is not to be become a perfectionist or ignore your humanity; the goal here is to be trustworthy, dependable, and not disappoint God and people as long as it depends on you. The idea here is to be a adult (responsible) man or woman.
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Few months ago I read in the February 2009 InTouch magazine a story of a Christian man's divorce that really touched me. I cried when I read it because the emotions he expressed were so true of a rejected, fooled, deceived, mistreated, and disesteemed person. The story reminded me of a movie that was based on a true story of a man committing adultery with his secretary, and then divorcing his completely unsuspecting wife to marry his mistress. The sad part of the story is that he only felt guilty for a while, while she had to live with the feelings of being rejected, unloved, unimportant, deceived, and had to deal with disappointment, shame and labels (because of society), and having no support in raising their sons for many years. On top of that, when holidays came her sons went to spend time with their dad while she stayed home alone. It is amazing how the actions of one person can harm another so greatly. Sometimes we think that the person who does the wrongdoings reaps the consequences for his or her actions immediately, but often times this is not the case and that the victim suffers for much longer. At least that's sometimes true here on earth, but in heaven everything is fair and no time is longer than an eternity in hell.
Sometimes people say that it takes two people to ruin a marriage. I don't believe in that: I think it needs only one person to ruin a marriage (of course, it can also take two people). You only need one hand to be missing for you not to be able to clap. Few years ago at work a woman discovered her husband was committing adultery with a co-worker who was 20 years his junior. The wife was very crushed. Then a co-worker told me that her sons say that she doesn't even cook at home. I answered her, "That's non-sense, if he was that hungry he should cook himself, order food, or take them out for dinner. How is food connected to adultery?" It seems that we humans love to blame the victim for the crime, but this doesn't please God.
I also know a very godly Iraqi man who loved a girl with all of his heart for 3 years. There was nothing he wouldn't do for her as long as it made her happy and it wasn't a sin. Then one day she told him that she couldn't marry him because he was a construction worker, and even though he made good money he was worth nothing because he doesn't have a degree. He was shocked when he heard her say that to him, because he wanted to marry her! After all those years, money spent and efforts from his part, and all that love, that's what she thought of him? Few months later he heard that she got married to a doctor. Six months later she sent him an e-mail apologizing, asking his forgiveness saying that she still loves him. He wrote her back with the supervision of his pastor and addressing her as "sister" saying that what happened has happened, and he prays for her and her husband, wishes them the best, and that he doesn't want her to contact him anymore because she is a married woman now. Since then I wondered: Why make a mess of your life? Why not value someone who you know in your heart that this person genuinely loves you? And we all know how difficult it is to find someone who loves you unconditionally and is committed to you. Why marry someone for the wrong reasons and regret it later? I want to say this to the ladies reading this:
There is nothing more attractive in a woman than knowing she is wise, and have a strong character. (That's why so many men find girls who wear glasses attractive!) It is a beautiful thing in a woman to have an independent character. And by independent I don't mean rebellious or that she doesn't respect other people's thoughts, but I mean to be dependent on God's Word and to know who she is in Him and what His will is and to live a godly life—that she is not easily persuaded to do things. I am saying this because in the Middle Eastern culture and even among many Christians, women seem to be so easily influenced by whatever a man says. When I get married, if it is God's will, I want my wife to have her own character, her own thoughts and to ask, "Is what my husband saying correct? Is it supported Biblically?" And if it is not then I would love for her to correct me. Just as I am supposed to be the man of the house, she is supposed to be my helper, and how can she helps me when she just duplicates my thoughts, and doesn't question my decisions?! Interestingly, the most independent in her thinking godly woman I know is also the best wife I know. The Bible says in Proverbs 31:
"{10} A wife of noble character who can find?
She is worth far more than rubies.
{11} Her husband has full confidence in her
and lacks nothing of value."
[How can a husband have full confidence in his wife if he knows she is easily influenced?]
"{13} She selects…. {14} She bringing…. {15} She gets up…she provides…. {16} She considers… she plants…. {17} She sets about her work…. {18} She sees that her trading is profitable…. {19} She holds…. {20} She opens her arms to the poor and extends her hands to the needy…. {21} She has no fear…. {22} She makes…. {25} She is clothed with strength and dignity; she can laugh at the days to come. {26} She speaks with wisdom, and faithful instruction is on her tongue."
[This is a woman has an independent mind and a strong character, works hard, and make profitable deals, she is confident and makes wise decisions, and her husband has confidence in her and is respected—that's a godly woman.]
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So for few months now I have decided to take a photo to illustrate the pain a man or a woman go through when the wife or the husband commit adultery. And yesterday at university with the help of few classmates I was able to take that photo. The photo is dedicated to William Ryder (whose story is posted below), and all wronged persons out there whose only crime is that they loved so purely that they didn't see evil coming.
I hope you like the photo and the writing :)
PS: The one thing I don't understand about adultery is how come it is not against the law! I mean, marriage is a contract and both parties agree on its terms and sign it, right? Then how come the breach of this contract is not against the law? I mean, if you do it in business you get sued and have to pay for it. So why is destroying a family, and the lives of the wife or husband, and the children is not punishable by law?
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This (unexpected) Life
Surviving the pain of labels and “good intentions”
by William Ryder
I will always remember that night with crystal clarity. We had just moved to a new city eleven days earlier to enable Amy, my wife of three years, to begin a Master’s program. Having graduated from seminary ten weeks prior, I was working a retail job while I searched for a church ministry position. Weary from a ten-hour workday framed by a one-hour commute, I slowly climbed the steps to our new apartment.
Inside, I sank gleefully into my favorite chair and turned my attention to Amy, who was sitting at the edge of the couch beside me. She nervously cleared her throat and said, “We need to talk.” I was not prepared for what came next. In what seemed like a single breath she said, “Well, I have not been very happy lately. I have been racking my brain trying to figure out why, and I think I’ve finally realized the truth. I don’t love you. I don’t have the feelings for you that I think a wife should have for her husband. I think marrying you was a mistake, and I don’t want to be married anymore.”
Wow. There was simply no response in my mind to what she had said. I was numb. I stood up and paced the floor as I desperately strove to work through this information. I understand that in most divorces, both parties usually see it coming; however, there is occasionally that hapless idiot who’s caught completely off guard. That was me, catching butterflies in left field while my wife decided she no longer loved me.
Almost immediately, Amy moved out of our apartment to stay with a friend. She would speak to me only through e-mails and, soon after, her attorney. I stayed there alone for several weeks, pleading with her to change her mind. However, two months after the initial bombshell, Amy had divorce papers drawn up, and I realized that our marriage was truly over. Knowing her decision was final, and because I had no job or friends in the new city, I agreed to leave town.
I remember walking through the apartment, trying to separate “my” things from “her” things. It was impossible—like reaching inside of a baked cake, trying to pull out the individual ingredients. No longer was there a unity of belongings, but rather a collection of two people’s possessions thrown together. Looking over all our stuff, I was no longer able to see any gray; everything was either black or white, hers or mine, staying or going.
As I made the last inspection after packing all of my things into a U-Haul, my attention paused at a framed wedding picture on the kitchen table. For a moment, I stopped breathing. Picking it up, I looked into the eyes of that beautiful bride, and I trembled. Returning the photograph to the table, I became painfully aware of the now-defunct piece of gold on my left hand. I slowly pulled the wedding band off my finger, gently kissed it, and sat it on the table beside the portrait. Then I turned, walked outside, and locked the door behind me. At that moment, in every way, I was a man with no home.
Weeks later, I suffered the tremendous indignity of piecing together the abhorrent truth behind Amy’s departure. Her “rational, adult decision” to leave our marriage was a sham; she’d actually been embroiled in an affair with another man for almost a year—one third of our marriage. This was the “friend” with whom she was staying while I pled for her to return. With this insight, my last hopes were destroyed, and I signed the divorce papers . . . two days before Thanksgiving.
This is my story. Tragic? Absolutely. Pitiful? Without a doubt. The real question, though, is, Why should you care about all of this? Why did I have to invite you into the darkest part of my private nightmares? The answer, sadly, is that if you do not have such a painful story yourself, you can be certain that you know someone who does. Roughly half of all marriages in America end in divorce; for born-again Christians, the percentage is, surprisingly, higher. Despite all of these “newly single” people populating American churches, the church in general has no idea how to react, relate, or respond to the needs of this heartbroken crowd.
I believe the first obstacle that must be conquered is a matter of identity. Let me explain: In the past few years, I have become painfully aware of how, when, and where the word “divorce” is used. It often appears in a checklist under the heading “Marital Status,” which gives people four options: single, married, widowed, or divorced. I’ve seen this in the most unexpected places, from a church visitor information card to an application for health insurance.
The issue is that people have grown accustomed to categorizing others according to certain “pegs” in their social life. The problem with this, however, is that there is no such thing as a “divorced person.” Divorce is an event, not a condition. My divorce was something that happened to me, a tragedy in my past. However, that misfortune should not characterize my whole life from now on.
The church can go a long way toward ministering to the expansive population of “new singles” by simply striking the word “divorced” from its vocabulary. Using the term as an adjective simply identifies an individual by a horrible event in his life. In this, saying, “Will is a divorced person” is tantamount to saying, “Frank is a pancreatic cancer person.” No one would be insensitive enough to say the latter, so why should it be acceptable to commonly say the former?
The most shocking and hurtful appearance of the “divorce check-box” that I have seen was actually church-related. I had taken myself out of the ministry search for almost a year while I worked through my divorce. Then, as I began to test the waters, I wrote to local denominational associations, asking for help in finding possible positions in their areas. One group mailed back a Personal Inventory Checklist to be stapled to my résumé. The checklist contained a brief list of yes/no questions that inquired about any involvement in child abuse, spousal abuse, and other indiscretions. There, wedged neatly between “Obscene/Harassment Phone Calls” and “Do you use illegal drugs?” was the question, “Have you been divorced?” It was then I realized that, in many people’s opinions, my new peer group consisted of wife beaters and child molesters. I completed the form, but obviously never heard from any church in that area.
Another problem is the “civilian’s” inability to understand what divorce does to a person. Unfortunately, many well-meaning people attempt to help their hurting friends by uttering the five most potentially destructive words imaginable: “Get on with your life.” This encouragement is built on the premise that their friend’s life is still there, but he has just removed himself from it. This is a mistake. Even though he may still be breathing, your friend’s life, for all intents and purposes, was terminated by his divorce.
Let me demonstrate this point from my own experience. For eight long, continuous years I worked hard in school, held a full-time job, took on various church leadership roles, got married, and began making long-term career and family plans. However, my wife’s actions effectively ended that life. In a real sense, my divorce murdered the man and the minister that I was becoming. I will simply never be that man again.
The miracle is that God has raised a new life from the ashes. I now have a new career and ministry that I adore. I honestly cannot imagine being happier doing anything else. Does this mean that my current life will always be second-string to what “might have been”? I don’t think so; however, I do know that this life came about only through time, patience, and the determined work of God. Do not be quick to urge the newly single person to “get on with his life”; he may actually be stuck between the old life and the new. Only the Holy Spirit and a hearty amount of patience will truly enable him to get on with his new life.
When my ordeal first began in August of 2000, I met with a trusted mentor—a minister who had been through a similar situation. He said something to me that I’ll never forget: “William, nothing I say can make this less painful. But I do know that if you get through a major crisis like divorce with your faith intact, you will understand some things about God that a lot of people never realize.” Now, looking back, I see that he was right. I have never been more aware of the enduring presence of the Holy Spirit than I have these past few years. I have never before known the complete joy and release of casting everything at the foot of the cross and coming to God with a broken heart and empty hands. Mostly, though, I never expected to actually like my new life, but God was more gracious than I ever imagined.
If you are standing where I have been, or if you love someone who is going through the whirlwind of divorce, do no expect any trite words of comfort and solace here. However, if you are a hurting individual who is crying out to God for the strength to endure, be encouraged by His response through the apostle Peter: “[Cast] all your anxiety upon Him, because He cares for you . . . And after you have suffered for a little while, the God of all grace, who called you to His eternal glory in Christ, will Himself perfect, confirm, strengthen and establish you” (1 Peter 5:7, 10). Even if the present seems insurmountable, you can trust that the future is wide open for your success, love, and happiness. How do I know? Because God said so, and because He has done it for me.
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Source: InTouch Magazine, February 2009
(Toronto, ON; fall 2009.)
PC Mark Richardson and Mo.
Greater Manchester Police (GMP) will be returning to TV screens when The Force: Manchester arrives for its second series on Wednesday 20 April at 10pm on Sky 1.
Following officers and staff from across the Force as they work to keep Greater Manchester safe, the new 10-part series will give further insight into the crimes and incidents dealt with every day.
From cyber crime to cannabis factories, public protection to police pursuits, officers are facing increasingly complex crimes and this unique access-all-areas documentary illustrates the work involved in solving them.
Chief Constable Ian Hopkins said: “We had overwhelmingly positive feedback to the first series and people recognised the hard work and commitment of the officers and staff who took part. The second series continues to show the challenges they face every day. We receive around 3,000 calls a day from people asking for help across Greater Manchester.
“The programme has shown why we need to continue to transform policing in Greater Manchester and to work in new ways with both our partners and local people. We took part in the documentary as part of continued efforts to give people an insight into Greater Manchester Police, the challenges and the future.”
The Force: Manchester was filmed from January to June 2015 and achieved an average of 308,000 viewers per episode for its first series. It is produced by Shine TV, part of Endemol Shine Group.
To find out more about Greater Manchester Police please visit our website. www.gmp.police.uk
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
He is the one who makes me happy
When everything else turns to gray
He is also the one who makes me so angry
But makes up for it eventually ;)
He is my best friend, my soul mate, my hubby
Listening to this :)