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"Their breeding habitat is in tundra pools and marshes, but also along sea coasts and in large mountain lakes in the North Atlantic region, Alaska, northern Canada, northern Europe, and Russia. The nest is located on the ground near water; it is built using vegetation and lined with down. They are migratory and winter along the eastern and western coasts of North America, on the Great Lakes, coastal northern Europe and Asia, with stragglers to the Black Sea. The most important wintering area is the Baltic Sea, where a total of about 4.5 million gather.
The long-tailed duck is gregarious, forming large flocks in winter and during migration. They feed by diving for mollusks, crustaceans and some small fish. Although they usually feed close to the surface, they are capable of diving to depths of 60 m (200 ft).
Common Name
In North American English it is sometimes called oldsquaw, though this name has fallen out of favour under influence of negative connotations of the word squaw in English usage. Some biologists have also feared that this name would be offensive to some Native American tribes involved in the conservation effort.[5] The American Ornithologists' Union stated that "political correctness" was not sufficient to change the name, but "to conform with English usage in other parts of the world", it officially adopted the name "Long-tailed Duck".
Residents of Chesterfield will know that the Chesterfield Hotel is no more. I've photographed this through the last few years until its demolition. The following history is courtesy of Chesterfield Civic Society:
The Chesterfield Hotel was built in 1876–7, a few years after the Midland Railway rebuilt its station at Chesterfield on its present site.
The hotel, which is built of brick with pitched slate roofs on a quadrangular plan around a central courtyard, was extended three times.
Known for most of its life as the Station Hotel, it was renamed the Chesterfield Hotel in the 1980s, presumably because the older name had rather down-at-heel connotations, although the later name was essentially meaningless.
The Station Hotel set out from the start to be Chesterfield’s leading hotel. For much of the twentieth century it was one of Mansfield Brewery’s leading residential houses and was featured a good deal in the company’s advertising. It was a three-star hotel, whereas its nearest rival, the Hotel Portland of 1899, also a railway hotel, was Chesterfield’s two-star hotel.
For many local people, the hotel is probably most affectionately remembered as a function venue, rather than as somewhere to stay.
The setting of the hotel was not improved by the decision to sever Corporation Street as a motor road when the Inner Relief Road was built, separating it from the other commercial buildings higher up the street, and leaving it in not very splendid isolation, flanked by minor roads on three sides and the Inner Relief Road on the fourth.
Hotels of this sort in not particularly wealthy medium-sized provincial towns have not had an easy time in recent decades and for most local people it was probably disappointing, rather than surprising, when it ceased trading. It must have been a very expensive building to maintain and, despite the efforts of recent operators, was arguably doomed from the day the Casa opened on Whittington Moor. These were taken in September when the building was completely down.
Una aldaba es una pieza articulada de metal situada en las puertas exteriores de las casas y que sirve para llamar a sus ocupantes por medio de golpes en la puerta
A door knocker is an item of door furniture that allows people outside a house to alert those inside to their presence. A door knocker has a part fixed to the door, and a part (usually metal) which is attached to the door by a hinge, and may be lifted and used to strike a plate fitted to the door, or the door itself, making a noise. The struck plate, if present, would be supplied and fitted with the knocker. Door knockers are often ornate, but may be no more than a simple fitting with a metal bob, or ring.
en.wikipedia.org/wiki/Door_knocker
Monasterio de la Trinidad y San Sergio - Trinity Lavra of St. Sergius - Тро́ице-Се́ргиева Ла́вра
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
Residents of Chesterfield will know that the Chesterfield Hotel is no more. I've photographed this through the last few years until its demolition. The following history is courtesy of Chesterfield Civic Society:
The Chesterfield Hotel was built in 1876–7, a few years after the Midland Railway rebuilt its station at Chesterfield on its present site.
The hotel, which is built of brick with pitched slate roofs on a quadrangular plan around a central courtyard, was extended three times.
Known for most of its life as the Station Hotel, it was renamed the Chesterfield Hotel in the 1980s, presumably because the older name had rather down-at-heel connotations, although the later name was essentially meaningless.
The Station Hotel set out from the start to be Chesterfield’s leading hotel. For much of the twentieth century it was one of Mansfield Brewery’s leading residential houses and was featured a good deal in the company’s advertising. It was a three-star hotel, whereas its nearest rival, the Hotel Portland of 1899, also a railway hotel, was Chesterfield’s two-star hotel.
For many local people, the hotel is probably most affectionately remembered as a function venue, rather than as somewhere to stay.
The setting of the hotel was not improved by the decision to sever Corporation Street as a motor road when the Inner Relief Road was built, separating it from the other commercial buildings higher up the street, and leaving it in not very splendid isolation, flanked by minor roads on three sides and the Inner Relief Road on the fourth.
Hotels of this sort in not particularly wealthy medium-sized provincial towns have not had an easy time in recent decades and for most local people it was probably disappointing, rather than surprising, when it ceased trading. It must have been a very expensive building to maintain and, despite the efforts of recent operators, was arguably doomed from the day the Casa opened on Whittington Moor.
drums crowned by tapering domes were deliberately scored to resemble candles, thus manifesting a certain aesthetic and religious attitude.Why are onion domes predominant in Russian architecture?
soumis il y a 3 ans par res3k
Does it have any connection to similar domes in mosques?
Onion domes are predominant in Russian architecture because they became an important stylistic component of Russian Orthodox church design. According to what I have read, the dome's importance comes from symbolic and technical aspects. Russian onion domes have complex symbolic associations, from the classic "vault of heaven" to their appearance as tongues of flame, recalling the holy spirit. On the technical side, you have the often repeated theory that the domes were an adaptation to the climate, especially Russia's heavy snowfalls. The wooden construction of the onion dome would also have been a plus for Russian architects, was this material was in greater supply than the stone necessary for traditional, byzantine-style dome construction.One final reason for the predominance of the onion dome in Russian architecture: the origin of the dome and the associations that come with its origin. Russian church architecture, which features the dome most prominently out of all, is heavily influenced by Byzantine architecture. As Orthodox Christianity was the predominant religion, it follows that Russian builders sought to emulate the styles of the center of Orthodox Christianity, namely Constantinople. This architectural tradition places high importance on centrally-planned, domed spaces. This architectural tradition was combined in Russia with the native wooden-building traditions that have much in common with Scandinavia. These traditions stressed complex, creative wooden constructions with strong vertical components such as steeply pitching roofs and elaborate frameworks. The onion dome is a product of the combination of these two traditions. One source, an examination of the origin of the domes by S. V. Zagraevsky, argues that the domes were a Russian development in the 13th to 14th centuries along these lines--that Russian carpenters, skilled in complex woodwork from both building construction and shipbuilding (alluding to Rus's Scandinavian roots) developed the onion dome independently in order to fulfill the need for domes over Byzantine-influenced churches using wooden construction. This form of dome becomes widespread in the medieval period, thus cementing itself into "tradition" and becoming an essential part of Russian architecture.Note on sources and origins: like always, the story is far more complex than can be presented, and I would invite an expert on Russian culture to step in. The origins of the onion dome are shrouded as no original wooden domes from the period survive and scholars are forced to work from written and illustrative documentary evidence, which is open to varied interpretation. What I have read also presents two conflicting stories: that onion domes were a product of Indian and Byzantine sources that combined in the Islamic world, or that they were the products of independent developments that settled on the onion shape to suit their own technical or symbolic needs and which are only distantly connected to other similar designs in Central Europe, Russia, the Middle East, India. What is conclusive is that the widespread use of these domes dates back at least to the 12th-13th centuries. On sources, the most recent source on onion domes in English that I found (thanks to wiki) was Forms of the domes of the ancient Russian temples. Other works, such as National Elements in Russian Architecture and The Origin and the Distribution of the Bulbous Dome date back to the 1940s, but provide good insight into wooden dome architecture (note: these are JSTOR links). The wiki article on the Onion dome has a good introduction on these domes and has a list of sources, although many of them are in Russian.
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[–]intangible-tangerine 1 point il y a 3 ans*
This is a story which begins with early Slavic Christian Religious architecture, which exerted a strong influence on secular architecture on the region. I'm just going to generalise and use 'church' here for all buildings used for Christian religious services, not bothering to distinguish between churches and basilicas and cathedrals and so forth as I don't wish to over complicate matters.
When the Kievan Rus, a confederation of Slavic tribes living in parts of modern day Russia, Belarus and Ukraine, were gradually Christianised from the mid 8th to the early 11th c. they were primarily influenced by missions from the Byzantine Church and so they adapted the Byzantine dome for their own church architecture. However, whereas Byzantine Churches usually featured a large central dome, as can be seen with the most famous example, the Hagia Sophia these early medieval Slavic churches feature several smaller domes with the characteristic bulging onion shape, see the Cathedral of Saint Sophia in Novgorod built in the late 11th c. which may be due to some influence from earlier Slavic pagan architectural styles that are lost to us. Perhaps reflecting earlier buildings with multiple tower structures or bulged roofs.
This onion dome hasn't been completely dominant through all of the history of Russian and Eastern European Christian architecture, during the later medieval period a fashion for pointed roofs emerged, such as that of the 15th c. Spasskaya Tower in Moscow. Nevertheless the onion domed towers continued to be built alongside these. Sometimes the two styles were used simultaneously as seen with this early 16 th church at Ostrov, near Moscow where a pointed roof is topped off with a small dome.
... and so this story continues, waves of architectural fashions such as 17th c Ukrainian Baroque and 19th c Neo-Classical Byzantine sweep through the region, some of which typically incorporate onion domes and some of which don't, but it never disappears from the architects' tool kits. Because it was associated so strongly with the original conversion of the Keivan Rus, regarded as the common ancestor culture of Russia Ukraine and Belarus, it was had strong connotations of connecting later structures to this past and tying them in with a narrative of distinctive Russian/Slavic identity.
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True or not an architect once told me that the shape was heavily influenced by Russian climatology, with significant quantities of snow along the year this shape prevents the snow to accumulate on the roofs hence they would not collapse under the snow weight.You seem to be downvoted as a non-historian, but the hypothesis if very plausible. Initially church architecture in Russia was obviously very influenced by the Byzantine architecture, and domes were either egg-shaped, or even flatter than that (modern reconstruction of the Pirogoshcha Church of Our Lavy in Kiev, Ukraine)). But then in Russia they were quickly replaced by so called "helmet domes" (example: Dormition Cathedral in Vladimir, Russia). And it is this transition that might have been indeed influenced by the simple snow factor.
Starting as of XIII and for sure by XVI century helmet domes gradually evolved into onion domes. I don't know why it happened. Maybe, in a way, it "just happened", because all styles tend to evolve somewhere, and it does not always happen for particular reason, or serve a particular purpose.
I am not quite sure I can endorse what intangible-tangerine said in the comment nearby about secular architecture being an example here. Secular architecture in Russia was overwhelmingly wooden, and the only major type of brick "domes" that evolved from wooden domes is the tent roof church, which was quite popular for a while, but was then officially prohibited in XVII century for some reason, and allowed only for construction of bell-towers. It is rather uncomfortable to make a roundish dome, be it egg-, helmet-, or onion-shape one out of wood (even though it is technically possible). I am also not aware of any evidence for pre-Christian, or secular round dome-like structures in Russian architecture.As for pagan temples, it looks like Slavic pagan shrines were almost always located outdoors. While among Western Slavs some temples might have apparently existed, for some reason in modern reconstructions they are always depicted quite squarish in design (but here I am not sure, as the whole topic of Slavic Paganism is a rather sketchy one, due to a strong influence from romantic neo-pagan groups).
[+]Centurion521 nombre de points du commentaire sous la limite (11 enfants)
www.reddit.com/r/AskHistorians/comments/1gb89y/why_are_on...
An onion dome (Russian: луковичная глава, lúkovichnaya glava; compare Russian: лук, luk, "onion") is a dome whose shape resembles an onion. Such domes are often larger in diameter than the drum upon which they sit, and their height usually exceeds their width. These bulbous structures taper smoothly to a point.It is the predominant form for church domes in Russia (mostly on Russian Orthodox churches) and in Bavaria, Germany (German: Zwiebelturm (literally "onion tower"), plural: Zwiebeltürme, mostly on Catholic churches), but can also be found regularly across Austria, northeastern Italy, Eastern Europe, Mughal India, the Middle East and Central Asia.
Other types of Eastern Orthodox cupolas include helmet domes (for example, those of the Saint Sophia Cathedral in Novgorod and of the Assumption Cathedral in Vladimir), Ukrainian pear domes (Saint Sophia Cathedral in Kiev), and Baroque bud domes (St. Andrew's Church in Kiev).Art historians disagree on when and why onion domes became a typical feature of Russian architecture. Byzantine churches and architecture of Kievan Rus were characterized by broader, flatter domes without a special framework erected above the drum. In contrast to this ancient form, each drum of a Russian church is surmounted by a special structure of metal or timber, which is lined with sheet iron or tiles.By the end of the nineteenth century, most Russian churches from before the Petrine period had bulbous domes. The largest onion domes were erected in the seventeenth century in the area around Yaroslavl, incidentally famous for its large onions. Quite a few had more complicated bud-shaped domes, whose form derived from Baroque models of the late seventeenth century. Pear-shaped domes are usually associated with Ukrainian Baroque, while cone-shaped domes are typical for Orthodox churches of Transcaucasia.Russian icons painted before the Mongol invasion of Rus do not feature churches with onion domes. Two highly venerated pre-Mongol churches that have been rebuilt—the Assumption Cathedral and the Cathedral of St. Demetrius in Vladimir—display golden helmet domes. Restoration work on several other ancient churches revealed some fragments of former helmet-like domes below newer onion cupolasPrior to the eighteenth century, the Russian Orthodox Church did not assign any particular symbolism to the exterior shape of a church.[10] Nevertheless, onion domes are popularly believed to symbolise burning candles. In 1917, noted religious philosopher Prince Yevgeny Trubetskoy argued that the onion shape of Russian church domes may not be explained rationally. According to Trubetskoy, drums crowned by tapering domes were deliberately scored to resemble candles, thus manifesting a certain aesthetic and religious attitude.[11] Another explanation has it that the onion dome was originally regarded as a form reminiscent of the edicula (cubiculum) in the Church of the Holy Sepulchre in Jerusalem. Onion domes often appear in groups of three, representing the Holy Trinity, or five, representing Jesus Christ and the Four Evangelists. Domes standing alone represent Jesus. Vasily Tatischev, the first to record such interpretation, disapproved of it emphatically. He believed that the five-domed design of churches was propagated by Patriarch Nikon, who liked to compare the central and highest dome with himself and four lateral domes with four other patriarchs of the Orthodox world. There is no other evidence that Nikon ever held such a view.brightly painted: their colors may informally symbolise different aspects of religion. Green, blue, and gold domes are sometimes held to represent the Holy Trinity, the Holy Spirit, and Jesus, respectively. Black ball-shaped domes were once popular in the snowy north of Russia.
Residents of Chesterfield will know that the Chesterfield Hotel is no more. I've photographed this through the last few years until its demolition. The following history is courtesy of Chesterfield Civic Society:
The Chesterfield Hotel was built in 1876–7, a few years after the Midland Railway rebuilt its station at Chesterfield on its present site.
The hotel, which is built of brick with pitched slate roofs on a quadrangular plan around a central courtyard, was extended three times.
Known for most of its life as the Station Hotel, it was renamed the Chesterfield Hotel in the 1980s, presumably because the older name had rather down-at-heel connotations, although the later name was essentially meaningless.
The Station Hotel set out from the start to be Chesterfield’s leading hotel. For much of the twentieth century it was one of Mansfield Brewery’s leading residential houses and was featured a good deal in the company’s advertising. It was a three-star hotel, whereas its nearest rival, the Hotel Portland of 1899, also a railway hotel, was Chesterfield’s two-star hotel.
For many local people, the hotel is probably most affectionately remembered as a function venue, rather than as somewhere to stay.
The setting of the hotel was not improved by the decision to sever Corporation Street as a motor road when the Inner Relief Road was built, separating it from the other commercial buildings higher up the street, and leaving it in not very splendid isolation, flanked by minor roads on three sides and the Inner Relief Road on the fourth.
Hotels of this sort in not particularly wealthy medium-sized provincial towns have not had an easy time in recent decades and for most local people it was probably disappointing, rather than surprising, when it ceased trading. It must have been a very expensive building to maintain and, despite the efforts of recent operators, was arguably doomed from the day the Casa opened on Whittington Moor. These show the start of its demolition.
Best to be viewed in large size format.
The orchid is a peculiar plant and shows the most developed and the widest variety of types. Unlike the roses, which are always symmetric and of the same type. The very word orchid has a aphrodisiac connotation, because it comes from the Greek word orchis (testicle) and for the first Greeks botanics the shape of the species in the region resembled the male reproductive organ.
Khalil Chishtree’s installation of ethereal life-sized figures offers an upbeat and humanitarian take on plastic pollution and our threatened ecosystem. Chishtree wields one of the most ordinary and ubiquitous materials of our era, the plastic bag, to explore both the material’s possibilities and connotations for the well-being of the human race. Realizing only one figure in its entirety, and leaving the others incomplete, Chishtree accentuates the importance of progress and change as we encounter the challenges of that plastic pollution has wrought on our land and oceans. We greet his figures holding hands in a circle facing towards us in an expression of mutual support and empathy. Composed entirely of white plastic garbage bags, their material denotes man’s responsibility to the environment, and the need to act together towards a cleaner ecosystem.
#AbFav_SHARE_LOVE_<3
A kiss is the touch or pressing of one's lips against another person or an object.
Cultural connotations of kissing vary widely.
Depending on the culture and context, a kiss can express sentiments of love, passion, romance, sexual attraction, sexual activity, sexual arousal, affection, respect, greeting, friendship, peace and good luck, among many others.
In some situations, a kiss is a ritual, formal or symbolic gesture indicating devotion, respect, or sacrament.
The word came from Old English cyssan (“to kiss”), in turn from coss (“a kiss”).
Here two mini pink roses, kissing…
Thank you, M, (*_*)
For more: www.indigo2photography.com
Please do not use this image on websites, blogs or any other media without my explicit permission. © All rights reserved
LOVE, Roses mini, flowers, pink, two, kissing, touching, black-background, studio, "conceptual art", colour, square, design, "Nikon D7000", "Magda indigo"
And so the phrase Free Mount and Balance now takes on another connotation. If you look carefully at the background, Tire became Retire. Clever, huh? Somehow, retirement like this would likely kill me early. Fort Worth Texas, USA, February 2023
Best viewed large. All rights reserved
It was 1968 when the terrible earthquake in Belice hit Gibellina, changing forever the connotations of the territory. A destruction to which the city reacted thanks to a project of enlightened and visionary reconstruction by a group of intellectuals, which has transformed it into an extraordinary venue for Land Art. In addition to the environmental works that have remained permanently in its fabric, since 2016 the town hosts Images Gibellina, the first festival of photography and visual arts open air and site-specific in Italy, which this year returns from 30 July to 29 August, organized and produced by the Cultural Association On Image and the Swiss Biennale Images Vevey. An event that is identified not only as a photographic exhibition - widespread in the main centers of Gibellina, such as Piazza Beuys, Consagra Theatre, Mother Church, Fondazione Orestiadi, Botanical Garden, the Great Cretto Burri and others - but that expands to become an urban workshop with exhibitions, events, screenings, guided tours, talks and workshops.
serra de sintra, portugal
__________
Sintra’s Mountain Range is situated in between the plain terrain of the “Saloia” region and the wide ocean, constituted by a medium high granite massif, with the higher point in Cruz Alta, at 520 meters high.
Sintra’s mountain is by many considered to be a mystical and magical place, with a luxuriant vegetation, on the surroundings of the big Lisboa region, right in the heart of the Sintra-Cascais Natural Park.
The unique beauty of its cultural landscape is classified as World Heritage by UNESCO.
Once named “Monte da Lua” (“Hill of the Moon“) the energetic and mystical connotation of Sintra’s mountain comes since ancient times, also associated to its micro-climate that surrounds it with a magical mist that allows the growing of a rich flora, consequently enriching as well its fauna.
In Sintra’s mountain range inhabit foxes, moles, salamanders, vipers, in between ancient and huge oak, pine and cork-oak trees, among many other species.
Considered to be the Romantic Mountain, Sintra is very looked for a large number of visitors that fall in love with it, possessing countless natural, monumental, cultural and artistically richness.
Several pedestrian walks, mountain bikes and sports utility vehicles itineraries, and a wide variety of activities frequently take place in Sintra, that is also characterized by its hospitality and unique nooks, with many special places to get to know.
For those who already know Sintra one certain is for real: there is still much to see and discover!
__________
Copyright © 2009 Pedro Damásio. All rights reserved.
Please don't use without permission. If you want to, just ASK ME
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
en.wikipedia.org/wiki/Palace_of_Westminster
The Palace of Westminster, also known as the Houses of Parliament, is the seat of the two houses of the Parliament of the United Kingdom—the House of Lords and the House of Commons. The Palace lies on the north bank of the River Thames[note 1] in the London borough of the City of Westminster, close to the government buildings of Whitehall.
The palace contains around 1,100 rooms, 100 staircases and 5 kilometres (3 mi) of corridors. Although the building mainly dates from the 19th century, remaining elements of the original historic buildings include Westminster Hall, used today for major public ceremonial events such as lyings in state, and the Jewel Tower.
Control of the Palace of Westminster and its precincts was for centuries exercised by the Queen's representative, the Lord Great Chamberlain. By agreement with the Crown, control passed to the two Houses in 1965. Certain ceremonial rooms continue to be controlled by the Lord Great Chamberlain.
After a fire in 1834, the present Houses of Parliament were built over the next 30 years. They were the work of the architect Sir Charles Barry (1795–1860) and his assistant Augustus Welby Pugin (1812–52). The design incorporated Westminster Hall and the remains of St Stephen's Chapel.
The Old Palace
The Palace of Westminster site was strategically important during the Middle Ages, as it was located on the banks of the River Thames. Buildings have occupied the site since at least Saxon times.[citation needed] Known in medieval times as Thorney Island, the site may have been first-used for a royal residence by Canute the Great (reigned 1016–35). St Edward the Confessor, the penultimate Saxon monarch of England, built a royal palace on Thorney Island just west of the City of London at about the same time as he built Westminster Abbey (1045–50). Thorney Island and the surrounding area soon became known as Westminster (a contraction of the words West Minster). After the Norman Conquest in 1066, King William I established himself at the Tower of London, but later moved to Westminster.[citation needed] Neither the buildings used by the Saxons nor those used by William I survive. The oldest existing part of the Palace (Westminster Hall) dates from the reign of William I's successor, King William II.
The Palace of Westminster was the monarch's principal residence in the late Medieval period. The predecessor of Parliament, the Curia Regis (Royal Council), met in Westminster Hall (although it followed the King when he moved to other palaces). The Model Parliament, the first official Parliament of England, met in the Palace in 1295;[1] almost all subsequent Parliaments have met there.
The Jewel Tower was built approximately in 1365 to house the treasures of King Edward III.[2]
Westminster remained the monarch's chief London residence until a fire destroyed part of the complex in 1512.[citation needed] In 1530, King Henry VIII acquired York Palace from Thomas Cardinal Wolsey,[3] a powerful minister who had lost the King's favour. Renaming it the Palace of Whitehall, Henry used it as his principal residence. Although Westminster officially remained a royal palace, it was used by the two Houses of Parliament and as a law court.
Because it was originally a royal residence, the Palace included no purpose-built chambers for the two Houses. Important state ceremonies were held in the Painted Chamber. The House of Lords originally met in the Queen's Chamber, a modest Medieval hall at the south end of the complex. In later years the Upper House met in the larger White Chamber, which had formerly housed the Court of Requests; the expansion of the Peerage by King George III during the 18th century necessitated the move as the original chamber could not accommodate the increased number of peers.
The House of Commons, which did not have a chamber of its own, sometimes held its debates in the Chapter House of Westminster Abbey. The Commons acquired a permanent home at the Palace in the form of St Stephen's Chapel during the reign of Edward VI. The Chantries Act 1547 (passed as a part of the Protestant Reformation) dissolved the religious order of the Canons of St Stephen's,[citation needed] among other institutions; thus, the building became available for the Commons' use. Alterations were made to St Stephen's Chapel for the convenience of the Lower House. Sir Christopher Wren was commissioned to carry out major work on the chapel in the late 17th century. During these works the chapel's clerestory was removed and its Gothic interiors concealed behind oak panelling. More seating was added over the years to accommodate the new MPs created by the Acts of Union with Scotland (1707) and Ireland (1800), including an upper-level gallery.
The palace complex was substantially remodelled by Sir John Soane during the early 19th century. The medieval House of Lords chamber, which had been the target of the failed Gunpowder Plot of 1605, was demolished as part of this work in order to create a new ceremonial entrance at the southern end of the palace. The original undercroft where Guy Fawkes was discovered guarding the barrels of gunpowder was also lost during the reconstruction. Soane's work at the palace included new law courts adjoining Westminster Hall and a new Members' entrance to St. Stephen's Chapel.
Fire and reconstruction
J. M. W. Turner watched the fire of 1834 and painted several canvases depicting it, including The Burning of the Houses of Lords and Commons (1835).
On 16 October 1834, a fire broke out in the Palace[1] after a stove used to destroy the Exchequer's stockpile of tally sticks ignited panelling in the Lords Chamber. In the resulting conflagration both houses of Parliament were destroyed along with most of the other buildings in the palace complex. Westminster Hall was saved largely due to heroic firefighting efforts. The Jewel Tower, the crypt of St Stephen's Chapel and the cloisters were the only other parts of the palace to survive.
At one stage, King William IV considered converting Buckingham Palace, which was being renovated at the time, into the new Houses of Parliament.[4]
A Royal Commission was appointed to study the rebuilding of the Palace and a heated public debate over the proposed styles ensued. The neo-Classical design, similar to that of the White House and the federal Capitol in the United States, was popular at the time, but had connotations of revolution and republicanism, whereas Gothic design embodied conservative values. The Commission announced in June 1835 that "the style of the buildings would be either Gothic or Elizabethan".[5]
In 1836, after studying 97 rival proposals, the Royal Commission chose Charles Barry's plan for a Gothic-style palace. The foundation stone was laid in 1840;[6] the Lords Chamber was completed in 1847, and the Commons Chamber in 1852 (at which point Barry received a knighthood). Although most of the work had been carried out by 1860, construction was not finished until a decade afterwards. Barry (whose own architectural style was more classical than Gothic) relied heavily on Augustus Pugin for the sumptuous and distinctive Gothic interiors, including wallpapers, carvings, stained glass and furnishings, like the royal thrones and canopies.
During the Second World War, the Palace of Westminster was hit fourteen times by bombs (see The Blitz). The worst of these was on 10 May 1941, when the Commons Chamber was destroyed and three people were killed.[7] The chamber was re-built under the architect Giles Gilbert Scott in a similar but more austere style; the work was completed in 1950.[1]
As the need for office space in the Palace increased, Parliament acquired office space in the nearby Norman Shaw Building in 1975,[8] and more recently in the custom-built Portcullis House, completed in 2000. This increase has now allowed all MPs to have their own office facilities.[1]
Exterior
Sir Charles Barry's collaborative design for the Palace of Westminster uses the Perpendicular Gothic style, which was popular during the 15th century and returned during the Gothic revival of the 19th century. Barry was a classical architect, but he was aided by the Gothic architect Augustus Pugin. Westminster Hall, which was built in the 11th century and survived the fire of 1834, was incorporated in Barry's design. Pugin was displeased with the result of the work, especially with the symmetrical layout designed by Barry; he famously remarked, "All Grecian, sir; Tudor details on a classic body".[9]
Stonework
The stonework of the building was originally Anston, a sand-coloured magnesian limestone quarried in the village of Anston in South Yorkshire.[10] The stone, however, soon began to decay due to pollution and the poor quality of some of the stone used. Although such defects were clear as early as 1849, nothing was done for the remainder of the 19th century. During the 1910s, however, it became clear that some of the stonework had to be replaced.
In 1928 it was deemed necessary to use Clipsham Stone, a honey-coloured limestone from Rutland, to replace the decayed Anston. The project began in the 1930s but was halted due to the Second World War, and completed only during the 1950s. By the 1960s pollution had once again begun to take its toll. A stone conservation and restoration programme to the external elevations and towers began in 1981, and ended in 1994.[11] The House Authorities have since been undertaking the external restoration of the many inner courtyards, a task due to continue until approximately 2010.
Towers
Sir Charles Barry's Palace of Westminster includes several towers. The tallest is the 98.5-metre (323 ft)[10] Victoria Tower, a square tower at the south-western end of the Palace. It was named after the reigning monarch at the time of the reconstruction of the Palace, Queen Victoria; today, it is home to the Parliamentary Archives. Atop the Victoria Tower is an iron flagstaff, from which either the Royal Standard (if the Sovereign is present in the Palace) or the Union Flag is flown. At the base of the tower is the Sovereign's Entrance to the Palace, used by the monarch whenever entering the Palace of Westminster for the State Opening of Parliament or for any other official ceremony.
Over the middle of the Palace, immediately above the Central Lobby, stands the octagonal Central Tower. At 91.4 metres (300 ft),[10] it is the shortest of the Palace's three principal towers. Unlike the other towers, the Central Tower culminates in a spire, and was designed as a high-level air intake.
At the north end of the Palace is the most famous of the towers, the Clock Tower, commonly known as Big Ben after its main bell. The Clock Tower is 96.3 metres (316 ft)[10] tall. Pugin's drawings for the tower were the last work he did for Barry. The Clock Tower houses a large, four-faced clock—the Great Clock of Westminster—also designed by Pugin. The tower also houses five bells, which strike the Westminster Chimes every quarter hour. The largest and most famous of the bells is Big Ben (officially The Great Bell of Westminster), which strikes the hour. This is the third-heaviest bell in England, weighing 13.8 tonnes (13.6 long tons).[10] Although Big Ben properly refers only to the bell, it is colloquially applied to the whole tower. A light, called the Ayrton Light, is located at the top of the Clock Tower. The Ayrton Light is lit when either the House of Commons or the House of Lords is sitting after dark. The light takes its name from Thomas Ayrton, the first Commissioner of Works who installed a gas lamp in the tower soon after it was built in 1885. It was installed at the request of Queen Victoria, so she could see from Buckingham Palace whether the members were "at work".
A small tower, St. Stephen's Tower, is positioned at the front of the Palace, between Westminster Hall and Old Palace Yard, and contains the main entrance to the House of Commons at its base, known as St. Stephen's Entrance.[12] Other towers include Speaker's and Chancellor's Towers, at the north and south ends of the building's river front respectively.[13] They are named after the presiding officers of the two Houses of Parliament at the time of the Palace's reconstruction, the Speaker of the House of Commons and the Lord High Chancellor.
Grounds
There are a number of small gardens surrounding the Palace of Westminster. Victoria Tower Gardens is open as a public park along the side of the river south of the palace. Black Rod's Garden (named after the office of Gentleman Usher of the Black Rod) is closed to the public and is used as a private entrance. Old Palace Yard, in front of the Palace, is paved over and covered in concrete security blocks (see security below). Cromwell Green (also on the frontage, and in 2006 enclosed by hoardings for the construction of a new visitor centre), New Palace Yard (on the north side) and Speaker's Green (directly north of the Palace) are all private and closed to the public. College Green, opposite the House of Lords, is a small triangular green commonly used for television interviews with politicians.
Interior
The Palace of Westminster includes over 1,100 rooms, 100 staircases and 4.8 kilometres (3 mi) of passageways.[10] The building includes four floors; the ground floor includes offices, dining rooms and bars. The "first floor" (known as the principal floor) houses the main rooms of the Palace, including the Chambers, the lobbies and the libraries. The Robing Room, the Royal Gallery, the Prince's Chamber, the Lords Chamber, the Peers' Lobby, the Central Lobby, the Members' Lobby and the Commons Chamber all lie in a straight line on this floor, from south to north, in the order noted. (Westminster Hall lies to a side at the Commons end of the Palace.) The top-two floors are used for committee rooms and offices.
Formerly, the Palace was controlled by the Lord Great Chamberlain,[citation needed] as it was (and formally remains) a royal residence. In 1965, however, it was decided that each House should control its own rooms;[citation needed] the Speakers now exercise control on behalf of their respective Houses. The Lord Great Chamberlain retains custody of certain ceremonial rooms.
Lords Chamber
The Chamber of the House of Lords is located in the southern part of the Palace of Westminster. The lavishly decorated room measures 13.7 by 24.4 metres (45 by 80 ft).[10] The benches in the Chamber, as well as other furnishings in the Lords' side of the Palace, are coloured red. The upper part of the Chamber is decorated by stained glass windows and by six allegorical frescoes representing religion, chivalry and law.
At the south end of the Chamber are the ornate gold Canopy and Throne; although the Sovereign may theoretically occupy the Throne during any sitting, he or she attends only the State Opening of Parliament. Other members of the Royal Family who attend the State Opening use Chairs of State next to the Throne. In front of the Throne is the Woolsack, a backless and armless red cushion stuffed with wool, representing the historical importance of the wool trade. The Woolsack is used by the officer presiding over the House (the Lord Speaker since 2006, but historically the Lord Chancellor or a deputy). The House's mace, which represents royal authority, is placed on the back of the Woolsack. In front of the Woolsack are the Judges' Woolsack, a larger red cushion occupied by the Law Lords during the State Opening, and the Table of the House, at which the clerks sit.
Members of the House occupy red benches on three sides of the Chamber. The benches on the Lord Speaker's right form the Spiritual Side and those to his left form the Temporal Side. The Lords Spiritual (archbishops and bishops of the established Church of England) all occupy the Spiritual Side. The Lords Temporal (nobles) sit according to party affiliation: members of the Government party sit on the Spiritual Side, while those of the Opposition sit on the Temporal Side. Some peers, who have no party affiliation, sit on the benches in the middle of the House opposite the Woolsack; they are accordingly known as cross-benchers.
The Lords Chamber is the site of important ceremonies, the most important of which is the State Opening of Parliament, which occurs at the beginning of each annual parliamentary session. The Sovereign, seated on the Throne, delivers the Speech from the Throne, outlining the Government's legislative agenda for the forthcoming parliamentary session. The Commons do not enter the Lords' debating floor; instead, they watch the proceedings from beyond the Bar of the House, just inside the door. A similar ceremony is held at the end of a parliamentary session; the Sovereign, however, does not normally attend, and is instead represented by a group of Lords Commissioners.
Commons Chamber
The Chamber of the House of Commons is at the northern end of the Palace of Westminster; it was opened in 1950 after the Victorian chamber had been destroyed in 1941 and re-built under the architect Giles Gilbert Scott. The Chamber measures 14 by 20.7 metres (46 by 68 ft)[10] and is far more austere than the Lords Chamber; the benches, as well as other furnishings in the Commons side of the Palace, are coloured green. Members of the public are forbidden to sit on the red benches, which are reserved for members of the House of Lords. Other parliaments in Commonwealth nations, including those of India, Canada and Australia, have copied the colour scheme under which the Lower House is associated with green, and the Upper House with red.
At the north end of the Chamber is the Speaker's Chair, a present to Parliament from the Commonwealth of Australia. The current British Speaker's Chair is an exact copy of the Speaker's Chair given to Australia, by the House of Commons, on the celebration of Australia's Parliamentary opening. In front of the Speaker's Chair is the Table of the House, at which the clerks sit, and on which is placed the Commons' ceremonial mace. The dispatch boxes, which front-bench Members of Parliament (MPs) often lean on or rest notes on during Questions and speeches, are a gift from New Zealand. There are green benches on either side of the House; members of the Government party occupy benches on the Speaker's right, while those of the Opposition occupy benches on the Speaker's left. There are no cross-benches as in the House of Lords. The Chamber is relatively small, and can accommodate only 427 of the 646 Members of Parliament[14]—during Prime Minister's Questions and in major debates MPs stand at either end of the House.
By tradition, the British Sovereign does not enter the Chamber of the House of Commons. The last monarch to do so was King Charles I, in 1642. The King sought to arrest five Members of Parliament on charges of high treason, but when he asked the Speaker, William Lenthall, if he had any knowledge of the whereabouts of these individuals, Lenthall famously replied: "May it please your Majesty, I have neither eyes to see nor tongue to speak in this place but as the House is pleased to direct me, whose servant I am here."[15]
The two red lines on the floor of the House of Commons are 2.5 metres (8 ft 2 in)[10] apart, which, by (probably apocryphal) tradition, is intended to be just over two sword-lengths. Protocol dictates that MPs may not cross these lines when speaking. Historically, this was to prevent disputes in the House from devolving into duels. If a Member of Parliament steps over this line while giving a speech he or she will be lambasted by opposition Members. This is a possible origin for the expression "to toe the line".
Westminster Hall
Westminster Hall, the oldest existing part of the Palace of Westminster, was erected in 1097,[16] at which point it was the largest hall in Europe, though it was subsequently overtaken by the Palais de la Cité in Paris (1301-6) and a hall in Padua of similar date.[17] The roof was probably originally supported by pillars, giving three aisles, but during the reign of King Richard II, this was replaced by a hammerbeam roof by the royal carpenter Hugh Herland, "the greatest creation of medieval timber architecture", which allowed the original three aisles to be replaced with a single huge open space, with a dais at the end. Richard's architect Henry Yevele left the original dimensions, refacing the walls, with fifteen life-size statues of kings placed in niches.[18] The rebuilding had been begun by Henry III in 1245, but had by Richard's time been dormant for over a century.
Westminster Hall has the largest clearspan medieval roof in England, measuring 20.7 by 73.2 metres (68 by 240 ft).[10] Despite an Essex legend that the oak timber came from woods in Thundersley, Essex, it is known that the original roof was constructed with Irish black oak from County Galway and the chestnut roof timberwork was framed in 1395 at Farnham in Surrey, 56 kilometres (35 mi) south-west of London.[19] Accounts record the large number of wagons and barges which delivered the jointed timbers to Westminster for assembly.[20]
Westminster Hall has served numerous functions. It was primarily used for judicial purposes, housing three of the most important courts in the land: the Court of King's Bench, the Court of Common Pleas and the Court of Chancery. In 1875, these courts were amalgamated into the High Court of Justice,[21] which continued to meet in Westminster Hall until it moved to the Royal Courts of Justice in 1882.[22] In addition to regular courts, Westminster Hall also housed important trials, including impeachment trials and the state trials of King Charles I at the end of the English Civil War, Sir William Wallace, Sir Thomas More, John Cardinal Fisher, Guy Fawkes, the Earl of Strafford, the rebel Scottish Lords of the 1715 and 1745 uprisings, and Warren Hastings.
Westminster Hall has also served ceremonial functions. From the twelfth century to the nineteenth, coronation banquets honouring new monarchs were held here. The last coronation banquet was that of King George IV, held in 1821;[23] his successor, William IV, abandoned the idea because he deemed it too expensive. The Hall has been used for lyings-in-state during state and ceremonial funerals. Such an honour is usually reserved for the Sovereign and for their consorts; the only non-royals to receive it in the twentieth century were Frederick Sleigh Roberts, 1st Earl Roberts (1914) and Sir Winston Churchill (1965). The most recent lying-in-state was that of Queen Elizabeth The Queen Mother in 2002.
The two Houses have presented ceremonial Addresses to the Crown in Westminster Hall on important public occasions. For example, Addresses were presented at Elizabeth II's Silver Jubilee (1977) and Golden Jubilee (2002), the 300th anniversary of the Glorious Revolution (1988), and the fiftieth anniversary of the end of the Second World War (1995).
Under reforms made in 1999, the House of Commons uses the Grand Committee Room next to Westminster Hall as an additional debating chamber. (Although it is not part of the main hall, the room is usually spoken of as such.) The room is shaped like an elongated horseshoe; it stands in contrast with the main Chamber, in which the benches are placed opposite each other. This pattern is meant to reflect the non-partisan nature of the debates held in Westminster Hall. Westminster Hall sittings occur thrice each week; controversial matters are not usually discussed.
Other Rooms
There are several other important rooms that lie on the first floor of the Palace. At the extreme southern end of the Palace is the Robing Room, the room in which the Sovereign prepares for the State Opening of Parliament by donning official robes and wearing the Imperial State Crown. Paintings by William Dyce in the Robing Room depict scenes from the legend of King Arthur. Immediately next to the Robing Room is the Royal Gallery, which is sometimes used by foreign dignitaries who wish to address both Houses. The walls are decorated by two enormous paintings by Daniel Maclise: "The Death of Nelson" (depicting Lord Nelson's demise at the Battle of Trafalgar) and "The Meeting of Wellington and Blücher" (showing the Duke of Wellington meeting Gebhard Leberecht von Blücher at the Battle of Waterloo).
To the immediate south of the Lords Chamber is the Prince's Chamber, a small anteroom used by members of the Lords. The Prince's Chamber is decorated with paintings of members of the Tudor dynasty by Richard Burchett and his pupils, and features a marble statue of Queen Victoria. To the immediate north of the Lords Chamber is the Peers' Lobby, where Lords informally discuss or negotiate matters during sittings of the House.
The centrepiece of the Palace of Westminster is the octagonal Central Lobby, which lies immediately beyond the Peers' Lobby. The lobby, which lies directly below the Central Tower, is adorned with statues of statesmen and with mosaics representing the United Kingdom's constituent nations' patron saints: St George for England, St Andrew for Scotland, St David for Wales and St Patrick for Ireland.[note 2] Constituents may meet their Members of Parliament in the Central Lobby. Beyond the Central Lobby, next to the Commons Chamber, lies the Members' Lobby, in which Members of Parliament hold discussions or negotiations. The Members' Lobby contains statues of several former Prime Ministers, including David Lloyd George, Winston Churchill, Clement Attlee and Margaret Thatcher.
There are two suites of libraries on the Principal Floor, overlooking the river, for the House of Lords Library and House of Commons Library.
The Palace of Westminster also includes state apartments for the presiding officers of the two Houses. The official residence of the Speaker stands at the northern end of the Palace; the Lord Chancellor's apartments are at the southern end. Each day, the Speaker and Lord Speaker take part in formal processions from their apartments to their respective Chambers.[24][25]
There are 19 bars and restaurants in the Palace of Westminster,[26] many of which never close while the House is sitting. There is also a gymnasium, and even a hair salon; the rifle range closed in the 1990s.[27] Parliament also has a souvenirs shop, where items on sale range from House of Commons key-rings and china to House of Commons Champagne.
Security
The Gentleman Usher of the Black Rod oversees security for the House of Lords, and the Serjeant at Arms does the same for the House of Commons. These officers, however, have primarily ceremonial roles outside the actual chambers of their respective Houses. Security is the responsibility of the Palace of Westminster Division of the Metropolitan Police, the police force for the Greater London area. Tradition still dictates that only the Serjeant at Arms may enter the Commons chamber armed.
With rising concern about the possibility of a lorry full of explosives being driven into the building, a series of concrete blocks was placed in the roadway in 2003.[28] On the river, an exclusion zone extending 70 metres (77 yd) from the bank exists, which no vessels are allowed to enter.[29]
Despite recent security breaches, members of the public continue to have access to the Strangers' Gallery (public gallery) in the House of Commons. Visitors pass through metal detectors and their possessions are scanned. Police from the Palace of Westminster Division of the Metropolitan Police, supported by some armed police from the Diplomatic Protection Group, are always on duty in and around the Palace.
Under a provision of the Serious Organised Crime and Police Act 2005, it has been illegal since 1 August 2005 to hold a protest, without the prior permission of the Metropolitan Police, within a designated area extending approximately one kilometre (0.6 mi) around the Palace.[30]
Eating, drinking and smoking
The Palace has accumulated many rules and traditions over the centuries. Smoking has not been allowed in the chambers of the House of Lords and the Commons since the 17th century.[38] As a result, Members may take snuff instead and the doorkeepers still keep a snuff-box for this purpose. Despite persistent media rumours, it has not been possible to smoke anywhere inside the Palace since 2005.[39] Members may not eat or drink in the chamber; the exception to this rule is the Chancellor of the Exchequer, who may have an alcoholic drink while delivering the Budget statement.[40]
Dress code
Hats must not be worn (although they formerly were when a point of order was being raised),[41] and Members may not wear military decorations or insignia. Members are not allowed to have their hands in their pockets—Andrew Robathan was heckled by opposing MPs for doing this on 19 December 1994.[42] Swords may not be worn in the Palace, and each MP has a loop of ribbon in the cloakroom for storing weapons.
Forms of address
Members may not refer to each other by name and use either "my honourable friend" (if a member of the same party) or "the honourable lady/gentleman" (for members from other parties); alternatively, "the honourable member for [the constituency]" is used. Members of the Privy Council are referred to as "the right honourable". Barrister MPs are entitled to be styled "my learned friend" or "the learned lady/gentleman".
In the House of Lords, members are referred to as "the noble lord/lady", or "my noble friend".
Other traditions
No animals may enter the Palace of Westminster, with the exception of guide dogs for the blind;[38] sniffer dogs and police horses are also allowed on the grounds.[43]
Speeches may not be read out during debate, although notes may be referred to. Similarly, the reading of newspapers is not allowed. Visual aids are discouraged in the chamber.[44]
Applause is not normally allowed in the Lords and Commons. Some notable exceptions to this were when Robin Cook gave his resignation speech in 2003,[45], when Prime Minister Tony Blair appeared for the last time at Prime Minister's Questions and when Speaker Michael Martin gave his leaving speech on 17 June 2009.[46]
It is a convention that MPs do not discuss the Sovereign nor use the name of the monarch as a point of debate without prior permission from the Speaker. This comes from 19th-century constitutionalist Erskine May, who said, "the irregular use of the Queen's name to influence a decision of the House is unconstitutional in principle and inconsistent with the independence of Parliament ... Any attempt to use her name in debate to influence the judgement of Parliament is immediately checked and censured." Vincent Cable was reprimanded for breaking this convention during a session of Prime Minister's Questions in 2008.[47]
The nearest London Underground station is Westminster on the District, Circle and Jubilee Lines.
Betty Boop Museum
My House
Harbor City, CA
01-17-25
Pieces of note are the "Top Twenty" Billboard hits from January 1971. There used to be a radio show called "America's Top 40" and each Saturday when it aired, I would meticulously copy the list as the songs were playing. My radio was a hand held transistor radio! Soon I would get my first stereo, and before long I was one of those "audiophiles" who thought nothing of dropping a couple hundred bucks on a diamond stylus.
The Hollywood Park Wishnick Jockey (also called trolls back in the day before the word had such bad connotations) was a give away at one of Hollywood Park's anniversaries. The racetrack was torn down and SoFi Stadium is in it's place now.
La Chiesa di San Pietro a Gemonio, nata probabilmente come cappella in epoca carolingia (VIII sec.) subì varie fasi di rifacimento e ampliamento nel corso del X-XI secolo, fino a raggiungere nel XVI secolo l'attuale connotazione.
L'esterno presenta una facciata romanica, con tetto a capanna, affiancata da un imponente campanile romanico a cinque ordini.
L'interno è a tre navate asimmetriche, divise tra loro da archi di dimensioni e stili diversi, con relative absidi interamente affrescate.
Nell'abside centrale, antico altare (X sec.) in muratura intonacata e decorata da disegni e simboli non ancora decifrati.
Alle pareti affreschi del XIV-XVI sec. di varia fattura e di autori ignoti ma verosimilmente di scuola lombarda.
The Church of San Pietro in Gemonio, most likely originally built as a chapel in the Carolingian period (VIII sec.), has undergone various phases of renovation and expansion during the X-XI century, until reaching the current connotation in the sixteenth century,
The exterior features a Romanesque façade, with a gabled roof, flanked by an imposing Romanesque bell tower of five orders.
The interior has three asymmetric naves, divided by arches of different sizes and styles, with their frescoed apses.
In the main aspe,an ancient altar (X sec.) with plastered masonry decorated with drawings and symbols still to be deciphered.
Various unknown artists, presumably of the Lombard school, painted the XIV-XVI century frescoes.
Inuksuit are placed throughout the Arctic landscape acting as "helpers" to the Inuit. Among their many practical functions, they are used as hunting and navigational aids, coordination points and message centres (e.g., they might indicate where food was cached). In addition to their earthly functions, certain inuksuk-like figures have spiritual connotations, and are objects of veneration, often marking the spiritual landscape of the Inummariit — the Inuit who know how to survive on the land living in their traditional way.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
It is a piece outside of time, reminding on the ancient tribes but being somehow futuristic simultaneously. The silver wire is oxidized giving the piece some ancient connotations. On the contrast the sculptural element of the spear is white and soft to touch reminding us on soft gadgets of today. The pieces are connected with links and the necklace is closed by pushing the spear trough the ring fastened by a wire stopper.
necklace - oxidized silver wire, fimo
2010.
length: 45 cm (17,5")
arrow piece: 18 cm x 6 cm (7"x2,5")
photo by: sakrabojski
WARNING
Adult content, that may trigger.
Today my colour is green.
A diary entry.
My dog likes classical music.
I bought him, my miniature fox terrier, to occupy my dad’s time, and mind, as he died from cancer. I thought a tiny pugnacious boy dog, would frustrate my dad to life, and not death, as he came to terms with his terminal disease. It worked. I had to bring him home after I bought him from kind people, next to a swamp on the Murray River. I put him in a cardboard box with holes in it. I did it to calm him, and to keep him from getting under the cars peddles as I drove, a potentially fatal experience for us both. My dog is an utter boy, so much so, if he was in the modern education system, they would have him on Ritalin. He would not settle down in the car at the start of the 160klm or 100-mile trip home. The answer I found was music. I ran through the channels on the radio, seeing what would be best, and we settled on ABC classical. I always remember how it alleviated his distress, that stemmed from being separated for the first time from his canine and human families. He cried in the car for them, upsetting not just him, but me. So, when I found out he liked classical music, it was a joy.
I was sitting at home today watching the D Day commemoration. Later by chance I was listening to the Hauser Adagio for Strings (Barber). Here is a link the YouTube video www.youtube.com/watch?v=Hc8gYoXkLZ4. It is from the soundtrack for the movie Platoon. If you don’t know it is a movie about the Vietnam war, and it stars Charlie Sheen. My dog’s ears swivelled and tilted, his head looked left and right, following the stereo music from speaker to speaker. His face pointed at the music with curious intent, going from one speaker to the next. It grabbed his attention, after minutes of being a boy with no purpose, he stopped, and we both listened intently.
Later, I would think about war, and my role in it.
The D Day commemoration in France commemorates the landing that was so pivotal in the swing of the fate of France and Europe. On that day 80 years ago, 4414 troops lost their lives, so my copilot tells me. It makes me a little emotional. Thinking of the loss of life.
I once went along to the RSl or the Returned Services League on ANZAC day. ANZAC day is if you don’t know a commemoration of the wars, those that served, and those that died. We do it here in Australia. It stands for Australian New Zealand Army Corps. I had run out of grog, and was after a drink, so I went along. In general, I have nothing to do with Anzac Day on a public level, as it is too distressing, and the potential of me weeping openly raises to many questions. I think it could cause some distress for others, as I lose my composure. The other reason is my great grandfather was in World War one. He was highly traumatised by the experience, so much so he never talked about it, and refused to go to Anzac Day parades. It is not about me, as to why I do not attend. I am not confused about my intent of what I did.
The colour green. My 365-word processor icon is green today, a sign of renewal, or so it says. I am informed after doing a search for the colour’s meaning, or its representative connotation on the net. It was the colour for our school jumpers at high school, and I remember that it was part of the sporting group Chisolm, my group or team when it came to school sports. It was a team that celebrated the Australian woman, Caroline Chisholm. Here is a link to her wiki page, en.wikipedia.org/wiki/Caroline_Chisholm, quite a remarkable woman, on all accounts. She was a friend to immigrants in Australia. Despite my family being here in Australia for approximately one hundred years, and, even though I was born here, I am still treated like an immigrant. Oddly it seemed strange that an aboriginal woman who dislikes welcome to countries, would make me feel at home, with the teachings of her traditional uncle. She said her uncle had taught her that if you were born here, you are from here. I am highly confident that it is a simplification of a very lengthy consideration. This consideration, when I reflected on that day at the RSl was gutting, it touches part of me, like no one had, since childhood. Her words affected me today, as I recalled that day at the RSL years ago. A day where I went to remember and have a beer. To be honest it was upsetting for all the wrong reasons. On that day, I drank quietly, and watched the veterans play lawn bowls, at least one of the veterans was a very good bowler, and I said “good bowl” on several occasions. A gentleman approached me and said very politely that it was a time of quiet reflection, and to come inside and have a beer while the gentleman bowlers remembered the fallen in silence, and why they went to war.
I went inside after apologizing and sat at the bar. While inside, another man approached me. He started with a line of questioning or what would become an interrogation of sorts. I had been taken inside for an education, an education as to who the locals were, and to be questioned as to where I come from. It may have been well intended but was unnecessary. I know where I come from, and I know who the locals are. I grew up here at a time when the phone book was only ½ and inch thick, to use the old standard, and half of that was business adds with pictures. I didn’t take offence, when the man questioned me about my heritage, as I grew up in an era where being of Italian origin was not ok in the least for many here. It didn’t matter to this man that my family had been in the town for nearly a hundred years, and at no time had we been implicated in the second world war, other than to help feed the war effort. In fact, one day as Dad was being dinked or pinioned on my grandfather’s bicycle, they road past Italian POWs or prisoners of war, here in Shepparton Australia. My grandfather noticed, and new one of them, he yelled out, Gessepi, (if that was his name), hello! He smiled and kept riding. Quite happy I am sure, that it was not him in prison. My grandfather was a 1920s immigrant, or around there. He left Italy not long after the first world war. He never served in either world war, as the train he was on taking him to war, was turned around. The war had ended, and he went home as a 17-year-old. The man that approached me that day, went through the list of rifles, mounted on the wall telling me where they were used and stopped at the World War 1 rifle. It was a threat. Going on to tell me how it was potentially used on Italians. We kept on talking and I discussed the other side of my family, my great grandfather on my mother’s side, who had served for Australia in the first world war, and I discussed with the man about his trauma, and asked coldly but not bluntly, if I was allowed to sit and have a beer. Years later I would sit at another local just up the road, on the wall was other relative’s names, on a memorial board, commemorating the first world war. The same type of thing would happen, so I pointed to the board and informed the young gentleman trying to be confrontational, that my relatives are on that list. I had my beer then left, feeling not welcome at all in my own country.
Despite this it was ironically years later, that an aboriginal woman who does not like welcome to countries, made me feel more at home than anyone had in a long time, or at least in comparison to that day at the RSL anyway. That day at the RSL where friends must have heard I was there. The day they came to get me. They probably came to get me because they knew what type of reception I would get. They took me to their friend’s home, the house of a returned Vietnam veteran, who had served as a medic during the Vietnam war. A veteran who never fired a round from his revolver. A veteran who had to deal no doubt with his own hands, things that would make most people vomit, things that would never leave you. We where not friends, but we sat one way or another and we had a beer. I genuinely appreciated it.
Every ANZAC day I consider the different defence activities that are conducted by Australia, not just the military ones. Activities that should allow you to turn up at ANZAC Day and not be questioned to the point of interrogation as to who you stand with. It has raised many discussions among friends and peers. It, war, causes me every time I look at it, to consider something new in it. I don’t take it lightly, as it introduces me to new questions as to what war is about, and what are the motives for war. And more importantly how far should war go? I looked at the example of Nancy Wake, here is her wiki page if you don’t know her, here is a link to it en.wikipedia.org/wiki/Nancy_Wake. I liked her on TV because she was delightful, she enjoyed her role in war. She did it with informed and considered intent and came out smiling. She killed in a war against evil. To paraphrase a wiki quote, probably in the wrong context, "...her irrepressible, infectious, high spirits were a joy to everyone who worked with her…"! I would have liked to have met her, shook her hand and said hazzah, despite neither of us having served in the English navy. It would have been a segway I hope, to a good conversation. And if you have never heard hazzah used, here is a link to the Movie Master and Commander, www.youtube.com/watch?v=sowv7fPZI8U a movie with Russell Crow as the star. A depiction of another war, or battle, that helped end another evil, slavery.
This line of personal inquiry presented openly in the public domain might seem flippant to the value of life, but it is not. It is an outright respect, a respect that exists in me, despite going to ANZAC day and being disrespected. I don’t regret what I have done, or what I have been involved in, or my work being involved again, if in fact my work has never stopped being used, despite retiring from that line of inquiry over 20 years ago. I never will regret it. Despite this I can understand why Australian soldiers kill themselves, something that I do not condone under any circumstance. Despite the concerns of so many, they have done it in such large numbers when they get back from active service, that it is being pushed for a royal commission. Raising in me the question, why?
What is the purpose of a Royal commission in investigating the obvious. Returned soldiers are greeted by people no longer allowed to spit on them after the Vietnam war. They are greeted by people who publicly deface their work, after they fought for the rights of women and children, not to be raped and murdered, and for our countries not to be attacked from afar. Hell, they even fought at one time for the rights of homosexuals. They fought, only to be received by the groups that get voted into public office by said groups, and to be treated with open public disdain. They use political propaganda designed by the social science department at the university in your city, to maim the soul of the men, that had put everything on the line. So many would die, but so few would stand up publicly and ask, are you ok? As the intellectual bullies of the ultra-left wing political, and media classes, became so left wing, they went full circle, into ultra-right wing, with a hatred of everything decent.
What happens when my friends talk on social media? Far too often they talk about their brothers and sisters in arms lost after the battle. A battle that would unfortunately never end. After coming home to their country to face a media, and a propaganda onslaught, their reward for serving the people that now defiled them. They confronted, and confront, the knowledge, that there would be no end, to their battle. There was no cheering in the streets. All it was, was endless sombre. Unlike Nancy who cheered at the death of monsters, and was cheered for ever since, by some of us. Monsters would cheer for the death of her comrades some 60 years later. Who where they, it would be the leftist citizens that they protected, that murdered their soldiers, one way or another, with the cuts of a thousand words.
So where does that leave me, when it comes to my call of good bowl? Where does it leave me with Nancy Wake, and a hazzar? It leaves me in good stead, sleeping well and dreaming of Nancy. So, I thought I would get up at 2am and write about her. It is not that the fickleness of war does not escape me. It is not that I don’t like Germans or their Australian descendants. Like any group I like some, but not all. The point is, when it comes to war, you should not lose a second of sleep about the people you help kill. If you do, most likely they, whoever they are, who sent you, got it wrong. In no way am I saying war should not be avoided, but that avoidance should not come at all costs. Part of my family story is that with a few butterfly effects, or sliding doors, my grandfather could have been shot by my great grandfather in the first world war, and I would never have been born. Despite the oddity of my existence, I still cheer for Nancy, as she seemed like the type of warrior that might on the occasion raise a glass to a dead Nazi. So, here’s cheers, to a good-looking woman we should all miss, and for her, I fall silent. And for those that have fallen silent, I say, “good bowl”. Because currently in modern warfare there is no end to it, even when you get home.
Jami Masjid, Champaner, Gujarat, India
Jami Masjid (also known as, Jama Masjid; meaning "public mosque") in Champaner, Gujarat state, western India, is part of the Champaner-Pavagadh Archaeological Park, a UNESCO World Heritage Site, and is among the 114 monuments there which are listed by the Baroda Heritage Trust. It is located about 150 feet (46 m) east of the city walls (Jahdnpandh), near the east gate.
The mosque dates to 1513; construction was carried out over 25 years. It is one of the most notable monuments built by Sultan Mahmud Begada. The Mughal architecture is said to have drawn from the architecture of the Sultanates, which is a blend of Hindu religious connotations and workmanship with Muslim ethos; the large domes are indicative of such a mix.Restoration works were carried out in the 1890s.
Taking a trip down memory lane with this repro. Just randomly browsing through my tomb of raw data from my USA Trip a few years back, life has been in fast forward since then and I haven't really had the chance to go back through them all (one day!). I came across this one from Monument Valley, and although this was the only taste I got of this area (due to timing and lighting conditions) I remember being in awe of such natural formations so close to major roads.
I think the rest of the Colorado Plateau region passed us by in darkness, for which people often mistake the connotation of the American "Wild Wild West".
This is a repro from an older verison...I think with some more post-shooting experience and from another angle (well not really but just having a look again!) its a lot better.
Monument Valley, USA.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
Ushguli is a community of four villages located at the head of the Enguri gorge in Svaneti, Georgia. Recognized as the Upper Svaneti UNESCO World Heritage Site, Ushguli is one of the highest continuously inhabited settlements in Europe. Ushguli isn't in an accessible location, which has preserved many of the village's most charming characteristics.
Ushguli is located at an altitude of 2,100 metres (6,900 ft) near the foot of Shkhara, one of the highest summits of the Greater Caucasus mountains. About 70 families (about 200 people) live in the area, enough to support a small school. The area is snow-covered for 6 months of the year, and often the road to Mestia is impassable.
Typical Svaneti defensive tower houses are found throughout the village. The Ushguli Chapel located on a hilltop near the village dates back to the 12th century.
King Tamar's castle originally had 4 defensive stone towers, of which one survives, connected by a curtain wall. The castles three other towers were destroyed by the Soviets in the 1930’s. The stones were used to build farms and other buildings.
Queen Tamar, also known as Tamar the Great ruled Georgia from 1184 to 1213, at the summit of the Georgian Golden Age. She was the first woman to govern Georgia in her own right.
A member of Bagrationi Dynasty and the only daughter of George III, King of Georgia, Tamar was born in 1160. Her youth corresponded with a significant outbreak in Georgia. In 1177 George III faced a rebellious group of local nobles, who planned to dethrone him in favor of his nephew Demna.
George III was able to defeat the uprising. Once the revolt was suppressed and eliminated, George started to include Tamar in government and crowned her as a co-ruler in 1178, when she was only 18 years old. This action was intended to stop any controversy after his death and legitimize his family on the throne of Georgia.
Tamar and her father co-ruled for six years, and when George died in 1184, she continued as sole ruler of the country by being crowned for the second time in Gelati Cathedral in Kutaisi.
However, her reign wasn’t met with full support. Another opposition came, perceiving her gender as weakness. As the country had never had a female ruler before, the nobles questioned her legitimacy and tried to use her age against her. The young queen was pushed into making important concessions to the nobility, including the removal of King George’s appointees. Thus, the aristocracy came into the center of power again.
Slowly Tamar started to gain confidence in her rights as a queen. The death of the persuasive Catholicos-Patriarch Michael, who was not a big supporter of Tamar played a big role in her future governance. She appointed her advocate Anton Gnolistavisdze as a chancellor and gradually increased her own power-base to high positions at the court.
After an unsuccessful arranged first mariage to Prince Yuri, son of the assassinated prince Andrei I Bogolyubsky of Vladimir-Suzdal, Tamar divorced Yuri and sent him off to Constantinople.
She then chose her second husband herself – David Soslan, an Alan prince and a great military commander, who became Tamar’s primary advocate and was effective in crushing the rebellious aristocracy united behind Yuri.
King Tamar and David had two children; Lasha-Giorgi, the future King George IV; and Rusudan, who later replaced her brother as a monarch of Georgia.
Tamar’s kingdom extended from the Greater Caucasus to Erzurum, and from the Zygii to the proximity of Ganja building a pan-Caucasian empire. The royal title increased and reflected not only her power over the regular subdivisions of the Georgian Kingdom but also introduced new elements that highlighted the Georgian crown’s authority over the neighboring lands.
Besides expanding Georgian territories, her governance brought a golden age in culture. Locals continued to identify themselves with the Byzantine West, rather than Islamic East. This period brought architectural development to the country when a great number of impressive domed cathedrals were built.
Tamar continued to be identified among Georgia’s ‘King of the Kings’, as the language has no grammatical genders, unlike ‘king’ in English, it does not significantly imply a male connotation.
Pierre Jean Louis Germain Soulages (French: [sulaʒ]; Occitan: Pèire Solatges; 24 December 1919 – 25 October 2022) was a French painter, printmaker, and sculptor. In 2014, President François Hollande of France described him as "the world's greatest living artist."[1] His works are held by leading museums of the world, and there is a museum dedicated to his art in his hometown of Rodez. Soulages produced 104 stained-glass windows for the Romanesque architecture of the Abbey Church of Sainte-Foy in Conques from 1987 to 1994. He received international awards, and the Louvre in Paris held a retrospective of his works on the occasion of his centenary. Soulages said, "My instrument is not black but the light reflected from the black."[18] Naming his own practice Outrenoir (Beyond Black), the paintings he produces are known for their endless black depth, created by playing with the light reflected off of the texture of the paint. Knowing that he needed a new term to define the way that he worked, Soulages invented 'Outrenoir' to define his practice. Not having a translation into English, the closest meaning is 'beyond black'; in a 2014 interview he explained the definition of the term, "Outrenoir doesn't exist in English; the closest is "beyond black." In French, you say "outre-Manche," "beyond the Channel," to mean England or "outre-Rhin," "beyond the Rhine," to mean Germany. In other words, "beyond black" is a different country from black."[19]
The infatuation Soulages had with black began long before his investigations with 'Outrenoir' at the age of 60.[20] Initially inspired by his interest in the prehistoric [19] and his want of retreating to something more pure, primal and deliberately stripped of any other connotations, he says of his fascination with the colour, "during thousands of years, men went underground, in the absolute black of grottoes, to paint with black."[20] "I made these because I found that the light reflected by the black surface elicits certain emotions in me. These aren't monochromes. The fact that light can come from the colour which is supposedly the absence of light is already quite moving, and it is interesting to see how this happens."[19]
Applying the paint in thick layers, Soulages' painting technique includes using objects such as spoons, tiny rakes and bits of rubber to work away at the painting, often making scraping, digging or etching movements depending on whether he wants to evoke a smooth or rough surface. The texture that is then produced either absorbs or rejects light, breaking up the surface of the painting by disrupting the uniformity of the black.[21][22] He often used bold cuts in vertical and horizontal lines, the crevasses and forms created by using angles and contours. In his recent work from 2013 to 2014, Soulages began to explicitly vary the pigment used in the paint, mixing matte and glossy types of black as well as hardened densities of black pigment.[23] Preferring to suspend the paintings like walls, he uses wires to hang them in the middle of the room, "I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall. A window looks outside, but a painting should do the opposite—it should look inside of us".[19]
Instead of having titles, Soulages paintings are uniformly named as "Peinture" (transl.: Painting), followed by size and date of production.[7] 17 December 1966 from 1966, in the collection of the Honolulu Museum of Art demonstrates the artist's boldly brushed black on white canvases.[24] His works had to be hung without frames in exhibitions. en.wikipedia.org/wiki/Pierre_Soulages. an insistent dichotomy. Nothing happens in Soulages' painting, while it does in Marfaing's. I want to tell you: Just look! I would go so far as to dare to say that here, Soulages doesn't push himself. We can't say anything about that. On the other hand, once again, in Marfaing's painting, it's a different tune. We feel that something is happening (or in the plural). In 1985, but this is a hypothesis (I do not have all of Soulages' work at my disposal), Soulages began to dig into the painting, that is to say to sculpt it, which, very soon, would give rise to real furrows of paint, increasingly thick, deep, earthy; in which, oh miracle of the unexpected!, the light would come to vibrate with an infinity of values and tones, transmuting the initial black material into something else, which, until then, had never been seen or envisaged; and there the true Soulages "begins", that is to say, his genius - and I am speaking here of the genius of invention; for that is also what genius is. art-icle.fr/andre-marfaing-etait-il-meilleur-peintre-que-.... The Strange Mystery of the Dripping Soulages
Paint that becomes liquid again... This is the bizarre, still unexplained phenomenon affecting several Pierre Soulages paintings dating from the late 1950s. A team of CNRS researchers has investigated. You can share an article by clicking on the share icons in the top right corner.
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Pierre Soulages' paintings flow. They melt. This phenomenon affects the canvases of the very late 1950s, inspired by American painting, the most beautiful, gestural, and subtly colored, and not the black and repetitive monochromes of the last forty years, mostly painted in acrylic. In reality, this sudden fantasy of the medium, unprecedented in the history of art, also affects paintings by other artists painted during the same period. Those of the Americans Willem de Kooning and Joan Mitchell, the Dutchman Karel Appel, the Canadian Jean Paul Riopelle, or the Frenchmen Georges Mathieu and André Marfaing. All have in common the fact that they lived in Paris at the same time, purchased from the same color dealers, and saw their works exhibited as soon as they were finished. In order to elucidate this mystery, a scientific team from the CNRS has therefore examined the works of Pierre Soulages, preserved at the Musée des Abattoirs in Toulouse. www.telerama.fr/sortir/l-etrange-mystere-des-soulages-qui...
I've lived in or around Milwaukee my whole life and i never knew this building existed. It's located on the 150 acre Wood Veteran's Administration Grounds and used to be the National Asylum for Disabled Volunteer Soldiers. It was built after the civil war for soldiers who lost limbs, or had other types of wounds. They changed it to "Home" for Disabled Volunteer Soldiers because of the negative connotation of the word "asylum." Soldiers were able to come and go voluntarily. Architecturally, it is beautiful - it reminds me of the type of building you'd see in London or somewhere. It's just a little run down now though, kind of creepy in person ... I would love to see the inside ....
Pronounced "Chen Shì", this Chinese term translates to "the mundane world" or "the secular world." It refers to the earthly, everyday life and its concerns, as opposed to spiritual or transcendent realms. The term often carries connotations of the transient and sometimes illusory nature of worldly existence.
Similar to how an air conditioner dust filter, resembling a map, gather dusts as a signal the need for cleaning, suggests it might be time to refresh and cleanse both the body and the world.
"Chen Chi" 發音為“塵世”，這個中文術語翻譯為“塵世”或“世俗世界”。它指的是塵世的、日常生活及其關注點，而不是精神或超越的領域。這個術語通常帶有塵世存在的短暫性和有時虛幻性的含義。
就像空調的濾塵器，視覺上像地圖一樣累積灰塵，提示需要清潔一樣，「塵世」也暗示可能是時候刷新和淨化身體和世界了。
Please enjoy a view of the Boston metropolis on a Monday morning. It was a very clear, alluring, and invigorating morning to capture the Massachusetts capital on camera.
Ever wonder about the name “Massachusetts”?
It is, by far, one of the most frequently misspelled names out of all the 50 states of the USA, which is often a result of its pronunciation too! Unlike “Boston”, which is named after its original ancestor settlement in England (and much easier to spell), the name “Massachusetts” is dedicated in recognition of the Native Americans who resided south of the present city prior to the arrival of the British back in the 1600s.
There are various connotations depending on the spelling!
Massachusett means "at the range of hills” or “at the great, blue hills”’.
Moswetuset means “the hill shaped like an arrowhead”.
(I love etymology).
The Boston galleries (City Images) (Aerials) are completed and now available on my official website, which has also been overhauled, and undergoing more changes! Enjoy!
TIA INTERNATIONAL PHOTOGRAPHY / TIA Facebook / TIA Twitter / TIA Blogger
At the junction of Westgate Road and Neville Street, Tyne & Wear PTE 195 turns towards Central Station, passing St John the Baptist Church to the right of picture.
Today the scene is still recognisable and the junction slightly remodelled. The office block still stands, but has been clad. The lower blank-walled section of the office block, has since been reconstructed to incorporate an up market pub and restaurant. The pub is named the Waiting Rooms, presumably a connotation to the nearby railway station.
The stone pillar on the corner has been relocated further forward to allow for the building of the pub.
Returning to the bus: The Weymann bodied Leyland Atlantean was a former Newcastle Corporation Transport vehicle (numbered 95) that had been new to NCT in May 1965. 95 passed to Tyneside PTE on the creation of the transport executive in January 1970, along with Newcastle Corporation's bus operations. Under the PTE, the bus was renumbered 195.
The Local Government Act 1972, created the metropolitan county of Tyne and Wear in 1974. On the 1st April 1974, Tyneside PTE became the Tyne & Wear PTE, also taking over the bus operations of Sunderland Corporation.
Photo - 21st December 1974.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
An eerily vacant neglected property at 2022 Main Street has an equally eerie mural with a weird message “Wash your HANDS and say your PRAYERS because Jesus and GERMS are everywhere”.
The building is painted in a hideous green and protected by barbed wire fencing.
The wall art appeared approximately 1 year ago. Of course, vandals have had their way with it, it’s what happens in Vancouver.
The mysterious building has sits empty, run down and neglected at least since we moved to Vancouver in 1995. The property is only valuable for its redevelopment potential.
In 2020 its assessed value was $6,545,500, $4,500 of it for the building, $6,541,000 for the land per Vancouver Revenue Services. The property tax levy $46,537.
The values dropped from 2019 - $8,262,000 including the same $4,500 for the building with taxes of $67,356.
Since 2006, the total tax assessment is in the $400,000 range.
100 feet of street front on Main must be of interest to some developer. It apparently is not available to date.
About the Address - 2022 Main Street:
2022 is between 4th & 5th Avenue. One would think the number should be 522 Main Street but not in Vancouver.
The first 15 avenues of early Vancouver from the south shore of Burrard inlet to the south shore of False Creek were given names, not numbers.
For some reason the expanding city dropped avenue names for numbers about 1910 when the creek was filled with soil and the bridge across the creek removed. All the new avenues south of the creek started numbering at 1500. Four of the avenues south of 1st do have names (Broadway, King Edward, Marine Drive & Kent).
If you are given an numbered address on a Vancouver street, deduct 15 to find the correct avenue.
More confusion:
Streets in Vancouver are divided into East or West between Boundary Road the cities eastern edge and the University of BC, the western edge. So there can be two identical numbers. An example 100 East 1st Ave & 100 West 1st Ave.
One would logically think Main Street would be the dividing line between east and west but not in Vancouver.
The zero line is Manitoba Street, two blocks west of Main. Explainable as Main Street was originally Westminster Avenue so no connotation to a “main” dividing point.
The name was changed to Main Street in 1910. All streets (north-south orientation) in Vancouver have names.
Good luck finding your way around this city.
Stroud Wassail Morris dancing
Most modern Border Morris sides wear ‘tattercoats’ and paint their faces. Styx of Stroud use the traditional black face paint. No one is quite sure how the black face tradition started, and there are several theories. Our preferred theory is that the original Border dancers would have been agricultural workers who would often be out of work during the winter months, and so would dance to try to earn a few extra pennies. To avoid recognition and hence prosecution for begging, they would black their faces with a mixture of soot and fat.
In recent years, there has been some concern about ‘blacking up’ and whether the practice could be perceived as racist. There are absolutely no racial connotations to this – we black our faces purely as a matter of tradition.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
Cyborg Geisha Model # 3: Aihachi
Beloved + eight (愛八), with the connotation of being increasingly loved or increasingly loving.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
Commentary.
The cliffs north of Newquay at Watergate Bay are epic, dramatic and magnificent.
No part is more iconic than the legendary cliffs, stacks and beaches of Bedruthan Steps.
There are actual steps down to the beach, that need regular repair, due to storm damage.
However, the word “steps” has another connotation.
Bedruthan, so the legend goes, was a local giant.
He used the stacks on the beach as mere stepping stones to cross the bay and summit the cliffs.
The surf here is exhilarating but the tide and rip currents are particularly dangerous.
It is an excellent place to view the best of Cornwall, but it is probably best advised to leave swimming to the many safer beaches around this marvellous coastline.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
Portrait of an old friend. I've not shot anything with this 6x9 Speed Graphic in a very long time. It brings back some very fine memories, so I asked it to sit for a portrait, a request to which it graciously complied. I always loved the format. It has the same aspect ratio (3:2) as 35mm, so I just thought of it as 35mm on growth hormones. The connotation of "speed" has certainly changed over the decades.
Hősök tere (meaning "Heroes' Square" in Hungarian) is one of the major squares of Budapest, Hungary, rich with historic and political connotations. It lies at the end of Andrássy Avenue (with which it comprises part of an extensive World Heritage site), next to City Park.
Hősök tere is surrounded by two important buildings, Museum of Fine Arts on the left and Palace of Art (or more accurately Hall of Art) on the right. On the other side it faces Andrassy Avenue which has two buildings looking at the square — one is residential and the other one is the embassy of Serbia (former Yugoslavian embassy where Imre Nagy secured sanctuary in 1956).
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
A succulent captured at Fairchild Gardens in Miami, converted to B&W in Adobe Photoshop. This one seems to evoke mystical connotations for me.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
Fart is a word in the English language most commonly used in reference to flatulence that can be used as a noun or a verb. The immediate roots are in the Middle English words ferten, feortan and farten, kin of the Old High German word ferzan. Cognates are found in Old Norse, Slavic and also Greek and Sanskrit.
The word fart has been incorporated into the colloquial and technical speech of a number of occupations, including computing. It is often considered unsuitable in formal situations as it may be considered vulgar or offensive.
The English word fart is one of the oldest words in the English lexicon.
In certain circles the word is considered merely a common profanity with an often humorous connotation. For example, a person may be referred to as a 'fart', or an 'old fart', not necessarily depending on the person's age. This may convey the sense that a person is boring or unduly fussy and be intended as an insult, mainly when used in the second or third person. For example, '"he's a boring old fart!" However the word may be used as a colloquial term of endearment or in an attempt at humorous self-deprecation (e.g., in such phrases as "I know I'm just an old fart" or "you do like to fart about!"). 'Fart' is often only used as a term of endearment when the subject is personally well known to the user.
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Candid street shot, Liverpool, UK
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。