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The Winter Palace was the official residence of the Russian Emperors from 1732 to 1917. Today, the palace and its precincts form the Hermitage Museum. Situated between Palace Embankment and Palace Square, in Saint Petersburg, adjacent to the site of Peter the Great's original Winter Palace, the present and fourth Winter Palace was built and altered almost continuously between the late 1730s and 1837, when it was severely damaged by fire and immediately rebuilt. The storming of the palace in 1917, as depicted in Soviet propaganda art and Sergei Eisenstein's 1927 film October, became an iconic symbol of the Russian Revolution.
As completed, the overriding exterior form of the Winter Palace's architecture, with its decoration in the form of statuary and opulent stucco work on the pediments above façades and windows, is Baroque. The exterior has remained as finished during the reign of Empress Elizabeth. The principal façades, those facing the Palace Square and the Neva river, have always been accessible and visible to the public. Only the lateral façades are hidden behind granite walls, concealing a garden created during the reign of Nicholas II. The building was conceived as a town palace, rather than a private palace within a park, such as that of the French kings at Versailles.
The palace was constructed on a monumental scale that was intended to reflect the might and power of Imperial Russia. From the palace, the Tsar ruled over 22,400,000 square kilometers (8,600,000 sq mi) (almost 1/6 of the Earth's landmass) and over 125 million subjects by the end of the 19th century. It was designed by many architects, most notably Bartolomeo Rastrelli, in what came to be known as the Elizabethan Baroque style. The green-and-white palace has the shape of an elongated rectangle, and its principal façade is 215 metres (705 ft) long and 30 m (98 ft) high. The Winter Palace has been calculated to contain 1,886 doors, 1,945 windows, 1,500 rooms and 117 staircases. Following a serious fire, the palace's rebuilding of 1837 left the exterior unchanged, but large parts of the interior were redesigned in a variety of tastes and styles, leading the palace to be described as a "19th-century palace inspired by a model in Rococo style".
It was my third try at this location: the first time I got lost in the dark forest. The second time I had 10h of continuous rain. And now it finally happend and I got a shot I dreamed about for a long time... Btw, this is me on the edge ;)
When I drove through the first fields covered with fog I couldn't believe my luck since this is the best possible condition one could ask for at the Wegelnburg. The crazy colors of the sunrise did the rest!
I am currently experiencing this crazy thing called 'work' for the first time which is why I don't have that much time left for photography... I hope we can still stay friends :D
The continuously welded rail train snakes through Collins Curve in Waldwick, NJ while dropping rail on track 2.
Program:Manual
Lens:24-70mm f/2.8 G VR
F:6.3
Speed:30
ISO:400
Focal Length:34.0 mm (35 mm equivalent 51.0 mm)
Focus Mode:Manual
Shooting Mode:Continuous, IR Control
VR:Off
EV:-1/3
Metering Mode:Multi-segment
WB:Auto1
Focus Distance:14.13 m
Dof:inf (5.56 m - inf)
HyperFocal:9.16 m
AF Fine Tune:+11
May 1, 2018 - West of Smith Center Kansas US
Prints Available...Click Here
Due to this storms rapid development...Severe Warned now... and I had to continuously scoot east via Kansas Hwy 36.
Still to the west of Smith Center Kansas, for the moment...There was decent observable rotation...
*** Please NOTE and RESPECT the Copyright ***
Copyright 2018
Dale Kaminski @ NebraskaSC Photography
All Rights Reserved
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
#ForeverChasing
#NebraskaSC
Originally, a polyptych was a religious piece on an alter which had four or more hinged panels. Each panel displayed a relief or painting. I've used this artistic technique to create a themed photographic sequence or a group of pictures of a particular part of buildings, monuments etc located in Barnsley.
Each composition consists of photographs taken in Barnsley, a town in South Yorkshire, England.
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Worsbrough Mill is a complex of buildings including a seventeenth-century water-powered mill and a nineteenth-century steam-powered mill in Worsbrough, Barnsley, England. The mill is open to the public and takes its water from the River Dove.
Worsbrough Mill was recorded in the Domesday Book of 1086 and the first Curator, [Rob Shorland-Ball – 1975 to 1979] researched the history and states that a "tenuous but continuous documentary record can be traced from then to 1625 which is the likely date for the building of the existing Old Mill. Whether the pre-1625 mill(s) were on the same site is not known. However, a mill was a very important part of the feudal pattern of life and settlement and thus tended to remain on the same site if that site was a satisfactory one".
Please View On Black
Aging is a natural part of everything we are.
Taken along the banks of a city lake and park
Thank you for all your continuous support! I am humbled by the wonderful work here on flickr and am happy to be a small part of this wonderful family of artists.
Niagara Cafe
Gundagai NSW
"The oldest continuously Greek-run cafe in Australia is being put on the market in what will be only its second public sale in 100 years.
The iconic 1902 Niagara Cafe in the NSW town of Gundagai, with its magnificent art deco features including its bar and mirrors, has been a regular with film stars and politicians during its long history, and is the last of the country’s traditional Greek cafes. . . ."
Continue reading the article about this cafe at
www.commercialrealestate.com.au/news/gundagais-famous-nia...
Today I didn't spend that much time yardbirding, but I saw precisely the same birds as yesterday. These siskins have been in the yard pretty much continuously since late March, yet I've posted no photos of them. Pine siskin, backyard Olympia.
Vietnam took me by surprise. It appeared everyone had the latest Iphone and scooter.
Texting while riding is common place but it's not as precarious as it sounds. The pace on the major streets is never excessive. Everyone appears to move as one mass. People do not seem concerned about beating each other to the next stop. No road rage or flipping people off, even when it gets incredibly congested. I saw no accidents or angry disputes ... very foreign and un-american.
Crossing the street for the first time during rush hour is a leap of faith. One simply starts walking across the street thru the traffic in a deliberate fashion and all the scooters drive around you. It seems like chaos at first but it works. Everyone adjusts to those around them, continuous cooperation in harmony.
Elfreth's Alley is one of the oldest continuously inhabited residential streets in the United States. Located in Old City, Philadelphia, Elfreth's Alley dates back to 1703 and is an exceptional collection of early American structures built between 1720 and 1836. (Elfreth's Alley museum website)
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“It just hurts so badly sometimes.
Sometimes it feels like
you’re being thrown into a train track,
but the train only hits your heart.
Continuously.
Over and over again.
Without failure.”
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Dati Tecnici
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a) Nikon Df + Sigma 50mm f/1.4 AF lens DG HSM ART per Nikon;
b) Filtro Nikon L37c Digital Filters Professional 77mm;
c) Esposizione Tempo 1/60s con apertura a f.4,0 - Impostazione Asa/Iso 3200 (nessun flash o faretti o schermi diffusori solo luce ambiente) ripresa a mano libera;
d) Misurazione effettuate in Spot (impostata con cerchio lettura a mm 8 e mm16) con esposimetro della macchina in modalità manuale. Come per le precedenti immagini ho voluto simulare una multi lettura singola effettuata in diverse zone dell’area inquadrata per potere conoscere le capacità di lettura spot, questa volta con due cerchi di misurazione della Nikon DF. Quindi le letture effettuate sono state circa 10 segnando le varie risultanti ottenute ovvero accoppiata tempo/diaframma parziali per poi ricavare la risultante finale. In pratica simulare una lettura tipo "Sistema Zonale di Ansel Adams";
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- Letture esposimetriche:
Qui, con precisione i punti effettivi di lettura sono stati 10 ho identificato le varie letture nei punti più critici della scena per potere ottenere una valutazione nelle varie aree del file. Tali letture hanno dato una risultante x=T/D. Guardando la scena è evidente che abbiamo una porzione a sinistra un po più luminosa ma non troppo, questa parte più luminosa è la luce che proviene da una finestra con le tapparelle abbassate a quasi la metà dell’infisso e con una tenda semi coprente chiara sull’avorio che filtra la luce quasi a 45° in quanto la luce del sole era alto e la luce scendeva inclinata sul soggetto.
Fra le anse della tenda vi erano delle parti più scure che parzialmente filtravano la luce e creavano nella scena delle ombre verticali un po più marcate. (qui ho dovuto fare un computo a parte fra la lettura delle parti scure e quelle chiare, inoltre la luce si proiettava quasi direttamente sul volto della modella e nei capelli ma anche sul petto e la mano sul ginocchio e in parte sul fondo dietro la poltrona. Per evitare la stilizzazione dei particolari della tenda e dei riflessi sui capelli) e una parte a destra molto più scura nella quale esistevano o quasi particolari rilevabili dovuti al trattamento delle pareti con stucco spatolato di tonalità molto chiare.
La differenza fra la parte più buia e quella più luminosa sono in circa 9/10 zone. Una differenza molto notevole fra il primo piano (volto della modella) e la luce di fondo (estremamente luminoso) e i due estremi del fotogramma dove a destra abbiano zone basse (Zona 1/Zona II/2) e a sinistra zone medie (Zona VI/Zona VIII/2) in pratica una situazione complessa dove vi sono alternanza di zone chiarissime e scurissime. Si è cercato allora di dare maggiore rilievo al volto, parte delle mani, ai braccialetti (che impreziosiscono l’immagine) e le zone buie per avere un minimo di traccia e leggibilità.
La tenda visto che come luminanza stava in una zona intermedia fra la luminanza del volto e i gioielli ho pensato che la risultante mi avrebbe dato un timbro tonale accettabile (così è stato).
Se avessi preso in considerazione le letture della tenda avrei perso il minimo dettaglio delle ombre e letture dei particolari dei capelli della modella con il conseguente appiattimento del lato sinistro del fotogramma. Questi fattori sono molto importanti in quanto i primi due, sul piano principale, devono dare la bidimensionalità della scena mentre il piano di luminanza principale e la quinta devono dare la tridimensionalità della situazione generale.
La lettura finale (ottenuta dalla media delle letture spot utilizzate) è stata posta in n+3 per recuperare particolari importanti nella scena in primo piano (lettura trama pelle delle mani e del volto ”si evidenziano i pori”) ma nello stesso tempo è stata utilizzata la tecnica “dell’Esposizione a Destra” per non perdere i dettagli nelle alte luci ma contestualmente ottenere una buona esposizione finale mantenendo al minino o annullare il rumore nelle basse luci o meglio su tutti i valori ISO.
Nonostante la fascia della tenda si trovasse in una zona abbastanza alta con la protezione di luce filtrata sono riuscito a recuperare in parte qualche accenno di dettaglio in alcuni punti quasi irraggiungibili da un accenno di luce e questo ha valorizzato questa parte di zona più scura che altrimenti avrebbe generato una chiazza in ombra molto scura e piatta quindi molto fastidiosa.
Non ho voluto recuperare altri dettagli sul petto (ma solo quell’accenno) e della trama del vestito in quanto sarei incappato nello slavamento e posterizzazione tonale con la comparsa di grana fastidiosa e comparsa di zone chiare a chiazze.
e) Prima Leggera Post-Produzione effettuata con Nikon Capture NX 2 (effettuando mascherature localizzate, riduzione di luminanza delle zone “zona VI e VIII” e aumentando la struttura della zone “zona II-III e IV”)
f) Seconda Post-Produzione Leggerissima effettuata con Corel Photo-Paint X7 64Bit e Adobe Photoshop CC per il miglioramento globale dell’immagine riducendo il divario zonale delle aree (ovvero effettuando una compressione delle zone);
g) Ultima leggera Post-Produzione di completamento con Nikon Capture NX 2;
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Mio breve Curriculum Vitae su LinkedIn: - My Brief Curriculum Vitae on LinkedIn:
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Visualizza il profilo di Luigi Mirto/ArchiMlFotoWord
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Tutti i diritti riservati ©2023/2035 da ArchiMlFotoWord/Luigi Mirto/Photography
Nessuna immagine o parte di essa può essere riprodotta o trasmessa in qualsiasi forma e con qualsiasi mezzo senza preventiva autorizzazione.
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All rights reserved ©2020/2030 by ArchiMlFotoWord/Luigi Mirto/Photography
No images or part thereof may be reproduced or transmitted in any form or by any means
Without prior permission.
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Suggerisco di guardare l’immagine su fondo scuro e ascoltare questo brano
I suggest you look at the image on a dark background and listen to this song
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'Lullaby For Sadness' - By Eternal Eclipse (Thomas-Adam Habuda) - "Ninnananna della tristezza"
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…ninnananna della…. “Tristezza”
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Tristezza, tu discendi oggi dal Sole.
La tua specie mutevole è la nube
del cielo, e son le spume
del mare gli orli del tuo lino lungo.
Sembri Ermione, sola come lei
che pel silenzio vienti incontro sola
traendo in guisa d’ala il bianco lembo.
………………………. Gabriele D'Annunzio
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…lullaby of the…. "Sadness"
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Sadness, you descend from the Sun today.
Your changing species is the cloud
of the sky, and they are the foams
of the sea the edges of your long linen.
You look like Hermione, alone like her
who through silence come to meet you alone
drawing the white flap like a wing.
………………………. Gabriele D'Annunzio
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Italiano
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Questa immagine è tratta da un reportage in continua evoluzione che sto effettuando nella ricerca di particolari volti che esprimano particolari sensazioni, scene di particolare enfasi ambientale, espressioni e sentimenti profondi trasmessi attraverso semplici sguardi, di particolari posture del corpo o anche dai semplici abiti e decorazioni fisiche.
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Tali immagini verranno raccolte in un “Manuale Artistico Tecnico Fotografico” nella quale saranno descritte le particolari tecniche di ripresa, i materiali impiegati, l’attrezzatura fotografica, i luoghi e le condizioni sceniche ambientali.
Grazie
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English
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This image is from a report in continuous evolution that I am making in the search for specific faces expressing particular feelings, scenes of environmental emphasis, expressions and deep feelings conveyed through simple look, a particular posture of the body or even from simple clothes and decorations individuals.
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These images will be collected in a "Artistic Photography Technical Manual" which will describe the special filming techniques, materials, photographic equipment, sites and scenic environmental conditions.
Thanks
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Si ringrazia la modella Maria Teresa Rubino per la gentile concessione dei diritti di ripresa e pubblicazione.
We thank the model Maria Teresa Rubino for the courtesy of filming and publishing rights.
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A Praia Formosa, em Santa Cruz, Torres Vedras, destaca-se pela sua extensa faixa de areia dourada enquadrada por imponentes falésias sedimentares jurássicas, típicas da costa ocidental portuguesa. A erosão marinha milenar expôs distintos estratos geológicos, ricos em argilas e sal, conferindo à paisagem um valor paleontológico significativo, com frequentes descobertas de fósseis. O acesso ao areal, condicionado pela natureza das arribas íngremes, é feito através de escadarias com miradouros que permitem apreciar a linha de costa e as intervenções de proteção costeira. Marcada por uma cruz num ponto panorâmico, a Praia Formosa integra a Área de Paisagem Protegida das Serras de Aire e Candeeiros e está historicamente associada à estância balnear que floresceu no século XIX, sendo procurada tanto por banhistas como por investigadores do património geológico, apesar dos deslizamentos ocasionais resultantes da contínua erosão.
Praia Formosa, in Santa Cruz, Torres Vedras, stands out for its extensive strip of golden sand framed by imposing Jurassic sedimentary cliffs, typical of the Portuguese west coast. The millennial marine erosion exposed distinct geological strata, rich in clays and salt, giving the landscape a significant paleontological value, with frequent discoveries of fossils. Access to the sandy area, conditioned by the nature of the steep cliffs, is via stairways with viewpoints that allow you to appreciate the coastline and coastal protection interventions. Marked by a cross at a panoramic point, Praia Formosa is part of the Protected Landscape Area of the Serras de Aire and Candeeiros and is historically associated with the seaside resort that flourished in the 19th century, being sought after by both bathers and researchers of the geological heritage, despite the occasional landslides resulting from continuous erosion.
Thanks my dear friends for your continuous support !!!
Have a great day !!!
I shot this lovely hornbill in Osmania university campus, Hyderabad long back in 2008 !!!
மண்ணொடுவிண் காட்டி மறைந்துமறையா அருளைக்
கண்ணொடுகண் ணாகஎன்று காண்பேன் பராபரமே !!!
தாயுமானவர் பராபரக்கண்ணி
After 4 days of continuous rain and cloud and fog it's time for a break... someone, please bring me sunshine... I'll be in the north of Scotland so if you could send it up there it would be great, thank you....
the continuous pursuit
melting moments into hours - days -
lines -
a circle
sometimes more earthy than other times
with cranes trapped screeching inside your neck
centipedes carving galleries in discarded embraces
Achilles grinning tingled by the sharp tip of an arrow
so spent
litanies gone by with nothing to show
except the dirt from your hands,
and the upset frown of rocks, disarrayed
shambled
and then
it emerges, steady, tall
gentle sway in a safe hull
floating smoothly on turbulent streams
perfect stillness amidst entropy
drop of rain above the sweltering ground
and you know you are there
--
because sometimes it's easier to use metaphors to describe your struggle of bringing balance into your life (or balancing the matter around you)
Continuous wave mode. Also know as Morse code. When all other modes of communication fail, CW gets through.
Masai Mara National Park
Kenya
East Africa
The African buffalo or Cape buffalo (Syncerus caffer) is a large Sub-Saharan African bovine. Syncerus caffer caffer, the Cape buffalo, is the typical subspecies found in South and East Africa. The adult buffalo's horns are its characteristic feature: they have fused bases, forming a continuous bone shield across the top of the head referred to as a "boss".
Cape Buffalo are suspected to kill around 200 people every year. They typically will charge and gore their victims and have been known to trample people as well. When you see Cape Buffalo roaming in Africa, they're usually not alone and an injured cape buffalo is even more dangerous and unpredictable than a healthy one.
Weighing in at over 1500 lbs, even most lions don't dare bother hunting this aggressive beast unless the lions are in a huge pride. – Wikipedia
The South-East side of the Rion – Antirion bridge, aka the Charilaos Trikoupis bridge, Greece. A 348 ft (106 m) long ship is seen under the bridge on a course crossing the strait; it is a ferry boat weighing 1,800 tons.
The bridge was the longest multi-span cable-stayed bridge in the world with its 7,388 ft (2,252 m) continuous and fully suspended deck when constructed (in 1997–2004). The foundations lay on a seabed reaching 213 ft (65 m) of depth and they have a 295 ft (90 m) diameter. During the 7-year long construction no serious accidents were reported, no single drop of blood was shed. The bridge is a landmark of Greece in the 21st century and is named after the late Prime Minister Ch. Trikoupis who spoke in the Parliament about the need for such a bridge in March 1889!
Explore Highest Position #1 on September 23th, Explore Frontpage
Paris shelters a lot of beautiful old homes with amazing stairs in which depth is the most amazing part of all. When the light is just good and nobody is around, even stairs are interesting to photograph. A shame that a lot of these buildings are forgotten.
© Copyright 2010 JurrPhotography, All Rights Reserved, Group Invite Comments will be deleted!
UP AC4400CW 6379, built as SP AC4400CW 333 in July 1995, idles at Troost on the point of UP manifest MNLLP tied down as it waits for a crew to arrive that continuously got pushed back through the evening.
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Kansas City, Missouri, USA
May 8, 2025
Canon EOS 60D
Canon EF-S 18-55mm f/3.5-5.6 IS
Jan 9 009/366
"the concept of continuous existence." This is one of the definitions for Time. Time is an interesting concept and as I grow older it becomes more and more an enigma.
In regards to this photo. Does it read as my artistic interpretation of Time? or does it look like a photo for a timepiece in a catalog? Oh well. (:-)
At first I thought both of these eagles were facing toward me, then I saw through the lens that the male has turned around to watch me in the boat. So great.
"The beginning, or the end"
"The [Sentiero] dei Fortini is a path that crosses the western coast of the island of Capri through four forts. It crosses very beautiful sites of the coast, cliffs, promontories and small creeks, connecting the Grotta Azzurra to the Faro della Punta Carena. It is a roughly three-hour walk, well-marked with points of red paint.
The forts were built between the ninth and fifteenth centuries to monitor the coast, regularly attacked by pirates (including Saracen pirates).
Leaving from the Grotta Azzurra, the path goes below the Imperial Villa of Damecuta, Punta dell’Arcera, to then reach il Fortino di Orrico, on the Punta del Miglio. A French landing took place here on October 4, 1808, taking by surprise the English who occupied the island. The semicircular fort is 20 meters in diameter, with walls 2 meters thick. It housed two cannons.
From Fortino di Orrico, you can see the circular stone structure of Fortino di Mesola, well integrated in the rocky landscape, on the promontory Campietello. It overlooks Cala del Rio, the cove that follows that of Cala del Lupinaro. The path leading to it is partly wooded. This is the most important of the forts. There were also two cannons there.
After the Mesola fort, the path continues along the wildest part of the route to the entrance of Cala di Mezzo which leads to a stone staircase. We arrive at the fortino di Pino overlooking the Cala di Tombosiello. The continuous path passing through the Fortino dell Canone.
A rather steep climb then leads to Punta Carena, dominated by the lighthouse and from which you can admire the sunset that colors the purple-red coastline" (naples-napoli.org).
www.naples-napoli.org/en/path-of-the-forts/
PLEASE, NO GRAPHICS, BADGES, OR AWARDS IN COMMENTS. They will be deleted.
Il Bikini è un complesso turistico che sorge nel comune di Vico Equense, incastonato come un diamante in una delle baie più suggestive dell’intera Penisola Sorrentina.
Da oltre cinquant’anni la storia della famiglia Scarselli si identifica con la baia del Bikini, all’insegna del continuo miglioramento e rinnovamento delle strutture, nonchè dell’ampliamento dei servizi, sempre finalizzati alla cura compiuta ed affettuosa degli ospiti.
Dal piccolo accogliente stabilimento originario organizzato per un gruppo di amici, e subito segnalato da una immagine divenuta poi nota in tutto il mondo - le due palme sull’atollo che segna il confine della rada - si è via via affermata quella che è oggi una forte e dinamica tradizione familiare. In modi e livelli di sempre maggiore professionalità, la vocazione innata all’ospitalità ha sviluppato infatti il gusto antico dello stare-bene-insieme, entro lo sfondo di una natura splendida, amorevolmente protetta e messa in luce, di un parco arboreo all’italiana e di un paesaggio marino che configurano un’isola di agio e serenità.
Nato più di cinquant’anni fa come semplice stabilimento balneare, oggi Il Bikini presenta un’offerta completa di relax e divertimento, che parte dal mattino e può spingersi fino a notte inoltrata. Il complesso, infatti, mette a disposizione della clientela una spiaggia attrezzata con tutti i servizi necessari, con uno scenario paesaggistico unico al mondo a fare da cornice e un mare cristallino in cui immergersi piacevolmente.
Nel ristorante, inoltre, si possono gustare le specialità tipiche del Golfo di Napoli e della Costiera Amalfitana, nonché organizzare eventi e cerimonie per le occasioni speciali. Infine, per gli amanti della movida e del by night, la discoteca sarà il luogo ideale per farsi travolgere dal fascino seducente di una notte all’insegna del divertimento, fino alle prime luci dell’alba.
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Translation performed by the translator of google. I apologize for the imperfections
The Bikini is a tourist complex is located in the town of Vico Equense, set like a diamond in one of the most beautiful bays in the whole of Sorrento.
For over fifty years the family history Scarselli is identified with the Bay of Bikini, dedicated to continuous improvement and upgrading of facilities, as well as enlargement of services, always aiming to complete and loving care of the guests.
Originating from small friendly establishment for a group of friends, and now reported from an image that became known around the world - the two palm trees on the atoll, which marks the boundary of the harbor - has gradually established what is now a strong and dynamic family tradition. In various ways and increasing levels of professionalism and innate vocation of hospitality it has developed a taste of being old-well-set within the backdrop of a beautiful nature, lovingly protected and brought to light, a park tree Italian and a seascape that constitute an island of comfort and serenity.
Born more than fifty years ago as a simple bathhouse, today The Bikini has a full range of relaxation and fun, which starts in the morning and can go up into the night. The complex, in fact, offers guest a beach with all the necessary services with a unique scenery in the world as a frame and clear blue sea to immerse nicely.
In restaurant, also you can taste the specialties of the Gulf of Naples and the Amalfi Coast, and to organize events and ceremonies for special occasions. Finally, for lovers of nightlife and by night, our club will be the place to be overwhelmed by the seductive charm of a night of fun until dawn.
After continuously eating and growing for two weeks, the Monarch Caterpillar will typically leave its food source and search for a nice safe place to transform into a butterfly. Once it finds its spot ( could be under a beach chair, an outdoor table, really anywhere), it will create a strong silk using its mouth , apply it to its hanging spot, and use that silk to hang upside in the shape of a J. After about 12 hours of hanging in this way, the Monarch Caterpillar will unzip its skin and reveal a green Chrysalis, where it will remain inside and transform over an additional two weeks.
Just before the transformation is complete, the green Chrysalis will begin to turn clear and you'll actually be able to see most of the Monarch Caterpillar inside. This shot was taken just an hour or so before the butterfly emerged.
Parish church. C13, late C14 and C15. Restored 1854-5 and 1868 by Clarke, and 1878 by G.M. Hills. Bethersden marble with plain tile roofs. West tower. Nave, continuous with chancel to south, slightly projecting to north. South aisle, continuous with south chancel chapel, flush with east end of chancel. South porch with parvis chamber. West tower: late C14. Three stages, on moulded plinth . Angle buttresses. Battlements above moulded string. Polygonal north-east stair turret with plain parapet higher than tower. East and west belfry windows of 2 lights with vertical bars, quatrefoil and hoodmould. North and south belfry windows of 3 trefoil-headed lights with squared hoodmould. Single trefoil-headed light to central stage to west and rectangular light with iron bars to north and south. West window of 3 cinquefoil-headed lights with inter- secting tracery incorporating inverted mouchettes. 2-centred arched casement-moulded architrave. Hoodmould with carved heads to label stops and 4 carved grotesques beneath hoodmould. Rectangular panel below window with sunk quatrefoil and shield. 2-centred arched west doorway with casement-moulded architrave, slender moulded shaft to each side, carved spandrels and squared moulded hoodmould with carved heads as label stops. South aisle and south chapel: late C14, chapel with C13 origins, possibly refenestrated in C15. Moulded stone plinth. South-west and south-east angle buttresses. Battlements above moulded string. South aisle has three windows, each of 3 slightly stepped cinquefoil-headed lights and hoodmould; one to west end and one either side of porch. South chapel has three 4-centred arched 2-light windows with hoodmoulds, alternating with buttresses. Low 2-centred arched doorway with renewed architrave. Restored east window of 5 traceried lights with hoodmould. South porch: probably late C14. Moulded stone plinth. Battlements above moulded string. Polygonal north-west stair turret with plain parapet. Small rectangular north and south lights to porch and slightly larger lights with hoodmoulds to chamber. 2-centred arched casement-moulded outer doorway with hoodmould. 2-centred arched Bethersden marble inner doorway, with hoodmould and ribbed door. Chancel: C13 origin. Refenestrated, probably in late C14 or C15. Presently without plinth. Single buttress. Gabled. Tall restored 2-centred arched traceried east window with 3 cinquefoil-headed lights below and 3 above central transom. Hoodmould. Two north windows; that to east set higher with 2 trefoil-headed lights and hoodmould; that to west with moulded architrave, 2 cinquefoil-headed lights, tracery of vertical bars, and hoodmould. Nave: north elevation: probably late C14. Moulded plinth, continuous with that of tower. Four 3-light traceried windows (incorporating inverted daggersl,with moulded architraves and hoodmoulds, alternating with buttresses. Interior: structure: 5-bay nave arcade to south of pointed arches with hollow chamfer and semi roll. 2 west arches with lower heads. Octagonal columns, with moulded capitals and bases of Bethersden marble. East column of arcade free-standing, also forming springing for chancel arch, chancel aqcade, and arch between south chapel and south aisle. Chancel arch and arch between chapel and aisle similar to south arcade. 2-bay chancel arcade of plain-chamfered pointed arches. Chamfered rectangular pier with undercut and roll-moulded abacus. Deeply moulded pointed-arched tower arch, with attached shafts, the capitals moulded similarly to those of south arcade. 4-centred arched hollow- chamfered doorway to rood-loft stairs to east end of north wall of nave. 3-centred arched doorway with semi roll moulding to tower stairs. 2- centred arched hollow-chamfered doorway to parvis chamber stairs. Low 4-centred arched hollow-chamfered north doorway to chancel. Small rectangular light to parvis chamber. Roof: Late C14 or early C15 collar- rafter roof to nave of 7 trusses (5½ bays), with moulded aligned butt purlins. Heavily moulded composite solid-spandrel arch-braces to collars, moulding continued down pendant posts. Hollow-chamfered windbraces, with carved spandrels between windbraces and purlins. Above collars, heavy- scantling scissor braces halved across yokes. Ashlar-pieces between bases of scissor-braces and tops of purlins, and between rafters and cornice. Moulded and brattished cornice. Chancel roof boarded in 7 cants. Lean-to roofs to south chapel and aisle. Fittings: Rectangular hollow-chamfered piscina to east end of south wall of south aisle. Similar but larger piscina to east end of south wall of chapel. Cinquefoil-headed piscina to east end of chancel. Octagonal C15 font with carved concave sides, shafted octagonal stem and moulded base on octagonal stone plinth, to south side of south arcade. Screen base partly early C16, with variety of linenfold panelling, and frieze carved differently in each section. Pulpit of 1878 with re-used linenfold panelling. Inlaid hexagonal tester. Painted panels, probably from C17 or C18 reredos, depicting Moses and Aaron. Royal Arms above tower arch. 1787 Benefactors' Board to south wall of nave. 4 boards with Creed and Decalogue to south wall of nave. Decoration: C15 stained glass to heads of north nave and south aisle windows. Monuments: C15 tomb recess towards east end of south wall of south aisle, with Culpeper arms to spandrels; low Bethersden marble table tomb with corniced lid set into recess spanned by broad 4-centred arch, cusped and subcusped, with large leaves over cusps and slender shaft each side with moulded capital and base. Quatrefoiled spandrels and squared moulded and embattled hoodmould. C18 tablet to east wall of chancel, in black and white marble, with moulded plinth on shaped base panel, flanking pilasters, and moulded open-topped pediment with escutcheon. Inscription barely legible at time of re-survey.
The oldest, continuously active, volunteer Fire Company in the United States of America is located in the City of Gretna. David Crockett Steam Fire Company No. 1 volunteers have been meeeting monthly since 1841 and you can join and learn fire-fighting in order to protect lives and property in our community.
The David Crockett Steam Fire Company Number 1, established in 1841, is the Oldest Continuously Active Volunteer Fire Company in the United States.
I continuously stopped along this road to take pictures; I was amazed at the physical beauty of the Dead Sea. The rocky mesas on the left in this picture reminded me of the mountains along I-70 between Eagle and Gypsum, Colorado. My friend in Israel saw the pictures I came back with and I could see how sad they made him. The water used to reach the edge of the road, barely visible in this picture along the base of the mountains. However, within the last decade, desalinization of the Dead Sea has drastically reduced water levels.