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Agrigento,Sicily (Italy)
Stretched out along a ridge, inappropriately referred to as “valley”, and nestling in the area to the south of it, are a series of temples which were all erected in the course of a century (5C BC), as if to testify to the prosperity of the city at that time. Having been set ablaze by the Carthaginians in 406 BC, the buildings were restored by the Romans (1C BC) respecting their original Doric style. Their subsequent state of disrepair has been put down either to seismic activity or the destructive fury of the Christians backed by an edict of the Emperor of the Eastern Empire, Theodosius (4C). The only one to survive intact is the Temple of Concord which, in the 6C, was converted into a Christian church. During the Middle Ages, masonry was removed to help construct other buildings, in particular, the Temple of Zeus, known locally as the Giant’s Quarry, provided material for the church of San Nicola and the 18C part of the jetty at Porto Empedocle.
All the buildings face east, respecting the Classical criterion (both Greek and Roman) that the entrance to the cella (Holy of Holies) where the statue of the god was housed could be illuminated by the rays of the rising sun, the source and blood of life.
On the whole, the temples are Doric and conform to the hexastyle format (that is with six columns at the front), the exception being the Temple of Zeus, which had seven engaged columns articulating the wall that encloses the building. Built of limestone tufa, the temples provide a particularly impressive sight at dawn, and even more so at sunset when they are turned a warm shade of gold.
(The Greek form of the names of the divinities has been used to describe the temples, with the Latin equivalents given in brackets). It is advisable to start a visit with the archeological site around the Temple of Zeus, as this is open at restricted times.
Sacrificial altar – Just beyond the entrance, on the right, slightly set back, are the remains of an enormous altar, used for large-scale sacrifices. As many as 100 oxen could be sacrificed at one time.
Tempio di Zeus Olimpico (Giove) – Having been razed to the ground, the Temple of Zeus (Jupiter) was re-erected following the victory of the people of Agrigentum (allied with the Syracusans) over the Carthaginians at Himera (in about 480 BC) as a gesture of thanks to Zeus, it was one of the largest temples built in ancient times, being 113m long by 36m wide, and is thought never to have been completed. The entablature was supported by half-columns 20m high, which probably alternated with giant male caryatids (atlantes or telamons), one of which can be seen in the local archeological museum (see below). A reproduction of an atlantes is displayed in the middle of the temple, giving some idea of scale proportional to the vast building. Instead of the more usual open colonnade, this temple is surrounded by a continuous screen wall sealing off the spaces between the columns which, inside, become square pilasters. Some blocks still bear the marks made for lifting them into place: these are deep U-shaped incisions through which a rape was threaded and then, attached to a kind of crane, could be used to lift or haul the blocks one upon another.
Tempio di Castore e Polluce o dei Dioscuri – The Temple of Castor and Pollux or of the Dioscuri is the veritable symbol of Agrigento. Built during the last decades of the 5C BC, it is dedicated to the twins born from the union of Leda and Zeus while transformed into a swan. Four columns and part of the entablature are all that remain of the temple, which was reconstructed in the 19C. Under one edge of the cornice is a rosette, one of the typical decorative motifs used. On the right are the remains of what was probably a sanctuary dedicated to the Chthonic Deities (the gods of the underworld): Persephone (Proserpina), queen of the underworld, and her mother, Demeter (Ceres), the goddess of corn and fertility and patroness of agriculture. On the site are a square altar, probably used for sacrificing piglets, and another round one with a sacred well in the centre. This is probably where the rite of the Thesmophoria, a festival held in honour of Demeter, was celebrated by married women.
In the distance, last on the imaginary line linking all the temples of the valley, is the Temple of Hephaistus (Vulcan), of which little remains. According to legend, the god of fire and the arts had a forge under Etna where he fashioned thunderbolts for Zeus, assisted by the Cyclops.
Retrace your steps, leave the fenced area and follow Via dei Templi, on the other side of the road, on the right.
Tempio di Eracle (Ercole) – Conforming to the Archaic Doric style, the Temple of Heracles (Hercules) is the earliest of the group. The remains enable us to imagine how elegant this temple must have been. Today, a line of eight tapering columns stands erect, re-erected during the first half of this century. From the temple, looking south, can be seen what is erroneously called the Tomb of
Theron (see end of this section).
Continuing along the path, deep ruts in the paving can be made out on the left: these are generally interpreted as having been caused by cartwheels. The reason for them being so deep has been put down to water erosion.
On the right is Villa Aurea, formerly the residence of Sir Alexander Hardcastle, a passionate patron of archeology, who financed the reerection of the columns of the Temple of Heracles.
Necropoli paleocristiana – The Paleochristian necropolis is situated beneath the road, dug into the base rock, not far from the ancient walls of the city. There are various types of ancient tomb: loculi (cells or chamber for corpse or urn) and arcosolia (arched cavities like a niche), as often found in catacombs. Before the Temple of Concord there is another group of tombs on the right.
Tempio della Concordia – The Temple of Concord is one of the best-preserved temples surviving from Antiquity, thereby providing an insight into the elegance and majestic symmetry of other such buildings. The reason it has survived intact is due to its transformation into a church in the 6C AD. Inside the colonnade, the original arches through the cella walls of the Classical temple can still be made out. It is thought to have been built in about 430 BC, but it is not known to which god it was dedicated. The name Concord comes from a Latin inscription found in the vicinity. The temple is a typical example of the architectural refinement in temple building known as “optical correction”: the columns are tapered (becoming narrower at the top so as to appear taller) and have an entasis (a very slight convex curve at about two-thirds of the height of the column which counteracts the illusion of concavity); they are also slightly inclined towards the central axis of the temple façade. This allows the observer standing at a certain distance from the temple to see a perfectly straight image. The frieze consists of standard Classical features: alternating triglyphs and metopes, without further low-relief ornamentation. The pediment is also devoid of decoration.
Antiquarium di Agrigento Paleocristiana (Casa Pace) – Turn back through a section of the town, stopping perhaps to consult the various informotian boards set among the ruins that may be of interest: one in particular explains how the Temple of Concord was transformed into a basilica.
Antiquarium Iconografico della Collina del Templi (Casa Barbadoro) – In a modern but sympathetically designed building, are collected together a series of drawings, engravings and prints of the Valley of the Temples as seen in the past by travellers undertaking the Grand Tour.
Tempio di Hera Lacinia (Giunone) – The Temple of Hera Lacinia (Juno) is situated at the top of the hill and is traditionally dedicated to the protector of matrimony and childbirth. The name Lacinia derives from an erroneous association with the sanctuary of the same name situated on the Lacinian promontory near Crotone. The temple preserves its colonnade (albeit not in perfect condition), which was partially re-erected in the early 1900s. Inside, the columns of the pronaos and opisthodomos and the wall of the cella can still be seen. Built in about the mid-5C BC, it was set ablaze by the Carthaginians in 406 BC (evidence of burning is still visible on the walls of the cella).
To the east is the altar of the temple, while, at the back of the building (beside the steps), there is a cistern.
On the outskirts of the town are the so-called Tomb of Theron and the Temple of Asklepios (Aesculapius).
Tomba di Terone – Also visible from the Caltagirorne road. The monument, erroneously believed to have been the tomb of the tyrant Theron, in fact dates from Roman times and was erected in honour of soldiers killed during the Second Punic War. Made of tufa, it is slighly pyramidal in shape and probably once had a pointed roof. The high base supports a second order with false doors and Ionic columns at the corners.
Tempio di Asclepio (Esculapio) – Just beyond the Tomb of Theron, on the road to Caltanissetta. Look out for a sign (although obscured) on the right. The ruins of this 5C BC temple are to be found in the middle of the countryside. It was dedicated to Aesculapius (Asklepios), the Greek god of medicine, son of Apollo – who it was believed had the power to heal the sick through dreams. The interior, it is thought, harboured a beautiful statue of the god by the Greek sculptor Myron.
Telamons and Atlantes (or Atlas figures) – These imposing giants from Agrigento, more often referred to as atlantes, are sometimes called Telomons (Telamone in Italian) after the Latin word derived by the Romans from the Greek, Telamo(n) which indicated their function, that is to carry or bear, in this case the structure. Their supporting mole is accentuated by their position, with arms bent back to balance the weight upon their shoulders. The more common term alludes to the mythological figure Atlas, the giant and leader of the Titans who struggled against the gods of Olympus and was condemned by Zeus to support the weight of the sky on his head. When the earth was discovered to be spherical, he was often shown bearing the terrestrial globe on bis shoulders
Cumberland Knob, visitor center and rec area. Created in 1935 and a couple miles south of the Virginia state line. Location of where the Blue Ridge parkway construction project began.
Launched a little over three months ago, Copernicus Sentinel-5A has returned its first images – including a global map of ozone, maps of nitrogen dioxide over the Middle East and South Africa, formaldehyde over parts of Africa, and emissions of sulphur dioxide from an active volcano in Russia – showcasing the mission’s powerful capability to monitor atmospheric gases worldwide.
This image shows a plume of sulphur dioxide being emitted from the Klyuchevskaya Volcano in the Kamchatka Peninsula, far eastern Russia. It is one of the most active volcanoes in the world – having erupted more than 50 times since 1700 – is characterised by smoke continuously billowing above its summit.
Credits: contains modified Copernicus Sentinel data (2025), processed by ESA, CC BY-SA 3.0 IGO
This Picture is for free under creativecommons! This is a Project by: unbekannt270.ch
Geschichte | History
Copyright by Wikipedia
Der Konstantinsbogen wurde bereits 312 begonnen und am 25. Juli 315 geweiht. An diesem Tag feierte Konstantin den Beginn seines zehnten Regierungsjahres (decennalia). Auftraggeber für das Werk war der Senat. Der Bogen wurde an prominenter Stelle errichtet: Er überspannt in unmittelbarer Nähe des Kolosseums die Via Triumphalis, die sich nur wenige Meter nach dem Bogen mit der Via Sacra verbindet. Diesen Weg schlugen traditionell alle Triumphatoren ein, wenn sie vom Circus Maximus kommend den Palatin umrundeten, um dann über die Via Sacra und das Forum zum Kapitol zu gelangen. Ursprünglich soll der Bau von einer Quadriga gekrönt gewesen sein, die jedoch bei der Plünderung Roms durch die Westgoten unter Alarich im Jahr 410 oder die Plünderung Roms durch die Vandalen unter Geiserich 455 abhandengekommen sein soll.
Im Mittelalter integrierte man den Triumphbogen, ebenso wie das Kolosseum, in die Stadtbefestigungsanlagen. Zu Beginn des 19. Jahrhunderts wurde er in den derzeitigen baulichen Zustand versetzt. Im modernen Rom litt der Bogen, wie viele andere antike Monumente auch, sehr stark unter den Belastungen durch den motorisierten Straßenverkehr.
Die Inschrift:
IMP CAES FL CONSTANTINO MAXIMO
P F AUGUSTO S P Q R
QUOD INSTINCTU DIVINITATIS MENTIS
MAGNITUDINE CUM EXERCITU SUO
TAM DE TYRANNO QUAM DE OMNI EIUS
FACTIONE UNO TEMPORE IUSTIS
REM PUBLICAM ULTUS EST ARMIS
ARCUM TRIUMPHIS INSIGNEM DICAVIT[2]
Durch die fehlenden Buchstaben ergänzt lautet die Inschrift:
IMPERATORI CAESARI FLAVIO CONSTANTINO MAXIMO
PIO FELICI AUGUSTO SENATUS POPULUSQUE ROMANUS
QUOD INSTINCTU DIVINITATIS MENTIS
MAGNITUDINE CUM EXERCITU SUO
TAM DE TYRANNO QUAM DE OMNI EIUS
FACTIONE UNO TEMPORE IUSTIS
REM PUBLICAM ULTUS EST ARMIS
ARCUM TRIUMPHIS INSIGNEM DICAVIT
Die (sinngemäße) Übersetzung lautet:
Dem Kaiser Flavius Constantinus Maximus,
dem frommen und glücklichen Augustus, haben Senat und Volk von Rom,
weil er durch göttliche Eingebung und Größe
des Geistes mit seinem Heer
sowohl am Tyrannen als auch all seinen
Anhängern zur selben Zeit
den Staat mit gerechten Waffen rächte,
diesen Triumphbogen gewidmet.
Der Triumphbogen vermeidet durch die Formulierung "durch göttliche Eingebung" eine eindeutige Zuschreibung des Sieges an den Gott der Christen, wie er sich bei Laktanz und Eusebius in der Aussage "In hoc signo vinces" ("in diesem Zeichen wirst du siegen") findet, und enthält keinerlei christliche Symbolik.
Quartier des spectacles, Montréal
« Plus de 2000 paires de souliers lâchées à la dérive, crachées à la porte entrouverte d'un container. Libérées de leur captivité, chacune d'elle a son histoire, son périple...Il est ardu, courageux, empli de foi, un pas à la fois...MARCHE AVEC MOI est un hommage à ceux et celles laissés derrière ou qui arrivent de loin, qui ont risqué leur vie, certains-es l'ont perdue. Les vivant.es n'espèrent que la paix, le calme, déposer leur sac et prendre soin des leurs. Maintenant, ils ont besin de soutien.
Les souliers sont un don de Village des Valeurs. Merci à Raynald Soucy et son équipe ! »
www.atsa.qc.ca/le-grand-voyage-parcours-d-installations-e...
This is where I live. Not this particular tower but another one close to the promenade. No feng shui holes here but who needs feng shui holes when you the air is free of pollution and birds are singing outside?
When this place was first built, there was absolutely nothing around the complex, and it truly felt like a paradise. But alas the space in Hong Kong is tight but very soon the development is surrounded by other buildings, including some public housing development which is seen also at the top of the capture.
# SML Data
+ Date: 2013-05-09T13:56:12+0800
+ Dimensions: 5384 x 3589
+ Exposure: 1/500 sec at f/10
+ Focal Length: 17 mm
+ ISO: 100
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40mm f/4L USM
+ GPS: 22°25'18" N 114°13'30" E
+ Location: 香港馬鞍山恆明街2號聽濤雅苑 Vista Paradiso, 2 Hang Ming Street, Ma On Shan, Hong Kong
+ Workflow: Lightroom 4
+ Serial: SML.20130509.6D.05679
+ Series: 建築 Architecture, 形 Forms
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“聽濤望藍天 Vista Paradiso against the blue sky” / 香港住宅建築之形 Hong Kong Residential Architecture Forms / SML.20130509.6D.05679
/ #建築 #建筑 #Architecture #形 #Forms #SMLForms #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban #馬鞍山 #MaOnShan #聽濤雅苑 #VistaParadiso #住宅 #residential
texture by natdiastock:
www.flickr.com/photos/natdiastok/2262308659/in/set-721576...
picture backround by kalle, thanks ;)
brushes here:
redheadstock.deviantart.com/art/Glitter-Sparkles-Brushes-...
Hold on tight! (nice wallpaper, you'll see better in large size :)
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- For Music (🎵) = COPY & PASTE [---]
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---
~~~ 🎥 VIDEO EDITING:
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~~~
🎼Music promoted by eMotion:
📼Video Link : youtu.be/lxZF8nTWDWs
📋WHAT ? 🔽
🌟SCayos - Constellations
💫LoFi/Beat Music World
🌌Creative Common Music
✨Music Universe (🎵)
📝Type : 🎵Music (🔊 Instrumental)
🐨 Calm 🍸 Chill/Cool 🌆 Hip Hop 🔧 Lofi 💓 Beat ️ Ambient
🎺 Musical Instruments : Drum Kit Percussion 🎹 Synthesizer 🎹 Piano
🔊Language : ️ International (🇬🇧 description in English)
WHO ? 🔽
🎵Music by SCayos
📀 Album (Ethereal Nights)
📡Posted by Laurent Guidali
🎥 Video eMotion by Laurent Guidali
🌅 Thumbnail by Laurent Guidali
ℹ️ Producer: Shaan Chhadva
ℹ️ Composer: Shaan Chhadva
ℹ️ Music Publisher: Lofi Publishing
📍WHERE ? 🔽
[Music]
🇮🇳 India
[Video Montage eMotion]
🇫🇷 France
🕓WHEN ? 🔽
🎆 27/07/2021 [Music]
🎆 2023 [Video]
💌 Contact : emotionetoilecontact@gmail.com
🔖 React with official Hashtags :
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Williamstadt House, Canine Corps
all 3 have lovely personalities!
from top left clockwise,
Sally - is thought to be a Corgi x Jack Russell. she took us for a great walk down to the harbour and got us back to the house again. She likes being centre of attention and hates the other two getting noticed.
Rosie, the owners believe she is a lab x long hair pointer cross, 18 months old. Oozes intelligence and gets a kick out of predicting and influencing human behaviour. She was rescued by Kevin (one of the owners), after a chance conversation outside a shop, from the boot of a car. She was being taken to get euthanised as a pup as she was surplus to requirements and was part of a big litter. Paula's fave of the 3!
Walter, Jack Russell, about 14 years old, A gentle soul who we were told started off life as a bait dog for dogs being trained for dog fighting and actually has some pretty significant skin scars to show for it. Thankfully he has enjoyed a long rescue retirement and is very laid back. Old, slow but definitely enjoying life and very gentle. He took a real like to me and i have to say he was my favourite of the 3 great dogs.
Baha Men - Who Let The Dogs Out
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Festivale « Art Souterrain », édition 2020.
Type : Photographie.
Zone : Edifice Jacques-Parizeau
Description de l'œuvre :
Et si nous opérions un reset sur l’histoire contemporaine postcoloniale en bousculant les rapports de domination?
Sous l’angle de la fiction et de l’utopie photographique, la série est une lecture de la double histoire de la colonisation : d’un côté, le système colonial a propulsé des personnes hors de leur pays; de l’autre, il a étendu l’identité française au-delà de son hexagone.
Première, deuxième, troisième générations, les enfants de parents immigrés ainsi que les personnes d’origine immigrée sont les éternels étrangers, ceux à qui nous demandons d’où ils viennent; Français sur papier, mais perçus comme étrangers.
Cette série invente un autre récit où les anciens colonisés deviennent les explorateurs venus du lointain, interrogeant les identités métropolitaines de ceux que certains ne veulent pas appeler Français ou que d’autres ne savent pas nommer.
Par de longues et nocturnes poses, les photos transportent les sujets photographiés dans un ailleurs onirique et extraterrestre; un monde fictif.
Commissaire : Art Souterrain
Biographie – Les sœurs Chevalme:
Les sœurs Chevalme sont jumelles. Depuis plus de dix ans, elles travaillent ensemble sur l’identité mise au pluriel. Ce thème, elles le construisent sous l’angle de l’Histoire. Pour elle, il s’agit d’un ensemble complexe qui ne cesse de se déplacer, de migrer, de s’enrichir, de s’acoquiner et d’absorber.
Cette problématique leur est pleinement intrinsèque : elles sont deux personnes, mais souvent perçues comme une. On les mélange, on les confond; elles sont une et deux, l’une et l’autre.
www.artsouterrain.com/activite/les-eternels-les-soeurs-ch...
Paris once had an extensive 3rd rail system electrified at 850V dc. The final section to last was the line from Puteaux to Issy-Plaine. Seen at Issy-Plaine on 8 April 1987 is a 2-car EMU, Z5177. By this point 6 of the units had their pantographs removed and had their centre cars removed, originally being 3-car and dual voltage. The units were constructed in the 1950s to work Paris suburban services although some sets were cascaded to operate suburban services in other cities.
In 1995 the line was closed to SNCF traffic for two years and in 1997 re-opened as part of tramway line T2 operated by RATP.
Juli 2018
Canon EOS 6D
EF 24-105mm f/4L IS USM
Creative Commons Licence BY 2.0
creativecommons.org/licenses/by/2.0/
Quellenangabe / Credit:
Maja Dumat - Creative Commons Licence BY 2.0
Please don't use this image on websites, blogs or other media without my explicit permission. © 2009 "Patoc" . All rights reserved.
Cette photo est mise à disposition sous un creativecommons.org/licenses/by-nc-sa/2.0/deed.fr